"Godsend" is a bit of an exaggeration, considering how many ways there are to get the same result without even going into emulation and stuff, but alright. It's still a fun bit of history and behind the scenes info.
Schreier has not published any of his gossipy pieces because he had a deal with anyone, at least that I know of. If what you mean is that he publishes the gossip because that's the red meat what keeps him employed at Bloomberg so he can write more thorough coverage of the really interesting stuff.... well, you have a worse opinion of Schreier than I do.
Honestly, you guys are doing little to get me on board with that sort of thing. From the way you talk about it I'm getting the distinct impression that this sort of "investigative journalism", which often boils down to "game development went poorly for reasons", is only feeding into the antagonistic relationship and not, as I'd hoped, creating more awareness of how the process goes so people can have more informed opinions.
Huh. Normally, you'd think when somebody takes longer to rephrase a post than it'd take to read the original they're trying to straw man the hell out of it...
...but no, you mostly got it.
Define "investigative journalism" when it comes to television. Radio? Maybe movies.
At best it's generalist journalism looking into a major issue, like the Ronan Farrow work that resulted in the whole MeToo movement. Other times it's straight-up business journalism, like the mainstream coverage of mergers or tech regulations. There is no reason why gaming can't be treated the same way, and in fact it is, as we saw through the whole Activision/Microsoft merger.
The idea that gaming needs a specific brand of "investigative journalism" as a matter for the daily gaming trades, such as they are, is based on this weird, antagonistic perspective that gaming fandom has about game development and it is, very much, part of the same problem as the hype cycle.
Sometimes, "investigative" journalism comes down to gossip, too, which is less relevant and I do not love. Schreier's brand of "I have insider buddies and they tell me this stuff" coverage can stray into that. He walks the line, for sure. Some of it is genuinely interesting intrahistory, some of it doesn't clear that bar for me.
What I do care about, though, is good journalism, and there are definitely people doing that, including those in-depth, after-the-fact analysis and historical documentaries. If those don't qualify for what you want to see in games journalism, then we just disagree about what is needed.
Heh. It's a LOT more complicated than that. Especially post-covid, with everybody ready to support working from home.
Hey, good luck getting hundreds to thousands of people, ranging from engineers to a bunch of kids doing QA to technically illiterate administrative positions and office workers to keep rigid, government-level security standards when each and every one of them has some degree of remote access and mostly are just... you know, going about their lives and going to work every day. You sound like you'd love doing IT for a game studio.
And hey, guess what, all of their work hardware and accounts are probably connected to their personal hardware and accounts. Or are, in fact, the same hardware and accounts. Nobody has time or money to equip every single employee with a second phone and laptop overnight and all of them had to work remotely during the pandemic, just as much as everybody else. It's kind of chilling to know that the games industry is under this level of harassment and these leaks keep happening, because I guarantee any other non-tech industry that has shifted to remote work the past few years is doing much worse at this. Gaming was already weirdly secretive, even when compared to movies and TV or other similar cultural industries.
For the record, games are full of open source software (and closed source as well). Go check out the list of OSS on any game's credits. They still have to comply by disclosures required by most licenses, so it'll be in there somewhere.
There is no obligation for publishers to send early copies, although when you don't do it selectively you're sending a bad message that you have something to hide or an axe to grind, so it's pretty bad PR to handle things that way.
Plus nothing stops an outlet from still getting a copy and reviewing the game day one. With so much of today's content being live video the kind of thing you're describing is... pretty inefectual? I get that it's the stuff people remember from the old days when there were more gatekeepers and print media could be reliably delayed by months by doing that, but... yeah, that's pretty anecdotal these days. It's mostly messing with critics' free time, which isn't the best way to get them to be nice to your game, if that's what you're trying to do.
See, I hear this a lot, and it's a bit disappointing. Because hell yeah, there is great journalism being done. If you want "investigative journalism"... I mean, why? It's videogames, not politics, but yeah, there are people out there doing that stuff (Jason Schreier comes to mind, even if I don't particularly like the guy, but he's not alone). If you want genuine, in-depth documentaries and explorations of the process of game development then I like you more. Noclip and People Make Games come to mind, in terms of sheer production value and coming from the journalism side, but Youtube is full of in-depth looks at games from that perspective based more on documentation and less on talking to the actual devs.
