The Disappearance of Video Game TV Shows: A Decade of Neglect
It has been nearly ten years since the cancellation of Videogame Nation, the United Kingdom's last original review-based television program dedicated to console gaming, which ended in the summer of 2016. Despite the immense popularity of gaming, particularly retro gaming, as evidenced by countless YouTube channels and the release of mini-consoles by major companies like Nintendo, Sega, and Konami, mainstream television continues to ignore this cultural phenomenon for reasons that appear both bizarre and blinkered.
The Executive Blind Spot in Broadcasting
Before critics dismiss this as a tired argument, it is crucial to recognize a persistent issue: television executives and producers demonstrably disregard content they personally lack interest in, often guided by ill-informed market research. Over the past three decades, gaming shows have been produced, but their numbers pale in comparison to other genres, such as procedural police dramas, true crime documentaries, hospital series, unfunny middle-class comedies, and so-called reality shows.
Why do TV producers and executives consistently overlook segments of the British public interested in gaming, while saturating schedules with programs about American muscle cars, property flipping, or dining in New York restaurants? The relevance to British audiences is questionable, driving gaming enthusiasts to YouTube and online forums years ago. Television decision-makers seem indifferent, possibly harboring a contemptuous attitude toward video game fans, as reflected in their treatment of the few shows that made it to air.
A History of Gaming Shows and Their Demise
The journey began with GamesMaster in the 1990s, which pioneered console television shows. Subsequent programs, such as Bits (1999-2001), Thumb Bandits (2001-2002), and Cybernet, often improved upon the format. Cybernet, for instance, featured driving games from the PlayStation era and became a favorite for many, including the author's mother. However, its impact was limited due to absurdly late broadcast times, often after 3 a.m., showcasing the disdain of television departments.
Cybernet stood out by focusing solely on games, avoiding talking heads concerned with career portfolios, and instead offering voiceovers from the enigmatic Lucy Longhurst. Gaming shows were not confined to the past; Go 8 Bit (or Dara O Briain's Go 8 Bit) aired on Freeview channel Dave from 2016 to 2018. Based on the oversaturated panel show format beloved by British audiences, it could have lasted longer but was cut short.
The Current Void and Future Possibilities
The author emphasizes that they are not a media-savvy hipster connected to industry insiders but rather an ordinary viewer frustrated by television executives' poor track record, ranging from appalling to self-sabotaging. Videogame Nation was not necessarily brilliant, but it represented the only gaming content on TV at the time, and now even that is gone. This raises questions about how mainstream television survives, as few shows likely attract significant advertising revenue from major companies, aside from staples like Coronation Street.
People must question why mainstream channels consistently lack gaming shows. Rerunning old programs like GamesMaster, Bits, and Cybernet, even overnight, would cost next to nothing, especially since audiences seek such content on YouTube. Yet, this simple solution likely never occurs to most in the television industry, highlighting a profound level of clueless detachment.
In summary, the absence of video game coverage on mainstream TV is a decade-long issue rooted in executive indifference and flawed market research. As gaming continues to thrive online, television risks further irrelevance by ignoring this vibrant community.
