header part 6

Part Six of a multi-part series. Start from the begin­ning of the series , read Part 5 – A History of Corruption or vis­it the parts index

For games crit­i­cism to be use­ful, it must serve and inform the con­sumer about the prod­ucts they are cri­tiquing. Games writ­ing is about advis­ing the con­sumer. That is a cen­tral the­me of this series and what I try to keep in mind when I make any kind of gam­ing con­tent. Gamers want a cer­tain lev­el of analy­sis from games writ­ing. Analysis should give insight into the game mak­ing process that many gamers find fas­ci­nat­ing, give them the per­spec­tive of devel­op­ers and insight into the world of game design so they can be bet­ter informed. Your opin­ion is only use­ful when it helps frame this, and to a lesser extent when read­ers sim­ply find the writ­ing itself engag­ing or enter­tain­ing. In recent years, some writ­ers have attempt­ed to cross over into being a “per­son­al­i­ty,” but if peo­ple find that per­sona obnox­ious then you’re going to run out of read­ers and view­ers extreme­ly fast.

As a gam­ing site that offers pre­views, reviews or impres­sions, you are first and fore­most set up to pro­tect the con­sumer from bad pur­chas­es, preda­to­ry prac­tices and help shape their under­stand­ing of the gam­ing land­scape so they can find games they will enjoy. Games jour­nal­ism is close­ly tied to con­sumer infor­ma­tion and advo­ca­cy, prob­a­bly even more so than forms of enter­tain­ment cov­er­age. In a lesser sense they are about giv­ing the ordi­nary gamer a win­dow into the world of game devel­op­ment and fur­ther­ing their under­stand­ing of what makes games tick and the peo­ple behind them. That is the crux of what most gamers use gam­ing web­sites for: the more casu­al read­er is look­ing for “is this game any good” and the in-depth read­er is hop­ing to absorb as much infor­ma­tion about their favourite games and devel­op­ers as pos­si­ble. That’s why I found Gamasutra stat­ing that it is an “indus­try site” when chal­lenged about their sus­tained attacks on “gamers” so baf­fling. Sites like Kotaku, Polygon, RPS, etc. claim to want to engage us on a deep­er lev­el with games, but most gamers were already deeply immersed in the gam­ing land­scape to an extent I don’t think most games jour­nal­ists gave them cred­it for. I remem­ber, in October 2014, Ars Technica Technology edi­tor Peter Bright telling me “Gamers are not Gamasutra’s audi­ence” and think­ing “are you f’in kid­ding?” The gam­ing audi­ence is more hun­gry for com­plex infor­ma­tion and details about game design than ever. This state­ment also gloss­es over the fact that game devel­op­ers are also gamers.

Games crit­i­cism can be any­thing, but not every­thing has an audi­ence. So far, the worst excess­es and indul­gences of ego-stroking or navel-gazing have been propped up by ready-made plat­forms that inflate the sense of pop­u­lar­i­ty that a sub­set of opin­ion has. They wouldn’t gain pub­lic atten­tion with­out the sup­port of sites that already pull a lot of traf­fic. Platforms like Polygon and Kotaku were built upon oth­er kinds of cov­er­age that was seen as use­ful or enter­tain­ing to read­ers. You can write all the spec­u­la­tive fic­tion you want on your own per­son­al blog, but big adver­tis­ers aren’t going to shell out a sin­gle pen­ny for you to spout your agen­da if it does not hold the inter­est of the game-buying pub­lic. Being a mag­net through sheer per­son­al draw is pos­si­ble but rare; most game writ­ers are not a “name” and of those that are, some have found them­selves infa­mous for the wrong rea­sons.

side 1 part 6The job of the press, when cov­er­ing games and devel­op­ers, should be to con­nect the read­er with great games with as lit­tle bull­shit in the way as pos­si­ble. When a stu­dio or pub­lish­er is act­ing again­st the con­sumer, it is our job to try and warn that con­sumer. That’s when we should crit­i­ciz­ing most and should be real­ly tak­ing the gloves off. It’s not the job of the gam­ing press to active­ly guide what con­tent does and does not get made, espe­cial­ly when pol­i­tics and agen­das are involved. We cross the line from advis­er to cen­sor in those cas­es where we would attempt to impose our will on gamers or devel­op­ers.  Some out­lets began to act like a pet­ty child try­ing to take away toys you don’t like from the oth­er, hap­pier chil­dren when they were called out on this.

