In part 1 of what we affectionately call our “Social Justice Warrior Trilogy”, we investigated the lack of debate occurring on the topic of sexism and misogyny in video games, and the people who profit off of the controversies. We began with game journalist, Matt Lee’s, indignant reply to B-Mask in regards to the use of sexuality in video games, and Matt Lee’s self-righteousness and reluctance when it came to the topic of an open debate on the matter. The conversation then explored recent gaming controversies regarding an openly hostile slant of video game journalism towards their consumer-base, and the soapbox preaching that they resort to on slow news days. From Anita Sarkeesian, to Suey Park, to Jim Sterling, to David Ellis and Adam Orth, we pointed out the hypocrisies in their logic and the fact that each is profiting off of the controversies that they and the rest of yellow video game journalism perpetuates. However, as we demonstrate in Part 2 of our Social Justice Warrior Trilogy, this is nothing new. Movies, comic books, music and video games have a long, sordid past of power-hungry parasites stirring up controversies in an attempt to either gain or retain power. From violence and sex in video games, to the controversies in heavy metal music of the 1980s, to the Dungeon & Dragons Satanic panic of the same decade, to the comic book controversies of the 1950s. We brush up on our history to demonstrate that not only is it common with each new entertainment medium to be used as a scapegoat or straw man for the ills of society, but that it’s highly profitable to do so. Besides returning our attention to Anita Sarkeesian, Jack Thompson and the Social Justice Warrior movement, we focus on US politicians (Joe Lieberman, Hillary Clinton, Tipper Gore) who have spent decades vote-chasing under the banner that video games, movies and music are “robbing children of their innocence”.