Category: Video Games and The TV

Talking about video game-related content that aired on television.

The lowlights of The Game Awards.

It’s December! Around this time, The Game Awards makes its presence known, with World Premieres, sponsored content and of course, games winning awards. Started by Geoff Keighley in 2014, it’s now entering its eighth year of trying to be something that’s the video game equivalent of the Academy Awards. Whether or not he’s succeeded is up for debate.

Way back in 2012, Year One of this blog, I had made a post about the “highlights” of Spike TV and their Video Game Awards, the predecessor to The Game Awards. It was rather crude, much like a fair share of my first few years of this blog, of which I eventually went back and gave it an overhaul in 2019. You can see the updated version here. I figured since I’m still going at this “writing about games” thing 10 years later, I figure it’s time to do part two of this series, covering the current version of the Video Game Awards.

I wonder if it’s ever been explained what that logo is meant to resemble.

The Game Awards are something I really hold no love to. It’s the most crass, commercial thing of the entire video game industry, replacing E3 as the most visible but problematic thing about the toxic game industry. Thus much like the first post, I’m going to point out some of the more awkward and stupid moments of this “revered” Game Awards.

But first, some ground rules: We’ll go year by year, covering what I feel are the most notable parts. We won’t talk much about what games actually won, as awards like these are arbitrary, and having a conversation about what should’ve won is like people who constantly debate about game review scores: pointless. We’ll only cover things that I think are worth being a lowlight, which might be missing out on some things that others might consider “cringe” and should be covered here. (Which means you won’t see me post something like SonicFox winning Best Esports Player in 2018 on this list, because he deserved that. Sorry.)

That being said, let’s get started.

The Repeat Offenders

Before we get into the inaugural year of The Game Awards, I’m gonna start by covering certain events that happen repeatedly in several years, to speed things along.

Poor Kyle Bosman. Heard he was respectable, at least.

From 2016 onward, each Game Awards starts with a 30 minute pre-show. During this process, they would alternate between interviews about the show, and showing off World Premieres and giving out some awards before the actual broadcast. In essence, the pre-show is like the regular show but at a faster clip. The hosts changed from year to year, but the hosts were Kyle Bosman (2016-2017), Geoff Keighley (2016-2018), and Sydnee Goodman (2019-present).

It has to suck to have the chance to win an award, only for it to be rattled off quickly by Geoff 5 minutes before showtime.

What awards get mentioned during the pre-show vary from year to year, but usually it’s the ones that wouldn’t have people come up to accept the award, or in the case from 2019 onward, the Esports centric awards. Shoving these off to a pre-show just to have more World Premieres always felt scummy to me, but apparently most contemporary award shows don’t cover all the awards in a single broadcast either, so… I don’t know. At least in some categories, they do have people come up to accept the award, so they at least get some time in the spotlight, just not on center stage.

In addition, this rapid-fire announcement of awards continues well into the regular broadcast. In a lot of cases, Geoff will appear on stage and go through up to 3-4 categories at a time, most of the time being the ones that are voted on by viewers. Again, nothing really wrong with this per se, but it just makes the actual awards just be a prop so we can get more World Premieres in.

Damn it, I try to get away from commercials, not have them blasted in my face!

Finally, returning from the Spike Video Game Awards, there are promotional ads everywhere. These change from year to year, but they’re often the go-to digital services of today: Discord, Grubhub, TikTok, Spotify, the works. Sponsors for upcoming video game films and video game-adjacent products are prominent. Facebook Gaming sponsors a taped segment each year covering gamers from around the world. And in some years, there’s ads for services that no longer exist, like go90 being incredibly prominent during 2015’s broadcast, or 2019, which had several ads for Google Stadia, a service shutting down in early 2023.

Much like its predecessor, there’s still award categories sponsored by brands like Samsung, Gillette and Subway. While there’s no “Most Addictive Game fueled by Mountain Dew” category anymore, it makes the award show feel a bit hollow to have brands sponsor specific awards.

2014

The debut year of The Game Awards was an… interesting affair. Since Geoff and the show’s production team were transitioning from broadcast television to internet streaming, there’s a fair share of technical problems that happen throughout the broadcast. Microphones don’t work, awkward camera cuts, the works.

Ever wanted the most unflattering angle of Troy Baker? The Game Awards 2014 has you covered.

