Politics & Power Quote by Uwe Boll

Uwe Boll naming Postal as his favorite game because its politically incorrect isnt a confession so much as a brand statement. Boll has spent much of his career performing a kind of antagonistic auteur persona: the director who courts backlash, then treats the backlash as proof of artistic authenticity. In that light, Postal isnt just a game to him; its a permission slip. It offers a ready-made alibi for provocation: if the text is already committed to bad taste, then any adaptation can frame its ugliest impulses as fidelity, not choice.

The phrasing matters. He doesnt praise mechanics, storytelling, or craft. He praises social friction. Politically incorrect becomes shorthand for transgression without specifying what is being transgressed or to what end. Thats the tell. It suggests a hunger for the charge of taboo rather than the substance of critique. Postal, as a property, trades in gleeful cruelty and shock humor; Boll latching onto that quality signals an intent to weaponize discomfort as entertainment, and to blur the line between satire and simple indulgence.

Context makes the posture legible. Boll emerged as a public villain of 2000s game-to-film adaptations, frequently accused of making cynical, low-quality cash-ins. Leaning into the politically incorrect works as preemptive counterpunching: if you hate it, youre humorless; if you complain, youre part of the joke. The subtext is defensive bravado: controversy isnt a side effect, its the product.