One shouldn’t see games jour­nal­ism as a tick­et into the “cool kids club” of devel­op­ment and PR. If you are just writ­ing about games because you are a failed devel­op­er or you’re look­ing for any oppor­tu­ni­ty to suck up to indus­try peo­ple, then you are in the wrong job for the wrong rea­sons. You shouldn’t feel the need to con­stant­ly impress game devel­op­ers and PR peo­ple, you shouldn’t try and exchange cov­er­age for a foothold in that world. If you see games jour­nal­ism as sim­ply a stepping-stone to some­thing else then you need to exit the mar­ket­place so peo­ple with real pas­sion can be given the chance to write. If you see no need for a degree of crit­i­cal dis­tance from your sub­jects then you need to think long and hard about how com­pro­mised you may be and how use­ful you still are to your read­ers.

There is only so long you can pub­lish very niche and extreme opin­ions on large, main­stream plat­forms before it begins to shrink the audi­ence down to reflect actu­al inter­est in those top­ics. Saying “the gam­ing pub­lic not lik­ing my work is sex­ist” is just a cop-out to an eco­nom­ic real­i­ty: a Patreon circle-jerk of friends pay­ing one anoth­er can­not make gamers like their anti-gamer rhetoric. We saw this with the recent “break” Ben Kuchera took from games writ­ing — total­ly vol­un­tary I’m sure. Whether he was pushed or he jumped out of the pool him­self is irrel­e­vant to the core under­ly­ing rea­son. Extreme dis­like and even loud dis­dain from his sup­posed audi­ence. Some spec­u­late his bul­ly­ing tac­tics towards a more senior EA employ­ee may also have had an effect, but the fact remains, you can’t be odi­ous and fla­grant­ly anti-consumer and expect to find work writ­ing about games. This is com­pound­ed by the fact that the­se out­bursts are meant to dis­suade peo­ple from point­ing out improp­er rela­tion­ships when you look at past expe­ri­ences.

side-DEAD-part-6You can’t sup­port a site on games jour­nal­ists read­ing each other’s work alone. The edi­to­ri­als attack­ing the gamer and the gam­ing com­mu­ni­ty have been about impress­ing a small group of peo­ple and stroking each other’s ego, it is becom­ing almost mas­tur­ba­to­ry. For some rea­son I’m always remind­ed of the dis­as­trous 2008 Sarah Palin vice pres­i­den­tial run; peo­ple like Leigh  Alexander and Jason Schrier are “ener­giz­ing the base” when they play to the press crowd, while sneer­ing at and mock­ing large sec­tions of the com­mu­ni­ty that don’t see eye to eye with them. It’s hav­ing the same dis­as­trous results too: it’s turn­ing main­stream gamers away from the­se sites and their work whilst their edi­tors double-down hop­ing that their stead­fast adher­ence to an ide­ol­o­gy and nar­ra­tive will save them. This self-destructive and elit­ist atti­tude leads to a sit­u­a­tion like mod­ern art crit­i­cism, naval-gazing with a dis­in­ter­est­ed and unen­gaged pub­lic, a small echo cham­ber telling itself how great it is. The yearn­ing for gam­ing to “grow up” comes from a place of inse­cu­ri­ty about the val­ue of games as a medi­um. Gaming has always been “grown up” in my eyes and does not need a veneer of self-imposed seri­ous­ness to gain respect.

Games jour­nal­ists and crit­ics iron­i­cal­ly don’t take crit­i­cism very well, they nev­er seem to learn and grow from it. For a group of peo­ple bent on defend­ing the right to crit­i­cize, they seem very upset when that crit­i­cal lens is turned on them. Games jour­nal­ists and edi­to­ri­al staff are insu­lat­ing them­selves in an envi­ron­ment of yes men and group-think, as seen in GameJournoPros and on social media. If you turn off com­ments, ignore all feed­back, lock-down social media and only talk to a group of like-minded indus­try insid­ers then one ends up with a false sense of not only their own self-importance but the recep­tion their work gets. I think in some ways, they know their work can­not stand up to cri­tique or their egos are too frag­ile to take it. Whereas qui­et embar­rass­ment and sweep­ing under the rug was the norm in the past, the crossover into out­right antag­o­nism in the face of eth­i­cal and pro­fes­sion­al­ism ques­tions has caused the gam­ing audi­ence to sit up and take notice of the moun­tains of bull­shit piled around games jour­nal­ism now.

