A list of real ethical concerns in video games:
Video games are used to covertly advance the political agendas of arms manufacturers.
The aggressive marketing of capitalist war games is an inspiration to the U.S. military, which could take a page out of games marketing’s book in order to push unpopular ideas on the public.
Games like Littleloud’s Sweatshop or Molleindustria’s Phone Story are forbidden from Apple’s mobile storefronts, because they question (arguably deservedly) the ethics of manufacturing operations in impoverished areas.
Developers who invest in design and publishing on mobile storefronts can expect to have free, unsanctioned clones of their games steal their revenue and come ahead of the original on charts with no action taken from the companies that own those storefronts.
YouTubers have and continue to accept money to put games before their fervent consumer audiences and are not meaningfully obligated to disclose those relationships. They can then occupy leading curation spaces on a major storefront like Steam, Currently Steam curation’s discoverability algorithms mean the most powerful forces — many of whom, again, earn money from some game developers and not from others — only become more powerful.
The labor practices of the traditional game industry are exploitive and abhorrent. The industry’s historical production model involves staffing up, demanding extreme work weeks, and then letting go of the ‘excess’ talent after a product ships. Speaking out against these conditions is socially sanctioned, and developers who speak to the press at any time other than when marketing wants them to risk being fired.
An entire product and studio network — and by extension, a regional economy around games — can tank because of political posturing, and there is no accountability nor information provided to ameliorate the human collateral damage.
One of the U.S.’ most long-running and successful print game publications is owned by one of the world’s best-known game retailers, and few of the magazine’s consumers seem aware of what, if any impact that relationship might have.
In the name of objectivity, the consumer-facing games press largely releases material on a mutually-agreed upon set of terms and schedules dictated by game companies. It routinely accepts travel arrangements to tour studios and look at in-development games on financial obligation to those game companies and on those companies’ terms. Attempting to subvert this process by inserting personal opinion is viewed as ‘bias’.
In many of the above cases even when disclosure is obligated and made, disclosure does little to purify the overall effect on the climate and its perspectives.
Despite this, only the games press exists to question these ethical problems and attempt to inform the consumer. No one would care otherwise.
Women in games are routinely abused, bullied and harassed while their professional community, and the industry’s largest companies, tend to remain silent. Interrogating this culture or attempting to advance this conversation can result in censure or punishment.
Not currently ethical concerns: Women’s sex lives, independent game developers’ Patreons, the personal perspectives of game critics, people having contentious or controversial opinions, who knows who in a close-knit industry (as if one could name an industry where people don’t know each other or work together).