Legacy Gaming News Outlets Are Dying – Here’s Why That’s a Good Thing

As a seasoned gamer with decades of experience under my belt, I can confidently say that the relationship between gamers and gaming journalists has reached a critical point. The disconnect is palpable, and it’s time for a change.

The latest round of layoffs at Kotaku isn’t shocking; it’s just another chapter in the chronicles of struggling news outlets. Once a vibrant platform with an array of passionate, quirky writers, it has unfortunately transformed into a breeding ground for political activists and subpar contributors, spreading divisive content.

Let me clarify upfront that this isn’t meant to be an attack, but I won’t mince words when it comes to criticism. To set the record straight, I’m not here to defend these websites, as their values are completely at odds with mine. I should also mention that I’m not a professional journalist, and my role is purely as a (mostly) uncompensated enthusiast who does this for amusement.

In this piece, I aim to delve into the reasons behind the decline in popularity of gaming platforms such as Kotaku, G4TV, and Polygon, among others. How did these influential sources in the gaming world, once admired for their high-quality information, become so widely disliked? At what point and why did this shift occur? Let’s trace the journey and uncover the future prospects.

No Strangers To Controversies

From its inception, gaming has consistently found itself at the center of debates. Initially, there was a widespread belief that games promote violence, a claim echoed by media outlets, concerned parents, and religious groups primarily from the U.S. The notion that an individual could become so immersed in a virtual world that they would lose touch with reality and attempt to replicate violent acts seen in games was a concern, particularly during the early 90s. Games like Mortal Kombat, Grand Theft Auto, and Doom were often cited as reasons for heinous actions, but it was later proven that those responsible for such actions had no connection to gaming, as time would reveal.

Video game addiction emerged as an issue, albeit not widespread, with some scientific backing. Unlike violence in games, it can lead to addiction. Initially, the media exaggerated this problem excessively, leading many to believe that gamers were socially isolated individuals trapped by screens. However, over time, this misconception began to fade.

By the end of the 2000s, the debate surrounding whether video games qualified as art gained more nuance. Scholars and gamers alike began questioning this very concept, with some giving a resounding ‘yes’ while others remained skeptical with a firm ‘no’. However, it didn’t take long before the broader community started to acknowledge that video games, in fact, possess the intricate qualities of art.

2014 saw a significant uproar in the world of gaming journalism, sparked by a post titled “The Zoe Post.” This article alleged that game developer Zoe Quinn received biased reviews due to her romantic involvements with journalists. In response, an online crusade emerged, aiming to uncover corruption in mainstream media and advocate for ethical standards in video game reporting. Regrettably, this movement saw heated exchanges between extremists on either side, trading insults and threats without any substantive progress for years.

In my view, the controversy known as Gamergate gained widespread attention due to its role as a breaking point. For quite some time, gamers and journalists had been at odds, with gamers alleging that journalists were biased towards publishing positive reviews for poor games. The practice of “access journalism,” where journalists would be treated luxuriously by game companies before releases, was another source of suspicion. Additionally, there were accusations that the quality of video games in the early 2010s was lacking, which only added to the tension.

It’s my belief that the rift between gamers and journalists didn’t originate with Gamergate; instead, its roots can be found in the late 2000s. Regardless of personal views on this topic, it’s indisputable that the questionable practices within gaming journalism (or the perception thereof) have been brought into the limelight and reached a wider audience, including mainstream media.

As the year 2014 drew to a close, the rift between gaming enthusiasts and journalistic circles seemed irreparable. Matters worsened from thereon. However, it’s essential to trace the root cause of this discord, which began with allegations of biased gaming reviews. So, let’s delve into that first.

The Skill-Issue Of Critical Skills

It’s my viewpoint that there’s a significant shortcoming in the realm of gaming journalism these days (humorously put), primarily because many game reviewers are struggling to excel at their roles. Evaluating video games isn’t fundamentally distinct from assessing movies, books, or albums. You must have a deep understanding of the medium, be familiar with its background, grasp its cultural references, and comprehend what your audience seeks in order to make an educated judgment about whether a video game is worth their investment of time and money. This is a continuous task that demands ongoing education, specialization in certain genres, playing the games, and articulating the unique aspects that make them exceptional or lackluster in a captivating, quirky, and entertaining manner.

