Since you seem to be engaging in good faith, Iâm going to take this opportunity to expand on what I was originally saying for the sake of everyone who is confused. (The short answer to the second question you ask is ânoâ, by the way).
Video games are made for profit and that has affected the production and consumption of video games in a lot of ways - the âgamerâ subculture being utilised as a gateway to the far-right just being one example. There are multiple problems including:
The mainstream games industry is producing games that rely on extrinsic motivators such as increasing your rank or completing a stage rather than simple enjoyment of the experience of the game. As a result, games are becoming boring, filled with repetitive gameplay, lots of grinding necessary to progress, and are designed to be simply unenjoyable without paying for upgrades.
This is particularly an issue regarding lootboxes which are essentially a form of gambling - and found in games marketed towards kids like Fortnite as much as they are in MMOs or the like. Often unique rewards are placed in these crates which cannot be won without potentially wasting hundreds of euros on crates & they deliberately appeal to people who are obsessed with the game already, people who have invested into the branding like itâs a lifestyle, people who have poor judgement, etc. for the sake of milking cash.
While a lot of AAAÂ games are traditionally story based, these types of games are now more often endless, without a clear cut off point, as they shift towards multiplayer modes that extent gameplay and thus potential for profit. Often this involves endlessly elongating plotlines and creating padding and just making mediocre quality to churn out. MMOs are of course victim to this anyway, but youâre seeing this with other types of games that arenât MMOS.
A good friend of mine is a regular Destiny player and weâve talked before about how updates have rewarded players who effectively are willing to spend every waking hour on the game, and how this basically pushes out anyone who is working full-time, got kids, or is otherwise busy and cannot dedicate large amounts of time to a game everyday. Generalising from this example, long hours can create a culture that is extremely hostile to people who are new, learning, cannot dedicate that kind of time, cannot âgit gudâ because theyâve got better things to do, and the lack of sympathy there creates a nasty environment for a multiplayer game.
More generally, many multiplayer games encourage a lot of extremely competitive play where people are given permission to be as openly hostile, rude, and cruel as possible without limits. The culture has little sympathy for people who struggle grasping the mechanics and instead ruthlessly mocks them and tears them to pieces. One wonders, I muse, with a healthy dose of obvious sarcasm, how on earth fascists infiltrated this space. (Caveat: This isnât a criticism of competition in games, of course - you can play competitively without a ruthless hyper-competitive culture, you can play competitively respectfully. I think the reason people are ruthlessly competitive is partially because âthe gamerâ as an identity is about being angry you havenât been given what youâve been entilted to - and thus losing proves you arenât entitled and worthy of all the social capital white men are supposed to have, you lose your right to be pissed off by showing yourself as âweakâ and validating what others have said, itâs embarassing for you. This combined with the permission to lash out at every minority imaginable leads to people just being vile and reeling off slurs casually when shit hits the fan in a game. Theyâre trying to grasp onto that entitlement.)Â
More story-focussed games are also guilty of a version of the âendless gameâ export large chunks of their stories to DLC. While in the past you could expect a finished, polished game for a fixed price, the process has been expanded and instead youâre expected to dish out twice the money you initially pay.
Gaming publishers have tried to latch onto marketing trends where products are sold not simply as products, but lifestyles. This is not unique to gaming - or even nerd culture. Apple is probably the most famous example of this - selling products as fashion accessories as much as they are like, computers or phones. Publishers absolutely 100% take advantage of the way their fans are obsessive about their products, they encourage it, they create special lines for them, they produce merchandise with their branding on it, they sell you the idea of being a certain kind of consumer. Which also is the reason people are so upset when you criticise games - because you are criticising their identity, frankly.
As well as trying to turn you into shills, and milking you for every penny, the quality of game production has decreased with bug-ridden games that can be patched later becoming increasingly normalised, âearly releaseâ becoming more normalised instead of a decent QA team.
This is partially because of the way extremely long hours has been the norm for workers in the game industry. People are often pushed into âcrunchâ conditions where they work 60+ hour weeks in stressful conditions trying to desperately reach the deadline that the publishers have demanded. This isnât a particularly new phenomenon either - The Elder Scrolls Morrowind was infamous for this (which the recent polygon interview almost completely glosses over but never mind) and that was released in 2003.
Publishers dictating what developers do has long been a problem additionally - anyone who has followed what EA has done knows this, as that studio is notorious for buying successful indie studios, gutting them, and using the studio reputation to sell more.
The thing is, very few self professed âgamersâ seem to care about any of these things. They donât care about workers rights and get angry at them for being entitled and preventing the release of their games. As part of ânerd cultureâ more generally, gaming subculture is often composed of entitled white men who lash out at everyone and everything for not being given what they believe they, by right, should have as white men (and yes this bullshit attitude is why you donât have a girlfriend). This involves âthe freedomâ of being freely misogynistic and homophobic and racist without fear of anyone reasonable criticising them. (This also plays into how they can often, in competitive multiplayer, feel that they are âfreeâ to be as horrendous as possible, and anyone challenging them is challenging that freedom to be entitled and violent and cruel, and thus by even criticising them, I am anti-freedom, anti-gaming, anti-their identity).
The games industry generally doesnât care about this. They donât criticise their fans; instead they cater towards their taste. As long as that doesnât impact the image theyâre trying to sell (and so theyâll never acknowledge the fact that a subset of their market is just adjacent to fascist organising), they couldnât give two shits.
Arguably, games publishers have never really cared about anything other than profit from the get go, since gaming has its origins in arcade and fairground games which are such an obvious moneyspinner, itâs not like other forms of art where itâs about enforcing an ideological divide between classes, separating rich and poor with âhighâ and âlowâ are, so yeah, I accept the criticism that the present perfect âCapitalism has ruined video gamesâ was not the correct tense to use in the OP.
Now, I originally made this post on a whim at midnight, it was meant to be a quick observation for myself and a couple of friends who know me, understand me. I donât have lots of followers and I donât have lots of clout; I had not expected this post to get so widely reblogged and had I known it would have been written differently.
- I think all fascists should choke, actually.
- A lot of people who play video games arenât outspoken fascists but likely rub shoulders with people who are, are adjacent to groups which are, know friends of friends who are in contact with white supremacist groups, and probably tried to recently claim P*wD*eP*e has nothing to do with fascism (even though he still follows fascists, has lots of fascists in his audience, and frequently uses racial slurs⌠[thinking emoji]). When you are a bystander to fascism, when you shrug your shoulder at the violence fascists represent and fantasise about. Youâre an apologist for it. It is not acceptable to do nothing in the face of violence.
- Obviously there are parts of the market that arenât affected by this particular subculture - games, like the Sims for example, that are marketed towards other audience. But try and tell me with a straight face that EA arenât monetising literally every single aspect of that game whenever possible and making the quality of the game worse for it. The OP still stands. Capitalism has ruined video games.
By the way @ everyone else whoâs been a total piece of shit on this post in the notes, you can all stop being smug wankers now, i hope you gain some pitiful sense of satisfaction from mocking me as a way to ignore how personally repulsive you all are.