Is Video Game Journalism Not Respected?

It could be said that since the rise of video games, the importance of that median in journalism was unattended to for various reasons: it was new, video game companies hired their own writers for their, and the general lack of interest from adults. Well, the modern era in video games has drawn in those old, middle-aged, and young. With the Wii children and adults can connect; the Xbox 360 and PS3 (Playstation 3) offer young adults and teenagers alike to immerse themselves within the game. With further strides of realism, so has journalistic credibility been needed. Reporting on future games, current games, large companies such as Blizzard, Activision, EA and Bethesdea have been needed more than ever.



Heavy Rain, a game developed by Quantic Dream and made for the PS3 is one of those games that have set the bar for realism and future storytelling in video games. Its entirely interactive, without suffering the plot, which in terms of cinematic realism is on par with modern screenplays. Its evident that with more powerful console systems, journalistic reporting is needed and has expanded within the video game world.

Andy Burt's review on Heavy Rain is what people want to know about such a hyped up game. Is it truly worth checking into? Clearly it is.

"An emotionally engaging thrill-ride from start to finish, Quantic Dream's Heavy Rain is a superbly crafted interactive experience, told expertly through its stunning visuals and believable characters."

Instead of mundane breakdown of the game itself he discusses, much like the critique of a film the key elements of why the plot of Heavy Rain is worth knowing. Classically the video game reviews would be sectioned, but its become more and more noticeable it has become too cookie-cutter and boring. Burt's review of Heavy Rain makes comparisons to film, discussion on emotional attachments, and the gameplay itself.

"Heavy Rain has much more in common with films like Steven Soderbergh's Traffic or P.T. Anderson's Magnolia than it does with any game."

This too me is what I value in a game review. I can't sit through a boring breakdown of a listed sections:
1. Plot
2. Gameplay
3. Visuals

While all of these are into the review by Burt it still refined and melded within the pieces of comparisons and similes.

"rarely has a video game so realistically translated not only a feeling of anxiety, dread, love, or any other emotion from across the screen and into the player's brain, but through its unconventional control scheme Heavy Rain wonderfully represents how one would react based on this emotional state, and the combined effect is as intoxicating as it is superb."

Andy Burt's profile of past education or past work other than his current job with GamerPro.com is non-existant. I assume that since he is more so a video game journalist than a traditional reporter say in politics or film is suggestive of his less than known background. Fun fact, instead of the Andy Burt I'm looking for I keep finding the British actor born in 1945!

GamerPro
His Twitter
The Freelancers (Video Game Journalist Podcast, Andy Burt was a guest)

Sports Writers Aren't Exciting.

I do love sports, but some analysts from ESPN get on my nerves. Maybe that's because they ones on air aren't nearly as good at writing as the ones that are in the thick of it. Take the NHL coverage on ESPN, it was a mainstay in the 90's, but now its almost all, but gone in coverage. Scott Burnside is one of those journalists at ESPN who doesn't get nearly enough credit as he deserves. His colleague Pierre LeBrun and him are in the shadows for most of the time. Burnside's article about the rise of rookie goaltender Jimmy Howard resonates with me, for the mere fact its exactly what I and what most Michiganers have been looking to with Howard.

Burnside mixes the past and the present Howard netminder on his article, which specifically talks about his Calder Trophy (Rookie of the Year) and MVP (Most Valuable Player) canidacy.

"Pretty heady stuff for a guy who was so worried about his future as an NHL starter, he postponed his honeymoon last summer so he could concentrate on getting his game in shape."


What I really enjoyed about this article is by far his use of past historical stats when it comes to Detroit goalies and Howard himself. Giving us a glimpse at how exactly Howard is doing for the Red Wings: "Or rather, another signpost on what has been a meteoric rise from giant question mark to potential hardware recipient."

Lastly, this sentence alone is what all Red Wings fans pondered for nearly 5 years, where Burnside strikes the nail straight on the head: "The Wings simply never rush players. But in Howard's case, it was more a case of whether the fruit would spoil on the vine." What may look like a simple and unattended article isn't that at all. The story itself can't be hyped over or circumstantial unlike some news articles nowadays (see CNN, FOX, etc.), which is why Burnside's work isn't exactly compelling, but truthful as it can be.

Scott Burnside's information is few and far on the world wide web. What I managed to find out was mostly on his current profile on ESPN. He joined ESPN in 2005, before he was a reporter for the Windsor Star and Toronto Sun. He has dabbled in publishing of books as he co-authored the best-selling "Deadly Innocence". Lastly his recognition as a journalist was awarded in 1990 claiming the National Newspaper Award.

ESPN Profile
ESPN Blog
Jimmy Howard Article
Deadly Innocence (Amazon)

Stasi On 'The Pacific'

Linda Stasi's relatively short review of the new HBO series 'The Pacific' is downright clever as it is detailed. Her opening line, which truly speaks to me on all forms of average American TV watchers was one of the main reasons I loved this review.

I spend my days with self-absorbed morons who parade their stupidity across the TV screen and call it “reality.”

That above is the opening sentence for the review. It hits at the heart of most viewers who seamlessly only watch reality television, from American Idol, Road Rules, and other laughable MTV garbage that has been spewing out since the early 90's. Stasi enjoys nitpicking at this early on then delves into the series itself.

