Australia’s youth spend more time gaming than on any other activity outside of school or sleep. According to the Interactive Games & Entertainment Association, over 81% of Australians play video games regularly. But what are they absorbing while they play?
For decades, the Left has used entertainment as a vehicle for ideological control—Hollywood, television, and the subject of this piece: video games. While many parents focus on social media, a more insidious form of indoctrination is occurring in the virtual worlds our children inhabit.
The gaming industry has become a pipeline for cultural engineering of young boys and teens. From the mocking of European history to the forced and historically inaccurate inclusion of non-Whites, feminised male leads and more… it goes on and on, the message is always the same: hate yourself, forget your people, embrace weakness. Every mission, quest, and kill subtly reshapes the values of the next generation.
The Nationalist Service Foundation (NSF) hopes to exist to defend and restore the dignity, strength, and future of the wider Australian community. If the controllers and ideas in our children’s hands and minds are of a hostile entity’s making, so is the future. It’s time we start building video games that entertain and inspire.
So you might even wonder before reading further. “Why even bother with video games?” The simple answer is because of the reach and media attention they garner, again, the vast majority of young boys play video games to some degree.
Games are storytelling engines, cultural mirrors, and ideological battlegrounds. Like other forms of visual medium, they shape how young people view heroism, morality, and identity. Today, however, the industry is dominated by narratives that mock our traditions, distort history, and promote leftist, anti-White ideologies.
At the Nationalist Service Foundation (NSF), we pursue a future where Australians reclaim this (among many) medium(s) of cultural power. If we cede the digital frontier to those who despise our heritage, we surrender the minds of our children who play these subversive games.
A Rogues’ Gallery of Anti-White Propaganda
There are countless examples, but a few prominent AAA titles come to mind.
BioShock Infinite is an assault on White Americans, relentlessly shaming them AND the founding fathers for their history and identity. The game brands the player (who is White) as inherently evil, forcing the player to atone for fictionalized sins, like the protagonist’s role at Wounded Knee.
Columbia, the fictional floating city in BioShock Infinite, is depicted as a society that reveres the Founding Fathers of the United States—Washington, Jefferson, and Franklin—almost to the point of religious idolatry. The game uses this exaggerated reverence to critique American exceptionalism and nationalism, their legacy by guilt of association reduced to racism and oppression. Meanwhile, the game glorifies Black communist revolutionaries as righteous liberators, pushing a narrative that White civilization deserves destruction.
Did anyone ever ask why; in such an advanced floating city which seemingly levitates based on the power of racism, there are blacks amongst the Whites, whom the latter have the ability to produce and access to advanced robotics and other mechanical marvels that aren’t otherwise possible? Rendering servile work from the ‘lesser’ races moot? Oh yeah, it doesn’t fit ‘the message.’
The infamous in-game command to “shoot the patriot in the back” says it all: loyalty to your people is treason, and the only moral choice is betrayal. Bioshock Infinite is propaganda, conditioning players to despise their heritage and actively participate in its downfall.
The Last of Us Part II is not a game—it’s a figurative hate crime against its own audience which it seemingly lost – who was this ever appealing to other than to humiliate the original fan base? A grotesque exercise in ideological sadism, it forces players to endure a brutal murder of Joel, the White male father figure protagonist of the first game, who saves his daughter from crazy scientists who want to extract his daughter’s brain ‘to save humanity’, only to replace him in death with a cast of degenerates and sociopaths.
He is of course bludgeoned to death by a steroid-pumped transgender. Meanwhile, the other original character, Ellie is reduced to a lesbian sidekick…who wrote this garbage?
The lead developers didn’t even bother hiding their agenda. They bragged about weaponising the story to punish “toxic” fans—meaning anyone who dared prefer Joel’s masculine resilience over this woke carnival of revenge porn. The game’s entire narrative is a spiteful screed: White men must die, traditional heroes must be humiliated.
Baldur’s Gate III is a technical DnD masterclass by Larian Studios—great craftsmanship, but poisoned by ESG slush money. The game itself is undeniably well-made, a testament to the skill of its developers. But behind every African and Asian inserted into traditional European fantasy settings, every fluid and diverse gender option, every forced queer romance, you can hear the distant laughter of Wizards of the Coast (who is owned by the publicly listed Hasbro company) execs counting their woke bucks. Oh and in case you wanted to know, Blackrock and Vanguard both own the top holdings in Hasbro stock, each at almost 12%.
They took a legendary RPG DnD franchise and turned it into a Diversity & Inclusion training module disguised as fantasy. Want to play a straight warrior? Sure, you can—but the game will go out of its way to shove pansexual demons, vampires, genderless alien things, and polyamorous tieflings in your face like a HR director checking boxes.
The worst part? It’s actually good when it’s not preaching. The combat, the world-building, the sheer scope—all top-tier. A real shame.