This part­ly is how the con­tro­ver­sy that coa­lesced into GamerGate hap­pened. The anal­o­gy I like to use is: the sit­u­a­tion is it’s like a pres­sure ves­sel; the longer you let the anger build up and the hard­er you try and crush it back down, the more vio­lent­ly it will even­tu­al­ly explode. Have you ever seen a large pres­sure ves­sel fail? Everything looks nor­mal and calm until sud­den­ly and with­out any warn­ing… BOOM! It looks like a sud­den, vio­lent and ran­dom act but the pres­sure and anger had built up over time. The years of gamers feel­ing unno­ticed and out­right dis­re­spect­ed by the press that was meant to serve them lit a fire under this con­tain­er of anger.  If they’d just let peo­ple vent in the com­ment sec­tions and forums of sites then it would have released some ten­sion. But they closed the com­ments sec­tions down and banned them from the forums and this extend­ed to out­side plat­forms like Reddit and 4chan. Complaints and issues needs a healthy place to be aired and resolved. The gam­ing press active­ly worked again­st that; once again their egos too frag­ile and their world­view too nar­row to give regard to the gripes of the ple­beian gamer.

side 3 part 6Serious” games jour­nal­ists are get­ting more and more out of touch with what the pub­lic wants to play, and fur­ther up their own ars­es. Even what is being adver­tised as a “game” is being stretched and warped by this dri­ve towards the con­cep­tu­al. It’s only a mat­ter of time before some intol­er­a­ble hip­ster with pink hair declar­es them­selves “a videogame” and is prompt­ly given Game of the Year for their “bril­liant con­cep­tu­al state­ment.” 10/10, thun­der­ous applause, indie awards all round, “stop being exclu­sion­ary shit­lord, you can’t tell me what is and isn’t a game!” But by this point no one will care any­more, no one will be lis­ten­ing. Think about the engage­ment the pub­lic has with con­cep­tu­al art, it’s almost nil. If we con­tin­ue the ero­sion of the mean­ing of a word like “game” to the point it is as fuzzy and ill-defined as “art” then the medi­um becomes mean­ing­less and indis­tinct. If we con­tin­ue to let writ­ten games cov­er­age be over­pow­ered by pre­ten­tious­ness no one cares about (and no one will pay mon­ey for) then it will become cul­tur­al­ly and com­mer­cial­ly irrel­e­vant.

It’s already hap­pen­ing in indie awards shows. These are quick­ly becom­ing “awards for my friends” or “awards for myself.” The types of games that are get­ting cov­er­age and buzz due to crony­ism and per­son­al friend­ships have lit­tle to no lev­el of com­mu­ni­ty sup­port, no groundswell and look patent­ly ridicu­lous to the game buy­ing pub­lic. Most of all, this is a betray­al of the idea that if you work hard enough on a game and make some­thing won­der­ful then you will be reward­ed with suc­cess. Wining an indie award nets you a huge amount of cov­er­age which has a sig­nif­i­cant impact in your game reach­ing crit­i­cal mass if you are a small stu­dio with lit­tle to no mar­ket­ing bud­get. The game is rigged for many indie devs by this method of games cov­er­age and it is yet anoth­er way the games press shrink and sti­fle the mar­ket in lew of their own clique. If you only talk to peo­ple who agree with you, who are your peers in the indus­try, every­thing in your world view can get warped and syn­chro­nized and mutu­al bad behav­ior can be explained away, ingrained in pat­terns and excused by the group. That’s why a group like GameJounroPros was such a bad idea; instead of think­ing “what will our audi­ence think?” the first and often only port of call is “what will our peers think?” And whilst that opin­ion is use­ful, it can lead sub­tle and not so sub­tle instances of group-think. Ryan Smith, writer for Onion A.V. Club and Chicago Tribune, voiced how he felt about the improp­er close­ness and mis­use of jour­nal­is­tic priv­i­lege with­in the group:

-it’s a small, insu­lar group that bears a cer­tain amount of pow­er because they’re the ones who get exclu­sive access or are allowed to nib­ble infor­ma­tion fed to them care­ful­ly by PR. A photo-op here, a man­i­cured press con­fer­ence there. The big game developer/publishers indus­try walls off new infor­ma­tion and restricts the mes­sag­ing and who you get to talk to in an offi­cial capac­i­ty in the same way that high-ranking gov­ern­ment offi­cials do.