Eventually Stasi dissects the greatness of the 'The Pacific': "But as important as those set battles scenes are to the series, they are blended beautifully with the bravery, frailties, strength and weaknesses of the actual people involved."

And later broadly on the problems that the opening episode of the series encounters: But that means that many battle scenes were filmed at night without tricky lighting, so it’s tough to make out what is going on"

Her critique of the series is a quick read, but it doesn't lack substance. She details the episode, the characters, the back-stories, and more importantly the overall atmosphere of the show. Honestly it isn't an alluring review by any means, but it gives me exactly what I'm looking for.

Linda Stasi's biographical profile or wikipedia either not available or nearly non-existent. She's mostly known for doing TV reviews for the New York Post. From what I've gathered she's been an on-camera reporter, newspaper columnist, and writer. Stasi has also worked for Newsday, The Daily News, and The Village Voice as a columnist.

The Pacific Website
NY Post Column (Stasi)

Joe Morgenstern's Review of 'Greenberg'

The difficulty of describing something that has dark subject matter or isolationist ties within a structure, say a film like 'Greenberg' is a challenge. Joe Morgenstern's review that dark comedic film is exemplary in describing the context of its characters and the struggles the main cast have:

"Greenberg scintillates with intelligence, razor's-edge humor and austere empathy for its struggling lovers."

Three adjectives that describe the film in one sentence is done well and there isn't any more clunky or awkwardness than you'd expect.

Morgenstern knows the director and the subject material well. Citing examples of past works by the director, which is something not many writers, at least good writers do. They take the time to get background information, some knowledge on the creativity of the director (Baumbach).

"This is a new departure for Mr. Baumbach, even though he might seem to be working the same territory of neurotic dysfunction and mutual need that he explored, sometimes relentlessly, in "The Squid and the Whale" and "Margot at the Wedding."

Morgenstern uses his previous generalities and delves into the details within his review, its something that should be followed and its easy to digest. Nothing seems out of place on this review and it flows easily. Its a good manuscript to follow if you're critiquing something and I probably will use it in future reviews.

"Greenberg" is a love story, yes, but it's also a tale of two people adrift in separate currents, constantly sinking and bobbing to the surface like synchro swimmers out of sync.

Morgenstern is no amateur in reviewing movies. He's been a top critic for quite some time and has reviewed film for the Wall Street Journal since 1995. His career as a journalist was doing reporting for the New York Times in the 1950's until he migrated towards film and theater in 1959. He started his movie reviews in Newsweek, working for the paper from 1965 to 1983, later moving to to the Los Angeles Herald Examiner until 1988. His critiques have earned him a Pulitzer Prize in 2005 for "Movie Criticism". More importantly his writing style is known for his extensive vocabulary and humor, something that is difficult to pull-off in any writing profession.

2005: Joe Morgenstern of Wall Street Journal, "for his reviews that elucidated the strengths and weaknesses of film with rare insight, authority and wit."

Morgenstern's Rotten Tomatoes Profile
Wall Street Journal /Film Review ("Joe Morgenstern is the film critic of WSJ")

Quick Podcast On The Lions

A bit off-topic, here's just a few quick thoughts on a Lions podcast: http://markopolo.podbean.com/

Short interview of a fan and some draft talk.

Colly Chaos

"Above all, here he aims to reproduce sounds already in nature, and where This Bliss was airy and celestial, this record is gritty and earthbound. It's darker, more forceful, and more chaotic." -Joe Colly, Pitchfork

Colly's description of what Pantha du Prince's newest album exemplifies is straight forward and simplistic. I enjoy that type of writing, something that isn't muddled or convulsed. While the sarcastic tone or comedic drivel in some music reviews may come off as elitist, Colly's portrayal of Black Noise is revealing in only a few words and makes no quick jabs at the artist or the music itself.

Later going on with the specific, chilled compositions of Pantha du Prince:

"On the gorgeous "Welt Am Dracht" and closer "Es Schneit", eerie vocals drift over taut drum programming and shredded synths flutter around like pieces of confetti."

The last section of that sentence is what makes this impressive. Colly's simile to conjoin the musical synths within those two tracks and "fluttering confetti" is fine in the context it is depicting. And why not? Colly's words of a darker, more chaotic Pantha du Prince album resonates with this line, as if the song has no structure of place.

Growing up in Brooklyn, New York, Colly's work has been mainly known to be as a contributor to the famous critic site Pitchfork (having the reputation of creative writers) and XLR8R; not only adding music reviews, but interviews of artists such as Beach House, Girl Talk, and RZA to name a few, allowing him to have numerous features on both sites.

The very last sentence of the review keeps his consistency and simplicity without confusing the reader with over-the-top metaphors, something I entirely can't stand. Sometimes reading music reviews can be a chore by just trying to decipher the meaning, Colly's review isn't the case.

"Instead he chose to deconstruct his signature style, and the result is strikingly unique."

Simple and effective.

For contrast take for example this review of Jet's highly-generic debut Get Born. It is done creatively, but what is the point? It doesn't show us what kind of musical prowess (if it all) the band possess or even the album itself. It reads like a rant with a sarcastic toned dialogue, and only about the band's 'attitude' or 'music stealing abilities' in so many words, which frankly is inane.


Pantha du Prince Review
Colly's Blog
Pitchfork Work
XLR8R Work
Twitter