The Mafia game immediately spells trouble for critics. After all, the player is literally playing as a member of the Mafia, and the story involves assassination, extortion, underground deals, and many other criminal activities.
Then there is Fallout 2. Just like the original Fallout, this game is dark, gritty, and filled with brutal themes. The post‑apocalyptic wasteland is full of strange, disturbing, and often grotesque situations. The world itself feels harsh and unforgiving, with ruined cities, mutated creatures, and morally questionable factions fighting for survival. In Fallout 2, the story explores these elements even further, especially with conflicts involving the powerful Enclave and other dangerous groups scattered across the wasteland.
One of the most praised features is the enhanced karma system, which now ties more deeply into gameplay perks and character development. Player decisions truly matter. The way you talk to people, the factions you support, and even the moral choices you make throughout the journey shape how the world reacts to you. Because of this, players feel like they are truly roleplaying their own character rather than following a fixed path.
The RPG mechanics are extremely flexible as well. Character builds can vary greatly depending on how players distribute their skills, perks, and attributes. Some players create smooth‑talking diplomats who solve problems through dialogue, while others build ruthless fighters who rely on heavy weapons and brute force. This freedom is one of the reasons why players absolutely love the game. Many fans describe it as one of the most authentic RPG experiences available, where your choices and your build genuinely shape the story and gameplay.
Then there is the Castle of Wolvenstein. This game is heavily inspired by *Return to Castle of Wolfenstein *from Zaboru's previous life, focusing on a brutal alternate history where the Nazis are gaining the upper hand in the war. The story mixes historical war themes with dark supernatural elements. The main antagonist, Helga Von Bulow, is obsessed with ancient occult power and attempts to resurrect Heinrich I, an undead warlord from the distant past, believing that bringing him back will make the Nazi regime unstoppable. Throughout the campaign, the player fights through ruined castles, secret laboratories, and hidden underground temples while trying to stop Helga's ritual before it is too late.
As the story progresses, the player eventually confronts Helga and the resurrected Heinrich in a dramatic final battle. After an intense fight filled with gunfire, supernatural attacks, and collapsing ruins, the player finally defeats both the undead warlord and Helga herself, seemingly ending the terrifying experiment. For a moment, it feels like the threat is over.
However, the game then reveals a chilling final scene. The camera shifts to a secret military office where a Nazi general is reporting the failure of the operation. Nervously, he says to someone sitting behind a large desk, "Furher… Helga Von Bulow has failed. She is dead." The man sitting in the luxurious chair remains silent for a moment.
Slowly, the chair turns.
When his face is revealed, it shows Adolf Hitler himself, his expression filled with anger and cold determination. "Fool," he mutters. "Very well… then I will do it myself."
As he speaks, the camera slowly pulls back and reveals what stands behind him: a gigantic mechanical war machine, a massive robot covered with cannons, armor plates, and experimental weapons. Hitler grins toward the camera as if promising that the war is far from over, setting up an even larger conflict in the future.
These three games quickly become controversial because they explore darker themes and difficult subjects that many media commentators consider sensitive. The violence, moral choices, and historical elements inside these titles immediately attract the attention of so‑called "experts," many of whom see this moment as a perfect opportunity to step forward and gain influence, publicity, and recognition by criticizing the games and the company behind them.
Soon, television networks begin picking up the story. What initially started as small criticism in a few newspapers quickly grows into a wider media discussion. Several channels realize that the controversy around ZAGE's new games is attracting public attention, and they decide to turn it into prime‑time debate content.
It is now Friday night, April 10, 2000, and one particular TV program decides to focus entirely on the topic. The producers frame the segment as a serious social discussion about the influence of video games on society, especially on younger audiences.
To support this narrative, the show invites a well‑known "social expert," none other than Lucian Miller. He is also the brother of Lewis Miller, the same man who previously made racist remarks during his debate with Zaboru. Because of that previous controversy, Lucian's appearance immediately attracts additional attention from viewers who remember the incident.
Lucian appears on the program alongside a so‑called "social professor" named Alberto Rhodes, who is introduced as a specialist in media psychology and youth behavior. Together with the TV host, they prepare to analyze what they claim are the dangerous implications of ZAGE's latest games.
The stage lighting dims slightly as the program begins, the cameras slowly zooming toward the discussion table. With dramatic music fading out in the background, the host introduces the segment to the audience.
The title displayed on the screen reads: "ZAGE Is a Menace."
The host quickly starts the show and leans slightly toward the camera. "Tonight on this special segment, we will explore how ZAGE has done it again. The company has released several games that many people claim may have a harmful influence on the public, especially younger audiences. These games include themes of organized crime, nuclear devastation, and even supernatural Nazi experiments. Many critics are asking whether entertainment like this should really be allowed to spread so widely. So without further ado, let us hear from one of our guests tonight. Mr. Lucian Miller, as a social analyst, what is your take on this situation?."
