> 1960s Arthur (newscaster) > 1980s Billy >. Originally, I had (if I recall correctly): 1940s B.J. However, he has also noted that Doomguy might not necesarily be grandson of Commander Keen, but some future decendent 'way later' down the timeline (to avoid any specific dating of when Doom took place), and possibly incorportating the 22nd century placements of Doom RPG/Doom 3. Tom Hall has also stated originally that Doomguy was the grandson of Commander Keen, and that heroism 'skips a generation' (Doomguy's father was not a hero). The classic doom novels may have been set in the early 21st century by the end they are set in the 25th or 26th century by the end of the series. While Doom 3, Doom (2016), Doom Eternal, Doom RPGs, and Doom Resurrection are set in the 22nd century. SNES Doom, classic Doom novels, and at least the first doom film set stories back in the 21st century. In reality, Polygon is - to my mind at least - a good, smart gaming site, and anyone who wants gaming taken seriously should celebrate the fact that games journalists are starting to analyze games’ political messages more critically.īut still: That was a sad, sad Doom performance.Doom has had essentially two main time line eras (with several possible 'parallel universes') either the original series in the 21st century, or retconned to be in the 22nd century. Thus, the schadenfreude-fueled commentary about the video thus, the inevitable YouTube responses, some of them admittedly funny: Polygon’s writers can’t even competently play an FPS for 30 minutes! To Gamergaters and their sympathizers, this video, bad and incompetent as it was, was the world’s best, most delectable ice cream sundae: “proof” of the theory that Polygon doesn’t really care about video games - not like real gamers do. Which brings us back to the Doom Let’s Play. In much the same way conservatives claim that the Washington Post and the New York Times and other outlets are hopelessly left-wing and therefore untrustworthy, Gamergaters insist that Kotaku and Polygon (and sometimes IGN and other big outlets that touch on technology and video games - BuzzFeed is one major target of their ire) are hopelessly compromised by their supposed political obsessions with social justice. This argument should sound familiar, because it’s a warmed-over, video-game-focused retread of good old reactionary distrust of mainstream media. Forget any of the stuff about journalistic ethics with respect to developer relations: The chief idea of Gamergate is that gamers are a poor persecuted group who just want to play vidya and read “unbiased” reviews and news, and Kotaku and Polygon represent a social-justice warrior cabal with a political agenda, who want to take those games away. Eventually the specifics of the originating “scandal” (which are so small-bore and petty I would feel dumb trying to explain them), fueled largely by conspiracy theory and exaggeration and the other stuff that happens when a bunch of gamers suddenly decide they are experts in journalism, blew up into something bigger, broader and, well, culture-war-ier. The reasons are varied and mostly dumb Gamergate did identify a couple incidents in which writers should have disclosed relationships to developers they were writing about, but nothing that comes close to explaining the movement’s outrage and obsession with certain key targets. What’s going on here? You guessed it: Gamergate fallout.Īs far as its adherents are concerned, the chief revelation of the Gamergate “scandal” was the deep-seated corruption of the mainstream gaming press - in particular, the websites Kotaku and Polygon.
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