One of those technical problems seems to be this secondary camera angle that they constantly cut to when not on center stage, where Geoff will either be talking or doing an interview with someone like Marty O’Donnell. I assume this camera angle has a purpose: maybe to get a better angle of the people being interviewed. But instead it just looks like someone in the control booth accidentally switched to the wrong camera. It’s kinda funny to get rather unflattering angles of people like Reggie Fils-Aime.

I wonder if this was the highlight of his career.

One common award featured during these broadcasts is “Trending Gamer,” an award voted upon the community highlighting notable internet gaming personalities. The award would eventually get renamed to “Content Creator of the Year,” but with the same rules in place.

The inaugural year has Justine “iJustine” Ezarik and Stephen “Boogie2988” Williams presenting the award, of which the candidates were a bunch of relatively unknown Youtubers, Pewdiepie, and weirdly, Jeff Gerstmann. The winner ended up being John Bain, better known as “TotalBiscuit.”

I’m putting this here because TotalBiscuit was one of those personalities who was very much on the side of Gamergate, even though he tried to renounce it a few times. He was a fairly toxic personality when it came to gaming culture, complete with saying that his critics “didn’t actually play games,” and introducing The Framerate Police, a Steam Curators group that basically wagged fingers at games that dared to have locked framerates for their games, like the original Tomb Raider from 1997.

TotalBiscuit passed away in 2018 from cancer, a few years after this award. At the time TotalBiscuit had found out he was in the early stages of cancer, thus he accepts his award from his home.

For the record, I do not wish he died of cancer. I wish he was still alive so that he could get his head on straight and not try to pander to the angry gamers crowd like he had. At worst, he could’ve gone the Pewdiepie route and powwowed openly with right-wing fascists. At least then I could rightly ignore the guy. Though, in retrospect, The Game Awards did go with the more safer choice, because if Pewdiepie won, the award would’ve been a much worse look today. But honestly, I wish Jeff Gerstmann won. After all, Jeff Gerstmann is still a threat.

Let’s just stop everything in their tracks so a guy can accept his award during an interview.

In a continuation of the slapdash production of the first Game Awards, we have miscommunication leading to an awkward presentation.

Best Mobile/Handheld Game was presented by comedians Matt Braunger and Ron Funches, two fairly amusing people — I always loved when Funches appeared on The Giant Beastcast. After doing a silly bit where they try to rip off Angry Birds, they announce the winner: Blizzard Entertainment for Hearthstone. Matt then says “Blizzard can’t be here tonight,” and they accept the award in their honor. Cut to Geoff, confused, where he mentions that someone from Blizzard is at the show, but continues with a conversation with Nintendo’s Reggie Fils-Aime. Eventually Blizzard producer Eric Dodds appears to accept his award and give his speech at the little nook where Geoff is interviewing Reggie. It’s kinda hilarious that such a thing happened, and wouldn’t be the last time we would see award mishaps like these.

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Candy Crush: From mobile game phenomenon to short-lived game show.

As someone who loves the world of game shows, I’m honestly amazed that there haven’t been many game shows based on video games. We have game shows based on board games – Monopoly, Scrabble, Scattergories, stuff like that. We had game shows that used a bunch of video games as its base like Starcade and Nick Arcade (ugh). But rarely one adapted from a single video game.

There’s only been one other attempt to make a video game into a game show, and that was the rather short-lived adaptation of You Don’t Know Jack way back in 2000. Cut to 2017, where a major television network greenlit a game show based on a video game property that, while still big, was well past its prime. And it floundered for nine weeks in primetime.

No “saga”s to be found here.

For a brief period in the summer of 2017, CBS aired a game show based on the hit mobile game franchise Candy Crush Saga. Called simply Candy Crush, it definitely fulfilled my curiosity of “what would a game show based on a popular mobile game be like?” But does it actually work as a game show? Judging by how short-lived it was, the answer is “probably not.” Despite that, I’m still curious about it. I’d seen an episode before when it was still new, but I needed to refresh my memory on whether or not it was any good, or if it deserved to be sent to the trash.

Since this game show is based on a hit mobile game, naturally I had to play a bit of the game show’s inspiration first.

A sample Candy Crush Saga game in action.

