Despite modern media’s ongoing efforts to sideline core audiences in favor of promoting diversity and equality through overt ideological messaging, gamers once again have a reason to celebrate, and it’s at the expense of a billion-dollar corporation and the industry’s most hated consultancy group.
In the aftermath of multiple failed XBOX Game Studios titles, Microsoft’s latest venture, South of Midnight, developed by Compulsion Games, quietly stumbled onto the market. It’s yet another commercial misfire tied to Sweet Baby Inc., the controversial narrative consultancy led by Kim Belair, whose reputation continues to be defined by games riddled with DEI themes and overt racial pandering all culminating in disappointing financial performances.
Released on Xbox Game Pass and Steam, the game’s launch has been a complete disaster, continuing the trend of failures linked to Sweet Baby Inc.’s influence.
Launching day-one on Xbox Game Pass, which acts as a graveyard for forgotten titles, South of Midnight failed to gain momentum despite Microsoft’s marketing reach and the game’s availability on a subscription-based platform designed for discoverability.
Steam’s numbers tell the harsh truth: a meager peak of just 1,411 concurrent players, placing it below numerous low-budget indie games that release on Steam with little to no promotion.
To put this into perspective for Xbox Game Studios titles on Steam, the world’s dominant PC gaming platform, South of Midnight now ranks as the 18th worst-performing Microsoft-published game.
It trails behind older or niche releases like Quantum Break (2,719), Sunset Overdrive (2,326), Halo Wars: Definitive Edition (3,192), Minecraft Dungeons (4,022), Fable Anniversary (6,186), and even the critically panned Senua’s Saga: Hellblade II, which still managed 3,982 at its peak. There is at least a small consolation for Compulsion Games, South of Midnight did outperform titles like Halo: Spartan Assault and Zoo Tycoon.
However, when compared to other recent flops by Microsoft, the numbers still paint a grim picture. Avowed peaked at 19,198 players, while Indiana Jones and the Great Circle reached 12,138, both of which now seem like resounding victories in contrast. And yet, South of Midnight had the full weight of Microsoft’s support and a so-called experienced narrative team behind it.
So what went wrong? The same thing that always happens when Sweet Baby Inc. steps into the room.
Elements of identity-driven storytelling are prominently featured throughout South of Midnight. From race-swapped main characters to dialogue reflecting modern ideological themes, the title often comes across as more of a vehicle for sociopolitical messaging than a traditional game.
Reports surfaced early in development that Sweet Baby Inc. pushed for changing the protagonist’s race, a controversial move, especially given that the original lead was reportedly conceived as a White woman prior to their involvement.
At this point, White-to-Black race-swapping has become a hallmark of Sweet Baby Inc.’s involvement, with credits on titles like God of War: Ragnarok (Angrboda), Alan Wake 2 (Saga Anderson), and Spider-Man 2, where Peter Parker took a backseat to Miles Morales and a drastically more masculine depiction of Mary Jane.
Despite their focus on “representation,” Sweet Baby’s approach continues to fall flat. Their projects are often populated by unrelatable protagonists, overly political dialogue, and generic character designs, all bundled within underwhelming narratives.
Zaire Lanier, the lead writer on South of Midnight, has openly expressed her disinterest in stories about “straight white men” and a desire to spotlight more queer characters, specifically of color like herself. Unfortunately, this vision manifested in an empty, 8-hour experience that few cared to purchase.
Compulsion Games hasn’t done itself any favors either. The studio’s community manager sparked backlash after openly stating she “hates gamers” and brushing off criticism of her anti-white social media posts as nothing more than “white-adjacent guilt.”
These remarks mirror the divisive tone often associated with Sweet Baby Inc., whose involvement in games like Unknown 9: Awakening (169 peak players), Flintlock: The Siege of Dawn (648), and Tales of Kenzera: ZAU has been criticized for contributing to weak storytelling and unremarkable and unappealing diverse characters, all of which were met with dismal sales and engagement.
Add to that Compulsion Games’ public endorsement of Crystal Dynamics’ controversial anti-racist disclaimer included in the Tomb Raider Remastered collection, and a clear pattern begins to emerge, studios increasingly prioritizing identity politics and historical revisionism over authenticity and respect for the original material.
Predictably, access-driven media outlets continue to heap praise on such efforts just as they did with Assassin’s Creed Shadows and Dragon Age: The Veilguard, both of which failed to resonate with audiences or were successful commercially. But actual gamers aren’t buying into their narratives.
Review scores can be bought or influenced, but player numbers tell the real story. And when your launch peaks at just over 1,400 players, it’s not a release, it’s a eulogy.
Sweet Baby Inc. once again brings its destructive influence to a game, with figures like Kim Belair and even Chris Kindred attached to the games story narrative. Kindred is infamous for inciting a harassment campaign against a lone gamer who created a Steam curation group to raise awareness about games linked to Sweet Baby Inc., using publicly available information.
Ironically, it was Kindred’s actions that helped make Sweet Baby Inc. a household name, though not for reasons they’d like. Their influence has made them a target for gamers, as their toxic presence is felt in every product they touch.
Activists who call themselves gaming journalists defended this small narrative consulting firm in droves, unwittingly reignited the flames of GamerGate, while feminist developers pushing ideological agendas gaslight gamers into defending Sweet Baby Inc.’s creativity and influence, which continues to underperform commercially.
Sweet Baby Inc.’s track record is undeniable. South of Midnight is yet another addition to the growing list of failed products associated with their company, yet another diverse game that failed to connect with audiences.
As Microsoft continues to struggle with an industry teetering on the edge of collapse, much of the blame falls on global ethical standards and financial investments driven by diversity and equity mandates, these initiatives have turned gaming into a platform for preaching rather than escapism and entertainment.
With a growing number of feminist developers who openly disdain the very audience they’re meant to serve, gamers are speaking with their wallets and the verdict is clear. Audiences are tuning out. Loudly. Studios should take note: ideological consultants don’t create hits, they just create headlines resulting in negative PR and dismal sales.
