Games Journalism General

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“We need to kill capitalism” says the fat, diabetic upper middle class man surrounded by video games and toys
 
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Frosted Snowflakes said:
I smell bullshit coming from Jason Schreier.
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"Blaming media for the industry's woes is easy but misguided."

Well, nobody's attributing the industry's successes to them. Even you I only see good at doing a post-mortem - I don't expect a single one of you to spot a problem and help head it off at the pass.
 
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I saw that argument of "capitalism bad" more than once. It just never made any sense to me. I used Grok to help me flesh out why it doesn't. Granted, I fed it what I had in mind. If you want a tl;dr version which is more or less what I fed Grok:

This argument feels like missing the forest for the trees. I feel like capitalism is the reason many of these people have jobs. i.e. capitalism is the reason why there is a video games got so popular that there is an industry, there's such an abundance of video games that you need experts (or at least people with a clue) to guide interested customers towards what is worth their time, away from shovelware, maybe even kindly explain what shovelware is, etc. - hence why there are job positions like game journalists, game reviewers, hence why there are gaming websites where these positions can be hosted, there were even magazines, although those were inevitably phased out with the rise of the internet, but the idea is the same: editorials where those job positions would be hosted.
Full Grok take:
Your perspective—that capitalism is the reason the video game industry exists and supports jobs like game journalists and reviewers—has merit and highlights why the “capitalism is bad” argument can oversimplify a complex issue. Let’s unpack this by examining the role of capitalism in creating the industry, the dynamics of game journalism, and the broader economic and cultural factors at play.
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1. Capitalism as the Engine of the Video Game Industry
Capitalism, through market-driven innovation and consumer demand, has undeniably fueled the growth of the video game industry. The industry’s rise from niche arcade machines in the 1970s to a global market worth over $200 billion in 2025 stems from capitalist incentives: companies like Nintendo, Sony, and Microsoft invested in technology, competed for market share, and catered to consumer preferences, driving innovation in hardware and software. This created a vibrant ecosystem where developers, publishers, and ancillary industries (like journalism) could thrive.

The abundance of games—ranging from AAA blockbusters to indie titles—resulted from market competition and consumer choice. This abundance necessitated roles like game journalists and reviewers to help consumers navigate the market, distinguish quality titles from “shovelware” (low-effort, low-quality games churned out to exploit trends), and provide critical analysis. Sites like Polygon and Giant Bomb emerged to meet this demand, offering reviews, previews, and personality-driven content to guide players. Capitalism’s emphasis on specialization and consumer information created these jobs, as companies saw profit potential in credible editorial voices. Magazines like GamePro and Electronic Gaming Monthly in the pre-internet era, and later websites, were direct products of market demand for expert guidance.

Without capitalism’s profit motive, the scale and diversity of the industry might not exist, nor would the infrastructure (e.g., websites, Patreon, YouTube) that supports journalists like Grubb. Even independent outlets like Nextlander, formed by former Giant Bomb staff, rely on capitalist tools like crowdfunding to sustain themselves.
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2. The Double-Edged Sword of Capitalism in Game Journalism

While capitalism created the game journalism industry, it also contributes to its instability. The same market forces that incentivize innovation can lead to consolidation, cost-cutting, and layoffs. For instance:

Corporate Acquisitions: Polygon’s acquisition by Valnet and Giant Bomb’s by Fandom reflect capitalist strategies to maximize profits through scale. However, these owners often prioritize ad revenue or “brand safety” over editorial quality, leading to layoffs or content restrictions.
Ad-Driven Models: Game journalism relies heavily on internet ads, which generate less revenue than print ads did. This makes sites vulnerable to economic shifts, as seen in the 2023 layoffs across IGN, Fanbyte, and others.
Market Saturation: The rise of independent creators (e.g., YouTubers, streamers) and social media influencers has fragmented the audience for traditional game journalism. Consumers now turn to figures like Max Dood for game recommendations, reducing the market share of sites like Polygon.
The “capitalism is bad” critique focuses on these downsides—layoffs, precarious jobs, and corporate overreach—without acknowledging that these are symptoms of market dynamics, not capitalism itself. For example, Fandom’s mismanagement of Giant Bomb (e.g., removing a podcast episode for mocking guidelines) alienated staff and fans, but this reflects poor corporate strategy, not an inherent flaw in markets.
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3. Missing the Forest: Broader Industry and Cultural Shifts

The “capitalism is bad” argument often overlooks deeper structural issues in game journalism and the broader industry:
Declining Relevance of Traditional Journalism: The internet has democratized information, reducing the need for gatekeepers like journalists. Fans can access raw gameplay on Twitch or discuss games on Reddit, bypassing sites like Giant Bomb. This shift isn’t purely capitalist—it’s technological and cultural.

Economic Cycles: Layoffs often follow overhiring during boom periods (e.g., 2020-2022, when low interest rates and pandemic-driven gaming surges led to expansion). The 2023 and 2025 layoffs reflect corrections to bloated operations, not just “greed.”

