In 2017, the trailer of the video game The Last Night was presented at the Electronic Entertainment Expo (E3) in Los Angeles -one of the most important exhibitions in the industry-, which grabbed the attention and triggered the enthusiasm of all attendees.
Despite being an independent title and the first one from the recently created company Odd Tales, the videogame The Last Night became the great winner of the event thanks to its innovative proposal and its impressive graphic beauty. However, although it was scheduled for release in 2018, to date the game is still in development and struggles to be released.
The reason for this delay? The video game The Last Night was fiercely attacked by feminists and horde woke, which seriously compromised its funding.
From what little was known about The Last Night, it was to be an open-world title that would combine 2D pixel art characters with a 3-D environment. What The Last Night did was invent the 2.5D concept. It would be like watching the characters of mythical games like Another World, Monkey Island, or Prince of Persia, moving in a rich and detailed Hong Kong landscape in 3 dimensions, in the purest style of Blade Runner or Ghost in the Shell.
Not only did it dazzle with its extraordinarily beautiful atmosphere, but the gameplay experience promised to be transgressive, with thousands of different and unique characters with whom you could not only interact in various ways, but who would remember their interaction with you if you encountered them again later, and would act according to how you had treated them.
Although this has been seen in other games, never before had it been done on the scale and magnitude promised by The Last Night video game, which expanded the possibilities and combinations incalculably.
If the graphics were captivating and impressive, and the gameplay promised to be disruptive, the story was not far behind in terms of innovation and originality. The Last Night would take place in a cyberpunk future, but instead of the typical dystopia controlled by corporations, it would be a society in which artificial intelligence had developed in such a way that humans would not have to work.
Machines and artificial intelligence would be in charge of all production, including artistic production, and the government would control everything by providing a universal basic income to all citizens, who would no longer have to produce anything, only consume.
By means of implants, and using augmented reality, they would only have to imagine something and they would be able to interact with it. Thus, for example, children would only have to imagine toys and they would simply play virtually with them.
In this consumer society, with no obligations or responsibilities, people would be so bored that the only thing they would do would be to be offended and watch out for anyone who breaks the rules. It would be a dystopia in which progressivism would have invaded everything, and radical feminism would be the prevailing ideology. Only the protagonist, who as a child suffered an accident that did not allow him to use these brain implants, would see life and the world in the terms of freedom that we currently understand.
The controversy around The Last Night
It was precisely this description of the world in which the video game The Last Night would take place that started the ordeal that the game had to undergo, and which has led it to be delayed for 3 years, and has even put in danger that it could be released someday.
As a result of the expectation aroused by the videogame The Last Night, and probably because of this approach that questioned progressivism and some of its fetish themes such as basic income, feminism, or cancel culture, a witch hunt began against Tim Soret, the creator and director of the videogame.
Far-left activists with great power in the industry reviewed Soret’s old tweets and found that in 2014 he had tweeted that he did not agree with modern feminism, considering that it was not egalitarian, nor humanist.
In addition, during those years she had participated in the hashtag #gamergate, which was born as a movement against corruption and influence peddling between journalists and specialized media with large corporations in the industry, but which the left quickly turned into an attack by ultra-right-wingers and sexists on poor women who only wanted to participate in an industry dominated by men.
When the creator of Minecraft responded to the attack against Tim Soret by one of these radical feminists with great influence in the video game industry, the situation got out of control and the companies and investors in The Last Night became nervous.
Tim Soret caved in to the attacks and came out to publicly apologize for believing in egalitarianism and not radical modern feminism. In doing so, he said that he was no longer the same person he was in 2014, and that he had changed his mind on many things, and also explained that the game was not intended as a political critique of progressivism, but simply to explore the future implications of a society evolving in such a way.
This abjuration for its heresies, typical of the Inquisition, has only served as a stopgap in order to continue with the development of the video game, albeit very slowly but with the possibility of its release this year. It will probably be released with substantial changes in the plot, but let’s hope that it does not lose the essence of its premise, which, considering the events, was correct and premonitory. The only mistake was to think that this dystopia would happen in the future. We already live in the day after The Last Night.