The Hidden Crisis in Modern Gaming
A seasoned gamer, who has played passionately since the mid-to-late 1990s, has voiced a profound concern about the current state of the video games industry. While acknowledging the technical marvels and scale of contemporary titles, he argues that an underlying crisis is being masked by the constant stream of new releases. The core issue, he suggests, is a cultural apathy that is causing real harm to the developers and studios behind the games we love.
Nostalgia and the Burden of Choice
The reader admits to a common feeling of nostalgia, believing that games were arguably better two or three decades ago. He clarifies that today's games are not lacking in quality, but they have become chore-like and risk-averse. This is not the fault of developers or publishers, but rather a reflection of our own culture. The market is now saturated with an overwhelming number of titles, forcing players to stick with familiar favourites rather than exploring new ground. This immense choice, paradoxically, makes it harder for dedicated gamers to keep up and engage deeply with the medium.
We Got the Games We Deserve
The article points to specific examples to illustrate this cultural shift. The 2022 Saints Row reboot was met with intense criticism, largely because it failed to live up to players' nostalgic memories of the original series. The reader contends that this version of Saints Row is a direct product of the current culture, where publishers chase broad appeal. Similarly, the upcoming Dragon Age: The Veilguard is seen as a title shaped by publisher EA's interpretation of modern trends. While many may dislike these directions, the reader posits that the gaming community itself is responsible for cultivating the environment that makes them profitable.
The most significant consequence of this culture is the human cost. There is a dangerous assumption that if a game is successful, the developers are thriving. However, the reality is starkly different. Studios face immense pressure to meet ridiculous sales targets set by publishers. When a game underperforms, even slightly, entire studios are at risk of being shut down. The reader laments the loss of beloved studios like Bizarre Creations and Evolution Studios, and more recently, Volition. This focus on sales above all else is diluting creativity and restricting the industry's potential for genuine innovation.
The reader concludes with a sobering warning. He sees an industry potentially paving the way for its own extinction, driven by a culture of excess and indifference. He calls for a collective change in perspective, urging gamers to become more aware of the wellbeing of the creators behind their entertainment. The power to turn things around, he believes, lies with the players themselves.