So maybe the question I have is why aren't those better known? Why is the hype machine still what the audience cares about? Because all of those are publicly available, and some even very popular. Why isn't it the default and why do people not actually engage with it even when they claim they do want to engage with it? Particularly when Noclip started doing what they do, it was such a common trope to say that people wanted that exact thing and nobody was doing it, and then the very, very good 2Player Productions documentary on Double Fine's Broken Age happened and it seemed like it was possible to do, so Noclip started doing it... and they're fine, they're good, they're still going, but they certainly haven't exploded in popularity or anything.
Whatever, this is an old argument. At this point most gaming coverage is let's play videos and Twitch streamers. And you know what? That's fine. that's still better than the relentless hype machine. I just hope the good ones doing good work get to keep doing it as well.
The actual article here gets to a great, very accurate conclusion: that information about unfinished, upcoming games is really not that valuable for users and an entirely artificial hype machine that insists on only paying attention to games before they exist. This is true.
There is very little genuine value in exploring a game in development, that is mostly a commercial concern. Which is fine, this is an entertainment industry. All parties here (publishers, journalists and audiences) are willingly engaging in a bit of a commercial transaction.
But journalistically and in terms of art criticism, the moment that coverage matters is after a game exists, not before. Really, leaking publishing plans or greenlit projects shouldn't be a big deal because publishing plans and business deals should be insider stuff that end users don't give a crap about. The relevant Insomniac game now is at most Spider-Man 2, not Wolverine or any later games they may or may not have deals to make. Mostly because there's no guarantee those games will ever exist or in what form.
But also, screw leaking personal info of game developers.
I don't love how this is phrased, but it's not wrong.
The harsh reality of creative industries is that people are gonna be uninformed, dickish smartasses on social media (and... you know, traditional media, too), but they don't owe the creators anything, so if they don't like a thing they don't need to be right about why they like it.
But hey, I also don't resent any creator for venting reasonably on social media about this stuff every now and then. I think it's a dumb, potentially career-ending thing to do, but I get it.
No worries. Paradoxically I feel like a pedant now for using the big word.
Anyway, that question is weirdly different from the "no HUD" one, I agree. Some of the games that make me look more at the world instead of at the pointers and indicators are full of HUD stuff. Somebody mentioned Zelda, which is fine. PUBG is a weird example, because yeah, it looks like a (messy, cheap, poorly designed) HUD, but the whole proximity audio and high stakes gameplay makes you stare at things like a hawk. We take it for granted because Battle Royale games became such a huge deal, but that was a neat trick.
It maybe works better as "suspension of disbelief", like in other fiction. You sustain it and you can go very abstract. You break it and things get weird.
Dead Space, which has come up a lot, does have a hud, it's just all diegetic. Whether that fits or not is up for debate.
For true zero hud stuff the first one I think of is Inside, for instance. If you're going for immersion that counts, but of course it's a very light, focused game. Journey and Flower are in that space, too. So is Mirror's Edge, technically, but it feels more intricate due to being first person, for some reason.
There's a bunch of minimal HUD games from that period, too. There's a thing here and there, but not a full HUD. There's the Portal games, which technically show which portals are up on the reticle, but nothing else. There's the Metro series, which will pop up some HUD but mostly relies on other visual cues. There's The Order 1886, which at the time was one of the standard bearers for minimal HUDs but I think now it's just slightly lighter than average, because that game is super underrated in how ahead of its time it was in terms of setting triple-A standards.
Does The Witness count as diegetic HUD or just no HUD? It's borderline. I think the Talos Principle has some light HUD elements, but they may be optional.
And hey, let me call out the times when a super dense HUD is actually immersion-creating, especially when it comes to representing tech or machinery. There's Metroid Prime, making the HUD part of the suit and placing you inside it. There's Armored Core, where the mech stuff is such a part of the fiction. There's the new Robocop, which I don't like but does a lot with its HUD. HUDs can be cool and immersive.
Those are even after my time. From the outside it looked like them starting to step away from "fantasy races in space", but it didn't intrigue me enough to pay attention and they never really became the core of the videogames because space marines everywhere, so...