The quotes below come from an April 2007 piece entitled "And The Winner Is", concerning the inaugural Games Media Awards of later that year, written by Kyle Orland for GameDaily.com. The site no longer exists, but you can still read the article via the ever-handy Internet Wayback Machine.
""We actually found a lot of people in the games media don't feel well recognized by the industry they served," said Stuart Dinsey, Managing Director for Intent Media and the brains behind the awards show. "We felt this was a good way to give them some of that recognition and have a great party for everyone to get together at the same time."
"As for the all-important judging itself, Dinsey said the exact process was still being tweaked. Dinsey added that he'd like to get votes from "all the leading companies" in the games industry, probably by asking PR representatives to consult with their colleagues and place a vote to represent the company as a whole. Dinsey said the exact makeup of the judging panel will be kept secret until after the voting is done, to prevent any quid pro quo situations from developing."
But the mere specter of industry voting was enough to give some members of the press pause about the awards. "The games industry are the last people who should be voting for awards in games journalism," said British game freelancer Kieron Gillen. "It's a bit like the prisoners voting for who's their favourite prison guard." Gillen said he worries that the industry voting will make the award one "you wouldn't want to win…. because it's basically shorthand for 'Lapdog Of The Year award'.""
(Despite these comments, Gillen accepted a GMA that very year, and this month pocketed the "Games Media Legend" prize to bookend it with. He attempted to justify his instant U-turn the day after the 2007 award by saying "The awards don’t really matter. PRs are fine. They’re just people." In a fine twist of irony he now pontificates at highbrow public events about how independent games journalism is of PR, and is also a judge in the "Games Journalism Prizes" awards, along with a number of other "concerned games industry types", several of whom are also GMA winners.)
Now the owner of the PR-driven GMAs uses their power to censor journalists with legal threats for expressing honest opinions and accurately quoting people's own public comments to illustrate a valid and fair point. Now maybe we're just old and bitter (well, there's no "maybe" about it), but it seems a pretty odd way of "recognising" games journalism to us. Unless, that is, you ponder who voted on the first GMAs (and still vote on them now), and start wondering to yourself exactly which industry it was that Stuart Dinsey meant when he said "recognised by the industry they serve".
Well, that was exciting. The entire English-speaking world of videogames journalism just about convulsed itself into a coma yesterday because someone did that rarest of things in the English-speaking world of videogames journalism – spoke openly, frankly and truthfully about something. If you've been having trouble keeping up with the dizzying pace of developments, allow us to lead you gently through the most concise and accurate timeline we can manage.
Below is the originally-published version of an article entitled "A Table Of Doritos", which appeared on Eurogamer this week, before being censored by the site following a complaint from Lauren Wainwright, who was mentioned in the piece. Lauren Wainwright is a journalist whose entry on Journalisted includes Tomb Raider publisher Square-Enix in the roster of her "current" employers.
WoSland republishes the article here, without the permission or knowledge of either Eurogamer or the article's author Robert Florence, in the interests of news reporting. It is unedited save for the fact that we've highlighted in bold the passage that Eurogamer removed. If it's libellous, as Lauren Wainwright claims, we invite her to sue us.
…is Hell Yeah! – Wrath Of The Dead Rabbit, which is out today on Xbox 360, PS3 and Steam for PC at the bargaintastic price of around £9.99. It's a heady, super-sexy crush of Sonic The Hedgehog, Super Metroid, Bangai-O, Wario Ware, Pokemon and FIFA 13*, made by the people who brought you the splendid Pix'n Love Rush plus me. Essentially, if you don't buy it you're a complete dick and I hope you die.
Extremely selective review quotes follow.
Like picking at a scab or peeling sunburned skin (and roughly as attractive) there's something addictive about the sheer awfulness of Apple Maps. Having already highlighted its total inability to perform the most basic function of an electronic map – finding places to within, say, five miles of their actual location – I couldn't resist going back to the Apple Store later the same day to document the visual quality of its maps. And because a picture's worth a thousand words, let's get straight to the results.
The internet is, let's say, a place known for exaggeration. So while the examples of Apple Maps that have been posted everywhere in the last few days were pretty compelling evidence, we weren't going to be absolutely sure until we'd seen it with our own eyes. So once the queues of worthless human refuse had died down, we popped into the Apple Store this morning and had a look.
Readers, take everything you've heard about how bad Apple Maps is and double it.
31 years ago, when Alan Grant wrote "Strontium Dog: Portrait Of A Mutant" for 2000AD, the notion that the father of a "mutant" child might become Prime Minister and oversee a programme of astonishing, vindictive persecution of the disabled by tormenting them with "work capability" tests and forcing them out of their homes (supported by "scrounger"-hating newspapers published on thin electronic tablets) was a crazy, dystopian sci-fi fantasy for kids.
Today, David Cameron presides over a government set implacably on slashing £30bn from the welfare budget (to pay for tax cuts for millionaires, obviously) by cutting housing and disability benefits for the profoundly handicapped and the terminally-ill, ingeniously saving more money by driving many of them to suicide as a result of measures even the Daily Mail is forced to decry as inhuman.
Enjoy watching "Dredd" this weekend, viewers. Keep telling yourself it's only a movie.
We're just beginning to see how the future of the UK will look under austerity. The full horror of the cuts may not be due to bite until later in 2013, but already we can see where and how they're likely to affect the UK population. Among the most controversial of these measures (so far) are the proposed regional levels for pay and welfare.
The regional pay proposals would see public workers paid less the further from the south-east of England they work (although devolved services in Scotland would be spared this), while the regional welfare payments would see a person on benefits paid less if they live in a poor area of the UK.
At present, government jobs are split into pay bands, with those on a certain band in one occupation earning roughly the equivalent of another public sector worker on the same band in another occupation. There's room for manoeuvre within the bands, but not much. These banding brackets are agreed through national pay negotiations by unions, ensuring that staff are treated fairly and consistently regardless of where they work. However, the creation of regional pay proposals puts an end to that idea.