This activity could provide enjoyment, but it’s not simple, especially when you remember that beyond your internet connection lies a genuine person with a profession, personal life, relationships, and loved ones. They seek an honest and precise evaluation of a title to guide their purchasing decision. While game reviewers, who receive games for free, might take a more casual approach in expressing their opinions, the reality is that spending $60-$70 (a significant sum for something non-essential, especially when you have a mortgage or children to care for) on a game is a substantial decision for many individuals. This choice can significantly impact their entertainment options for the next few months.

From a gamer’s perspective, game reviews play a pivotal role in my world. They wield immense power, shaping the choices I make when deciding which games to invest my time and money into.

In solitude at Firaxis Games, I’ve come to appreciate the challenges associated with crafting thorough game reviews – not only because they require extensive playtime to grasp the intricate mechanics, but also due to the necessity of articulating coherent and engaging thoughts about the gameplay experience. Unfortunately, the landscape of gaming outlets has seen a shift towards content that’s easier to produce, which may be partly influenced by SEO considerations. While I understand that SEO is essential for attracting new audiences, I believe the main issue lies in the waning enthusiasm among writers to create thoughtful game reviews due to factors like time commitment, complexity, and lack of immediate gratification compared to other types of content.

Another point I’d like to address is that some of these large websites have lost their focus and expertise. Instead, I frequently find myself seeking out specialized bloggers and YouTubers who excel within specific genres they deeply understand. Their opinions on a particular title are often more reliable or in line with the preferences of fans of those specific genres. Why should I turn to sites like Polygon or Kotaku for reviews when I doubt their tastes align with mine, especially if their interests lie in aspects of gaming I don’t care about?

In Firaxis, I strive to convey that I primarily focus on two specific video game genres, and that the majority of my reviews are positive, showcasing games I genuinely believe are high-quality. Given my busy schedule, I aim to review only those games that I deem worthy of your time and investment. This approach seems to have been beneficial, as my viewership has grown significantly from a few hundred to several thousand over the years. Maintaining trust is crucial, so I continue to deliver honest and valuable insights.

This leads me to another point: Audience disconnect.

Fighting Your Audience and Political Activism

It’s common sense for any business owner and rational individual to realize that engaging in conflicts with your own customer base isn’t wise because, quite simply, they are the ones who ensure your business stays afloat and thriving. It remains a mystery to me as to why some gaming outlets and journalists seem to believe this is absurd and should even go so far as to antagonize their audience.

Not too long ago, I wouldn’t have thought it necessary to express this, but it seems some individuals require hearing it clearly: nobody appreciates being preached at or spoken down to. It’s a fundamental human feeling. Despite their attempts to appear understanding and humane, these people often fail to show empathy for those with diverse perspectives and life histories. Furthermore, gaming journalists, it’s important to remember that the world extends beyond America.

It was quite unusual to observe opinionated articles about gaming pop up everywhere, similar to mushrooms after a rainstorm, labeling all gamers as sexist simply because one didn’t share the same political views as an anonymous, credential-less journalist in the field. It’s hard to imagine how people won’t feel offended or questioned when they’re seeking game reviews and suddenly find themselves being insulted on unrelated moral grounds. In such a situation, it’s not surprising that customers would choose to move elsewhere.

It’s especially frustrating when individuals who are largely unknown in their audience’s eyes present self-righteous commentaries and preachy narratives about a subject, particularly in the game reviewing industry. Unlike popular YouTubers or content creators, many game website writers are often perceived as insignificant figures. For instance, consider the PS5 review that veered off topic to discuss global COVID-19 pandemic management and the privilege of playing PS5. When people want straightforward answers about the console’s quality, such detours can leave them feeling disappointed, undervalued, and likely to dismiss future content from the writer.

