The closure of BioWare has prompted a reader to argue that the video games industry's problems stem from greedy American publishers, who prioritize profit over talent, while Japanese and European studios continue to thrive.
In a reader feature published by GameCentral, the reader, identified as Grackle, expresses concern about the state of the industry, noting that many American companies are in a bad place, while Japan and Europe seem largely fine. The reader cites BioWare's closure on Thursday as the final straw, especially given the debt Electronic Arts (EA) has accumulated to enrich its executives.
A Year of Contrasts
The reader highlights that this year has been one of the best for games, with titles like Resident Evil Requiem, 007 First Light, Onimusha: Way Of The Sword, Saros, Pragmata, Star Wars Zero Company, and Star Wars: Galactic Racer. However, they note that all these games are either Japanese or European made, with the exception of Star Wars Zero Company, whose developer was so badly treated by EA that they couldn't pay staff in the final weeks and only brought some back after the game was confirmed a hit.
The reader acknowledges that there have been good American games, especially indie ones, but they haven't played them. They mention Forza Horizon 6, which they heard was good but didn't play due to not owning an Xbox (noting that Forza Horizon is made in the UK), and Big Walk, which they believe is from an Australian developer.
Big Business vs. Talent
The reader clarifies they are not suggesting Americans can't make good games, but rather that American big business is destroying the industry. They point out that companies with a vested interest in gaming's future are almost exclusively non-American, citing Rockstar North as Scottish. They list favorite American games like The Last Of Us, Destiny, Half-Life 2, God Of War, Mass Effect, and Dragon Age, but argue the problem is publishers managing developers poorly, with layoffs as a common response.
Japanese companies, the reader notes, value employees who stay for 40 or 50 years, encouraging them to train newer staff, whereas American companies see workers as obstacles to profit. The reader fears a dark time where skill and artistry are not valued, and wonders about the industry's future if the biggest market cannot produce great games.
Impact on the Industry
The reader concludes that while this year has produced many great games, the future is uncertain. They worry about the health of the industry if American publishers continue to prioritize profit over talent, and they fear for the future of gaming and beyond.
The reader's feature does not necessarily represent the views of GameCentral or Metro.