Consumer Behavior: Audiences gravitate toward personality-driven content (e.g., Grubb’s Patreon) over institutional brands. This explains why independent outlets like Nextlander or Gerstmann’s solo podcast thrive while corporate sites struggle.

Labor Dynamics: The game industry’s labor issues (crunch, low pay) predate modern capitalism and stem from passion-driven work cultures that tolerate exploitation. Unions or regulation could address this, but the “capitalism is bad” narrative rarely proposes actionable solutions.

Blaming capitalism ignores these nuances and assumes a monolithic system rather than a complex interplay of market, technological, and human factors. It also sidesteps the agency of workers and consumers in shaping the industry.
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4. The Role of Game Journalists and Reviewers
You’re correct that game journalists and reviewers exist because of the market’s need for curation. Shovelware, a term for low-quality games rushed to market (e.g., asset flips on Steam), overwhelms consumers, making trusted voices essential. Journalists provide:

Curation: Reviews help players avoid shovelware and find games suited to their tastes.

Education: Articles explain industry trends, genres, or terms like “shovelware,” empowering consumers.

Cultural Commentary: Sites like Polygon offer essays on gaming’s social impact, adding depth beyond reviews.

These roles emerged because capitalism rewarded specialization, but their decline reflects market evolution, not capitalism’s failure. As you noted, magazines gave way to websites, and now websites compete with independent creators. This adaptability is a feature of capitalism, not a bug.
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Counterpoint: Why the “Capitalism is Bad” Narrative Resonates

Despite its oversimplification, the anti-capitalism critique resonates because layoffs feel personal and unjust. Workers like Grubb, who built Giant Bomb’s community, face job loss due to decisions by distant executives. The human toll—stress, financial insecurity—is real, and capitalism’s emphasis on efficiency can seem callous. Moreover, the game industry’s wealth (e.g., Microsoft’s $69 billion Activision acquisition) contrasts sharply with job cuts, fueling perceptions of inequity.

However, scapegoating capitalism ignores that alternatives (e.g., state-run media) often stifle creativity or impose worse censorship. The solution lies in reforming market incentives—better labor protections, sustainable business models—rather than dismantling the system that created the industry.
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Foltest said:
I blame site like Polygon and Kotaku for bringing the whole culture war bullshit to gaming.
Fuck you Polygon, I hope you rot.
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Didn't Kotaku only really start that after they got exposed about the Zoe Quinn shit? Even before that happened, I remember reading an ED article about Kotaku being kind of a "fuck your way to a good review" scenario, but their articles were just on the side of retarded takes (like the article they took down where the guy was amazed that Nintendo's invention, the ocarina, was being sold on eBay).
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On a nonspecific note, journalists are colluding with developers to push bad games propped up by woke messaging, and it may not even be that simple.
It feels like a concerted effort to destroy gaming, using minorities as sacrifices.
When you look at the fact that Concord shut down in 10 days, that shows they had no faith in it being a good game. They didn't give it a year to get word of mouth players. They didn't give it six months. They didn't give it a month. They gave it a third of a month. That means they expected either: a) a massive influx of white guilt purchases out of the gate or b) the flop that it was, to discredit games. What better way to say gaming isn't viable if you have disaster after disaster? What better way to disillusion people who are into this recently-popular hobby that has a 75 IQ barrier of entry that a lot of formerly cool people can't seem to surmount?
 
Retarded Weeb said:
I always found online games journalism to be really bad even back when I was young in the mid-late 2000s
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I stand by the fact that GameSpot was really good up until about 2007. They had on demand video (game shows, reviews, talk shows, etc.) and live content before YouTube was a thing, really ahead of their time. Sadly they lost their good personalities one by one, and then the big exodus happened after Jeff got fired. Giant Bomb came close to replicating it, but then they became lazy, jaded, and caught the politics disease like everyone else. So much wasted potential there that failed to capitalize on how big video content would become in the following decades.
 
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Games journalism back in the 90s was a really amateurish thing that felt genuine for the most part, even if they let in a few retards. You could read GamePro, EGM, PC Gamer, CGW, and others knowing that the review came from the heart. It didn't feel like anyone was buying reviews, and there wasn't a message being pushed.
Of course, there were some derp moments.
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Lucas Silva #4903141 said:
I saw that argument of "capitalism bad" more than once. It just never made any sense to me.
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That's because it doesn't. The games journo industry (and games industry itself) are not products of capitalism (or free market capitalism as we used to call it). They rejected the core mechanic of capitalism, "market signals", in favour of their socially desired objectives that did not derive from the market. It was a product of socialism where decisions as to what should be provided were driven by a mindset of what the market should get as opposed to what the market wanted (demand). Of course this does not account for the minor irritation that the supplier cannot force potential customers to purchase what they don't want. The problem with socialism as explained by a certain M Thatcher, is that all is hunky dory right up to the point where you run out of other people's money to spend which is exactly what has happened to the gaming journo industry.
 
