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

As a seasoned gamer and critic with over two decades of experience under my belt, I can confidently say that the relationship between gamers and gaming journalists has become a bit like a long-term relationship gone sour. The trust is gone, the conversations have turned into arguments, and it feels like we’re just going through the motions.

It’s not shocking that Kotaku announced more layoffs recently. In truth, it’s simply another entry in the lengthy chronicle of disappointments for struggling news platforms. Over time, a site that once boasted a vibrant community of creative and quirky writers has deteriorated into a breeding ground for political activists and mediocre contributors peddling divisive rhetoric.

Now, I don’t want this to sound like a hit piece. It is not, but I certainly won’t shy away from harsh criticism either. I also want to preface this: I’m in no way, shape or form defending these websites, as they stand for everything I’m absolutely against. I’m not a journalist, this isn’t my job, and I’m just a (mostly) unpaid hobbyist who does this for fun.

In this article, I’ll delve into the decline of gaming powerhouses such as Kotaku, G4TV, and Polygon, among others. Why did they transition from being revered sources for top-tier gaming information to becoming widely disliked by many? When and where did their downfall begin? How have they arrived at this point? What can we expect in the future? Let’s explore the journey.

No Strangers To Controversies

From its inception, gaming has consistently found itself entangled in debates. Initially, the concern was that video games foster violence. Newspapers, parents, and religious groups from America were among those raising this claim. The notion that someone could become so engrossed in a virtual world that they would lose touch with reality and attempt to reenact actions seen in video games in real life was a fear, especially prevalent during the 90s. Games like Mortal Kombat, Grand Theft Auto, and Doom were often cited as reasons for heinous acts, but it was later proven that the perpetrators had no connection to gaming, as time would reveal.

Then came the problem of video game addiction, a problem that, unlike violence, has some scientific basis to it, and you can become addicted to video games. It’s not common, but it can happen. As always, the boomer media completely over-inflated this issue to unreasonable proportions, and it became a widely accepted fact for a while that gamers were base-dwelling creatures that have been screengrabbed to a point of no return. The passing of time would soon dispel this idea as well.

By the end of the 2000s, the debate around whether video games qualify as art became more nuanced. Scholars and gamers alike began questioning this notion, with some arguing for and others against it. Soon enough, many came to view video games as sophisticated artistic expressions rather than mere entertainment.

2014 saw a significant uproar in the world of gaming journalism when an article titled “The Zoe Post” was published, alleging game developer Zoe Quinn received preferential reviews due to her romantic relationships with journalists. This sparked a widespread online campaign aimed at uncovering corruption in mainstream journalism and advocating for ethical practices in video game reporting. Unfortunately, the situation escalated into a bitter feud between extremists on both sides, who exchanged insults and threats for years without any substantial progress or resolution.

In my view, the controversy known as Gamergate gained widespread attention because it marked a breaking point in tensions between gamers and game journalists. For quite some time, gamers had been voicing concerns that these journalists were biased towards publishing favorable reviews of poorly made games, often due to access journalism practices. This involved journalists being treated lavishly by game companies before releases, which raised suspicions that their opinions might be swayed. Additionally, there were allegations about the quality of video games during the early 2010s being subpar, which added fuel to the fire.

It’s my belief that Gamergate didn’t initiate the rift between gamers and journalists; instead, this divide can be traced back to the late 2000s. Regardless of personal views on the topic, it’s undeniable that the unsavory aspects of gaming journalism (or the perception of it) have been brought to light, reaching mainstream audiences and media.

As we approached the close of 2014, the rift between gaming enthusiasts and game journalists seemed irreparable. Matters only worsened. The whole debacle started with allegations of biased gaming reviews, so let’s delve into that first.

