Games Journalism General

We're rapidly circling the drain for a 1980s style game industry crash, alongside the rest of media. Hate to see it, but, we kind of deserve it.
I don't care because we have 40 years worth of good games. If nothing good ever comes out again, I still have more games than I have hours in my life to play them. I say bring on the crash, just so I can laugh at all the big studios going the way of Volition or get bought out by the Chinese like Ubislop.
 
This is why nerd communities need gatekeeping. What kind of fake didn't know Captain Harlock plays the ocarina?
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So did Tapion in DBZ.
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Are you kidding? Sony's press conferences were infamously corporate, half the reason their 06 was so bad is that it was a glorified investor's conference, being half powerpoints of sales figures and other boring shit.
This was intentional, E3 was a corporate show. It began life as a trade show so game companies could show retailers and journalists what they had cooking up for the holiday season, since that is when most big games released back in the day. They were originally just using CES for that purpose but as gaming grew through the 90s they wanted their own show.

Sony wasn't the only one who had boring presentations like that too, go look at the early recorded Nintendo presentations. It's mostly just pie charts, sales data, and demographics. Very long and dry presentations.

Things changed because the internet made it easier for normal people to watch all this stuff and they found it boring. So there was a slow shift to make it a more consumer focused show. Problem is though E3 was always very expensive for booth space and as time went on more and more game companies realized it was completely pointless. You had cheaper alternatives popping up in the 2000s, like PAX, and the internet became something everyone had so it was easier than ever to get info out there.

That is why Nintendo stopped doing live stage shows and switched to the Nintendo Direct format. There was no point in paying literally millions of dollars for something they could record in-house and just throw on youtube.

tldr being though that you are right essentially, E3 did not die because it became too corporate. It died because it stopped being corporate and became a way too expensive consumer focused show.

We're rapidly circling the drain for a 1980s style game industry crash
We're not and anyone who says this doesn't know their history. The 80s gaming crash mostly happened because supply was way higher than demand. Way too many companies trying to make their own home console and way too many games being made. You didn't even need to license back then, anyone could just make anything and it literally flooded the market. Most the games were trash, yes, but even if they were high quality there would have been a crash because the overall market was incredibly tiny back then.

Like for reference the Atari 2600 was the juggernaut of its time but it took them over a decade to sell 30 million consoles worldwide. That is a worse pace than the Xbox Series X|S is doing right now, and the Series flopped so hard it's turned Microsoft into a third party publisher.

More importantly though gaming just makes a shit load of money, billions upon billions each year. The idea that it's all going to come crashing down is crazy when you see how well games are still selling. Especially in the indie and AA space. A highly specific example of what I mean is something like Dynasty Warriors Origins from earlier this year. Probably something most people here did not play but it was a huge success. It sold in 1 week what Koei Tecmo was expecting it to sell in its first year. People are hungry for good games and are more than willing to buy them. Same reason something like Clair Obscur is doing so well right now too.

The only thing circling the drain right now is Western AAA companies because their shift to DEI lowered their potential audience and they never bothered to adjust their budgets to match this new smaller audience. They're making games that need to sell 5 or 6 million copies but do not appeal to that many people. A lot of them won't make it through all this in their current form (see Ubisoft as the best example) but there isn't going to be some grand collapse of the entire market because a few of these companies go under.

The industry will just move on, same as it always has. Very few of the biggest developers from the 80s, 90s, or early 2000s are still around in their original form. The same thing is happening to modern companies who can't adapt, they will be wiped out and replaced just as they replaced other companies that came before them.
 
I dont really care about games media, but i found this funny

So Polygon writers and others under Vox media has thes gay toothless Unions
This is what I never got about unions, especially ones in extremely replaceable industries--"pay us more or we quit" isn't a good gambit if your employer calls your bluff or is so financially strapped that they're about to file for bankruptcy.

I don't know Vox Media's financial status, but typically healthy companies don't sell off parts of their business unless those divisions are money-losers or aren't a core part of the business anymore (the latter usually happens with products of leadership that valued diversification).
 
