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.
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 add something about 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.
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).
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.
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.
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.
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.
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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