The Skill-Issue Of Critical Skills

I share the sentiment that there’s a significant issue with gaming journalism today, often humorously referred to as intended. In essence, it seems that many game reviewers are struggling to excel at their roles. To be proficient in reviewing video games isn’t fundamentally distinct from appraising films, books, or albums; one must have comprehensive knowledge of the medium, be familiar with its evolution, recognize its subtleties, and comprehend what the audience seeks, to make a sound judgment on whether a game is worth their investment. This is an ongoing task that demands constant learning, expertise in select genres, playing the games, and expressing the merits or demerits in a captivating, distinctive, and entertaining manner.

This might be fun, but certainly isn’t easy, particularly if you consider that on the other end of your internet connection is a real human being, with a job, a life, friends and family that’s looking for a legitimate and accurate assessment of a title to make a purchase decision. While it’s easy for gaming journalists, who get games for free, to be a bit more laissez-faire with their impressions, the matter of fact is that spending 60 or 70 dollars- a lot of money for something that’s absolutely not essential, especially when you have a house to pay or kids to take care of- in a game is an important decision for a lot of people, and can dictate what their entertainment is going to be for the next couple of months.

In my viewpoint, game reviews serve as crucial pillars within the realm of gaming journalism because they significantly impact many individuals’ choices when selecting a video game.

At Firaxis, I’ve come to realize the challenges involved in critiquing video games thoroughly. It’s not only time-consuming as you need to immerse yourself deeply into the game mechanics, but also demanding when it comes to expressing your insights coherently and engagingly.

There’s also another problem I would like to touch on, and it’s that some of these websites became too big, and lack any kind of specialization. I found myself more often than not looking for specialized blogs and YouTubers, whose sole craft lies within a couple of genres they know really well. As a consequence of that, their opinions on a given title can be seen as a lot more accurate, or at least in line with what fans of those particular genres are looking for. Why should I visit Polygon or Kotaku to read a review, if I have zero confidence in what the people writing it? If what they’re looking for in a game is the complete opposite of what I care about?

In Firaxis, I strive to emphasize my expertise in two specific game genres, ensuring that my evaluations are predominantly favorable and spotlight games I deem exceptional. With a limited amount of time at my disposal, I aim to focus on titles that I believe are worth investing your time and resources into. This strategy appears to be effective, as the viewership of my reviews has surged from a few hundred to several thousand over the years. While trust is crucial, it must also be consistently upheld.

This leads me to another point: Audience disconnect.

Fighting Your Audience and Political Activism

It’s common sense for any business owner or rational individual to realize that engaging in conflict with your very audience (your customers) isn’t the wisest strategy, as it’s these people who ensure your business remains operational, providing you light and heat. I’ve found it hard to comprehend why gaming outlets and journalists seem to find this idea absurd, instead choosing to confront their audience.

Additionally, it’s worth noting that a few years back, I wouldn’t have thought this necessary, but it seems some individuals require this clarification: nobody, I emphasize nobody, appreciates being preached to or treated condescendingly. This is a fundamental human feeling. Despite their claims of compassion and humanity, these individuals often display a surprising lack of understanding for those with distinct perspectives and life stories. Moreover, my dear gaming journalists, it’s important to remember that the world isn’t limited to America alone.

It’s quite unusual when articles criticizing certain games appear suddenly, reminiscent of mushrooms growing after a rainstorm. These pieces seem to stereotype all gamers as sexist or intolerant, based on the political views of an anonymous gaming journalist with no established credentials. If someone is seeking a game review and instead encounters insults and their values being questioned in an unrelated matter, it’s understandable that they might feel disrespected. In such a situation, it’s likely that potential customers will choose to take their business elsewhere.

It’s especially frustrating when individuals who are largely unknown in their audience’s eyes, often those writing for gaming websites, present themselves as superior or preachy about topics, rather than focusing on the core question: is the product any good? For instance, when a PS5 review veers off into discussions about global issues like COVID-19 and playing the console being a privilege, it can leave people feeling confused and disappointed. After all, they’re primarily interested in whether the console performs well or not. Such an approach may lead to feelings of dissatisfaction and a tendency for many to dismiss such reviews and the authors behind them.

