For my part, this all comes down to video games' relationship with the market. In general, popular discourse around games operates under the assumption that the market is a necessary evil at worst and a force for good at best. This is in spite of the reality of what the market is - that of an extractive force that opens up cheap labor markets on the promise that you, yes you, can become the next indie celebrity - and elaborating on why it's a necessary evil/force for good gives away the circular logic at work (is a wider player base necessarily desirable independent of the problems capitalism creates for that player base to solve?).
But back to doujin scenes, we have a culture which directly challenges these notions. Many doujin creators are perfectly happy operating at the small and informal scale they operate at; where they do break out, they tend to do so only insofar as is absolutely necessary for their situation. If the English speaking press does ignore doujin creators, it's out of an implicit realization that the former cannot rehabilitate the latter into an indie gaming apparatus that wouldn't serve the doujin creators' best interests anyway - indeed, which could very easily trample over their interests in the name of international capital. (One is reminded of Nicalis' scummy legacy here.) So it is that the name of the game becomes rehabilitate where one can - this tends to mean games which already had the level of funding only a business can acquire, or which were already amenable to English speaking audiences on a creative level to begin with - and sort of pretend the rest doesn't exist.
(I don't know how to work this in, so...proof that this problem has been going on since at least 2017.)
Of course, this presents a challenge for us writerly types: in what capacity can we write about these games? Can we write about them at all without facilitating the opening up of new markets? My gut says yes, although absolutely not through a major outlet like The Verge, and in any case I'd need to devote considerably more thought to the problem. Felipe Pepe would almost certainly have something to say about this. However, in the interest of pointing only to what I can know for certain, I'll end this by saying I am reminded of Indie Tsushin's work, as well as of The Video Game* Industry Does Not Exist, which I only started reading a couple days ago.
*
