“2024: The Year the Gaming World Crumbled”

Games featuring Black protagonists and characters faced criticism for being perceived as forced. Female characters labeled as unattractive or masculine were subjected to scrutiny due to the “DEI chin.” Dragon Age: The Veilguard faced backlash from far-right trolls due to its customization features, enabling players to design characters with top surgery scars or interact with a nonbinary companion. After reviews were published, conspiracy theorists seized upon commonplace phrases or other terminology as evidence that studio BioWare was directing reviewers on how to discuss their game.

Even titles that had yet to be released encountered significant criticism. Compulsion Games’ South of Midnight, which follows a young Black woman in the Deep South, provoked ire from the anti-DEI factions on platforms such as X, where they’ve manipulated the appearance of the protagonist to render her looks less “unappealing” and posited conspiracy theories regarding Sweet Baby’s role in the game’s creation.

However, the pressure to stay neutral—an intriguing perspective for a form of entertainment that combines the artistic choices of storytelling and imaginative realms with the autonomy provided to players who engage with them—didn’t arise solely from a vocal minority. Following the launch of Black Myth: Wukong, some streamers received recommendations to steer clear of discussing Covid-19 or “feminist messaging.” The guidelines had the reverse effect, prompting streamers to utilize the coded language they had been instructed to avoid: a backlash against policies intended to actually silence players.

Looking ahead to 2025, Ball mentions that he perceives more pessimism overall, but “it just feels disheartening to consider, let alone forecast.” He notes one silver lining, stating that there is “a greater volume of hiring occurring than is typically assumed. The downside, however, is that it’s not nearly sufficient to offset the overall trend, particularly among independents.”

As 2024 draws to a close, the industry appears to operate—with an external perspective—under a business-as-usual attitude. In early December, developers convened in Los Angeles to celebrate at The Game Awards. On stage, host Geoff Keighley delivered a brief address among game announcements, honors, and a performance by Snoop Dogg.

“The unfortunate truth is that in recent years, the gaming industry has experienced substantial and unprecedented layoffs across the board,” remarked Keighley. “These impact both the games we get to enjoy and, even more crucially, the creators behind the games we adore. We can discuss and certainly dispute the causes, and truthfully, as a show we grapple with the best way to tackle these issues constructively.”

Keighley took the opportunity to introduce TGA’s inaugural “game changer” award, recognizing an individual who has made a positive contribution to the industry. The show progressed with major announcements regarding significant projects such as The Witcher 4 and the forthcoming title from The Last of Us developer Naughty Dog.

In the midst of all this is the looming presence of AI. There remains minimal clarity on the extent to which AI will expand and how it will be integrated into future games, but it raises increasing concerns as entry-level employees face layoffs. No one can predict when, or if, the industry will recover with sustainable job opportunities and adequate compensation. Certainly, there will be games to engage with, yet it is uncertain how many individuals will be able to create them.