Gamergate still seems to show little sign of dying down, and forms part of the much larger cultural wars that have been raging across the tabletop RPG and SFF worlds over the past couple of years. As is usual for the internet, the loudest and most extreme voices are getting all the attention, and all nuance is lost.
I don’t really know much about the current state of video game journalism, so I don’t know quite how accurate the accusations and counter-accusations I’ve been seeing might be. But they do suggest there are parallels with the state of music journalism and criticism.
Good criticism is an important part of any artistic ecosystem. Critics certainly have a role in publicising and promoting great art. It should go without saying that constructive criticism plays a part in making good art better. And, whatever some fanboys might say, criticism does have a role in calling out bad art that’s undeserving of anyone’s time and money. There is much in the music world that is derivative, formulaic and clichéd. There is art that is tasteless and offensive for its own sake. And there is pretentious nonsense that is nowhere near as clever as it likes to think it is.
But as every music fan ought to know, there is as much bad criticism as there is bad music. There are reviews that seem little more than regurgitated press releases. There are unfairly negative reviews that fail to engage with what the artist is trying to do. There are reviews that have an obvious and unsubtle agenda shared by neither artist nor audience. And the cardinal sin of criticism is still reviewing the audience rather than the performance, usually accompanied by a sneer.
Does any of that sound familiar?
But ultimately both bad art and bad reviews have an absolute right to exist, and only become a problem when they start drowning out everything better. This has been a recurring problem in the music world, but has slowly faded away as the internet has eroded the powers of the old gatekeepers. Is it the same in the world of video games?