Bear in mind that at this point the whistleblower’s name has been mentioned publicly, with Twitter showing a broad range of references, including in transcripts from House testimony and on live broadcast television.
Now, it may be said that Eric Ciaramella is merely an alleged whistleblower, and potentially not the whistleblower. I think that this is an entirely legitimate argument.
But at which point do we decide to censor the media to protect individuals? We have seen kids wearing the wrong hats targeted by the media, or people raising money for charities who quoted questionable jokes from shows broadcast on media companies’ television channels on Twitter.
You can argue that there is a duty to protect whistleblowers, and I think that this is true. But this has not, by and large, been the rule. The establishment already knows the identity of this person. Their name has been tweeted by the son of the president.
There is a vested public interest in understanding the people involved in the impeachment investigation on both sides of the aisle. We want to know when the president has done something wrong. We pay for the government, and in its charter it is said to operate for the people. Those of us who would not sanction wrongdoing demand to know.
But we also demand to have due process. When it is stripped from one it will be stripped from all. We demand to be know when witnesses have conflicts of interest. We demand to know what our government is doing.
And now Facebook has become an Orwellian establishment.
Lowly proles cannot be trusted with a name. They might make their own decisions and come to their own conclusions. They might decide that the government is not of the people. They might challenge the power structures that be, and force bureaucrats and politicians to give up the control that they have.
So it is time for the memory hole.
Post-script: Lest I omit this information, the photograph I mocked up for this post is a verbatim replica of a post I made earlier today on my Facebook account. It has been deleted without notification to me.
I’ve been reading Stephen King’s On Writing (Amazon affiliate link), and I just had an epiphany that I figured I’d write about. Obviously a lot of it is inspired by King’s ideas, and I just hit a section about two-fifths of the way into the book where he talks about paragraph structure (of all things).
I’m in the process of going back and getting my Master’s degree, a MFA in creative writing. I don’t think I’m a great writer, at least not in the traditional sense. I write a lot, certainly. My output is good, probably in the top 1%, maybe in the top 10% of the top 1%, if you just look at words published over time that aren’t about myself (though I’m not sure that you can count anything as being written about anyone but the author).
Creative writing kills me.
I’m just not a novelist. I’ve written a ton of shorter stuff, but there’s a reason why the longest thing I can recall writing that was pure creative writing (i.e. not a game) capped out at twenty-thousand words.
It’s because I don’t tell stories well.
Not for lack of trying, mind you. I love telling stories.
But I also love writing in general.
And if I may toot my own horn, I write pretty well. I don’t always hold myself to a high standard on my blogs, but I taught writing and I learned writing and if I have to get down in the dirt and seriously write I can turn out some stuff that you wouldn’t expect.
That doesn’t mean I can write anything.
My most painful writing experience, and one of my greatest triumphs, wasn’t rejection in the traditional sense. It came in an English class in my freshman year of college, ENG 104 (yeah, I’m an honors student, I do the combine two-semesters-in-one and try to over-achieve thing).
I forget what exactly the prompt for the essay was, but the professor had already made clear to me that she thought I had a lot of potential (this is the academic way of saying that you’re giving someone an A but don’t think they should get cocky).
This is not surprising. I probably write up to a million words a year, even if a lot of my output gets thrown out (metaphorically; I keep everything unless I lose it) or winds up little tiny things that don’t go anywhere.
One of the reasons why creative writing slays me is that I don’t do it very often relative to everything else. I like blogging and writing about stuff in general. I suppose in school we’d call it “expository writing” or “descriptive writing”, though in reality those terms mean about as much as a liar’s promise.
And that’s where my epiphany comes in. I was pacing around reading (gotta get those step goals for the fitness tracker), and I had a sudden realization that the secret to mastering creative writing is the same as the secret to mastering the sort of writing that I feel pretty comfortable with.
You get your butt in seat and you do it.
I realized while reading about paragraph length of all things that there was some truth here.
You see, other than when I fret over an intro paragraph (always the most important point of your work) or a conclusion containing or not containing something, I’ve put any thoughts of proper paragraph length aside for a very long time.
This is technically untrue; as a teacher I’d lecture students on how to write a formula paragraph, but I never had to think about it when I was writing. I just knew whether I’d said what had to be said in a paragraph.
And that’s something that I need to figure out about creative writing. I’m comfortable with my paragraphs, but I’m not comfortable with my stories. Yet.
So that’s what I’m working toward. The only way there is to do, to keep doing, and to do again.
I’ve been a gamer as long as I remember. It’s not really something that ever really shaped my identity because it’s just been a thing that I do, in the same sense that being someone who eats breakfast isn’t a huge part of my identity.
However, one of the special things about gaming for me is the musical experiences I’ve had. A lot of games have, if we are being totally honest, mediocre soundtracks. It’s not that they’re terrible, they’re just not good.
But every once in a while you wind up with something that sticks with you because it’s really good or really interesting.
