IIn 2006, I was fired from my job at EB Games. Looking back, it was a justified decision. One Sunday, I recorded myself leaping over piles of boxes and making inappropriate gestures at strangers. This grainy video of an emo kid in dark clothes was uploaded to YouTube. Ahh, the foolishness of youth.
About eight months later, my manager came across the video and promptly terminated my employment (which today might just go viral on TikTok).
A decade later, I secured a job at the video game and culture website Kotaku Australia, along with its sister sites Lifehacker and Gizmodo, which kickstarted my career.
Now, these well-known brands are no more. Nine’s Pedestrian Group, which held the licensing rights for the three titles from their US counterparts, announced the closure of all three, in addition to Vice and Refinery29, resulting in 40 job losses.
Terrifying months continue for Australian journalismRecent cutbacks include 200 job losses at Nine, 150 at Seven West Media, and significant restructuring at News Corp. While any job losses are regrettable, the shuttering of Kotaku, Gizmodo, and Lifehacker marks a grim day for Australian tech journalism with lasting repercussions.
For video game journalism in Australia, this feels like the end of an era—a catastrophic event. Where once vibrant video game journalism thrived, there now exists a vast void.
Most mainstream Australian publications have journalists covering technology, arts, books, music, entertainment, and sports, but as far as I am aware, none have dedicated video game journalists on staff.
Despite this, there is a significant demand for video game content in Australia. According to Bond University’s Australian Games Report, 81% of Australians play games, with the average player age being 35. With a majority of players falling between 18 and 40 years old, and nearly half of them being female, Australians are projected to spend $4.4 billion on games in 2023.
Video games have also permeated other media forms, from successful movie adaptations to popular series on streaming platforms like Netflix and Apple. The cultural impact of video games is undeniable, yet journalism has struggled to keep pace due to a lack of support and funding.
Video game journalism extends beyond news and reviews, encompassing cultural and business aspects such as lifestyle articles, investigations into the impact of gaming on health, and coverage of the business side of game development studios.
Journalists have been dubbed the authors of history’s first draft, but little has been documented about video games in Australia due to insufficient support. While some independent websites and blogs valiantly cover this space, the closure of mainstream outlets like Kotaku leaves a significant void.
How can we reverse this trend?
The immediate solution lies in major Australian media outlets recognizing the untapped potential in video game journalism. The closure of Kotaku Australia could spell disaster for this field, but it also presents an opportunity for rebirth. Talented individuals are out there, waiting for a chance to shine. All it takes is someone to take that leap of faith.
Furthermore, government initiatives like the Australian Government’s Digital Games Tax Credit and state-based funding for game development can serve as pillars of support for both developers and journalists. These programs have nurtured successful titles in the past and could also aid in bolstering independent games journalism.
And then there’s you, the reader. Your direct support and engagement with journalist-owned websites, like aftermath—founded by a former Kotaku US reporter—show that there is a hunger for quality video game content. Establishing a direct relationship with readers could pave the way for sustainable journalism in Australia.
While I may have left Kotaku in 2017, the closures of these outlets hit close to home. Losing my job at EB Games in 2006 felt like the end of the world, but someone took a chance on me, and I want to see the same happen for video game journalism.
Source: www.theguardian.com