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XMassAllYearRound said:
That was Polygon? I could've sworn it was Kotaku, the late TotalBiscuit did a dramatic reading of that piece. Apparently they issued a copyright strike against the video, that's nice of them I suppose you can find the audio and archive below.

https://soundcloud.com/gennabain%2Fmasterpiece-theatre-presents-games-journalism

Maybe we can talk about our favorite Polygon moments? One of mine is how their senior editor spent his happy new year trying to get someone fired.
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Since you are bringing up Ben Kuchera, here is a classic:

 
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Deepfreeze needs some major updating. Jfc, no updates since 2017, from the looks of it. Regarding what @Flatline asked, it's GameJournoPros. That's the group. The DeepFreeze link explains what it is but it has links that are dead. Archive.

Lol at the 8chan link at the bottom. Lol at every oneangrygamer link in there.
It's such a time capsule of a site. Who owns the site? It could be much more useful.
 
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It's so nice to see Polygon go down. When they launched Vox Media released this documentary video (which MS paid $750k for) highlighting how revolutionary i.e. "hyper gay" their journalists were, I always get a chuckle thinking about Arthur Gies' segment which just had him getting tattooed while being interviewed. These aren't your daddy's gaming journalists, man. They're "hip" and "totally badical to the max!".


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Lucas Silva #4903141 said:
Deepfreeze needs some major updating.
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You should ask Mark on 8chan(dot)moe, he probably knows who owns the site.

Commander X said:
It's so nice to see Polygon go down. When they launched Vox Media released this documentary video (which MS paid $750k for) highlighting how revolutionary i.e. "hyper gay" their journalists were, I always get a chuckle thinking about Arthur Gies' segment which just had him getting tattooed while being interviewed. These aren't your daddy's gaming journalists, man. They're "hip" and "totally badical to the max!".


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"The Revolution will not be televised, it will be brought to you by today's sponsor: Microsoft."
 
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Vapid_Idiot said:
I have a feeling the Giant Bomb shuttering is more than just “strategic brand and creation realignment”. There is something that has been going on with Giant Bomb that I can’t quite articulate, but I’m pretty sure there is concern over their content that goes beyond “PG-13”. They went and completely stopped the site, and I highly doubt it was just because of an off color joke about Emma Frosts tits in Marvel Rivals. They saw something or have something on someone and immediately ceased operations and shit canned Jeff Grubb, after he nervously did an emergency podcast about how he “doesn’t know what’s going on”. I think there’s more to the story than what is being told so far.
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Giantbomb (as it was, at least) is not PG-13. It's very specifically not PG-13 and most of it's core content was not PG-13.

They curse, make really mean jokes, and frequently drink on air.

Clearly the push from corporate is to "clean it up" but if you "clean up" Giantbomb (more then it already has been) - it's just a shitty streamer team.

Giantbomb has also been on a "soft shutter" for several years - they got 0 support post-COVID, which is why Brad, Alex, Vinny, and (eventually) Jeff left - they were smart enough to see the writing on the wall. Once they were taken out of the office it's been a slow and painful death.

Lucas Silva #4903141 said:
I'm wondering when Giant Bomb stopped having real Game of the Year discussions. I somewhat remember a post comparing NeoGAF forum threads about the subject, showing how from one year to the other, people completely stopped giving a shit. I know GB had other problems but the fact I forgot about this is bugging me. There's also the Hottest Mess category they had, which they got rid of at some point? Again, I'm forgetting stuff, but in one year, they got political with it and fans complained.
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The Game of the Year was cited as being "too intense" once some of the old crew got filtered out. The current rumor is that Abby Russell (a weirdo woman) complained becuase she felt like she got yelled over and they changed it. It's a shame because (like everything else) it used to be a real highlight.

ZipDisk said:
How did games journalism become these fucks?

Like I remember Gerstman getting shitcanned, but back then it was still about the games, and he said Kane & Lynch sucked. As a game, it did. Should have been a Michael Mann movie instead of a game aping the shit out of Michael Mann.
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Gerstmann had a good run on Giantbomb, but it feels like his "heart" died when Ryan did. I honestly don't think a worm like Kelplek gets hired under Ryan's watch.
 
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Lucas Silva #4903141 said:
Deepfreeze needs some major updating. Jfc, no updates since 2017, from the looks of it. Regarding what @Flatline asked, it's GameJournoPros. That's the group. The DeepFreeze link explains what it is but it has links that are dead. Archive.

Lol at the 8chan link at the bottom. Lol at every oneangrygamer link in there.
It's such a time capsule of a site. Who owns the site? It could be much more useful.
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Yeah. It’s like a lot of the shitty things these faggots have done is being lost to time because no one is curating their malfeasance. Essentially this nebulous group had a few representatives from every major video game website, and they dictated how game coverage would go. It was actually bigger than the 5 guys things but was forgotten from all of the grifting in the mid-late 2010s.
 
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As spotted by r/giantbomb
VGBees podcast ft. Jeff Gerstmann (discussion of Giant Bomb and sale of Polygon)
2:18 To skip the intro
3:00 Fandom's announcement on Giant Bomb's new direction
10:05 Jeff starts talking about GB being dismantled

Thread:
 
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