Starfield which almost didn’t make it into this piece, is a cosmic joke. Bethesda forgot what real men and women look like. Every NPC looks like a gender-neutral lab experiment gone wrong, their faces; strange, and uncanny horrors by some Diversity Department algorithm. White people you say? Practically extinct in the distant space faring future (hmm…).
Instead, we get a galaxy of plastic faced, androgynous, brown mannequins, each one uglier than the last, as if the artists were actively punished for sketching a strong jawline or feminine beauty.
Unlike Baldurs Gate III, this game’s a mess, soulless, and empty. But that’s what happens when you care more about ticking boxes than crafting a world worth exploring.
You’d think Grand Theft Auto—the franchise that once mocked every sacred cow in America—would be the last AAA game holdout against the industry’s suffocating progressive orthodoxy. But no. Red Dead Redemption 2 already showed us the writing on the wall: killing Klansmen, receiving no ramifications for killing a Eugenicist NPC whom resembles Hitler, and playing White saviour in the Old West; helping out a black brotha DOCTOR in a neighbourhood full of hostile Whites!
In reference now to the GTA series, always one of the most anticipated games, it features an interracial criminal couple—a strong, charismatic White man and a fiery, curvaceous Latina woman (of course she’s curvaceous—gotta keep the coomers hooked).
It is clear that the Latina female wears the pants in this relationship as well, while the male exists primarily as a prop in her story.. however the main message is clear: miscegenation is cool, attractive, and modern. The relationship is framed not as an incidental story detail but as part of the game’s main cultural signal.
This is engineered messaging—the same kind of cultural conditioning we see in every major media product now.
Follow the Money: Who’s Behind This?
These aren’t creative coincidences—they’re deliberate acts of inversion and mockery. Those behind these titles, often don’t give a damn about the fans, lore, culture, history etc. of the characters and cultures they depict, are pushing a message: Europeans are evil. Masculinity is toxic. Tradition is dead.
Not a new concept, but it’s clear subversion.
Modern AAA games are not neutral. They push overt miscegination, transgenderism, anti-White narratives, misandry, cuckoldry nonsense.
Woke corporations, backed by BlackRock and other ESG-driven investment firms, have flooded the gaming industry with anti-White narratives, misandry, and degeneracy. Games like Wolfenstein: The New Colossus have script whereby the half-white-jewish player character says “Come and get me you… White ass fascist Nazi Pigs”. All of these examples are not accidents.
Studios are rewarded for hitting ideological targets, not sales milestones. In fact, corporate shareholder pressure has driven studios to include token representation, ideological messages, and political content in places where none previously existed.
The result? Shareholder appeasement at the cost of user loyalty. Assassin’s Creed, once a flagship franchise, has become bloated with virtue signalling and your usual wokeism, although this time was dogpiled in an acceptable manner by many because the culture wasn’t attacking Whites this time, but Japanese.
This was the most recent entry of the series, infused with woke themes including a Portuguese slave of Africans origins being some sort of pivotal figure in Japanese history, which killed the company (Ubisoft) and truly bringing meaning to the “Go woke, go broke” phrase. It’s is no longer a meme, ladies and gentlemen!
But yet… do they learn from their mistakes? No. They (and others) keep doing it—because the agenda is bigger than profit. It’s about control. And when 98% of young men play video games, you’re not just fighting for dollars. You’re fighting for their minds.
We must treat games as art, not just products. They are vessels of mythology, identity, and aspiration. “Show me the heroes of a youth, and I will show you the future of a nation.”
Currently, those heroes are degenerate anti-heroes, simping for women, looting cities, committing crimes or mocking their own heritage. Why should our sons admire criminals, cowards, or confused avatars in digital drag? What does that train them to become?
The Solution: Build Our Own Games
“Why don’t you build your own games!”
Imagine a world where your son plays a game that teaches him not to loot a city or mindlessly heist a bank—but to build a village, build a family, protect his people, colonise far away lands, explore, learn history. Not to mock his ancestors—but to honour them. Not to become a digital addict—but to sharpen his mind and spirit for real-world action.
Here’s the good news: the barrier to entry for creating high-impact video games is reducing. And with the rise of accessible tools, even small teams with limited resources can build entire worlds without needing funding or investment approval.
What once took teams of hundreds and multi-million-dollar budgets can now be prototyped in a garage with Unreal Engine, and an ounce of creative courage. The only true constraint now is time.
And for those willing to invest that time? The returns are not only cultural, but potentially financial. A successful indie title can influence thousands of young minds, attract significant revenue, and fund broader community efforts, activism, and cultural restoration.
We need to take the creative reigns and develop our own titles. Not just as a form of resistance—but as a tool of renewal. If we do not control the narrative, our enemies will. Nationalists should be looking to build games that inspire our youth—games that teach history, strategy, and cultural pride rather than degeneracy and self-hatred.