According to Nathan Grayson of Aftermath, yes, the same Nathan Grayson soyboy that slept with Zoe Quinn for positive Kotaku coverage on her shitty text game Depression Quest that rooted GamerGate, he thinks Polygon and Giant Bomb are sacrificed to the Altar of Slop. Whatever that means.
(Archived Article)
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i wish alanah pearce worked at a place where she could get fired instead of living life on easy mode by mode of blonde with tits
Careful, you might summon the hardcore schizo-simp Dave "Airbagged" Rivera to defend Alanah Pearce / Pierce and send his dickriders to attack you. :story:
 
According to Nathan Grayson of Aftermath, yes, the same Nathan Grayson soyboy that slept with Zoe Quinn for positive Kotaku coverage on her shitty text game Depression Quest that rooted GamerGate, he thinks Polygon and Giant Bomb are sacrificed to the Altar of Slop. Whatever that means.
It means Polygon and Giant Bomb were sacrificed to the corn
SUFFAH, JOURNO BISH!
 
This was intentional, E3 was a corporate show. It began life as a trade show so game companies could show retailers and journalists what they had cooking up for the holiday season, since that is when most big games released back in the day. They were originally just using CES for that purpose but as gaming grew through the 90s they wanted their own show.

Sony wasn't the only one who had boring presentations like that too, go look at the early recorded Nintendo presentations. It's mostly just pie charts, sales data, and demographics. Very long and dry presentations.

Things changed because the internet made it easier for normal people to watch all this stuff and they found it boring. So there was a slow shift to make it a more consumer focused show. Problem is though E3 was always very expensive for booth space and as time went on more and more game companies realized it was completely pointless. You had cheaper alternatives popping up in the 2000s, like PAX, and the internet became something everyone had so it was easier than ever to get info out there.

That is why Nintendo stopped doing live stage shows and switched to the Nintendo Direct format. There was no point in paying literally millions of dollars for something they could record in-house and just throw on youtube.

tldr being though that you are right essentially, E3 did not die because it became too corporate. It died because it stopped being corporate and became a way too expensive consumer focused show.

I remember as a kid thinking how awesome E3 was and wanting to go (too young, too poor, and too far away anyway), but even if I was older and had money and lived in California, I couldn't either, it was a press event. Now, granted, the video game press was composed of a lot of nerds too, if you ran a website that did decent numbers you could get in, but it wasn't something that you could just buy tickets to.

We're not and anyone who says this doesn't know their history. The 80s gaming crash mostly happened because supply was way higher than demand. Way too many companies trying to make their own home console and way too many games being made. You didn't even need to license back then, anyone could just make anything and it literally flooded the market. Most the games were trash, yes, but even if they were high quality there would have been a crash because the overall market was incredibly tiny back then.

Like for reference the Atari 2600 was the juggernaut of its time but it took them over a decade to sell 30 million consoles worldwide. That is a worse pace than the Xbox Series X|S is doing right now, and the Series flopped so hard it's turned Microsoft into a third party publisher.

More importantly though gaming just makes a shit load of money, billions upon billions each year. The idea that it's all going to come crashing down is crazy when you see how well games are still selling. Especially in the indie and AA space. A highly specific example of what I mean is something like Dynasty Warriors Origins from earlier this year. Probably something most people here did not play but it was a huge success. It sold in 1 week what Koei Tecmo was expecting it to sell in its first year. People are hungry for good games and are more than willing to buy them. Same reason something like Clair Obscur is doing so well right now too.

The only thing circling the drain right now is Western AAA companies because their shift to DEI lowered their potential audience and they never bothered to adjust their budgets to match this new smaller audience. They're making games that need to sell 5 or 6 million copies but do not appeal to that many people. A lot of them won't make it through all this in their current form (see Ubisoft as the best example) but there isn't going to be some grand collapse of the entire market because a few of these companies go under.

The industry will just move on, same as it always has. Very few of the biggest developers from the 80s, 90s, or early 2000s are still around in their original form. The same thing is happening to modern companies who can't adapt, they will be wiped out and replaced just as they replaced other companies that came before them.

Remember the American console video game industry (which was the only thing that really crashed) had its majors owned by Warner Communications and Mattel, both of which were all too eager the pull the plug the second their subsidiaries stopped being cash cows. Coleco was its own thing but also had its own problems, everything from the failed Adam computer to paying far too much for board game company Selchow & Righter.

The "muh crash" people are always obsessed with numbers which mean nothing. Twenty years ago, a handheld system sold online only would do awful numbers. The Gizmondo was sold mostly online and a few other places (including some mall kiosks) and sold around 25k units worldwide. The Steam Deck isn't sold anywhere but online and cranks out a million sales a year.

