Game Development's Fading Dream: A Betrayal by the Industry's Own Oscars
The Future Class programme, launched in 2020 with great fanfare, aimed to showcase a diverse group of individuals working in video games as the "bright, bold and inclusive future" of the industry. However, it appears that this initiative has been effectively abandoned, leaving its participants feeling cast aside and betrayed by their own Oscars.
For those who were part of the Future Class, the experience was nothing short of disappointment. Game producer Dianna Lora recalled the first year's event: "We were effectively props... we showed up, and it felt like we were pushed to the side door⦠We found out later that Keighley had a party in another room with all the influencers and industry people. You know where Future Class met that day? At a Starbucks." The sense of being used for positive publicity, only to be discarded when it was no longer convenient for the industry leaders, was palpable.
As the years went by, internal advocacy and struggles to improve the programme continued. However, despite efforts from its members to push for betterment, the Future Class ultimately met an untimely demise. A high-profile clash between the programme and Keighley in November accelerated the programme's demise, with over 70 participants signing an open letter requesting a statement be read at the December ceremony expressing support for Palestine and calling for a ceasefire.
Many felt that they were punished for advocating for themselves, particularly when it came to pushing for better representation and inclusivity. "You have the influence, you have the power, and you can change sh*t," Lora said. "But ever since [we pushed back] it was like, 'This is too much trouble, might as well peace out'." The programme's elimination has left its participants with a sense of disappointment and frustration.
However, not all is lost. For some, the camaraderie and community that was created by bringing together nearly 200 developers and creatives from underrepresented communities remains a beacon of hope. Elaine GΓ³mez, founder of Midnight Hour, noted that "the camaraderie and community that was created by bringing these individuals together" was the best part of the programme.
The demise of Future Class serves as a reminder that allyship without proper support is simply performative. As the industry continues to grapple with issues of diversity, equity, and inclusivity, it is crucial that initiatives like this are not abandoned without proper consideration for their participants. The industry's own Oscars must do better, and it starts by listening to its own community and providing meaningful support.
The Future Class programme, launched in 2020 with great fanfare, aimed to showcase a diverse group of individuals working in video games as the "bright, bold and inclusive future" of the industry. However, it appears that this initiative has been effectively abandoned, leaving its participants feeling cast aside and betrayed by their own Oscars.
For those who were part of the Future Class, the experience was nothing short of disappointment. Game producer Dianna Lora recalled the first year's event: "We were effectively props... we showed up, and it felt like we were pushed to the side door⦠We found out later that Keighley had a party in another room with all the influencers and industry people. You know where Future Class met that day? At a Starbucks." The sense of being used for positive publicity, only to be discarded when it was no longer convenient for the industry leaders, was palpable.
As the years went by, internal advocacy and struggles to improve the programme continued. However, despite efforts from its members to push for betterment, the Future Class ultimately met an untimely demise. A high-profile clash between the programme and Keighley in November accelerated the programme's demise, with over 70 participants signing an open letter requesting a statement be read at the December ceremony expressing support for Palestine and calling for a ceasefire.
Many felt that they were punished for advocating for themselves, particularly when it came to pushing for better representation and inclusivity. "You have the influence, you have the power, and you can change sh*t," Lora said. "But ever since [we pushed back] it was like, 'This is too much trouble, might as well peace out'." The programme's elimination has left its participants with a sense of disappointment and frustration.
However, not all is lost. For some, the camaraderie and community that was created by bringing together nearly 200 developers and creatives from underrepresented communities remains a beacon of hope. Elaine GΓ³mez, founder of Midnight Hour, noted that "the camaraderie and community that was created by bringing these individuals together" was the best part of the programme.
The demise of Future Class serves as a reminder that allyship without proper support is simply performative. As the industry continues to grapple with issues of diversity, equity, and inclusivity, it is crucial that initiatives like this are not abandoned without proper consideration for their participants. The industry's own Oscars must do better, and it starts by listening to its own community and providing meaningful support.