There are many reasons not to write about video games. For most of my career, I have written for standard books related to the game industry. I was offered a job at Kotaku because I had found a way to make games criticized outside the theater. I rarely had an understanding editor I was talking about, and most of their managers did not consider games as an important place to hide.
Having struggled to find angles I never thought possible, I took advantage of the almost abusive speculation to train things that wouldn't be there otherwise. Lead in Fallout 76 it was a huge investment for people playing video games. For editors who may not have the console and will will never play PC game … it's about access. What do people in the mainstream media care about these days? Podcasts? Certainly. Then convince them only a few miles from there.
To this day, I don't know if many executives ever claimed to know the video game stories I wrote for them, or that I did. It would have been nice if I had completely given up games to write about movies and TV – which was great, because that's what I was hired to do. Writing about games in this way, you are well aware that your editors do not care and that writing can work well in the presence of a publication that paralyzes you with bullshit.
There is no real motivation for the world to pay attention to video games. You can totally explore the world of gaming, ignore it, and get it right – nobody will gossip about you unknowingly The last thought the way they would have done if you had not heard it Game of Thrones.
In my opinion, this is a bull. That doesn't make it true. But there are consequences to ignoring video games – the culture and the world around video games is often a mess of people and technology. There are people out there who have nothing to do with flowers, YouTube, or online culture wars. My project project suggests that, if they had paid more attention to sports, they would probably have known more about culture.
Sporting culture and “broad” culture are not unique. The only reason they were there is because we still live in the gatekeepers: Media companies run by the old guard who don't want to let their platform games, advertisers who choose to sell video games brutally small (mostly white, most male) demographic, and number crunchers who would like the milk of the same crowd for more money rather than expanding the base of people who played games.
Of course, the traditions of the game as it exists are engaged in this folly. As much as it has allowed the infringement of the small, toxic population to expose it, the way the gaming industry and the gaming community has become so content to be alone, and now mainstream media often wonder what video games are the breeding ground for white nationalists. Video games should be read, and no one wants to teach anyone.
Something strange, shocking happens when you grow up: People stop explaining things. It's so quiet – so quiet you don't even notice. You can swear that you are doing wrong, that it is your fault. Not at all. This happens to everyone. It is probably the saddest part of growing up. The world is losing patience.
The open secret about the current business of journalism is that no one really teaches you how to do it. There is a journalism school, but it is expensive, and all of its courses are comparative in nature. But the media companies, recruited by independent management companies and short-sighted executives, are overworked and under-staffed, have no resources to legally train new inexperienced companies in the form of a restaurant, a line cook. You have to qualify for the job before you even consider it, and make it a job that makes the editor jealous that you probably want a job.
Good luck if you want to learn how to criticize them. Want to become a sports critic? You certainly won't make any money for yourself. For a while, I did. It sounds like cheating.
Do you know how many reasons not to write about video games? The most obvious one applies: There are no jobs, no money, and there are very few opportunities circulating among the same group of people who have been doing it for so long, many of whom are friends. But there are others, who have labeled them job hazards: the often overlooked take on commentators and internet trolls, the clothing of content creators dedicated to fighting the scandal, and industrial culture so deeply rooted in white supremacy that it is likely to chase it. different voices than welcome.
All of this is heavy on my mind when I first get the position Kotaku, and of course? It's amazing, even with all the cool shit, like getting to write live video games and doing it alongside people like Luke Plunkett and Heather Alexandra. I did not know what this culture complaint was, and I knew I was not the kind of person or writer I had ever made so much space in.
I've decided to go. My reasons are simple: This publication is current and is driven by a corrupt management team that refuses to engage with its employees in good faith, despite their explicit and stated wishes to make some of the best and most profitable websites on the Internet.
He hits publishing and hopes to move on. You take your lumps if there is one you can't give, listen to those who describe what is lying in your blind spots. He asked another question. You start again. You should write like the bottom will come out from under you at any time, because it will. Someone who doesn't care to put you in, no matter how good you are, you will eventually become your boss. Someone will eventually tell you to stop. And so you have to write fast, because the whole project is profitable as long as you're working on it.
The world will lose my patience. The atmosphere tends to intervene; progress no the natural arc of our culture. It must be fueled by enthusiasm, and superhuman strength and persistence. The media is collapsing, and with the fall comes a backlash: safety, from what is known, from what you've worked before. Do you know what didn't work before? A diverse field full of queens and blacks and critics, paying attention to the kind of things that their white colleagues would never know, speaking to those communities in their own language. It never works because it's not allowed, so it's dangerous. Accidents are hard to come by during a crisis.
The men in my family love Rhy Balboa. For a white man, there was a lot about him that we could relate to. He was not a school. He does not have much of a subsidy. His land could be measured by blocks; his ambitions are less successful than keeping his turtle fed. But you get the idea: Maybe he could take on a world heavyweight champion. Not to win. He cannot win. But 12 cycles? He can hold 12 rounds. It is possible. They call that by distance.
I think I've read that Stephen Totilo, Kotaku's Editor, first appeared in the boxing magazine. It's funny that we never talk about it, or I can get out of it as quickly as a fake, remembering that there isn't a single battle I've watched with my grandfather and almost everything from the movie. I guess I think I have more time.
Here is an interview I had with Stephen, which eventually led to the writing of this piece: I wrote as a non-fiction because I never did, and not the way this industry was made. But I also believe that journalism should be a field full of people who are not their own, who are often uncomfortable, who disagree with the talk of the cycle and the idea that they should be here. The only way we can have the following conversation, is that comes after the diagnosis: about the severe shortage of industry representatives and the books it contains, about the conditions of exploitative workers, about sustainability and broadening the perception of who gets to do and write about sports.
I no longer feel like a Kotaku writer, although I am not one, I am supported as one, and, if the circumstances were not so different, they would always be the same. I don't know if I've achieved anything in my career. I will not feel like making me come to see what happens next: if this book and others continue to hire people like me and they are so different from me, people who are willing to kick the frameworks that support our ideas and look stubborn. in other answers, the ways this can all be different, at best, similar to the world of gaming people, not just those who comment on them online.
All of that is too much for the individual purpose. Progress is a game of inches, and obstacles are measured in feet. But that's okay. I never wanted to win. I just thought I could go the distance.
