When Video Game Journalism Turns Inward, Everyone Suffers | Games

Last week was a challenging period for video game journalism. Two key figures from the veteran site Giant Bomb, Jeff Grubb and Mike Minotti, announced their exit after the recent removal of a particular podcast episode. The 888th installment of the Giant Bombcast reportedly included the section on new brand guidelines, which has since been withdrawn from public access. Just days later, it was revealed that the prominent US site Polygon is set to be sold to Valnet, the parent company of Screen Rant and Game Rant. Consequently, job losses are expected. This follows the 2024 sale of Reedpop, which included four major UK gaming sites: Eurogamer, GamesIndustry.biz, Rock Paper Shotgun, and VG247. Redundancies have been rampant.

It’s disheartening to witness such long-standing platforms, known for their substantial audiences and solid reputations, being handled like mere commodities. Regarding the sale of Polygon, Vox CEO Jim Bankoff stated: “This transaction lets us focus our efforts and investments on other key growth areas in our portfolio.” Honestly, it feels disconcerting to see a decade of progressive gaming discourse turned into off-the-shelf assets. Valnet claimed: “Polygon is set to achieve new editorial standards through dedicated investment and innovation.” However, one must wonder how this will transpire with a significantly downsized team.

Undoubtedly, corporate press releases and the familiar robotic jargon from industry pundits have not quelled the anger and skepticism surrounding these exits. Writing for Aftermath, journalist Nathan Grayson remarked: “While Polygon’s traffic may have been less than stellar, Giant Bomb had a dedicated listener base thanks to its unique blend of personalities. One has to question whether any of the CEOs involved in these transactions have ever listened to a podcast that isn’t focused on maximizing shareholder value.

Video game journalism has long been a precarious balancing act amid various commercial pressures. In the early days of gaming magazines, advertising revenue often came from the very companies whose products were scrutinized by the press. Throughout my tenure as a magazine editor, I witnessed advertisers withdraw their support following unfavorable critiques of their products. Yielding to such pressures jeopardizes the trust of our readership, which is our most valuable asset. While publishers may have significant influence, losing audience trust could lead to their downfall.

As these magazines transitioned to websites, advertising remained a crucial revenue source. Today, the landscape is more complex; with influencers on platforms like Twitch and YouTube emerging, the industry appears less reliant on dedicated gaming journalism sites. It seems that companies looking to acquire gaming sites are focused more on brand names than on the creative, experienced teams behind them. Recent investigations revealed that Valnet was accused of turning acquired properties into mere content mills focused on “SEO Bait.” Valnet hasSince been involved in legal disputes regarding this issue.

As gaming evolves into a live service sector with billions of paying customers, journalism’s compensation rates have stagnated.

The current tech landscape seems to reward the mechanization of creativity. Unquantifiable and costly, human insight is often perceived as an obstacle to streamlined growth and market penetration. While AI gains traction, one might wonder if automating content generation for video game walkthroughs, produced in milliseconds, could suffice.

The catch, however, is that writing game walkthroughs is labor-intensive and requires skillful gameplay, adept interpretation, and the capacity to foresee player needs. Reviews are inherently subjective, influenced by personal experiences. Podcasts offer a friendly chat-like atmosphere. Top-tier gaming journalism elucidates the industry while uncovering issues that might otherwise be obscured. Those who excel in this arena have years of gameplay, writing, and inquiry experience; they understand gamers’ thoughts.

This dilemma resonates across all artistic mediums, from film to music. Tech moguls anticipate that their brand acquisitions will engage audiences, expecting passive consumers to absorb whatever is presented. However, it’s not mindless content we seek, but innovative ideas and craft. Fortunately, independent sites are emerging at an impressive rate, such as the UK-based VGC and the US-based Aftermath, both of which are building substantial followings. While audiences may be deceived temporarily, it’s increasingly apparent that poorly staffed digital content machines can only churn out secondhand ideas, hoping that the hollow echoes of lost credibility will withstand the test of time.

What to Play

Each month, I review twelve indie video games that experiment with collectible card battle mechanics reminiscent of Magic The Gathering and Yu-Gi-Oh. One standout is Fear With Highrook, where a group of explorers delves into a haunted mansion to uncover the fate of a missing nobleman’s family. The game features a challenging world akin to a complex board game, combining item discovery with skill card upgrades for character enhancement. Drawing inspiration from Poe and Lovecraft, it offers a beautifully crafted experience filled with ideas and arcane treasures for aficionados of both space and Gothic horror.

Available on: PC
Estimated playtime: Over 10 hours

What to Read

• Fraud has plagued video gaming since its inception, impacting countless players in online multiplayer shooters. Explore this feature detailing Riot Games’ battle against cheaters in League of Legends and beyond, highlighting the ongoing struggle between developers and hackers.

• Many exceptional video games have been on the brink of disaster due to poor design choices during development. An extensive interview with former Sony President Yoshida reveals how he salvaged Gran Turismo by advocating for playable non-racing characters.

• Although I adore video games, many modern tech products cultivate their own myths and folklore. This BBC feature explores fascinating cases, like Ben owned – the story behind the haunted N64 cartridge that captivated gaming forums in 2010.

• After finishing your read, check out Rockstar’s latest teaser for the upcoming Grand Theft Auto VI. A recent trailer has emerged alongside new screenshots and details about key characters Jason and Lucia, hinting at the game’s delays until May 2026.

What to Click

Question Block

This week’s question comes from Guy Bailey who reached out to me via Blue Sky:

“I’m a fan of sim racing in VR, while my son loves Vrchat and the friendships formed within various worlds. Half-Life Alyx is a phenomenal experience, and most individuals who try VR rave about it. Is this the peak of VR?”

This query has lingered in the VR community since the Oculus Quest launched in 2019, which was meant to rejuvenate modern VR. While over 20 million Quest headsets and 5 million PlayStation VR sets have been sold, we are not collectively spending substantial time in virtual environments.

Several factors contribute to this trend. Motion sickness is one culprit—many individuals (particularly women, as outlined in studies) experience nausea after even brief usage. Regardless of how engaging the software, discomfort can prevent enjoyment. There are also neurological and physiological discrepancies when we navigate visual settings that conflict with our bodily sensations. We’ve all seen humorous videos featuring gamers colliding with walls while lost in VR.

Moreover, VR can make us feel exposed and awkward, particularly when wearing a bulky headset at home. Such elements likely explain why companies like Apple are favoring augmented reality over intensive virtual experiences. Thus far, their approach hasn’t succeeded in establishing a consumer-centric platform.

In most instances, the content available isn’t enticing enough for general audiences. It’s a cliché, but the fact remains: there’s no definitive “killer app.” I’ve got a PlayStation VR headset that’s gathering dust, while my sons only occasionally engage with the Meta Quest 3. Their favorite experiences are often limited to brief sessions.

For many of us, VR needs to evolve to engage our senses—touch, taste, and smell.

If you have a topic you’d like to discuss or a question for the newsletter, please reach out to me at pushingbuttons@theguardian.com