Of course, development is a big part of games too, and the cost of development is tied with sales. Something that was developed in a bit of spare time over a few months on a shoestring budget that sells a million units is a huge success. Something that is developed full time for eighteen months with a full staff that sells a million units is a huge failure. (It's like how "it made $60M at the box office" is a meaningless statistic beyond "it was in theaters for a few months and people saw it", without knowing what the budget was).

Broadly speaking, the AAA video game industry is one of those cases where failures of the current players are seen as failures of the current system. It's very similar to brick-and-mortar stores, people like real stores where you can touch and see the merchandise but most of the current B&M stores suck with poor merchandising, out of stocks, unhelpful or absent employees, significantly overpriced, or are dirty, depressing stores that no one wants to visit. (Nearly all retail casualties are like this). Good AAA video games will sell.
 
According to Nathan Grayson of Aftermath, yes, the same Nathan Grayson soyboy that slept with Zoe Quinn for positive Kotaku coverage on her shitty text game Depression Quest that rooted GamerGate, he thinks Polygon and Giant Bomb are sacrificed to the Altar of Slop. Whatever that means.
These dumb fucks still think anyone wants sites like these for anything other than gaming. They don't want to "replace" people like Nathan Gay Son, they want to ELIMINATE them. Nobody wants their shit. At all.
 
Lol I forgot all of those weenies created that Aftermath site that nobody knows exists. They've just been churning out garbage all this time with no engagement at all.
Marxist labor theory of value. They're not owed money because people engage with Aftermath, they're owed money because they put in effort to create Aftermath. People reading it or using it is irrelevant. In fact, they're a bunch of alt-right straight white male gamer nazi fascist chuds, so it's better that icky gamers don't!
 
Giant Bomb is one of the ground zeroes for modern faggot bullshit. That fat fuck Ryan Davis that everyone seems to love was there when Klepek joined. I hate GB fans.
Patrick Klepek and Alex Navarro were literally pity hires, unemployable worthless losers that got in just because Jeff and Brad kind of knew them
Sadly that might have been the real start of people who should have been thrown out of the industry getting nepohired at other places
 
The Dan Ryckert method of content creation:
>Dan picks a game he autistically obsesses over
>Dan picks a coworker who has no experience with the game he chose
>Dan dresses the coworker up in a silly costume
>Dan wears a silly costume
>Dan answers questions and makes jokes when the coworker asks anything about the game
>Bonus points if video game is a adaptation of a 1990s movie
>rinse and repeat
>Dan also gets paid upwards of six figures and “creative director” title for this
>has a meltdown when he’s told he isn’t doing a good job and crashes out on stream
>has been silent ever since
>probably realized you can’t just quit while under contract or else pay massive financial penalties

Lol. Lmao even
 
According to Nathan Grayson of Aftermath, yes, the same Nathan Grayson soyboy that slept with Zoe Quinn for positive Kotaku coverage on her shitty text game Depression Quest that rooted GamerGate, he thinks Polygon and Giant Bomb are sacrificed to the Altar of Slop. Whatever that means.
(Archived Article)
View attachment 7310329View attachment 7310332View attachment 7310334


Careful, you might summon the hardcore schizo-simp Dave "Airbagged" Rivera to defend Alanah Pearce / Pierce and send his dickriders to attack you. :story:
I can translate this from JournoFag-speak for ya.

The failure of DEI horseshit and journalists like these assclowns in general has resulted in a rather dark occurrence in terms of media development: Namely, that companies from this point onward are going to be playing it safe to putting out complete riskless trash that serves the content requirements and churn cash. That's not an invalid concern by any stretch, especially in the movie industry where you're already seeing it, but this would also be where the concern absolutely falls apart.

Namely, that Grayson and his coterie of useless imbeciles are why the sites they are on have a terrible reputation. Back in the day, when the clickbait model still kind of worked (as much because they dickrode Facebook's recommendation algorithm as anything else), they were able to justify the site pissing everyone off by the fact that it was generating traffic and thus people were seeing the ads and the site made money. That lasted as long as it took for Facebook to patch the exploit, and for people to never go to these sites without adblock enabled. In the long term, nobody was going to these sites unless they had specific talent that people wanted to check out (see also: Yahtzee basically being the sole draw of The Escapist for years).

They poisoned the well believing that more clicks was good, never once considering that they were also rendering their brand irrelevant. What does it matter that you got more clicks in the immediate if it means that your site's audience eventually fucks off for greener pastures? Your only option then is to hope your talents have enough draw to keep things rolling, but holy shit, look at these assholes.

