The Games Press – Details, episodes & analysis

Nicole Carpenter has been reporting on the games industry at Polygon for the last five years, where she's perhaps best known for her coverage of unions and the increasingly vital role they're playing in shaping the future of video game development.

In fact, not only has she reported on this subject diligently over the last few years, she also wrote what is perhaps the defining piece of journalism on the subject: The Rise of the Video Game Union.

"....the type of journalism we're doing impacts people's lives in really tangible ways. And, you know, whether that's somebody we're writing about who did something bad, or people who are unionizing, or people who have been laid off. And that is a huge responsibility. And so it needs a certain level of investment and dedication and sometimes sacrifice to make sure you're doing your job, treating the work you're putting out, with the respect and care and responsibility it needs."

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Grant Stoner is a freelance reporter who specializes in covering accessibility and disability across the games industry in his work.

Among other work, he writes a monthly column for IGN where he recently examined how the mass layoffs ripping through the games industry have affected disabled game workers, in particular. This is a great example of why Grant's perspective is so necessary in the games media right now, shining a spotlight on an often overlooked area of games and the people who play and make them.

"They can't afford their medications, they've had to stop procedures, some person can't afford life-saving medication that they were only able to afford because of their insurance... So often, with accessibility, we see that 'oh, these studios are great, they really care about us', but this is the reality of being disabled, especially if you're in this industry."

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Tyler McVicker has been utterly obsessed with Valve for more than a decade now, having reported on almost every scrap of news, speculation and datamined morsel to come out of this famously secretive company at the heart of the games industry.

Having just published our own report on the reality of working at Valve, with its "flat" structure, no managers and no job titles, I wanted to talk to Tyler about the challenges that come with trying to understand such an unusual business. And one of those challenges, unfortunately, is dealing with the more toxic parts of Valve's community. PMG has faced its own share of that over the last couple of weeks.

"Because of the opaqueness, because there is a vacuum of information, misinformation becomes gospel. So what you're dealing with is a lot of individuals effectively treating Valve as if they are Gordan Freeman; a blank slate that you put your own personality onto. And when somebody else betrays that self-perceived personality, it almost feels like a parasocial relationship being destroyed."

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Sam Greer is a freelance games critic, having previously worked for Glass House Games and GamesMaster magazine. More recently, she worked with People Make Games (that's us!) on an incredible video about the lack of working class people employed in the games industry. That's what we'll be talking about in today's episode.

"I think when we talked about it before my worry was that the video would just be one of those things that people would retweet and go 'oh this is so important', you know?' and that would be it... But actually what's kind of happened, that I've seen a lot of, is just a lot of discussion and it sparking loads of specific conversations off the back of it. And that's more than I'd hoped for. I was so worried about people getting that this mattered, but not really caring."

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Hirun Cryer first got his break in the games media writing guides over at USGamer. And guides content, dear listeners, is perhaps one of the most overlooked part of this entire job. Frequently responsible for the lion's share of a publication's traffic, despite rarely appearing on the homepage itself, video game guides are hugely important to the overall success of some of your favourite games sites. So why are guides writers so often underpaid and overworked?

"You know how people say there are no old games media workers? Because they all move out of the industry because of pay and all that? I don't think I really know any old guides writers, because they're all gone now, they've all moved on to other things. It's churned and burned them and the machine has dumped them and got in the latest worker, because there are always very young, keen, eager writers raring to go. That's not their fault. That's just how the world operates and how this machine treats people."

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Danny O'Dwyer creates video game documentaries for Noclip, a crowdfunded YouTube channel first launched in 2016. Known for their high production value and behind-the-scenes access to some of the most successful game developers in the world, Noclip has had a huge influence on PMG's work over the years. Prior to starting his own company, Danny is perhaps best known for his work at GameSpot, where he hosted shows like The Point and The Lobby.

"The reason I wanted to do the Bethesda stuff is that there's a couple of studios that if you cover, people just want to dunk on them so bad. And I loved the idea of doing a big retrospective on Bethesda because Bethesda's not cool to people! There's a whole generation of gamers who've all they've ever done is Todd Howard memes and take the piss out of some of the most successful and most beloved games ever made."

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Lucy James is the head of GameSpot's video team, managing a team of hosts around the world. Having moved from London to San Francisco, you'll have likely seen her face on all sorts of GameSpot video stuff, as well as her more recent appearances on Giant Bomb's The Very Online Show. In this episode we talk about the differences between the UK and US games media, the effect COVID has had on GameSpot's flagship shows and I get to quiz Lucy about the brilliant Audio Logs series.

"Typically game development is not this shiny process. It's not 'oh I have an idea, I'm going to make the game'.  It's iterative. It's killing your darlings. It's hard. So we wanted to break down those stories and discover what game development is really like."

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Ethan Gach is a senior reporter at Kotaku and has been responsible for a lot of the site's coverage of the Activision-Blizzard lawsuit, in which the company has been accused of a staggering number of gender discrimination and sexual harassment charges. Back in July, Ethan's reporting revealed details and photographs of the "Cosby Suite", a Blizzcon hotel room described by the lawsuit as a place for one high profile Blizzard developer to hit on and harass female employees while at the show.

"The screenshot spoke for itself in a way. This is the top level allegation that's being made against this studio, that all of these different behaviours, misconduct, mistreatment fall under this larger umbrella that people who have any conception of frat culture will understand to be often white male dominated, aggressive and sexually predatory. And here was this suite and this screenshot that are showing that exact behaviour."

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Tina Amini is the Editor-in-Chief at IGN, one of the largest video game publications in the world. With over one hundred staff making up the content team she's responsible for, Tina finds herself in a position unlike almost any other in the games media business.

"We're not just encyclopaedic. We're not just churning through the news everyday in an unreflective way. We're not just using our access to bring you First Looks and exclusives. We're also thinking about the larger, deeper stories that you're interested in. And we're putting in the work to do these investigations because we think there's an inherent, informative value to them."

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Jacob Geller is a video essayist and critic who draws upon modern art, architecture and politics in order to reframe how we think about the games we play. He's also really into Beat Saber.

"I think people haven't been shown why they should care about this history yet. And that is partly our job to say, like, it's important that you know this term, not just because you can throw it around, but because by knowing this and by knowing the conversations that have happened previously about it, you can expand your knowledge of games. You can make these things more meaningful for yourself if you engage in a little study."

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