Games Journalism General

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"I cant beat the game on the hardest difficulty!"

Working as intended. You shouldnt be able to beat the game on the hardest difficulty unless your intimately familiar and skilled with games systems and mechanics. Games like AI WAR will even say that beating the game on the hardest difficulty is a bug that needs to be fixed
 
Oooh, you've got those fancy goalposts with the wheels built in and everything!
Point to me on the timeline when a games journalist's opinion ever mattered? There have been more successful brain transplant surgeries than there have been journalists with worthwhile opinions.

Pretty sure it's also not that hard to avoid that bargain bin when you go to a store.
 
Point to me on the timeline when a games journalist's opinion ever mattered? There have been more successful brain transplant surgeries than there have been journalists with worthwhile opinions.

Pretty sure it's also not that hard to avoid that bargain bin when you go to a store.
It is also worth noting that like 99% of people don't read reviews and just scroll down to the score. People care a lot more about the number someone gave a game than the actual opinion that person had that led them to give that game that number.
 
Point to me on the timeline when a games journalist's opinion ever mattered? There have been more successful brain transplant surgeries than there have been journalists with worthwhile opinions.
If they matter so little, why do games sell themselves with their scores? Some literally have "accolades trailers". If they matter so little, why do publishers fluff them up with FREE travel to studios/events? If they matter so little, why are you in this thread? Retard. Something as simple as manufactured consent is beyond your dense fucking skull. Enjoy your games no one knows or cares about, weeb.

It is also worth noting that like 99% of people don't read reviews and just scroll down to the score. People care a lot more about the number someone gave a game than the actual opinion that person had that led them to give that game that number.
A lot of people just use metacritic to see what the main pros and cons are of a game are. The issue is not really reviews, as dumb as they are, but how many sites and YT channels push faggot shit in video games. From Kotaku and Polygon to Jim Sterling and YongYea.

Also, I think some outlets openly took points off their score for Kingdom Come because it didn't have niggers in a medieval Europe setting.
 
It is also worth noting that like 99% of people don't read reviews and just scroll down to the score. People care a lot more about the number someone gave a game than the actual opinion that person had that led them to give that game that number.
I usually read it before shelling out any money based on it. If they give a game a high score but then the review is full of complaints, you know the score is pretty much fake and they were ordered to give it a high score but don't actually like it. It's usually possible to tell sincere praise from shill bullshit too.
 
There was one company I used to pay attention to when they ran their website in the late 90's and early 2000's.

They had 5 different gaming rigs. "low end" (486DX/Pentium 1) and "high end" "Pentium 3" with either Nvidia or ATI with different amounts of memory.

They would rate the game: Controls, smoothness, video, sound, settings.

They would rate how it ran on different hardware for the 5 systems.

What they didn't do is write an article about how they went to a huge event for a video game and wished they could talk about the economics of Cuba/Venezuala instead of talk about video games.
 
Sure, but it used to be a hell of a lot more fun, charming and something worth experiencing.

I think of stuff like PSM's annual "swimsuit" issue where'd they have comic book artists draw game babes in swimwear, just good, clean fun that wouldn't be allowed today.

EGM especially had a really great vibe to it, you knew those guys were on your side, not viewing you with contempt, you knew they were genuine in their love of video games and you knew that even when you disagreed with them, they were still bros who you'd probably enjoy hanging out with, not pure, concentrated douche chills like a modern Kotaku journalist.
You nailed it. Were gaming mags perfect back then? No. They could be goofy and fell like shilling sometimes (especially Nintendo Power in the early days, where they would call a shit game "promising" instead of just admitting it's shit).

But they were way more informative and fun that what Kraptaku and their ilk are pushing out today. Back then, Gamepro would tell you if a game had crap controls, great graphics, etc. Meanwhile, Polygon has some wimpy trust fund baby whining that there's "too much water" in Pokemon or spends the majority of the review discussing politics in the Philippines in hopes it will impress rainbow hairs into sucking his babydick.
 
There was one company I used to pay attention to when they ran their website in the late 90's and early 2000's.

They had 5 different gaming rigs. "low end" (486DX/Pentium 1) and "high end" "Pentium 3" with either Nvidia or ATI with different amounts of memory.

They would rate the game: Controls, smoothness, video, sound, settings.

They would rate how it ran on different hardware for the 5 systems.

What they didn't do is write an article about how they went to a huge event for a video game and wished they could talk about the economics of Cuba/Venezuala instead of talk about video games.
We didn't know better back then. Republicans weren't around.
 