Candy Crush Saga, the first in a long-running franchise by King Games, has a fairly simple premise: Using a board of various pieces of candy, one must try to match three of the same kind of piece by swapping two pieces connected to each other. Every level has a goal: hit a score threshold, eliminate a specific number of pieces, etc. Failure to do the challenge gives you the option of either spending gold bars – the game’s premium currency – to get extra turns, or losing a life and starting the level over. Each level introduces new hurdles to the gameplay, and there’s really no end goal, the levels keep going until you get bored or bother to complete them all, of which there’s over 1,000 levels worth.

I’m familiar with match-3 puzzle games – Bejeweled was played many a time in my high school years – but the sickly sweet style of Candy Crush Saga was a bit off-putting to me. It doesn’t help that a lot of the time the game often played itself, where I’d make one move and suddenly set off massive chain reactions for big points. But I understand the game’s addictive appeal, including how friends talked about the progress they made back in the day.

Hearing some guy go “Tasty” when I do big combos is rather offputting, combined with the ’70s looking font being used everywhere.

Fun fact: Until this article, I had never actually played any of the games in the Candy Crush series. Mobile and Facebook games are not something I dabble in too much these days – save for the occasional blog post like the most recent post about Bingo Story’s cross-promotion with The Price Is Right – but I figured it would be wise for me to finally get in on the game just for a better frame of reference on what the show was about. It was alright, but I stopped at around level 147 due to the game constantly losing connection and making it difficult to make progress. I wonder how far my friends ever got.

But enough about Candy Crush the video game. How the ever loving heck do you make a game show out of it? Let’s find out.

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I mean, you’re certainly not getting someone like Todd Newton to host your big money game show.

This show was hosted by actor/TV personality Mario Lopez. Getting a somewhat-notable TV personality to host your game show is the expected for game shows in the modern age, and does surprisingly well despite not having a lot to do. Naturally, there’s a bit of post-production voiceover in spots, but otherwise he seems nice, friendly, and genuinely wanting to be there. He gets a B+ in my book.

Shockingly, this is not Mario’s first foray into game shows, as he hosted the second season of the oft-forgotten, yet fascinating Masters of the Maze in the mid-1990s. Now that’s an interesting kids game show that nobody really remembers.

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Cybermania ’94: An extremely ’90s video game awards show.

It’s that time of the year again. The Game Awards, an awards show that’s ostensibly about giving awards to the biggest games of the year, has come and gone. A continuation of the Spike Video Game Awards from years past, The Game Awards is peppered with occasional celebrity guest talent and reveals for hot new games. It’s more of a spectacle than an actual awards show.

I really don’t enjoy watching these shows. Especially during the Spike era, which was peak “dudebro TV” where one year they literally had models body painted to look like the games being awarded. I wrote about some of the more “notable” moments of the awards show back in 2012 – updated in 2019 – that you can read about here if you wanna see how I felt about them, and how I feel about The Game Awards now.

So instead, I’m gonna head back into the past. To look into the days when video games were just considered a technical marvel and not quite a billion-dollar industry done to shill sneak previews like it’s a mini-E3. An awards show that was only attempted once, yet is quite the embodiment of the 1990s: Cybermania ‘94.

Yep, this is totally ’90s as hell alright. I mean, when you get pop artist Peter Max to do it, what do you expect?

Airing on TBS in late 1994 (natch) and filmed at Universal Studios Hollywood, this award show was the prototype to the future Spike VGAs and Game Awards. In 1994, video games were starting to gain more traction in the United States, especially in the era of 3D graphics and full motion video. The show was made during the peak of the multimedia trend of the mid 1990s, and it shows throughout the whole event.

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It’s like they went “who are the two most affordable and oddball actors we can afford here?”

Our hosts for this event are actors Leslie Nielsen and Jonathan Taylor Thomas. A rather bizarre combo to be sure, which was probably bolstered primarily by the difference of age between the two actors. Both of them were still fairly popular – Nielsen had recently starred in The Naked Gun 33 1/3: The Final Insult, and JTT was on one of the biggest sitcoms of the ‘90s, Home Improvement – but the two couldn’t be a worse fit. Nielsen’s age means he’s clumsily talking about future technology as if he’s impersonating Phil Donahue like in The Naked Gun 33 1/3, and Taylor Thomas has the problem of just being awkward and inexperienced next to Nielsen. Granted, it’s probably better than the later game awards where we got David Spade or Joel McHale, but not by much.

Can this style make a comeback, please?

