Last week was a bad one for video games journalism. Two key contributors to the veteran site Giant Bomb, Jeff Grubb and Mike Minotti, have announced their departure after a recent podcast was taken down. The 888th episode of the Giant Bombcast reportedly featureda section lampooning new brand guidelinesissued to staff and is no longer available online. Later this week, it was announced that major US site Polygon was being sold to Valnet, owner of the ScreenRant and GameRant brands,resulting in a swathe of job losses. This follows ReedPop’s sale, in 2024, of four high-profile UK-based sites – Eurogamer, GamesIndustry.biz, Rock Paper Shotgun and VG247 – to IGN Entertainment, owned by Ziff Davis, which alsoresulted in redundancies.
It’s sad how these long-standing sites, each with vast audiences and sturdy reputations, have been traded and chopped up like commodities. On selling Polygon, Vox CEOJim Bankoffsaid in a statement: “This transaction will enable us to focus our energies and investment resources in other priority areas of growth across our portfolio.” It felt gross, to be honest, to see this decade-old bastion of progressive video games writing being reduced to an asset ripe for off-loading. Of its purchase Valnet said: “Polygon is poised to reach new editorial heights through focused investment and innovation.” Quite how it will do that with a significantly reduced staff is anyone’s guess.
This is, of course, the familiar robotic doublespeak of the corporate press release and industry observers have not held back in their anger and incredulity.Writing on Aftermath, journalist Nathan Grayson said: “None of this was, strictly speaking, necessary, with Polygon an unqualified success in terms of traffic while Giant Bomb boasted a dedicated audience drawn to its unique mix of personalities. But of course, parasitic execs decided to suck the marrow from the bones of both, and now we’re left wondering what comes next.” You do have to wonder if any of the CEOs involved in these sales have ever read a story or listened to a podcast in their lives that wasn’t about maximising shareholder value.
Video game journalism has always walked a windswept tightrope between competing commercial interests. In the olden days of games magazines, much of the money came from adverts bought by the same companies whose products were being reviewed and often mauled by journalists. Several times during my career as a magazine editor I witnessed adverts pulled from publications I worked on following unfavourable reviews of the advertisers’ products. To bow to those pressures would mean losing the faith of our readers, which was the most important asset we had. Publishers always came round in the end, but once you’ve lost the trust of your audience, you might has well call it quits.
Later, those magazines transitioned into websites, where ad space remained a vital income. Nowadays it’s much more complex, and the industry doesn’t need dedicated gaming sites so much, thanks to the rise of influencers on platforms such as Twitch and YouTube. It seems the companies most interested in acquiring gaming sites see only brands, not the creative and experienced staff behind them; in March digital news site the Wrapran an investigative featurein which Valnet was accused of turning acquired sites into content mills for “mind-numbing SEO bait”. Valnet has sincesued the publication. But the pay rates for journalism are stagnating, even falling, as the games themselves transform into live-service megaplexes inhabited by billions of paying customers.
There is, it seems, a festering suspicion of human creativity in the modern tech corp landscape. Unquantifiable, expensive and resistant to spreadsheet analysis, it is an annoying barrier in the way of streamlined market penetration and exponential growth. Wouldn’t it be so much easier if AI could write those long, in depth video game walkthroughs that get so many hits, but take so many weeks of work to produce? Wouldn’t it make sense if news and analysis was generated and filed within seconds through some sort of automated content pipeline?
There’s just one problem. Writing a game walkthrough is a complex task, relying on skilled play, the ability to interpret and explain a moment of action and the foresight to know what players will be looking for. A review is a subjective human response to an experience; a podcast is a parasocial chat with pals. Vitally, good games journalism also holds the industry to account, investigating and highlighting issues that would otherwise be buried. The people who do this stuff and do it well have been playing, writing and questioning for years. They know what we think about when we think about games.
I suppose this is the same argument playing out right now everywhere in the arts, from movies to music. The tech bros want portfolios of brands to swap between each other, expecting the wordless masses to follow behind, consuming whatever slop they’re fed. But it’s not endless dead-eyed content we’re coming for, it’s ideas and craft. What a relief it is that independent sites are springing up at a growing rate. We have the UK games news siteVGCand, in the US, there’sAftermath– both have blossoming audiences. Fandoms can only be fooled for so long. I harbour high hopes that when it becomes clear understaffed machines of digital content can only spew out secondhand ideas, the pathetic ghost burps of dead fandom, authenticity will become the only game in town.
