We’re in 2026 and starting out with a new site, focusing on all the good stuff that comes from independence. Independent game developers, independent stores, bars, coffee roasters, etc. The world of massive chains, franchises and conglomerates feels bigger than ever, but so too does the rise of those wanting to step out on their own.
Now there’s a whole lot to be said for independence, for sure. And we’ll touch upon that separately. But today, I want to focus on just how big, how rapid and how accessible independent games media is now.
Look, we’re just one tiny spec of the bigger picture. Much like our sister site, Dying Art Media. Independent, yes. Reliant on the traffic and following of a large fanbase? No. Don’t get me wrong, that would be lovely. But for the time being, these sites are run by us as an aside. We work full-time jobs and do this because we love it.
But there’s an increasingly massive space whereby media outlets are paid for by fans, and it keeps their lights on. It’s amazing. Massive personalities in the gaming space are untethered and able to speak freely.
We’re in the age of independent games media.
How did we get here?
Before we get to gush about the state of independent games media currently. Let’s take a quick look back at how we got to this point. This is very broad-stroke, but it gives you the gist.
We’ve all heard of the big names, right? Eurogamer, Gamespot, IGN, Kotaku, The Escapist, etc. There are loads, but they all came up from nowhere, grew, became prominent voices and ultimately attractive places for advertisers and web traffic.
Then come the buy-outs. Bigger media groups are unable to make their own headway in a niche market that’s becoming worth billions. What do you do? You buy the successful ones.
Suddenly, these sites are owned by someone with a much more pointed interest in the bottom line. Suddenly, partnerships with advertisers and marketing teams are impacting review scores and integrity. Staff are laid off because the type of content they specialise in isn’t what drives the bigger engagement numbers.
It’s become messy, and the sites become less appealing to the core audience. Thus, causing less engagement, lower revenue, harder drives from the top to make money, and this endless cycle of pain for all involved.
Certainly, the sites were initially proud to have been picked up and identified as leaders in the field. But the bigger owners never understand the product or the market, and essentially kill what they buy. This isn’t always the case, and there are instances where this has worked better than others.
What do these talented personalities and journalists do in this environment? It’s toxic, it’s likely going to end in a job loss, and it’s unhealthy.
They leave and believe in themselves. And it’s been working. Giantbomb, Kind Funny, Second Wind, People Make Games, NoClip, Nextlander. The list goes on and on. Good people are good wherever they work, and gaming fans know this. We trust their words and opinions, and it turns out people would rather pay them directly for their work.
Independent games media is the way.
Crowdfunding
Crowdfunding has always been the crazy bit for me. People believe so much in your work that instead of having an employer, you trust your fans to become patrons of your work.
It’s a traditional way of working, for sure. But in the more corporate world that we’ve built, it has been less common than it used to be. Independent games media is possible because of this model.
But sites like Patreon and Kofi, etc., have made it easier than ever for people to essentially become direct customers of these journalists/creators. It’s amazing.
I’d suggest that in a lot of ways, gaming is the perfect niche for this approach, because gamers are hobbyists who invest in the things they care about. Time and money are spent reading, playing, listening and engaging with the medium, all the time. Podcasts, websites, YouTube and Twitch. There’s so much out there, and we’re willing to pay for the good stuff.
The success of these new independent games media outlets is unreal. With the right following and the right approach, individuals and teams have left these massive websites and magazines and set out on their own. Doing the same work, but being held accountable directly to the fans as their primary source of income.
With different tiers, providing different levels of access and varying content availability. We’re now able, as fans, to get more of what we want and avoid all the nonsense. Giant Bomb still run their own premium subscription; much must be even more lucrative, without having to pay Patreon fees, etc.
All of my gaming content comes from these outlets these days.
There’s plenty to be had for free, as well. Nobody is forced to pay for stuff, and let’s be honest, sometimes a sub to one outlet means another favourite doesn’t get one.
So it’s a tricky balance, but the world is our oyster as fans and customers. We’re owners and consumers of independent games media, and it’s a powerful position, for sure.
Independent games media
I think it’s pretty obvious to say that this path, whilst not without risk, is the best way for teams to be open, honest and truly independent. Not being beholden to whoever pays the highest price for adverts.
Absolutely, they still need to work on deals and sponsorships, but there’s a vibe of people doing this reasonably and responsibly for their audience.
As we see big media outlets shedding staff almost weekly, and seeing the industry kind of implode, thanks to the race for bigger financial gain, etc. It’s amazing to see the little guys getting out from under it and taking control.
Independent media of all kinds are more crucial than ever. And independent games media is one of the best at showing how it can be done.
Get out there and support what you love: independent games media.
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