The only way WWE 2K18’s M圜areer mode can be considered a success is if it’s supposed to be a satire of how unnatural everything in WWE is today. That kind of sounds like a videogame, doesn’t it? Other than a few exceptions, the WWE of 2017 is a stifling, lifeless world filled with inhuman robots shuffling through storylines that have no lasting impact and rarely make sense. The awkward corporate verbiage most consistently undermines the announcers, who have to shout out WWE slogans throughout every show. Interviewers like Charly Caruso can’t establish any credibility with the fans because they ask inconsequential questions that are nonsensically written, and have to stare passively off camera for lingeringly long moments at the end of every interview.
There’s a regular shot that happens repeatedly during every WWE telecast where multiple wrestlers will be having a conversation but will all be facing the camera, with their heads turned towards each other, like those awkward old sitcom scenes where an entire family is sitting on one side of a dinner table.
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The rosters of Raw and Smackdown are full of wrestlers who struggle to recite scripted promos full of stilted language and corporate buzzwords that few people in the real world would ever utter.
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M圜areer, much like the hours of WWE TV found on the USA Network every week, is utterly divorced from reality. WWE 2K18, which came out last week, features a M圜areer mode that highlights one of the biggest problems with WWE today. That’s even spread to the company’s videogames.
It’s easy to criticize WWE today because, from a creative standpoint, it’s largely a disaster.
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(See Braun Strowman’s quick, clean loss to Brock Lesnar in September.) WWE might be capitalizing on its various revenue streams more efficiently than ever, but from a storytelling perspective the company has been a mess for most of this century, subject to the increasingly bizarre whims of an owner who doesn’t understand what his customers want and who has intentionally rejected what has worked in pro wrestling for decades.
The company reveals it doesn’t truly believe that, though, when it makes sure to protect the wrestlers it’s most dedicated to building around, even if that hurts the overall narrative and undermines hot new stars. It’s tried to minimize the importance of wins and losses, leading to very few wrestlers showing the kind of sustained dominance that traditionally helps to establish top stars, with the claim that match results are an outdated metric that are less important than storytelling. It’s spent years trying to build itself around a wrestler, Roman Reigns, who is resoundingly booed on every TV show. Today, though, more than ever, the company seems to go out of its way to disappoint its fan base. It’s always been easy to criticize WWE-even during its best creative period, from 1997 to 2000 (excluding 1999), it was full of horrible humor, segments that existed solely to embarrass certain wrestlers, and storylines that didn’t go anywhere.
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