What is it that someone like Nathan Grayson, whose sole fucking accomplishment across his entire career has been mired in quid pro quo?
Helping to get Hotline Miami 2 banned in Australia due to him causing a moral panic?

What about Luke Plunkett, also quoted in the above? Re-writing and re-uploading the same article six times?
Quoting other people verbatim to write his articles?

In short: There is no draw to these clowns, their contributions to gaming discourse are entirely negative, they contribute nothing of substance or value to the ecosystem of gaming, and they could be replaced entirely with AI scripts trained to write about video games and the result would only be an improvement for the companies that employed them.
 
Marxist labor theory of value. They're not owed money because people engage with Aftermath, they're owed money because they put in effort to create Aftermath. People reading it or using it is irrelevant. In fact, they're a bunch of alt-right straight white male gamer nazi fascist chuds, so it's better that icky gamers don't!
This is the postmodern Marxist theory of value, which is pretty disconnected from original Marxism.

Even Marx coped and dealt with the concept that the actual value does depend on some level on DEMAND, you know, one of two major components of "supply and demand." This isn't even high tier economics, it's literal retard economics.

Even Marx could grasp that if some idiot put a lot of labor into something nobody wanted, and there was no demand for, well, that idiot was getting no money for it.

The labor theory of value required, to some degree, that the activity was socially useful and that the labor decreased its cost to society, and therefore was valuable. So creating antisocial counterrevolutionary art promoting bourgeois values, despite the labor that went into it, was not something deserving of a paycheck, but something deserving of a trip to the gulag, like Solszhenitsyn got.

These people are super dumb, they don't even understand the socialist ideals they give lip service to while actually being capitalist slaves.
 
The labor theory of value required, to some degree, that the activity was socially useful and that the labor decreased its cost to society, and therefore was valuable. So creating antisocial counterrevolutionary art promoting bourgeois values, despite the labor that went into it, was not something deserving of a paycheck, but something deserving of a trip to the gulag, like Solszhenitsyn got.

So, basically, you could be a Marxist and still decide their labor is not worthy not of money or power, but instead getting shot execution-style? Hm. Interesting.

One of the journos who wasn't involved in the firings had a whole ass rant on Bluesky about all the firings and blames it on Trump and how we need more "BIPOC-Led" and Trans-led gaming journalism.

This is especially bullshit because games journalism, when it's not op-ed DEI shit, is just glorified press releases about new AAA games. When they talk about "indie publishing", it's not "I can write about what I want to, even if it doesn't pay as much...or at all" or doing something genuinely fun, interesting, or original, it's continuing to write about the same old DEI horseshit on a website no one reads but expecting the same pay from it. (Really underlines the importance of the corporations they claim to despise but I digress). Still, every once in a while it does offer a rare look into their minds, like how one guy consciously avoids using words like "fun" (source / archive).

Anyway, this tramp even talking about a "strike" is laughable since the whole current games journalism system has been upended by people are better at actually communicating with their customers, nor do they want to get better. Anyone on Bluesky doesn't want constructive criticism, they want asspats. If just one of these journos just went out on a limb and asked to their audience what they should do, I guarantee that there would be more polite, good-faith responses than "get rekt".

I thought that Marxism, in general, was already disconnected from reality?

Well, remember, there's communism and "communism". A true believer would know that when it comes to concepts "owning the means of production" is meaningful if you work on a farm or a factory, it means jack shit when you're writing for websites no one reads or would pay for.
 
The Dan Ryckert method of content creation:
>Dan picks a game he autistically obsesses over
>Dan picks a coworker who has no experience with the game he chose
>Dan dresses the coworker up in a silly costume
>Dan wears a silly costume
>Dan answers questions and makes jokes when the coworker asks anything about the game
>Bonus points if video game is a adaptation of a 1990s movie
>rinse and repeat
>Dan also gets paid upwards of six figures and “creative director” title for this
>has a meltdown when he’s told he isn’t doing a good job and crashes out on stream
>has been silent ever since
>probably realized you can’t just quit while under contract or else pay massive financial penalties

Lol. Lmao even

And of course these videos usually get 10k -20k views... not but of course it was the evil corpos who couldn't let a creative genius like Dan Ryckert work his magic.

Which also makes that Aftermath article really stupid. Did they watch stuff like Blight Club? GB wasnt doing journalistic investigations on the industry. I've seen MrMattyplays videos that were more hard hitting than anything dan ryckert does.
 
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