When Forbes wrote the heated headline: “Why eSports Doesn’t Need ESPN“. There was some debate coming from both sides on whether or not the author, Paul Tassi, was making a valid point or simply coming at the topic too strongly. The author’s main argument was that the idea of eSports “needing to make it to television in order to become legitimate” was complete hogwash. When it came to whether eSports will ever be televised, the article gave a more moderate answer in which eSports may, someday, be on television, but it doesn’t necessarily have to be.
That is a key highlight in regards to outlets in which eSports can be publicized. While there are a variety of avenues to produce eSports broadcasting, it goes without saying that they are not all necessary and yet, we value them even if they are an outdated form of how fans consume their favourite games. The discussion of whether eSports necessitates being on television, radio or even in the paper is pointless when businesses are already embracing the opportunity to expand, and the benefits from these efforts are already accumulating. Unfortunately, vocal communities translate eSports expanding on any outlet other than via internet streaming as a step into a heightened environment of [uptight] professionalism and an influx of curious (and sometimes skeptical) newcomers. These concerns about eSports changing and merging into mainstream expectancies is moot. It is undeniable that eSports will change as coming generational cultures shift into more technologically-focused traits; this shift also includes competitions, incorporating practices of the old into the new medium. Those who question the importance of legitimizing eSports are opinionated, and do not take into consideration the companies who have already been trying to legitimize it for many years. The author, Paul Tassi, is also victim of this narrow-minded view in which he dismisses cable television as an outdated media platform without understanding that although the current demographic consumes their favourite tournaments in-person or online, large consumer companies and products go through mainstream television to access their audience. Not to mention the cultural significance of television and that viewing habits still favour TV-watching by nearly 20 hours more than online viewing a week (MarketingCharts.com – 2013).
As the internet becomes more widespread, advertisers are turning to online livestream channels but that doesn’t mean efforts to access television should be halted; on the contrary, they should be continually pursued. The disconnect between how advertisers reach their target demographic and how fans enjoy their favourite events can become further minimized. To add, broadening eSports’ horizon will only create more opportunity for organizations currently starved for financial support, hopefully avoiding taking up offers from explicit companies such as from the pornography industry who have been losing advertising options more and more. From a business perspective, your produced events will have stronger marketable points by being live on national television (whether it is Sweden, Finland or North America – ESPN) than by just livestreaming for the sake of maintaining a semblance of “legitimate eSports”.
A preview show for ESPN2 was produced during Valve’s Dota 2 The International 4 which, prior to its announcement, urged Forbes contributing writer, Paul Tassi, to dismiss both the television medium for eSports as well as calling it needless to expand to when your current fanbase relies on internet live streaming
It should be stated that legitimizing eSports and expanding the brands of our currently established production companies such as ESL, DreamHack and Major League Gaming are naturally one of the same. These flagships of eSports production are both representative of how attractive eSports can be for the average fan as well as the bridge to the mainstream gaming industry. While eSports doesn’t need validation from mainstream networks in a nearly exclusive online entertainment; it is heavily sought after regardless.
- For DreamHack, the transition from being one of the largest LANs in the world since the 90s to becoming a fully-fledged studio as well as competitive event, has the interest of national television channels within their own country,Sweden – SVT (2009/2012) and now Finland – YLE (2014).
- Likewise ESL has enticed similar national television interest with their advertised recent Dota 2 ESL ONE event at the Commerzbank-Arena World Cup Stadium. For years, they have widened their the two brands, The Intel Extreme Masters and their ESL ONE, previous EMS One, with massive events across North America and Europe. More specifically, they have been using mainstream gaming conventions to both advertise their brand as well as draw mainstream audiences into the excitement of competitive gaming including Gamescom (Cologne), SITEX (Singapore, Convention Centre), Comic-Con (New York), CeBIT (Hannover), and Fan Expo (Toronto). It’s a sort of ‘two-birds-one-stone’ plan in which ESL heightens the recognition of their branded events while also intertwining the conventions’ mainstream appeal to improve the marketability of eSports and the viewership of their own competitions.