The soundtrack of Metal Gear Rising has stuck with me because it’s interesting. It’s eclectic, which is usually a plus for me, but the quality of the music itself isn’t anything stellar. It makes a good companion to high-octane action, but not necessarily for listening to by itself. The only song I really consider particularly stellar is “A Stranger I Remain”, and perhaps only that because I’ve played it in Beat Saber.
The only reason that I wound up listening to it again was the lyrics.
Metal Gear is an odd franchise, and it’s one that has been forever made more interesting by the fact that it waxes philosophical (or at least has pretensions toward being deep), and the songs of the Metal Gear Rising soundtrack.
I’ve recently gone through some pretty significant life changes, and one of the things that gave me the fortitude to go through with them was the Metal Gear Rising soundtrack.
This may sound a little hyperbolic, but I mean it. The lyrics to the songs all tie into political philosophies (at least that’s my interpretation of them), and “The War Still Rages Within” in particular has a message that I’d associate with the Hero’s Journey.
I’m an avid reader of Jung’s work (though I’ve only made it through a small fraction of his writings), and one of the things that I find incredibly interesting is the notion of archetypal being. At the risk of sounding a little new-agey, I’ve been pushed through a variety of events in my life and philosophical evaluation to take steps toward my own Hero’s Journey.
An interlude in “The War Still Rages Within” includes the lines:
The only way out of the cycle, is to strike out and pave your own way!
The notion of the way is an archetypal one, something you find in Eastern philosophy but also in medieval Western thought: the notion that there is a pathway in particular that individuals are supposed to follow in a dogmatic sense.
Right now, I feel like my life to this point has been nothing but cycles, and each year has been passing through a deepening process but not out of the cycle.
I’m living more boldly now, with a lot of my work on games and writing moving to the forefront, and I think that it’s a great step on the heroic path for me.
And while the music from a video game about fighting giant robots as a cyborg ninja isn’t a major compass in my life, there’s something to be said for reaffirming your guiding star anywhere you can and using that light to orient yourself.
It’s no secret that I’m a fan of Arvo Pärt’s work. He blends
classical and modern styles in such a way that they are transformed
into something distinctly unique. His merits are strong enough to be
recognized even by a musical layperson such as myself.
The biggest weakness of modern composers, in my opinion, is the
complete dissociation that they draw from tradition. While they can
have practical reasons to do what they do, it is often more of an
exercise in flamboyant display of talent. When someone does not have
that talent, it falls flat. The composers of old are equally
vulnerable to such hubris, but have the advantage of centuries
between us and them: their worst works are forgotten or rarely
performed, and their best are treasured.
Pärt, however, seems to be a composer without hubris. This is not
to say that he is universally successful in creating music worth
listening to, but I would be hard pressed to condemn any part of his
work as trite or meaningless.
Recently I have been listening, by happy accident, to his
Lamentate. I had snuck parts of it into a classical playlist that I
sometimes listen to, but I had not really listened to the whole work
in one consecutive go, as it is meant to be.
His trademark tintinnabuli style is on display in the Lamentate,
but unlike many of the minimalist composers he draws heavily from
classic methods and his works remain recognizable as successors to
that tradition. I compare him in this sense to Glass, whose work I
have mixed affection toward. Glass’s “Metamorphosis” is a
terrific composition, for instance, but he has also created works
that are not what I would describe as classical: they stray too far
in form and substance to be considered part of an earlier tradition
(Koyaanisqatsi, which I like in part, is an example of this straying
too far to be within the same category).
The Lamentate lives up to its name; Pärt describes it as “…
a lamento – not for the dead, but for the living.”
Its mood is dark: at places oppressive, in others fragile. It
moves at its own pace. It inspires–not to joy, but to mourning and
reflection. Despite this, it is not lost within itself; the feeling
that results is catharsis, not dread or depression. It moves with
purpose, then with dissonance, the staggering of one overwhelmed with
the world, but who will not be lost.
This morning I had a thought pop into my head when I first awoke. As such, you should take the following with a grain of salt; I’ve done some light research and I feel called to share this, but keep in mind that I am a lay person and my knowledge of scripture and history is probably flawed.
The thought that popped into my head has to do with two parts of the Bible: the scene where Jesus talks to the rich man and proceeds to tell his followers that it is difficult for the rich to enter heaven and the crucifixion of Christ.
I don’t update this blog as often as I perhaps should; I’m trending toward a post on at least a bi-weekly basis, but I do update the Loreshaper Games blog for my company every day.
It’s something that requires a lot of discipline and time, but I think it’s worth it in the long run for the practice it gives in becoming a better writer and the social networking that it builds.
One of the hardest parts of writing daily is just figuring out stuff to write. I keep Loreshaper Games on-brand as much as possible by sticking to gaming; not always our own products but always something that is industry-significant.
However, when worst comes to worst it’s just important to write every day. A lot of the posts that go up here are products of weeks of development, and writing so much tends to burn through all your inspiration quick.
You need a way to replenish that if you want to keep your creative juices flowing.
Be Creative On Demand
As I was reading the Harvard Business Review the other day, I came across an article that touched on some productivity techniques, and one of the quotes stuck with me.