Due to the frequent occurrence of articles that seem more like sermons, there’s grown a greater gap between the preferences of typical gamers and the topics gaming reporters tend to cover online. What people are actually searching for, in terms of video games, can be summarized as follows:

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 operated by individuals passionate about their work, often working for minimal wages. However, over time, it’s become all too common for these platforms to be misused. They transform into avenues for individuals whose primary goal is to pollute the gaming community discussion with no clear objective. It’s a practice that caters to a specific circle of industry associates in an echo chamber, sharing the same views, or it’s a means to amass Twitter popularity, aiming to be perceived as virtuous and securing better job opportunities in the video game industry. In my opinion, the latter is more likely, with the agenda-pushing serving as nothing more than a pretense.

As a gamer, I’ve noticed a trend lately: some video game companies are being defended or attacked based on their political stances, which seems unfair to me. A recent example is the smear campaign against Black Myth: Wukong, accusing it of sexism and racism that turned out to be baseless. On the other hand, games like Dragon Age: Veilguard and Avowed are being defended with fervor. Here’s what I want to say: gaming companies should focus on protecting our wallets from exploitative corporations, not on deciding what we, the gamers, want or don’t want. The truth is, games are primarily made to generate profit, so there’s no room for moral high ground. Sadly, it seems like gaming journalism has lost its way in trying to appeal to modern audiences and ended up losing the very audience they were serving.

Ultimately, what game enthusiasts crave is content created by fellow gamers, written with their interests in mind. Empower them to judge what’s acceptable or unacceptable, valuable or worthless. As a provider, your role is to offer them the highest quality information so they can make informed decisions on their own.

Why Is This a Good Thing?

As a gamer myself, I’ve found the disconnect between us and the gaming press has grown so wide that it feels nearly unbridgeable. The lack of trust that’s developed between gamers and journalists seems almost insurmountable at this point. When faith in media is shattered, it’s an uphill battle to rebuild it.

To demonstrate this, it’s evident that many of these websites are experiencing a decline in their viewership, leading to reductions in staff. This downward spiral continues as they lose even more viewers, necessitating further staff cuts. This cycle repeats itself, leading to predictable outcomes. This model is not sustainable. It’s the typical lifecycle that every media platform follows – be it newspapers, radio stations, websites, or TV channels. Over time, they rise, fall, and are eventually replaced by more contemporary, audience-friendly alternatives.

It seems quite plausible that we’re witnessing the culmination of an ongoing phase, yet simultaneously, a new one has emerged and is now in control.

So, What’s The Future?

Over a long period, I’ve been proposing that the future of media will predominantly involve smaller-scale, grassroots creators, and the past decade has only reinforced this belief for me. Traditional news sources and television channels appear to be losing their influence, credibility, and relevance among consumers, while independent bloggers, YouTubers, and even TikTok users are gaining significant traction. The era of media giants as information gatekeepers seems to be over; they may still attempt to maintain control, but the walls have been breached, and people have already entered the city.

Daily, an abundance of new websites, blogs, and YouTubers emerge, some with the potential to flourish and achieve the same level of success as those that are currently thriving in the gaming industry – the largest entertainment sector globally. The gamer community continues to expand, offering ample opportunities for passionate individuals to transform their status from gamers into influential figures within this vast domain. Here, trust and dialogue take precedence over animosity and agendas.

Regarding the format, it will continue to be diverse, featuring a mix of videos, articles, and podcasts. However, there’s an emerging trend towards specialization. YouTubers, writers, and podcasters are expanding their horizons, taking on more focused areas of content creation.

I’m hoping that after the heated debates calm down, we can return to discussing our shared passion – video games.

What we’re currently seeing are the last embers of a dying flame. One that’s unlikely to be rekindled, but will be lit up again, by someone else. The king is dead, long live the king.

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2024-12-04 15:43