A screenshot from Dustborn (2024), Red Thread Games

Ragnar Tørnquist, the CEO and founder of Red Thread Games, which recently released Dustborn, attempted some massive damage control regarding the game in a recent interview.

A screenshot from Dustborn (2024), Red Thread Games

Speaking to Gamer.No, Tørnquist admitted that he expected there to be a debate over the radical political agenda he inserted into the game, but claimed he never set out to provoke anyone.

He said, “Yes, but we were never out to provoke. We just wanted to make a game with characters that are different. We didn’t think it would be so controversial that a group would fight against a fascist regime.  I don’t think many people want to live in a police state. And our version of the U.S. is by no means the real America.”

A screenshot from Dustborn (2024), Red Thread Games

However, this does not appear to be true at all. In an interview with PSU, a representative for the game admitted that the entire concept for it came from Donald Trump’s campaign for President of the United States back in 2016.

The representative revealed, “The idea behind Dustborn’s setting and characters was also influenced by a series of political events that deeply affected us all, beginning in the summer of 2016, and continuing until…well, today.”

“As game developers, we wanted to tell a story that felt relevant and thematically timely, with a cast of characters that could more accurately represent our player base and the setting, and to hopefully have some positive impact on the world…in addition to being an entertaining game,” the representative added.

A screenshot from Dustborn (2024), Red Thread Games

In fact, Tørnquist proved himself a liar when he was asked about the game including gender ideology. He said, “The use of pronouns has become relatively established in games, and we knew people could react to that. But it was the reality we wanted to present.”

He then added, “We don’t feel we’ve made a game that’s primarily about politics. It’s more about language and relationships between people.”

A screenshot from Dustborn (2024), Red Thread Games

Tørnquist’s forked tongue was also highly apparent when he was asked if the game was satire. He said, “I think the game speaks for itself. It’s over the top in many ways. It’s colorful, inspired by comic books, has fight sequences against giant robotic mascots, and it has a sarcastic view of the world. It doesn’t take itself very seriously.”

He elaborated, “I hope people can see the game and understand that it’s an alternate world, something that also applies to the story. The game may be a dystopian reflection of the world, but the story is not written for realism. It’s done with humor and exaggeration, and it’s very much tongue-in-cheek.”

A screenshot from Dustborn (2024), Red Thread Games

As noted above, a representative for it previously made it clear it was made in reaction to Donald Trump’s campaign for the President of the United States back in 2016 and the developer team wanted to reflect that in the game through its themes.

Furthermore, YouTuber MadamSavvy shared that those themes involve bullying and manipulating people who do not support woke ideology and its destructive agenda. She wrote on X, ““You want to tell a story about the power of words- why did you choose to use words of hate and hurt for the main character? Why are we forced to use words of violence against our own friends? These are unavoidable moments no matter what you do?”

She questioned, “You say you want to build a world where everyone can feel safe, then why did every single person we come across have their life ruined by the player character and the group? Why aren’t the powers of Pax something like ‘salve’ or ‘healing’….why is everything based on manipulation?”

A screenshot from Dustborn (2024), Red Thread Games

MadaamSavvy continued, “Where was the love when we bullied Fred and lied about her? Pax’s mother grows opium for a cult that’s never mentioned again. Is that love? Why would she put her own people in danger by growing OPIUM of all things? It’s a highly addictive drug- and it can be used to keep people compliant…..I’m sure you understand what I am insinuating.”

She then reiterated, “Is it friendship when we are forced to manipulate our friends? To Bully Theo? Why can’t we prank Sai while she prays but we can prank Theo- who has done nothing wrong? For you to write what you did, you must like modern SpongeBob squidward torture episodes where he doesn’t do anything to deserve it…..”

 

Unsurprisingly, after repeatedly lying, Tørnquist decided to project onto his critics telling Gamer.No, “It seems like people twist everything we say with malicious intent. They’ve created a narrative that Red Thread is corrupt and making propaganda, but the fact is that we’ve made a game we want to talk about and share with others. It’s not for everyone, and they don’t have to play it.”

The game quite literally is political propaganda as MadamSavvy noted on X, “I’m not too sure how people with powers who admit to being con artists can be oppressed, or people with money. Noam is rich, and Pax openly manipulates people to avoid situations. you are forced into triggering your friends and none of your actions cause any consequences as they’ll always reassure you that you did the right thing.”

She continued, “Interestingly enough, Justice is never actually shown to do anything wrong. When you visit your own mother, she is running a cult in the woods and like any cult who needs to make money, they grow illegal drug plants- Opium to be exact. It’s also interesting how we are forced to bully and lie about Fred, the barefoot ginger queen, who just wants us to leave. If the mother is so caring and good, why would she put her people in harms way by growing opium? Fred is left to be reprogrammed and we never hear back from her. I hope she found some shoes.”

“This review also fails to mention much about the ‘memes’ and ‘disinformation’- or rather the fact that the player character is the source of disinformation. It also fails to mention that we are also forced into bullying our friend, Theo, who is a good catholic mexican, while he is having a minor crisis of belief,” she shared. “On the other hand, you aren’t allowed to mess with or bully the sex obsessed overweight Sai (the artist named after paint tool sai) while she engages in Muslim prayer. ”

Furthermore, Andre Einherjar of Midnight’s Edge shared his own personal opinion that the Norwegian Film Institute’s panel that approves the grant money should at the very least be questioned and likely replaced, “From where I’m standing, the commercial response to this game and the instant aversion to it was entirely predictable. And if those on the panel didn’t see that coming a mile away, then perhaps it should be questioned if they, resume aside, are too out of touch with actual gamers to serve on any such panel.”

Nevertheless, Tørnquist continued his gaslighting, this time addressing the game’s financial success. He said, “Dustborn is not a flop. The game has received mixed reviews but also a lot of positive feedback. Those who actually play it seem to enjoy it. Dustborn isn’t selling as much as we would like, but we’re proud of it and think it’s a good game.”

Hilariously, Gamer.No then shares that Tørnquist does not even have sales data for the game. The outlet states, “The publisher, Quantic Dream, holds the detailed sales figures, so Tørnquist doesn’t have full oversight yet.”

A screenshot from Dustborn (2024), Red Thread Games

Regardless, Tørnquist declares, “Even though it’s not an immediate success, it has sold far more than what people are saying online, I can say that.”

He then admits, “Our internal goals for Dustborn haven’t been met, but that doesn’t mean it’s a flop.”

In fact, he goes on to claim that it could take years for the game to find an audience, “It can take months and years for story-driven games like this to find their audience, so we’re not dissatisfied.”

A screenshot from Dustborn (2024), Red Thread Games

Ragnar Tørnquist is a perfect example of the three laws of an SJW. For a quick reminder, as explained by Vox Day in  SJWS Always Lie: Taking Down the Thought Police, the three laws are SJWs Always Lie, SJWs Always Double Down, and SJWs Always Project.

Furthermore, he’s also clearly part of the “seething artistic class” as defined by novelist Isaac Young. Young shared in a recent video that this class “wishes to pervert all film, TV, and literary achievement for the sake of applauding themselves and humiliating their enemies. And in this task they have unequivocally succeeded.”

He also notes that because he’s part of this class he will not be able to produce truly great art given he cannot conceptualize anything except through politics as demonstrated in Dustborn, “Modern artists must swear their souls to towing the eternal party line, which itself is just narcissism. That or they make their work so braindead that it couldn’t possibly be a threat to anyone. This is why the woke will never produce a great work of art. To do so would require believing in something beyond power, beyond politics. And the woke cannot conceptualize anything except through politics.”