A lot of the inspiration for what Miller is doing with Kinda Funny Games comes from Giant Bomb. They have similar origin stories. Giant Bomb was formed after ex-Gamespot employees Jeff Gerstmann, Ryan Davis, Brad Shoemaker and Vinny Caravella struck out to build their own editorial presence on the fundamental faith that the podcasts and videos they did at their former place of employment were popular enough to translate into a brand new website. It worked. Now Giant Bomb owns one of the most enviable spots in games media—tight-knit, uncompromising, but still rich with corporate money.
“Giant Bomb were the trailblazers,” says Miller. “Tim [Gettys] and I had a handle on YouTube, but the more you learn and study YouTube you realize that that’s what Giant Bomb was doing from the beginning. I was talking to Jeff [Gerstmann] back when we were just toying with the idea [of going independent] and he was like ‘yeah you guys got the right idea.’ It was what we needed to hear, that we were building and doing something that he saw himself in.”
What’s impressive about Giant Bomb is that they rose before the validation of Twitter or the Let’s Play scene. It was 2008. The precedent hadn’t been set. These were four men who were probably doomed to settle into the periphery of the games industry if they hadn’t stepped out to build their own thing.
“We were talking about the importance of engagement and the death of banner ads in, like, 2009. We certainly found a way to build something people would want to use that, at the time, felt more forward-thinking than building Yet Another Videogame Review Site, but it’s obviously not the only way,” says Jeff Gerstmann, founding editor of Giant Bomb. “If I were doing it all over again in 2016, I’d probably be building something a little more like Greg’s infrastructure rather than trying to develop and maintain a full site in-house.”
Giant Bomb’s theory paid off beautifully. They’re a videogame site, a humor site, a journalism site, all wrapped up in a single package through the authentic personalities they’ve developed organically. Gerstmann has been working in games writing since he was a teenager, and tells me he finds the way other videogame sites lean into off-topic content to be “sort of depressing.” It’s sobering to hear a man with so much experience offer a gloomy take on the industry.
“When I look at what the big sites are doing to stay afloat these days, I’m not sure if I’d still be in this line of work or not. I probably would have given up and taken a job on the publisher side or something by now. That side of things certainly pays better,” he says. “There are plenty of people in management positions who don’t see long-term value in experienced staff. If your primary output is rewriting stories that appeared on other sites and people standing in front of a camera, reading lightly rewritten press releases, there are thousands of people out there who want those positions and are willing to do it for next to nothing. That’s a hard thing to compete with. There are sites out there getting people to write news stories for them for zero dollars. How is anyone supposed to compete with that?”
Naturally, this doesn’t give much hope to people interested in games journalism as a serious, full-time career path. Giant Bomb was a natural extension of the exposure Gerstmann and his co-workers received working at Gamespot. Greg Miller cultivated a following on one of the biggest gaming publications on the internet, and had plenty of people ready to follow him when he went independent. The rise of YouTube and Twitch provides more avenues than ever to get your voice out in public, but being a streamer is much, much different than being a journalist. Jeff Green has spent years trying to edge his way back into an editorial role with no dice. He’s at peace, but also wishes that maybe he tried to take the Giant Bomb route back in 2008—long before he realized how drastically the industry would change.