This summary of the video was created by an AI. It might contain some inaccuracies.
00:00:00 – 00:15:44
The video explores the evolution and complexity of video game reviews over the last few decades, with a focus on Metacritic's top 100 rated games. It highlights how traditional text reviews and numeric scores, influenced by extreme fan communities and marketing campaigns, often fail to accurately represent broader consumer preferences. The discussion underscores that high review scores do not necessarily equate to universal quality, emphasizing the significant roles of brand recognition and established franchises in game sales.
The video delves into the diversity within highly-rated games and the inconsistency in comparing them based on play times or genres alone. This diversity includes action games, rhythm games, RPGs, and more, each offering different experiences and levels of engagement. Such variety makes it challenging to establish a unified standard for evaluating video games, unlike more predictable formats seen in movies.
It also examines the historical contexts of game reviews, noting trends like the rising maturity of themes in games during the PS2 era and the surge of M-rated games from 2006 to 2010. Despite the gaming industry's growth, from 2011 to 2015, there was a notable drop in the number of highly rated games, with titles like "Splatoon" and "Rocket League" focusing more on gameplay depth rather than high production values.
The video also reflects on how modern game development economics have shifted towards more affordable double-A or live service games, leading to fewer recent entries in Metacritic's top 100 list. This shift has rendered traditional review scoring systems somewhat obsolete, prompting a personal transition to YouTube for more financial and creative flexibility. The segment concludes with a promotion for Skillshare, advocating for accessible creative education.
Overall, the video illustrates the evolving landscape of game reviews, the varied metrics of assessing games, and the shifting economic dynamics of game development.
00:00:00
In this part of the video, the presenter explores the evolution of game reviews over the last few decades, especially focusing on Metacritic’s top 100 rated games. The segment highlights the potential changes in the future away from traditional text reviews and scores. It emphasizes the limitations of Metacritic scores in representing broader consumer preferences and the role of extreme fan communities and marketing campaigns in shaping these scores. The analysis goes on to question the impact of review scores on game sales, suggesting brand recognition and long-standing franchises play a crucial role. The presenter uses data to explain that many of the best-selling games are sequels or part of established franchises, exemplified humorously by the hypothetical game “The Legend of Super Metal Auto Theft 4,” which would combine elements from top-rated genres and franchises.
00:03:00
In this part of the video, the speaker examines the variation in play times for highly rated games and highlights how gameplay is vibrant despite the dominance seen in a sample of the top 100 games. They note that outside of games with a Metascore of 9 or above, review scores become less significant, particularly on platforms like Steam where reviews are user-driven. There is a discussion about the inconsistency in comparing games based on average play times alone, with examples like Street Fighter showing different ways people engage with games.
The speaker also talks about the diversity within highly-rated games, mentioning that those top-rated often fall under broad categories like “action” which can encompass vastly different experiences. This disparity in game types (e.g., rhythm games versus RPGs) leads to debates among fans over what constitutes a high-quality game. The comparison is made to movies, which generally provide a predictable format of storytelling, contrasting with games that offer varied experiences and levels of engagement. This variety can even make some highly-rated games intimidating due to their time demands, complicating any attempt to create a unified standard for evaluating video games.
00:06:00
In this segment of the video, the speaker discusses how the diversity and complexity of video games make it difficult to draw generalized conclusions from game review data. They mention the fluctuating general interest in games over decades and how top-rated games cater to very specific audiences. They highlight the erroneous belief that high review scores equate to universal quality, noting that reviewers’ preferences may change over time. The speaker is intrigued by how game reviews serve as historical snapshots of the media landscape at the time of a game’s launch. They analyze game reviews from the late 90s to the early 2000s, noting trends such as the high ratings of certain games, the shift in gamer demographics, and the emergence of more mature themes in highly-rated titles during the PS2 era.
00:09:00
In this segment of the video, the discussion revolves around the trends and evaluations of video games from 2006 to 2015. Initially, from 2006 to 2010, there was a surge in M-rated games and a focus on “maturing” video games. This period also witnessed a notable appreciation for puzzle games like “World of Goo,” “Braid,” and “LittleBigPlanet”. However, from 2011 to 2015, despite the gaming industry’s growth, there was a significant drop in the number of highly rated games. The video suggests that games like “Splatoon,” “Rocket League,” and “Bloodborne” had specialized appeal and focused more on in-depth mechanics than on high production values. It is argued that the emphasis on objective standards and spectacle, often measured by financial investment, overshadowed more nuanced, quality experiences in games during this period.
00:12:00
In this segment, the speaker reflects on how certain games create such a lasting impression that they disrupt sleep, mentioning “Bloodborne” and “The Witcher 3” from 2015. The discussion transitions into how game reviewers historically favored polish and technological spectacle, citing examples like “BioShock Infinite,” “The Last of Us,” and “Red Dead Redemption.” However, the economics of game development have shifted towards more affordable double-A or live service games. Consequently, fewer recent games make it to top-rated lists like Metacritic’s top 100, dominated by costly, traditional console titles. The speaker notes the obsolescence of traditional game review scoring systems, highlighting a personal shift to YouTube for its financial and creative flexibility. Metacritic’s current list reflects fewer new entries due to changing game production and economic dynamics. The segment concludes with a promotion for Skillshare, encouraging viewers to explore online courses in various creative fields.
00:15:00
In this part of the video, the presenter mentions poet Mary Karr and designer Aaron Draplin, highlighting their notable clientele such as Ford Motors and the Obama administration. The segment emphasizes that the expertise and hands-on projects available cost less than $10 a month. Viewers are encouraged to check the link in the description for two free months of premium access.