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According to one, blockchain gaming is unusually unpopular with game journalists. Survey Out of 160 writers for video game PR agency Big Games Machine.

About 75% of respondents said they are unlikely to cover blockchain gaming news in the next six months to a year. Of course, if they had asked me, I would have said we have it covered. They claim they sent us a survey but I don’t see it in my inbox.

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Non-fungible tokens – which use blockchain’s digital ledger to authenticate unique digital items – have proven incredibly divisive among gamers and game developers. Team17 and GSC Gameworld withdrew their plans to do NFTs after gamers complained loudly on social media. And while game journalists may sit atop the fray as objective reporters, that’s not happening. Instead, game journalists are too hostile to the subject, Big Games Machine said. Game journalists agree with the backlash against NFTs, with only 5% saying they are very likely to cover blockchain games.

Journalists believe that their audience is not interested in or receptive to coverage of blockchain games.

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“Others expressed a general lack of interest in covering blockchain games, while others were more enthusiastic in expressing their dislike of blockchain games,” the report said.

In their responses, game journalists showed their bias towards the status quo.

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“I have yet to see any legitimate or compelling use for integrating blockchain options into games,” said one game journalist.

“Too many at once. The market is flooded, and we can’t see,” said another from the survey.
A lot of readers on articles about blockchain games.

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As for what game developers opposing NFTs have said, another game journalist said, “Blockchain is a solution in search of a problem. It’s being called a cure for problems that don’t exist and that don’t really matter to players. do not give

Another brought up the “environmentally damaging” nature of blockchain, although Ethereum is moving towards proof-of-stake verification and Layer 2 chains have reduced transaction costs and reduced the environmental side effects of transactions. What is it.

Staff and freelance journalists from publications including Eurogamer, Kotaku, CNET, and IGN contributed to the survey, many of them sharing additional context on their responses in the form of comments.

My hot take

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How Game Journalists Find Stories

Of course, my own perspective is different. I cover blockchain games because one of the lessons of being a business publication covering gaming is that you have to follow the money. Blockchain games may not be much fun, but they will make billions of dollars in 2021.

This success sparked a hype cycle that many skeptics were rightly skeptical of. In the first half of this year, between one-third and one-half of all money invested in game companies went to blockchain game companies, according to reports from state trackers Drakestar Partners and GameInvest.

I’ve spoken to a number of game developers in the industry, from Chris Kisolke to Rami Ismail, who say the arguments against blockchain games outweigh the potential benefits. I’ve also spoken with a number of gaming business leaders — such as Gabby Leyden, Kevin Lin, Josh Williams, Justin Kahn, Sebastien Bourget, Will Wright, Mark Otero and more — who believe blockchain games centralize power. It provides an opportunity to bring. Give the game industry and gamers ownership of the things they buy.

These leaders liken blockchain gaming to the dawn of free-to-play mobile and social games a decade ago. Hardcore gamers and many game developers alike had an aversion to free-to-play business models—they were fraudulent and associated with low-quality games and get-rich-quick schemes. But free-to-play games increased the audience for gaming tenfold, helping it become the dominant form of entertainment, and now account for more than half of the game business’s revenue.

Advocates believe this could happen again with blockchain games. I’m not here to agree or disagree with that. I’m here to cover what is the game industry’s biggest divide so I can find out who’s disrupting. I don’t think the role of a gaming journalist is to write about what form of gaming. We should just cover it, when the hype cycle starts and when it ends and moves on to something new — like the metaverse. We’ll see if blockchain plays a role in keeping the metaverse open.

I don’t think every blockchain gaming deal is a good one, and I see a lot of scams. We write about them when we can. I have seen crypto and NFT tot results for market and players who want to make money. But our job is to sort through scams and potential leads. We ask them about business ethics and how they can possibly succeed in changing attitudes. Their answers are that minds will change when high-quality games — which take years to make — materialize with the right technologies and business models.

Sports journalism is hurting.

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Why Game Journalists Ignore Pitches

I’m not here to pick fights with my colleagues, especially in very difficult times when the recession is hard. The survey also shows how businesses are suffering and journalists are overworked. It is a pity We saw layoffs this week. On FanByte, G4, and Future. And we’ve seen longtime leaders leave publications like Game Informer.

My heart goes out to those who have lost their jobs and it is easy to see why journalists are disappearing and moving to other industries. Often I see them becoming game makers themselves. I’ve been covering games for 26 years and I know very few colleagues who have been around as long as I have. It’s not an easy life. But I’ve always had a passion for work, which has brought me into contact with a lot of people in the game industry – many of whom I’ve spoken to repeatedly over the years.

