In the realm of gaming, the year 2024 proved to be a tapestry woven with both triumphs and tribulations. Some games shone brightly like beacons of excellence, while others languished in the shadows, failing to captivate the players’ hearts. Yet, amidst this dichotomy of successes and failures, one of the gravest disappointments of the year emerged from the murky waters of game journalism. As a denizen of this realm myself, the very title of “game journalist” has descended into ignominy within the gaming community of late, reaching a nadir of disrepute in the current year.
The questionable tapestry of game coverage unfolded throughout the annals of 2024, painting a grim picture of journalistic integrity and veracity. From the dubious narratives surrounding titles like Black Myth Wukong to the profound disconnection with the gaming community during the analysis of games such as Dragon Age Veilguard and Concord, the landscape appeared bleak. While it may be frowned upon to cast doubt upon one’s own profession, the exigencies of the present year demanded a reckoning, a shedding of light on these transgressions to prevent their recurrence in the future.
### 1. A Flaw in the Fabric: The Absence of Veracity
Let us embark on a journey through the mire of controversy that marred the coverage of Black Myth Wukong throughout the passing year. Wukong ascended to the second-highest peak player count on Steam, earning accolades as my personal Game of the Year and a spot on my all-time top 10 list. However, the saga of Black Myth Wukong, from its prelude to its denouement in reviews and beyond, unfolded a tale of dubious journalism perpetrated by renowned game pundits.
The tempest began with rumors swirling around the developers of Wukong – GameScience, accusing them of harboring sexist and misogynistic tendencies. Such grave allegations demanded concrete evidence, yet the scaffold upon which this indictment was hung proved flimsy and unsubstantiated. Anonymous interviews and a mistranslated post from Feng Ji, a co-founder of GameScience, formed the bedrock of this egregious accusation. The propagation of this contentious information by various publications and game journalists during their reviews of Black Myth Wukong cast shadows of doubt upon the integrity of game journalism.
As custodians of truth and purveyors of gaming narratives, our foremost duty should be to critique games based on their intrinsic gameplay value. Gamers seek our counsel to discern whether a game merits their time and investment. While external facets may sometimes warrant spotlight, accusations of sexism and misogyny demand meticulous fact-checking to safeguard against tarnishing the reputation of an entire game studio and their magnum opus.
—
As the journey through the labyrinth of gaming journalism continues, a glaring chasm emerges – a disconnection with the very soul of gaming, the players themselves. This profound disconnection, widening with each passing year, has transformed our titles into pariahs within the gaming pantheon. A poignant exhibit of this dissonance unfolded with Dragon Age Veilguard, anointed as the game of the year by many game scribes, only to falter ignominiously in the realm of commercial success.
While I do not disparage personal preferences in gaming, nor those who found solace in Veilguard’s embrace, the hallowed title of Game of the Year felt like a deceitful mirage. The game’s narrative plumbed abysmal depths, its dialogues floundering in mediocrity. Despite my reservations, the pantheon of game journalists chimed in unison in praise of Veilguard’s narrative prowess. The fissure between their acclaim and my disdain epitomizes a schism in gaming journalism – a disconnection from the very essence of compelling narratives and immersive storytelling.
—
Amidst the labyrinthine corridors of gaming journalism, a specter looms large – the era of vapid equivocations and safe reviews. A prevailing trend amongst game journalists espouses reviewing games through a myopic lens of complacency, evading critical introspection in favor of safe, uninspired assessments. The ‘7/10’ or ‘3.5/5’ ratings have metamorphosed into a macabre meme within the gaming fraternity, a somber testament to the vacuity of critical appraisal.
—
The pages of the future year unfurl with promise, heralding a crescendo of gaming delights. A plethora of esteemed titles beckon from the horizon, casting a pall over a tumultuous past. This chronicle serves as both a lamentation and a proclamation, a requiem for the follies of yesteryear and a clarion call for redemption. In the cavernous chambers of Moyens I/O, we pledge allegiance to the sanctity of factual accuracy and the pulsating rhythms of player sentiment.
Let us embark hand in hand, into the morrow of 2025, where the clarion call of virtuous journalism beckons, and the quills of truth inscribe a path illuminated by candor and integrity.