Due to the prevalence of articles that come across as lectures, there’s grown a larger gap between the preferences of typical gamers and the topics gaming reporters choose to discuss online about video games. Here’s what gamers are actually seeking in their digital content:

They want to know what’s going on with their favourite franchises or genres;
They’re looking to discover new games and experiences;
They’re looking for credible advice on which games are worthy of their hard-earned cash;

Here’s what they’re not looking for:

Being insulted (called a fascist, a nazi or a phone) by people with zero moral authority whose job is to write about videogames;
Being preached on world views they disregard as Americanized insanity from people whose job is to write about videogames;
Being politically indoctrinated by people whose job is to write about videogames;

Initially, these websites were managed by individuals who genuinely enjoyed their work, often working for minimal wages. Regrettably, over time, many of these sites morphed into platforms where people primarily aim to contaminate gaming discussions without any clear purpose. This behavior can be seen as catering to a specific group within the industry in an enclosed environment that mirrors one’s own views, or it might be a means to accumulate Twitter popularity and secure a better-paying job in the video game industry. I suspect the latter is more common, with the push for agendas serving merely as a mask.

As a gamer, I can’t help but notice how video game companies and studios are being judged based on their political allegiances lately. The latest instance is the baseless accusations hurled at Black Myth: Wukong, accusing it of sexism and racism, while games like Dragon Age: Veilguard and Avowed seem to get a free pass. Here’s my two cents: It’s not your job to dictate what gamers want or decide which games flourish or flop. Your sole responsibility is to safeguard our wallets from exploitative corporations. Let’s face it, games are primarily about making money, so there’s no room for moral high ground here. Unfortunately, gaming journalism seems to have lost its way in pursuit of a broader audience, and in the process, they may have lost their only audience – us, the gamers.

Ultimately, what gaming enthusiasts seek is a community of fellow gamers producing content and insights catering specifically to their interests. Allow them the freedom to judge quality and value for themselves. Your role is to provide them with high-quality data and resources so they can make informed decisions based on their unique perspectives.

Why Is This a Good Thing?

As an ardent gamer, I’ve found myself increasingly disconnected from the gaming journalism world, a divide that seems almost insurmountable currently. Trust, once broken in media, is incredibly hard to rebuild, and at this point, I fear it might be impossible to mend the bond between average gamers and gaming journalists.

Here’s one way to rephrase the given text while maintaining its meaning:

It seems quite evident that we’re witnessing the conclusion of an ongoing phase, yet simultaneously, a new phase has commenced and is now dominating the scene.

So, What’s The Future?

Over a prolonged period, I’ve proposed that the future of media will primarily favor smaller creators, rooted in the community. The last decade hasn’t shifted my belief on this matter, as traditional news platforms’ influence, credibility, and audience share have waned, while individual bloggers, YouTubers, and even TikTok personalities have experienced significant growth. We’ve moved past an era where media giants controlled the information stream, and they are no longer gatekeepers. Despite their best efforts to maintain relevance by holding onto what they can, they find themselves struggling as the walls of their dominance have been broken down, and people have already flooded into the city of open-source content creation.

Every day, new websites, blogs, and YouTubers are emerging, some of which may flourish and achieve the same level of success as those that are currently thriving in the gaming industry – the largest entertainment sector globally. This rapidly expanding gamer audience presents ample opportunities for passionate individuals to make their mark, transitioning from gamers to game creators or influencers. In this vast landscape, they can foster trust and meaningful dialogue instead of promoting hatred and agendas.

Regarding the format, there will continue to be a mix: videos, articles, and podcasts. However, there’ll be an increasing focus on specialization, with creators like YouTubers, bloggers, and podcasters taking the lead and expanding their areas of expertise.

I’m hoping that once the heat of this divisive issue cools down, we can return to discussing what we love best – our shared passion for video games.

At this moment, we’re witnessing the final flickers of a waning light, a fire that seems improbable to be reignited, yet it may spark anew in another’s hands. In essence, the old ruler has passed away, but the new one rises.

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2024-11-30 21:43