Lucian Miller adjusted his glasses and leaned slightly toward the microphone before speaking. "As we all know, ZAGE has once again released products that many people consider extremely problematic. Just this March alone they released three games that raise serious concerns. Can you imagine that? One game allows players to act as members of the Mafia, carrying out criminal activities like extortion, intimidation, and assassination. Another game allows players to make morally disturbing choices, such as harming cannibalism or even destroying entire cities with nuclear weapons. And then there is the third game, which revolves around Nazi themes and even the resurrection of a historical warlord through supernatural means. These are the three titles ZAGE released: Mafia, Fallout 2, and Castle of Wolvenstein.
He paused briefly before continuing with a more serious tone. "Now we must ask ourselves an important question. What kind of influence will these games have on children and teenagers who play them? Young people are still developing their understanding of right and wrong. If they are constantly exposed to stories where crime, violence, and destruction are central gameplay elements, it may shape how they view the world. Some children might become fascinated with criminal lifestyles like the Mafia. Others might become desensitized to violence after repeatedly seeing cities destroyed or enemies eliminated in brutal ways."
Lucian folded his hands together and continued. "Children often struggle to separate fantasy from reality. A young player might even begin thinking in extreme ways, such as believing that violence against certain groups is justified because they are portrayed as enemies in a game. That is why discussions like this are so important. Fortunately, we have a respected expert in sociology here tonight. Professor Alberto Rhodes, could you explain to our viewers how games like these might influence the behavior and thinking of younger audiences?"
Alberto Rhodes smiled confidently before responding. "These kinds of games can have a negative influence, especially on younger audiences. Children often imitate what they see around them, and early teenagers are still developing their understanding of consequences and responsibility. When they repeatedly see violence, crime, or destructive behavior presented as entertainment, some of them may gradually begin to treat those actions as normal or even acceptable in certain situations. Games like Falling Out or Mafia present worlds where immoral actions appear rewarding or exciting, and that can send the wrong message to developing minds that may not yet fully understand the difference between fiction and reality. And the other one, Castle Wolf Stain, also contains themes involving warfare, supernatural violence, and historical conflict, which could further encourage aggressive thinking among impressionable players. When such content is consumed repeatedly without proper guidance, it may influence how young people interpret power, conflict, and morality in the real world."
The host quickly coughed and politely interrupted. "Excuse me, Professor Alberto, but I believe the titles are Fallout, not 'Falling Out,' and Wolvenstein, not 'Wolf Stain.'"
Albert snorted loudly before replying with irritation. "It doesn't matter if I mispronounce the titles. Those details are not important," he said dismissively. "What truly matters is the effect these games may have on the people who play them, especially younger audiences who may not yet understand the consequences of violent actions. If this trend continues, there is a real possibility that more individuals will become desensitized to violence or even develop dangerous behavioral tendencies. Over time, exposure to such content could increase the number of unstable or antisocial individuals in society."
Lucian Miller nodded slowly. "Yes, I personally agree with that perspective," he said while adjusting his posture. "Companies like ZAGE should focus on making safe entertainment, games similar to Pokémon or other lighthearted titles. Why would they choose to create games filled with crime, violence, and disturbing themes like this?" Lucian fixed his glasses before continuing. "The real issue is that ZAGE is an extremely large company, yet it remains privately controlled by a very small group of people. Because of that structure, they can make whatever decisions they want without broader oversight. If companies of this size are allowed to operate like that, they can easily push harmful content without any accountability."
Lucian leaned forward slightly and continued speaking. "That is exactly why I believe ZAGE should become a public company. If ZAGE went public, there would be many shareholders involved, and with shareholders comes oversight and pressure. Decisions would need to consider the opinions of investors and public stakeholders. In that case, their creative direction might become more restrained, more responsible, and ultimately more friendly for society."
Lucian then said "Zaboru Renkonan is too young to run a company as large and influential as ZAGE. Someone of his age and background still needs guidance, especially when leading an organization that shapes so much of the entertainment industry. With proper oversight from experienced shareholders and corporate advisors, I believe ZAGE would be able to make decisions more responsibly and create games that are better suited for a wider audience rather than pushing controversial themes."
Lucian smiled as he finished his explanation. Of course, the audience watching at home did not know that his words were not entirely sincere. Behind the scenes, several powerful investors had quietly encouraged narratives like this. ZAGE's shares—if they ever became public—would be extremely valuable. Many large financial players wanted a piece of the company. By framing ZAGE as dangerous or irresponsible, they hoped to push public pressure toward forcing the company to open itself to outside investors. In other words, the criticism was not purely about social concerns; it was also part of a larger effort to weaken ZAGE's independence and gain influence over its future.
As the discussion continues, the speakers keep emphasizing how dangerous video game influence supposedly is and how powerful ZAGE has become. They clearly expect the gaming community and viewers at home to agree with their arguments. However, the reaction from players begins turning out very differently from what they expected—completely differently, because Instead of simply criticizing the games, these expert are criticizing Zaboru and that is the stuff that many gamers can't take it
To be continue
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