It is clear that media has changed with the advent of influencers, creators, streamers and the like. About 76% of respondents acknowledged that there is common ground between influencers and game journalists. However, many noted the differences between the two and expressed frustration when influencers are given preferential treatment (codes, access) over journalists, the report said.

With an ever-increasing workload, increasing pressure on KPIs and dwindling resources to cover a never-ending list of games, the report said, respondents were concerned about the reality of working in gaming journalism in 2022. shared

“The games industry is growing increasingly competitive, and as a result, we’re seeing the media landscape grow and evolve. Since we first conducted this survey in 2018, we’ve seen that journalists The pressure increases,” Big Games Machine director James Kay said in a statement. “Unfortunately, the 2022 survey results show that journalists are working under increasing pressure but, nevertheless, they Publishers and PR professionals are not given the time needed to review titles. This is difficult, especially given the size of triple-A games and the additional time required to write these reviews and create additional content formats around them.

More than half of respondents create video content, and 40% create podcasts/audio content, so PR people should make sure their media kits/assets have enough audio and video content when they review. Presenting games for.

Online blogs and websites remain the largest source of content for our respondents, although it is interesting to note that more than half of them also create video content. It’s unclear if the content is from the site(s) he writes for platforms like YouTube and Twitch.

Either way, PR people may want to consider including additional video content beyond the usual game trailers in their media kits so that time-strapped journalists don’t have to spend extra time gathering footage, the report says. .

The life of a game journalist

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Platforms for which journalists review games.

The report states that 42 percent of game journalists receive 11 to 30 pitches per day, and 21 percent receive more than 30 pitches per day. I get over 500 emails a day, though I can’t say how many of them are pitches.

Journalists are not being given enough time by PRs and game studios to review games and do their jobs properly. Most respondents expressed frustration with short lead times, the report said, and more than half said a three-week lead was the minimum needed to properly review a game before launch. It is necessary.

The transition from “traditional” media platforms to “multimedia” platforms is well underway. The report states that more than 50% of respondents produce video content, and 40% produce audio content and/or podcasts.

PC is the most popular platform for journalists, with over 86% of respondents reviewing games on the platform. This compares to the Nintendo Switch (84%), PlayStation 5 (76%), and Xbox Series X/S (67%).

About 40% of respondents are engaged in podcasting, and BGM expects this to continue to amass a larger audience for podcasts and promote them heavily with services such as Spotify and Apple Music. PRs and studios should consider how to track podcast coverage and how they can work with journalists to create.
Providing studio staff for podcast content such as interviews.

Less than 10% of journalists create content for print publications. It’s no secret that gaming magazines are getting harder and harder to find on store shelves. While it’s highly unlikely that we’ll ever return to the golden years of gaming magazines, there is still some hope in the emergence of independent and specialist print publications such as Wireframe, Switchplayer, and of course The Lovely Lost in Cult. Remains. [lock-on] Gaming magazines.

More than 80% of respondents said that developing a game directly from a developer or publisher was ‘important’ or ‘very important’, highlighting how much they value direct relationships and praise for these studios. Do those who take time to do so. That said, 68% of journalists gave the same response when contacted by PR Apple.

Also interesting is the influence of other games media on journalists, with 40% of journalists saying it is marginally important when figuring out which games to cover. For journalists, seeing a competing publication devote a large amount of time and space to a game can have an impact on them.

Virtual reality hardware access issues are a potential problem for game reviews, with only 35% of respondents having access to VR platforms.

Tips, guides, and walkthroughs are becoming an increasingly popular beat for journalists, mainly due to SEO factors. 34% of respondents are engaged in guide/walkthrough work. I can honestly say that GamesBeat’s revenue is not dependent on SEO factors and therefore we don’t cover many of the things that are popular with other game journalists. Our events generate our revenue and help us focus on building a community among gaming business leaders.

Our next gaming event is GamesBeat Summit Next 2022 on October 25-26 in San Francisco. You’ll probably learn a thing or two about blockchain games and the metaverse — and traditional games, too.

Belief of GamesBet When covering the sports industry “where passion meets business.” what is the meaning of this? We want to show you how news matters to you — not only as a decision maker at a game studio, but also as a fan of games. Whether you read our articles, listen to our podcasts, or watch our videos, GamesBeat will help you learn about the industry and enjoy engaging with it. Explore our briefing.

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