You nailed it. Were gaming mags perfect back then? No. They could be goofy and fell like shilling sometimes (especially Nintendo Power in the early days, where they would call a shit game "promising" instead of just admitting it's shit).

But they were way more informative and fun that what Kraptaku and their ilk are pushing out today. Back then, Gamepro would tell you if a game had crap controls, great graphics, etc. Meanwhile, Polygon has some wimpy trust fund baby whining that there's "too much water" in Pokemon or spends the majority of the review discussing politics in the Philippines in hopes it will impress rainbow hairs into sucking his babydick.
It's insane how far it's fallen, it's absolutely insane what has happened to gaming journalism.
 
In the late 2000s and early 2010s there was an attempt to make game journalism more "serious" and less "teenage" and that was fine, for a while it was pretty good, but quickly "more serious" translated into political propaganda.

Does anyone here remember a website called The Gameological Society? It was a spinoff from The AV Club and was the last gasp of decent gaming journalism, but it was shorted lived, lasting less than two years and after it went defunct in 2013, gaming journalism went straight into the toilet.
 
It's okay to be dissatisfied but let's not do it in unkind ways.
Uh-oh, why is this thread on the Giant Bomb subreddit now?
Giant Bomb will not be going back to an office


This is the official word a lot of folks have been waiting to hear one way or the other on

Just announced on todays Bombcast.

It appears RV is turning that office space into something else and Jeff said even if everyone wasn’t spread out across the country there wouldn’t be a studio space to return to regardless.
Quick personal note - I'm taking a little hiatus from a chunk of the "extra curricular" work I've been doing including Giant Bomb appearances. I've had some life stuff that's required a lot of emotional energy so I'm trying to go easy on myself until that's settled a bit.
-Danny O'Dwyer
What is going on?


I re-subbed to GB Premium last summer, after the early-year drought and promises of re-alignment and new content.
What is going on now?
  • Danny is on hiatus, so Borne to Run and Guilty Pleasures are both currently dead in the water
  • The Bombcast has been replaced with the Weekly Listen To People Talk Over Each Other Cast
  • UPF is a sad shitshow these days, it's just a Bombcast where people are playing games in the background
  • I get Reel Layers, and I hate it
  • Quick Looks have been largely replaced by Party of One and cut-out UPF segments
There's no hope of a return to a studio with how spread out the staff is. Chemistry between presenters has never been worse IMO.
Is there a plan here, or are we just watching the slow death of this site? What content is there to look forward to? Why am I paying for this?
All this from the last 24 hours.
Doom and gloom has been hanging around Giant Bomb for a long time now, it's not new, I've seen people moan on /v/ as far back as 2017. Now, however, it feels justified. There's so little content on Youtube, and apparently, Premium isn't really worth much anymore. It's sad.
 
Giant Bomb has bombed their way out of irrelevance over the past 5 to almost 10 years of them existing. They’re going to go out the same way Eurogamer went, even if they’re trying to still maintain relevance on the YouTube side.
 
I think people have been a bit hard on GiantBomb saying they died when Ryan did, but since the Drew-Dan-Jeff team got broken up the site took a hard nosedive.
People think (probably correctly, I don't know) that if Ryan were still around - he would not have tolerated Austin Walker (or Abby, or Ben, or Voidburger). People also think that Jeff kind of "gave up" on GB when Ryan died and that Ryan would have been the one would rather close/burn the site down than let it become what it is today. Ryan was also apparently the fire for a lot of the "Fuck you corporations" spirit that early GB had that they're sorely, sorely lacking. At a minimum, when Danny O'Dwyer said "I want to get wild on GB, I want to open up Pokemon Card Packs" Ryan would have teased the ever loving shit out of him for it.

Semi related, but Giantbomb is 100% dead. Not going into the office ever again reduces them to "kind of shitty twitch streamers" because they never figured out how to have real production value on their "at home" setups, which was something that used to set them apart.

Nextlander is fucking making $47,500 (at a minimum) a month, probably split 3 ways - on Patreon alone. It also has Twitch subs, and direct ad revenue from the podcast portion. That means, from just Patreon - each person is making $190,000/year at a minimum. Why the fuck would you work for Giantbomb when they (allegedly pay) about 30% of that, unless you want to "pull an Abby" and show up for a bit to grow an audience/get your name out there and then dip out for greener pastures ASAP.
 
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