Every month sees a dozen new indie video games using the mechanics of collectible card battlers such as Magic the Gathering and Yu-Gi-Oh to interesting but increasingly familiar effect. But don’t let that stop you tryingThe Horrorat Highrooka headyoccult mysteryin which a group of explorers raid a haunted mansion in order to discover the truth about a missing aristocratic family. The game world is like a highly complex Cluedo board and mysteries are uncovered and solved by combining relevant item and skill cards, while upgrading the abilities of your party. Clearly inspired by the twin forces of Poe and Lovecraft it’s a beautifully constructed challenge, filled with ideas and little arcane treats for fans of both cosmic and gothic horror.
Available on:PCEstimated playtime:10-plus hours
Cheatingis as old as video games, but it is ruining the experience of many who like online multiplayer shooters.This feature looks athow Riot is taking on cheaters in A League of Legends and Valorant and it’s a great primer on the Red Queen-esque battle between developers and hackers.
Most great video games were, at some stage in their development, a fraction of a millimetre away from some disastrous design choice. The highlight of thislong interviewis how the former Sony president Shuhei Yoshida savedGran Turismoby suggesting that the team make it actually playable by non-racing drivers.
I love that video games, though products of modern technology, still inspire their own legends and folklore.A feature on the BBC siteanalyses a wonderful example,Ben Drowned– the tale of a haunted N64 cart, a creepypasta that infected games forums in 2010.
If you’re done with reading, Rockstarjust releaseda newGrand Theft Auto VItrailer and speedboatload of screenshots and info about protagonists Jason and Lucia (above), days after announcing the game’s delay until May 2026. Go have a look, it’s wild.
Drop Duchy – a sprawling challenge disguised as a block-dropping puzzler | ★★★★☆
Skin Deep – kitty rescue immersive-sim is slapstick fun in a cartoony playground | ★★★☆☆
Grand Theft Auto VI delayed until May 2026
Space Invaders on your wrist: the glory years of Casio video game watches
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This week’s question comes fromGuy Baileywho messaged me on blue BlueSky with the following:
“I love sim racing in VR and my son is addicted to VRChatand the camaraderie of the various worlds. Half Life Alyx is incredible, and most people who try VR love it – so why hasn’t it had its gaming mainstream breakthrough yet? Will it ever?”
This question has haunted the VR industry since the arrival of the Oculus Quest in 2019, which was supposed to rejuvenate the whole concept of VR for the modern era. And while more than 20m Quest headsets have now been sold, alongside 5m PlayStation VR sets and many other contenders, we’re not all spending vast swathes of time in virtual worlds.
There are many, many reasons. Motion sickness is one: a percentage of people (and it is more common in womenfor reasons that no one can agree on) will feel nauseous after a few minutes of use. No one wants to feel sick, no matter how fun the software is. There’s also the neurological and physiological disparity of being enclosed in a visual environment which does not align with what our bodies and our senses are expecting. We’ve all seen the funny videos of people getting carried away in a VR game and running straight into walls.
VR also makes us feel vulnerable and silly. It is weird to be so cut off from external “reality” and it is weird to wear a massive helmet in your living room. These elements are perhaps part of why Apple has been betting big on augmented rather than virtual reality, via is Vision pro headset, which is comparatively inconspicuous and keeps us in touch with our surroundings – but even that hasfailed so far– at least as a consumer platform.
Mostly though, I don’t think the content is compelling enough for a non-tech audience. It’s a cliche, but there’s no killer app. I have an unused PlayStation VR headset and my sons only occasionally play with their Meta Quest 3. The games they like can only be experienced in 20-minute bursts, and I don’t think they grip the heart, soul and intellect the way a traditional screen-based immersive game can.
For most of us, VR will need to find a way to give us touch, taste, smell and presence, or at least give us a compelling enough reason to leave the sensual world behind for hours on end.
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