This is the core issue people like Jim don't seem to get, and the main reason I think his audience is leaving in droves. Because Jim is perpetually miserable, he assumes everyone else must be too.
In reality, it's the year of our Lord 2021, and most people are over the perpetual outrage mentality, especially in video games. Even if you agree with everything Jim believes, there's nothing enjoyable about tuning in to watch/hear a clearly miserable man bitch like a child; I'd rather get that info from someone like Critikal, who covers a lot of the same topics as Jim but in a light-hearted, comedic way that makes it entertaining instead of depressing.
I don't know if it's just getting older --probably not since Jim is my senior-- or a broader cultural shift but I'd rather just enjoy things now, and if I can't enjoy something I ignore it and move on to something else that does spark joy. Life's too short to be angry all the time.
I think the general lack of prolonged outrage is why I like YongYea. Yeah, his videos could be shorter, yeah sometimes he covers the same issue a few too many times, but if you want to follow a news story as it develops with minimal editorializing he's a good pick. Working in the industry, I tend to follow it all. I also love games and as a consumer I do agree with Jim that shit is fucked up, and he keeps finding more instances of such.
But he's always so surface level. If I want to know more about any issue I heard about elsewhere, Jim is all but guaranteed to have no new information and a lot more whining.
I don't think it'll be a reckoning as much as a complete and utter burnout, especially as more and more big series try to pivot towards the live service model. They're about to learn the same lesson all the MMOs trying to compete with WoW did in the 00s.
A bunch of large companies are starting to talk internally about live service self cannibalization. It's becoming agreed upon internally that two things are true for AAA live service games:
- People only have time and money for one at a time.
- They are never the only game someone plays.
This is leading to discussions I keep getting stuck being a part of for figuring out how many should each publisher try to have, how different they need to be, and how to monetize the rest of the customer bases playtime. I have my opinions, but they are similar to the prevailing opinions trying to be impressed upon marketing people and executives.
The current feeling is that big publishers should aim for 1 plus 1 more per major subsidiary. So for example, all of what Microsoft got from ZeniMax means a +1 to how many they try to have going, they then might count a cluster of their smaller acquisitions as another +1, personally I'd say Microsoft could justify 3 total, EA maybe 2, Ubisoft could easily pull off 2, Square Enix could handle maybe 1, 2K can handle 3, Activision-Blizzard can take 2, and Capcom can pull off 2. If you attempt a new one, be ready to kill an older one, and try to only compete in genre and theming with other corporations, not with yourself. Which is a similar bit of logic applied to MMOs these days, and it has proven profitable, while not being too risky, unlike the day of WoW killers and the damage it did to studios.
As for what to do about the rest of your customers' play time? Releasing single player games and more traditional multiplayer games. Stuff that follows the old model of business from before live service games. While games are getting more expensive to make, it's mostly due to scope increases. The price to make a game of a given size either goes down of stays about the same as time goes on.
As for market saturation, the discussion is mostly directed towards the idea that there is space for one per genre, maybe two, but anyone going in with illusions of massive instant success is doomed to be the next Marvel Avengers, and instead support needs to be scaled towards the amount of success achieved and how well it's being maintained.
What's really going to happen is we're going to see companies move away from blockbusters and towards something smaller to cut costs, while using big block busters to attract investors and awards.