We start Cybermania ‘94 with The Gate to the Mind’s Eye, the third in a series of computer-generated videos that were fairly popular in the late ’80s and early ’90s. Afterwards, the show starts in earnest with Nielsen and Taylor Thomas standing in front of a computer as a Hillary Clinton impersonator tries to turn it on, Nielsen realizing it’s not plugged in, plugging in the power and having the computer explode in front of the “first lady of the United States,” giving her a cartoonish explosive face before walking offstage. This introductory segment is a strong indicator of what the show is going to offer.

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Video Games according to Life: A Civil War.

It’s been a while since I’ve done one of those “Video Games according to TV Shows/Movies” posts. Previously, I looked at David Caruso chewing the scenery and giving us the most meme-worthy quotes as I checked out CSI: Miami‘s Urban Hellraisers episode. (You can check that out here.)

As we bring the series out of moth balls, we look at another TV show that depicted video games in the silliest way possible. This time, it’s a short-lived crime drama that while had an interesting premise, was the wrong place at the wrong time.

Again, I’m not a graphic designer. Leave your complaints about this at the door.

This time, our featured show is Life, a short-lived police procedural that aired on NBC from 2007-09. Damian Lewis plays Charlie Crews, a former cop who was imprisoned for 12 years for a crime he didn’t commit. Now hired as a police detective, Crews must solve crimes while trying to solve the mystery of who actually caused the crime he was imprisoned for. It’s like Monk, but instead of an obsessive-compulsive man, we have an eccentric ex-con.

As opposed to Urban Hellraisers, which I watched without watching any prior episode of CSI: Miami, I actually did watch Life‘s pilot to understand the show’s premise. The acting is solid, Lewis does a fine job showing off Crews’ personality traits. Though, if you decide to watch the series for yourself, expect to see a lot of “technology has changed since he was in prison” jokes. Like in the first episode, I saw him fumble with both trying to use a cell phone and trying to comprehend how he’s answering phone calls from his new car.

The episode in question is titled “A Civil War,” from the show’s first season. The episode starts with two Persian-American employees of a gas station killed and stored in a refrigerator, with “GO HOME” splashed on the windows in motor oil. Crews tries to find out who caused it, finding out it’s a hate crime by three perpetrators. Later on in the investigation, they find out there’s a third person, Amir Darvashi (Oren Dayan) who was kidnapped being held for ransom, and they ask for help from the gas station’s owner, Mary Ann Farmer (Sarah Clarke).

I'm sorry, but after watching so much 24, it's hard to see her as anything but a psychopath that might kill anybody at any moment, even in a show like this.

I’m sorry, but after watching so much 24, it’s hard to see Sarah Clarke as anyone but a psychopath that might kill everyone at any moment, even in a show like this.

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A look back at Xbox: The Next Generation Revealed.

It’s 2013 as of this writing, which means it’s time for the next Xbox to be revealed. The third generation of Xbox is a rather confusing name: It’s called the Xbox One, it’s heavy on TV, media features, and Kinect stuff. It plays games too.

But let’s go back, shall we? Before the Xbox One, there was the Xbox 360. Eight years and one week ago, Microsoft used MTV to announce the unveiling of the new Xbox with a TV special titled Xbox: The Next Generation Revealed. Which later gets changed to Xbox 360 Revealed partway through the broadcast, but that title isn’t nearly as catchy.

Our host for this evening is Elijah Wood, which you may know from some series of movies about Hobbits. Along with Wood, our co-host is MTV2’s Jim Scherer joining along in the festivities, being the primary interviewer for most of the special.

Before they show off what the new Xbox looks like, they start out with the typical “video game history” video that talks about what’s happened in gaming. Goes through all the common beats: Video games weren’t a thing until people got crazy for Pong, then Nintendo came around and made video games relevant in America again, and then a bunch of other stuff up to now. The competition isn’t nearly mentioned as much directly, which is probably a good idea since they didn’t want people to get hyped for the next PlayStation or the Nintendo Revolution.

It seems every major video game-related TV special has to mention the history of video games, and it’s always hackneyed every time I see it. I mention this because me and friend of the site Bobinator watched Cybermania ’94 a while back before writing this, and even though it’s almost 20 years old as of this writing, it’s just as ridiculous as this event. Even Cybermania said Pong was the first video game, which I guess is a bit more punchy to say compared to SpaceWar.

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