Article with some interesting facts, is below the Quartering Vid and text he posted
Epic Goes ALL-IN On AI With Disney—Artists ERUPT!
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Epic Games has reportedly instructed the team building its massive Disney collaboration to work “AI first” across both code and artwork, with humans overseeing the output. Bloomberg also reports that the project—expected to feature characters from Marvel and Star Wars—has been delayed without a replacement date being communicated. That does not prove AI caused the delay or that an unreleased game has failed, but it has detonated a much bigger fight over what happens when some of entertainment’s most valuable characters enter a production pipeline built around generated content.
Artist Karla Ortiz is publicly blasting the move and raising concerns about artists’ work being used to train AI, while Epic CEO Tim Sweeney insists the goal is greater output and quality—not doing the same work with fewer people. That is the real battle: whether AI empowers human creators or becomes another corporate shortcut that turns premium entertainment into expensive slop. Disney’s widely reported $1.5 billion was an equity investment in Epic, not this project’s development budget—but audiences will still expect the finished experience to feel human, polished and worth their money.
Woke Hollywood and Gaming Keep Getting Hit — The Virus Is Still Spreading Through the Industry
Epic Games just told the team on its big Disney collaboration to go “AI first” on both code and art. Bloomberg reported that developers working on the Marvel and Star Wars shooter were ordered to stop writing code by hand and to generate all artwork with full AI workflows, using tools like Claude. Humans would only manage the output. The project, once aimed at a 2027 window, has been delayed with no new date given.
Artist Karla Ortiz, who has worked on Marvel films and games, called it out on X. She noted that artistic AI models train on work like hers without credit, consent, or pay, and that is why artists are suing. Epic CEO Tim Sweeney answered that the goal is more and better output, not the same work with fewer people. Disney put $1.5 billion into Epic as an equity stake years ago. Audiences still expect a polished game that feels made by people who know the characters.
Gamers are not woke.
We’re frustrated with our games, our movies, and our comics being co-opted by left-wing politics.
They call us ‘chuds’ to demoralize us, but I say we take that label and use it for good.
Lets build a political movement to take back our games and our country.
— Marty O’Donnell (@MartyTheElder) October 14, 2026
That fight is real. It is also a symptom of the same problem that has been eating games for years: corporate shortcuts and forced ideology over what players actually want.
The Quartering has been covering the latest example for days. Gears of War: E-Day was supposed to be Xbox’s big return for a classic franchise. Instead, BurntPeanut and other streamers tore into the story and the new characters. Asmongold amplified the reaction so millions saw it. The main flashpoint is Mags Carter, an openly lesbian demolitions expert who gets heavy screen time in a game fans expected to center on Marcus Fenix and Dom Santiago. Steam filled with negative reviews calling the game woke and girlboss. Some players still like the darker tone and the combat. The culture-war argument will not go away.
Critics also flagged Hit Detection in the credits. Players who track these things call it Sweet Baby Inc. 2.0 — another consulting firm that does “cultural and sensitivity” work. Sweet Baby itself has been shrinking. Business records and its stripped-down website have fueled talk that the firm is down to a handful of people.
A website is now giving games a “Woke Score” out of 10 😂
High score = woke.
Low score = based.After watching so many preachy games bomb, this was probably inevitable.
Turns out gamers want fun more than lectures.
Would you check the score before buying? https://t.co/miPfOaBqR1
— 8-Bit Eric (@8biteric) October 2, 2026
This is the same pattern Critical Drinker and others have described for years. Identity politics, DEI checklists, and ESG money pushed messaging into big Western games. Concord launched to almost no players and died fast. Dragon Age: Veilguard leaned hard on pronouns and lectures and underperformed. Japanese and Korean studios largely stayed out of that fight and kept growing their market share. Gamers push back because most of them buy games to play, not to sit through a lecture. The industry keeps testing how far it can go before the wallets close.
Gears of War E-Day is coming out in a few more days, and it’s not looking good, as people have found instances of LGBTQ propoganda.
This is a textbook: “How to Kill Your Game” 101.
As others say, it’s a canary in the coal mine. Putting woke/DEI propaganda into the game means they are not confident that the game will stand on its own merit in terms of gameplay, story, and game mechanics… and of course, how can we forget that Trans developer Kate Rayner.
There have been VERY FEW games where these kinds of things were added, and the game was still very good… and already there are some red flags about the game according to early reviews from various outlets if you read between the lines.
They say that there is open-world fatigue where the game’s semi-open exploration is tedious and it disrupts the pacing of combat and gameplay.
The story feels half-baked, focusing too much on emotional bonds between the characters that feel misplaced, especially when the franchise was built on stoic, hardened characters.
Larger enemies don’t react to gunfire, and many of them are undynamic bullet sponges, which makes combat ‘less fun’.
On consoles like the Xbox Series S, there are a lot of performance issues and frame drops, especially when there are a lot of effects on the screen.
Another complaint is that there will be missing features at launch, making the game feel unfinished, hinting at later large patches that “finish the game”.
The only highlights are the visuals and graphics fidelity, but some of them are saying it’s too cluttered and feels hard to focus on the core gameplay, and you end up fighting the camera, the effects, and the environment more than fighting the enemy.
So far, it sounds like the game is suffering from the classic case of “style over substance”.
Now the mainstream critics are calling it a “return to form”… hmmm, where else have we heard that? Yet another red flag of the game failing.
— Emerald Apple (@AI_EmeraldApple) October 2, 2026
AI is the newest tool in that toolbox. Studios can use it to cut costs and speed up production. They can also use it to keep the same ideology while replacing more of the human work. Ortiz and other artists see the training-data problem and the quality risk. Players see another layer of expensive, generic product that may still arrive with the messaging they already rejected.
The pushback is visible. Review bombs, streamer reactions, and sales numbers keep showing up. Studios still double down because the money and the internal culture reward it. Gamers keep voting the other way. The virus does not care whether the game sells. The people who pay for it do.
— The Whatfinger News Team: Luke and Beth, with Grok on edits
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