Let’s not also discount the fact that ESL has been the frontrunner for game developers/publishers to rely on for hosting competitive events such as Blizzard’s StarCraft 2 World Championship Series (2013/Europe, 2014/North America) Titanfall at IEM Katowice (2014), Battlefield 4 at IEM Katowice (2014) and Halo at Gamescom (2014), Riot Games LCS Europe (2013), Firefall (2012), SMITE (2012) and Hawken (2012).
What’s also interesting about ESL is their Intel Extreme Masters events attracts many technology and mainstream game booths/kiosks marking that not only is competitive gaming using mainstream conventions to draw in new fans but also that technology and mainstream gaming companies can take advantage of eSports events in-person.
- The progress publishers are making ranges from Riot Games’ massive budget and staff dedicated to all things LCS-related to Valve’s more long-term approach in meshing consumers with eSports fans to create cooperative businesses within competitive gaming (tickets and cosmetics that contribute directly to players, organizations or prizes at events). Together, they alleviate the risk with becoming involved in competitive gaming while also establishing a strong front for mainstream media to cover and expose both scenes (as we have seen with ESPN and The International 4 in addition to LCS World Championship on a variety of news sites)
The history in which competitive gaming has reached mainstream media stretches even farther dipping into its highs and lows with companies such as ESWC, CGS, WCG and more. This is especially true when it comes to national televised events as it is becoming the accepted norm in Asia (China, South Korea). Calling television a “dinosaur” when it has had such a relevant cultural impact in Asia for nearly a decade is just flat-out silly. ESports on television leads to better marketable numbers for tournaments, potentially more legitimate understanding and exposure of players and a step forward for generational values as generations are becoming born with access to the internet and outdated perspectives fall out. We can say that the value people put towards television is misguided especially with how impactful competitions are at conventional gaming expos. But the advantages of broadening our horizons among two audiences (mainstream gamers as well as the general population) are crucial for expanding eSports to greater heights. It answers the original article’s short-sighted question: “Why do all this work to try and expand to a medium that the majority of your fanbase may not even want or be able to access?“
The pitfalls from the past are always seen as two steps backwards and lessons to be learned. But these consistent outreaches from developers and eSports production companies to conventional media platforms and established gaming conventions tell us that there is a gain from continually trying to reach a wider audience; that the benefits outweigh the flaws to morph eSports to a wider accepted form of entertainment.
- To dismiss television is to be caught in the progress of internet livestreaming without admitting the cultural significance and habits of those who still consume a vast amount of television (not to mention how it is best to show eSports to newcomers via television, a more shared media medium) and where television still has an impact on national societies.
- eSports businesses and publishers are making major headway in developing eSports into a professional, long-term and stable interest for players and fans alike. This includes integrating mainstream consumers and gamers with the hype and excitement of eSports via live interaction at mainstreaming gaming conventions: Chinese, Korean, Finnish and Swedish national television. Whether the public dismisses television or not is superseded by these years of established action.
- In many aspects, eSports is a legitimate marketing platform for many companies, audiences and businesses as there is an intertwining of cross-marketing for both sides (developers to eSports and eSports with developers; discounting technology companies). That content can be further outreached to advertisers still prioritizing television over any other entertainment outlet – sustaining businesses further.
- Placing competitions at conventional gaming conventions may have a stronger interaction and impact on the gaming mainstream audience.
However, the question remains: at what point is eSports considered “legitimate”? What kind of measurements should it rely on to mark achievement: prize amounts? Media coverage (news, television channels, gaming conventions)? Or its influence on development companies’ business practices? It may very well be a combination of those areas and more but it goes without saying that the more eSports spreads, the higher its peak of interest and ultimately, acceptance as a showcase of the values in competitions, sports or not.