– there’s a lot of nepo­tism and group­think amongst the games press because friends great­ly influ­ence each oth­er in ways they aren’t even always con­scious of.”

side 4 part 6Games Journalism didn’t just wake up one day and decide it would be cor­rupt and shit. As I’ve cov­ered, this is a con­tin­u­ous thread stretch­ing back decades, but there was nev­er such naked aggres­sion again­st account­abil­i­ty or such snarling hatred to defend an indus­try that had become so inces­tu­ous. The word “ter­ror­ism” has been used to describe the­se efforts to point out impro­pri­ety, but is point­ing out the issues stem­ming from DoritosGate and Capcom Captivate also “ter­ror­ism?” These are the same issues we see caus­ing the degen­er­a­tion in games writ­ing that caught fire as soon as pub­li­ca­tions turned their ire onto their read­ers. This is a sto­ry of unac­count­ed pow­er and pet­ty fief­doms. Endlessly lec­tur­ing to them­selves about how doing the easy thing is real­ly doing the right thing. It takes effort not to forge close rela­tion­ships with PR peo­ple and devel­op­ers who active­ly ben­e­fit from that. You have two choic­es: dis­tance your­self from those rela­tion­ships or recuse your­self from writ­ing. Disclosure is impor­tant, but it is an imper­fect solu­tion when you are talk­ing about a close friend, fam­i­ly mem­ber, or some­one you have a finan­cial rela­tion­ship with. The insan­i­ty and the anti-gamer rhetoric we’ve seen in the press is a dou­bling down on defend­ing the status-quo where games jour­nal­ists can be as pompous, arro­gant and uneth­i­cal as they please and nev­er suf­fer con­se­quences or face their read­ers crit­i­cisms. All of the blus­ter about “white male anger” and a “cul­ture war” are real­ly just a des­per­ate attempt to shift the micro­scope from their own mis­deeds, which are well doc­u­ment­ed and numer­ous.

People are engaged now. You can’t put the genie back in the bot­tle. Going back through the his­to­ry of sites like Destructiod and Kotaku to research the­se pieces has been an exer­cise in watch­ing them slow­ly get more and more anti-consumer and more and more in love with the sound of their own voic­es (so to speak). There has been a notice­able degen­er­a­tion from as recent­ly as 2011, when the games media, indus­try and gamers cel­e­brat­ed the resound­ing vic­to­ry in the Brown Vs. EMA supre­me court case. It seems incred­i­ble that a devel­op­er like Running With Scissors, cre­ators of the Postal series, would now find them­selves at odds with the very press that was defend­ing them in the Supreme Court a hand­ful of years ago. The fear-mongering and base­less sen­sa­tion­al­ism of the main­stream media has become the bread and but­ter of the games jour­nal­ist.

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But all of this is win­dow dress­ing real­ly. Games crit­i­cism is mov­ing in a dif­fer­ent direc­tion, away from tra­di­tion­al writ­ten media and toward com­mu­ni­ty gen­er­at­ed and video based con­tent. The future isn’t in a mass mar­ket of games writ­ing, all though writ­ing will always have a place in the mar­ket.

All of the fail­ings I have just described only com­pound a sit­u­a­tion that had been hap­pen­ing. The best way to describe it is to use the past exam­ple of print media shift­ing to web­sites; the same con­tent was pro­duced, just in a dif­fer­ent for­mat. So we went from buy­ing a mag­a­zine like PC Zone to read­ing a web­site with the same infor­ma­tion plus a whole host of oth­er mul­ti­me­dia con­tent and more quick­ly pro­duced gam­ing news.

In the next and final part of this series I will explore that the shift away from “games jour­nal­ism” as we think of it has already hap­pened.

Visit the the Parts Index

Scrumpmonkey can also be found on YouTube, on Twitter and on Medium. You can also read more about him in his writer intro­duc­tion for SuperNerdLand

https://supernerdland.com/wp-content/uploads/2016/04/header-part-6.pnghttps://supernerdland.com/wp-content/uploads/2016/04/header-part-6-150x150.pngJohn SweeneyEditorialDeath of Games Journalism,Games Writing. EditorialPart Six of a multi-part series. Start from the begin­ning of the series , read Part 5 – A History of Corruption or vis­it the parts index For games crit­i­cism to be use­ful, it must serve and inform the con­sumer about the prod­ucts they are cri­tiquing. Games writ­ing is about advis­ing the con­sumer. That is a cen­tral the­me…
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John Sweeney
John Sweeney is a ter­ri­bly British man with a back­ground in engi­neer­ing. He writes long-form edi­to­ri­al con­tent with analy­sis of gam­ing, games media and inter­net cul­ture. He also does the occa­sion­al video game ret­ro­spec­tive with a week­ly column about Magic the Gathering thrown in for good mea­sure. He also does most of our inter­views for some rea­son, we have no idea why. A staunch sup­port­er of free speech and con­sumer rights; skep­ti­cal of agen­da dri­ven media and sus­pi­cious of unac­cou­table author­i­ty but always hope­ful for change.