I have a feeling more than a few of you are interested in the topic of games journalism (based on feedback from my previous blog, Sore Thumbs). This one's for you guys.
If you're curious at all about how the "Best of E3" Game Critics Awards work, first, check out that link I just slapped down, then this one: an article from Crispy Gamer's Kyle Orland, which shows a lesser known, maybe iffier side of the whole process.
Just to be clear, overall, I'm very pro-Game Critics Awards. I like the organization's mission: to recognize great games. I also liked my time on the judging panel (which I'm no longer on since leaving EGM) because of the extra access I got within the industry. What journalist would ever turn down "extra access"?
Yet, that's the part I felt weird about, too. If a game's ready to be judged at E3, it should be the same version everyone else at E3 is seeing or playing. Judges shouldn't be getting exclusive hands-on privileges if no one else is getting to play those same games. Companies shouldn't be flying judges to special private events that no other press is allowed to attend. Game designers and developers shouldn't be extra accessible to judges and not the general E3 attendee.
If these are the "Best of E3" awards then let them be strictly that: the best of E3...not the best of what the judges get access to.
That said, check out how spot-on the Game Critics Awards have been in the past when looking at early E3 products.
In the end, however, who really cares? These are very minor criticisms of a process that really doesn't hurt anyone. The small-time game publisher who can't afford to put on a pre-E3 judges-only preview event may argue otherwise. But these aren't review scores we're talking about, just a little early recognition for what's cool at our industry's big trade show.
The who's who of gaming media: the Game Critics.









