Video games media and journalism facing a strong current of change

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As a seasoned gamer with decades of gaming under my belt and a keen eye for the intricacies of the industry, I can’t help but feel a sense of melancholy as I watch the landscape of gaming media and journalism evolve. The shuttering of Game Informer and the impending demise of What’s Good Games are just the latest casualties in this ever-changing digital battleground.

August was yet another tough month for gaming media and journalism. Game Informer was unceremoniously shuttered by GameStop while What’s Good Games, a prominent voice in gaming run by an all-women team, announced its last show coming up in September. As with much of the media and journalistic landscapes, things are changing within gaming thanks to several different factors. What gamers consume, how they consume said information, and where they consume it continues to change, putting the future of games journalism and media in a perplexing position.

While some people might think journalism and media are interchangeable terms, they actually represent two different aspects of the same communication sphere. At its core, journalism is about uncovering and reporting the 5Ws and 1H (who, what, when, where, why, and how) through fact-based storytelling. The media, along with the individuals operating within it, then take that raw information and put their unique perspectives and interpretations onto it. Those who have strong connections can dig deeper for exclusive behind-the-scenes details, while those without such resources may resort to making assumptions or offering opinions.

In what context do these two dimensions apply in gaming? Each can have its own role for individual players, yet they can also blend seamlessly together to create a unified experience. However, as more game developers disappear, there’s an increasing concern that the art of gaming journalism is gradually fading away.

Despite the fact that the video game industry rakes in billions, reporting on it remains a specialized field. Top positions at established outlets are scarce and becoming increasingly rare as media cuts accumulate. Gaming media transcends the traditional format of guides, reviews, and previews, delving into more complex topics like behind-the-scenes reports on mass layoffs, innovative concepts, mergers and acquisitions, and companies striving to balance gamers’ preferences with their own profit motives. Yet, it seems that journalism and media coverage in gaming are struggling to find a solid place in today’s industry. Understanding why this is so requires exploring various aspects of the issue.

Let’s start with the big bad in the room, revenue. It doesn’t matter which industry is in discussion, the looming challenge of making enough money to keep operations afloat is always one of the main drivers for success. It doesn’t matter if a media outlet is doing fantastic coverage, if that organization isn’t making enough money to pay the bills, it will go away. The media and journalism industries were forced to change with the times, as the advent of the internet cut into print production as it did with magazines and newspapers everywhere. Outlets adjusted, creating online outlets to continue the work, while printed options became less and less optimal.

Initially, those alterations didn’t prove sufficient for sustained success. Modern digital platforms are ruled by unseen algorithms and evolving SEO criteria, which makes it challenging to consistently generate attention-grabbing content. This challenge has influenced gaming media, compelling outlets to prioritize guides and reviews over news coverage. Kotaku serves as a case in point, given their need to produce 50 guides weekly, thereby restricting time for the investigative journalism they were recognized for.

From a business perspective, it makes sense to focus on what brings in more eyeballs and stronger web metrics. Those metrics are then turned into advertising opportunities which powers the bottom line through revenue generation. It’s the treadmill that keeps the business going. If a 1,000-word piece about crunch doesn’t draw in the right type of metrics, it’s harder to justify the resources to create that content. This equation remains a big issue with gaming media and journalism surviving today.

The advent of the Internet not only introduced a novelty but also a hurdle: Access to platforms for communication and sharing information. Earlier times were characterized by exclusive entry into journalism and media spheres due to numerous barriers, restricting whose voices were amplified. However, those days are now history. It began with individuals creating personal websites, which has since escalated to content creators constructing vast domains on outlets like Twitch, YouTube, Twitter, TikTok, and countless others. Today, anyone equipped with an internet connection can effortlessly participate in the discourse about the video game industry, disregarding any barriers related to training or access.

This level of access has become a staple across the media and journalism industries. Is it a good or bad thing? There are reasons to answer in both ways, On one hand, there’s more access for those looking to cover the stories that aren’t seeing the light of day. The stories that need to be covered for full transparency and understanding. On the other hand, individuals can grow large platforms to spread misinformation and conspiracy theories – an act that has the gaming industry in a choke hold today. If you don’t like what an outlet is reporting, simply find the one that reports the angles you like. Today’s society is less informed on what media literacy looks like and the gaming space isn’t immune to the outcomes of that problem.

In the world of video game media and journalism, there’s a silver lining even as AAA studios face challenges: gamers are increasingly gravitating towards independent games, many of which are proving to be high-quality alternatives. This trend is also reflected in the shift from traditional, big-name journalism and media outlets towards more self-governing, indie platforms that are successfully finding their niche and audience. Thanks to services like Substack and Patreon, it’s now possible for creators covering games to earn a living, and when combined with an effective social media strategy, they’re making it work quite well.

That “indie” feel is long rooted in journalism and media. Companies like Complex started with handing out magazines out of the back of a trunk. Some of the biggest music groups took an underground route to gain traction. It’s great to see users building followings on platforms like YouTube or TikTok where they add their voice to the equation. This is especially important when bringing in voices that are frequently left out of the conversation like female gamers, gamers with disabilities, minorities, and others.

In the face of capitalism’s influence on the video game industry, media and journalism are experiencing similar challenges. Established figures in these fields are finding it harder to maintain their viewership, as up-and-coming personalities and unscrupulous individuals are gaining ground. Resources like money and attention are becoming increasingly scarce. In this competitive landscape, content creators in the gaming sector must find innovative ways to cultivate their own audience and capitalize on them, or risk fading away from the scene.

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2024-08-31 16:28