Draugoth
Gold Member
Mainstream gaming sites are no longer the driving force behind game sales, as seen with titles like Dustborn and Concord.
There was a time when sites like IGN and Kotaku were the gatekeepers of gaming culture. They were the trusted voices every gamer looked up to, offering reviews that felt genuine and focused on what truly mattered—how fun a game was to play. But somewhere along the way, things changed.
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In the early days of videogame journalism, working at places like IGN or Kotaku was a dream job for many young gamers. Who wouldn’t want to get paid to play video games early, write about them, and influence the industry? But as the industry matured, so did the expectations of its critics. No longer were games evaluated solely on their gameplay, graphics, or innovation. Instead, the messaging of a game—the political or social commentary it contained—began to take center stage. What was once about joy and entertainment became a platform for pushing narratives. This change has not gone unnoticed by the gaming community, which is now increasingly skeptical of reviews from these once-revered sources.
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This shift has created a noticeable divide between what game journalists say is good and what gamers actually enjoy. Consider the stark difference in reception to games like Star Wars: Outlaws, Concord (PS5, PC), and Dustborn. Despite receiving glowing reviews from these outlets, these games failed miserably upon release. Their launches were plagued with low player counts and lukewarm reception, a clear indicator that ticking all the “modern audience” boxes doesn’t equate to fun or engaging gameplay.
On the flip side, games like Black Myth: Wukong have been harshly criticized by these same outlets, despite being celebrated by gamers worldwide. This Chinese action RPG was slammed by both IGN and Kotaku, partly due to a controversy involving Sweet Baby Inc., a consultancy firm that allegedly tried to pressure the developers into making the game more “diverse” and “modern.” When the developers refused, the game was hit with mediocre reviews, despite being one of the most anticipated and well-received titles of the year by actual players. The disconnect between critics and the gaming community couldn’t be more apparent.
The controversy surrounding Sweet Baby Inc. and Black Myth: Wukong is a perfect example of how far game journalism has strayed from its roots. Sweet Baby Inc., known for pushing diversity and inclusion in gaming, allegedly demanded a $7 million fee to “fix the messaging” in Black Myth: Wukong. When the developers at Game Science refused, they were met with a slew of negative press from outlets like IGN, which accused them of fostering a sexist culture based on mistranslated comments. This blatant attempt to pressure the developers into conforming to a specific narrative backfired spectacularly, with gamers rallying around Black Myth: Wukong, making it one of the top-selling games on Steam.
The failure of titles like Star Wars: Outlaws and Concord is not an isolated phenomenon. These games were hyped up by the likes of IGN and Kotaku but flopped upon release, with low sales and poor player retention. It’s becoming increasingly clear that the games these outlets push are not what gamers actually want to play. This is evident when looking at user reviews on platforms like Metacritic, where there’s often a huge disparity between critic scores and user scores. Games that are praised for their messaging or inclusivity often fail to capture the interest of the broader gaming community.
So, what happened? Why do game journalists seem so out of touch with the very audience they’re supposed to serve? Perhaps the answer lies in the fact that many of today’s game journalists don’t seem to like video games much at all. Their focus has shifted from celebrating games as a form of entertainment to critiquing them as a medium for political and social messaging. And in doing so, they’ve alienated the core audience that once hung on their every word.
At the end of the day, it doesn’t matter what these critics say anymore. Gamers have stopped listening. The power and influence that sites like IGN and Kotaku once wielded have dwindled to almost nothing. The gaming community has moved on, and those who fail to recognize this shift are being left behind, talking to an audience that no longer cares.
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