Video games should be educational and inspiring, a form of art to allow our youth to aspire to something greater than killing a hooker on the curb side in GTA. Not to become a digital addict—but to sharpen his mind and spirit for real-world action.
Titles We Could Build:
- Legions: Syria Palaestina
A historical strategy/FPS where players command Roman legions during the Jewish-Roman wars of 66-136 AD, suppressing revolts in Roman provinces. - Frontier: Bush Wars
A colonial simulator/survivalist-action game set in a the colonial-era of Australia. Players explore the late 1700’s Outback, build homesteads, repel environmental threats and rivals, and foster kin-based communities under harsh, unforgiving conditions. The game would definitely teach the real early European Australian history. - Collapse: Card Game of Civilizational Decline
A card game simulating civilizational decay—mass immigration, degeneracy, economic collapse—and how to reverse it.
These game ideas would allow youth to engage with ideas too often censored in classrooms or media. And done well, they compete directly with the large ‘woke’ titles that no-one wants or plays, offering something richer for the soul.
Games like these can be bootstrapped, crowd-funded, monetised, and marketed to families, homeschoolers, and young men looking for something higher than the current slop. Nationalists should be looking to build games that inspire our youth.
Caveat: Nothing is more enriching than being surrounded friends and family in real life. This idea is only viable now that individuals under 16 years old are no longer allowed on social media.
Why Focus on Games?
Young boys are already drifting from the mainstream. There is a perceived openness to nationalism, tradition, and identity-based thinking. The system humiliates them, mocks their history, and offers no future.
We offer something better: pride, belonging, and purpose.
Let them play games that build and inspire, not destroy. Let them honour their fathers—not mock them. Let them become the men our civilization needs—not the broken avatars pushed by Hollywood’s Marvel superheroes and woke gaming studios.
- Interactive stories shape worldviews more deeply than lectures. They reward choice, forge identity, and promote lasting memory formation.
- Games unite youth. Co-op play, online ‘clans/tribes’, or real-world meet-up events offer positive alternatives to physically toxic digital spaces.
- Strategic, competitive, and narrative-rich games cultivate the virtues our boys need—discipline, imagination, endurance, and responsibility.
- Thanks to the internet and peer-to-peer tech, these games can exist outside the App Store and Big Tech’s ideological chokehold.
Australia’s Censorship Landscape
Australia has strict content ratings. Games with high violence, sexual content, or politically sensitive themes can be rated MA15+ or even Refused Classification (RC). To succeed, we need to be smart—strategic. This means:
- Avoiding overt glorification of violence.
- Framing historical or political content in educational terms.
- Developing stylised rather than hyper-realistic graphics.
We want young Australians to access these titles, so it wouldn’t make sense to create a game locked out of the market by censorship boards. International distribution is also an option, especially as European and American markets are hungering for grounded alternatives.
The Australian Classification Board is notoriously strict, often banning or restricting games. To ensure our games reach the widest audience, we must design them to avoid unnecessary controversy while still delivering our message.
International markets, have far less restrictive censorship protocols. By prioritising digital distribution and focusing on gameplay over shock value, we can bypass gatekeepers and reach young men directly.
Our Vision at NSF
We want to assemble teams of developers, writers, and artists to create games that reflect our values—not those of woke left. We are interested in building up self-reliant, educated, and honourable young Australians who are proud of who they are and the story they belong to.
The Nationalist Service Foundation plans to eventually build a long-term game development initiative. Which galvanise the youth into positive morals, historical lessons and nudging physical activity and real-life interaction.
Each project that we engage in aims to align with our SOL and LUNA youth programs—meaning in-game progress may reference real-life activities.
Why This Matters
Why? Because the system offers them nothing but humiliation rituals for them, destroys and denigrates their sense of self and tells them they are evil for being born.
If we do not control the narrative, our enemies will. Nationalists should be looking to build games that inspire our youth—games that teach history, strategy, and cultural pride rather than degeneracy and self-hatred.
Games can reverse this brainwashing to a degree, with meaningful adventure and inspiration, which inspires them to real world action.
A Broad Spanning Culture (Not Product)
We hope that in future, our games will complement everything else we do within NSF’s cultural arm: books, lectures, tv shows, movies, community building, podcasts, art, poetry etc.
Let’s rebuild a generation to be equipped not only with cultural pride in our heritage, but also with familiar tools and mediums to express, share, and defend them.
The Left understood the power of media decades ago. They seized the schools, the screens, years ago. Now it’s our turn. We can do it for less, and do it better. No more surrendering the minds of our youth to Netflix, TikTok, Hollywood or any others. It’s time to play our games and by our rules!
The Left controls the controllers—for now. But with your support, we’re going to contribute to changing that.
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