Do things that don’t interest you. Early in my career, Will Marre, the founding president of the Stephen Covey’s training company, admonished me to subscribe to a handful of business journals he listed, then added, “And every time you read one, be sure to read at least one article that holds no interest for you.” I’ve been rewarded time and again for doing so. Many things that end of up in my shoebox have come from conference workshops, articles, or online videos that began as a chore and ended with an insight. My work in Kenya, for example, was heavily influenced by a Christian Science Monitor article I had forced myself to read 10 years earlier. Sometimes, we call things “boring” simply because they lie outside the box we are currently in.
I try to keep up with a certain amount of news every day. I’m a subscriber to Foreign Policy, for instance, and I follow a couple video-based news outlets every day.
These, however, rarely give me any meaningful inspiration.
You find that a lot of things repeat. While news is great for having a conversation starter, it’s not great at giving us a whole ton of inspiration.
It’s also a matter of lacking an ability to comprehend things that you need to explore to move past your current stage of understanding. Being a good writer is part of an evolutionary process: every time you write you should reflect and improve, but you can’t do that if you’re not giving yourself fertile soil in which to plant roots.
Varied reading goes a lot further in giving that inspiration and opportunity
One of the things that I’ve been using a lot is the Recommended by Pocket function in Firefox (which I use both on my desktop and smartphone). It pops up some interesting stuff, and whenever I’m tempted to “waste time”, I go there and read. I think I’ve probably had more “eureka” moments as a result of little articles I’ve read in the past year than from any conscious attempts to seek out inspiration (and, probably, improved my writing style by osmosis).
However, I’m also an Audible (affiliate link) subscriber, and I get two credits each month. I use one for something that interests me or something that I’ve been recommended, and the other for something more or less “random”.
One of my best experiences last year came when I accidentally purchased a copy of Educated (affiliate link), Tara Westover’s memoir; a consequence of having too many tabs open and not enough attention. Amazon One-Click is the bane of my existence, apparently.
However, I decided that my penance for carelessness would be to read a book that I had actually ruled out of the running for a late-night book search, and I was really glad that I did (you can read my review of Educated here).
One of the advantages of this more hap-hazard selection of readings is that you have an opportunity to broaden your experiential horizons.
The brain is funny in the way it works: it’s not a computer with neatly categorized information in separate files. Everything that it experiences and records goes in a sort of soup, and while our consciousness is fairly good at putting the most important stuff at the forefront, anything learned can resurface at a later date in an unexpected way.
It’s also just good practice. I don’t think I put Educated down for more than a few hours to sleep from the time I purchased it to the time that I finished reading it, and that’s an experience I’ve had over and over again with these random things.
Learning new stuff is, frankly, fun, something that we’ve drilled out of ourselves with our industrialized education system and its love of meaningless tasks.
Improve yourself, broaden your horizons, and give yourself something to write about. Not everything that inspires me makes it to public view, but if you write even a little about something every day you’re more likely to write something that goes out to the public.
Right now I’ve got my Loreshaper Games blog, this blog, and freelance writing on the side, and having a little bit of everything in my literary diet makes doing all that writing (and maintaining a day job) a whole lot easier
It’s not a great secret that I’m a fan of the game Warframe, published by Digital Extremes. I haven’t played it very much, but I’ve been stuck listening to “We All Lift Together”, a song created to promote a large addition to the game, and as a result I’ve been thinking about it a lot. I’ve been playing Warframe on-and-off since it was in beta, and while I don’t consider it my favorite game, I think it has some of the best (if not the outright best) storytelling in a game with a single linear storyline, despite being very minimalist in how it develops that story.
The way that it pulls this off is by managing to tell a story that combines deep psychology and mythical elements on a very fundamental level to make a narrative so compelling that player choices, generally absent except in the most superficial forms, are irrelevant.
There are practical considerations of this as well–much of the story takes place as flashbacks or responses to critical incidents–but this would be frustrating to the audience were it not tied to strong principles of storytelling.
Understanding Psycho-Mythic Storytelling
Psycho-mythic storytelling ties into Jungian notions of the subconscious and other elements of the human psyche, which is derived from while simultaneously informing stories that have emerged across the entire range of human society and experiences.
It is important to realize that many of these elements are archetypal; that is, that they do not have any single manifestation that can be pointed to as a source. Nonetheless, many of these factors are still universal.
As I work through examples of these events across Warframe’s storyline, I will introduce these as needed, however, an understanding of Jungian dichotomies is important.
Jungian dichotomies draw from the fundamental notion of paired elements (e.g. order and chaos, masculine and feminine, known and unknown) being represented both within and as an extension of all things.
Balance between the two extremes in a dichotomy reflects a more reasonable approach to the universe, one which is likely to meet with objective reality in such a manner that produces positive outcomes.
For instance, considering the very most basic of the possible responses, you have the conflict between known and unknown.
The known, generally, is not exciting. While there may be some contentment in the present, at some point the known gets boring; change is a natural state, and to remain in the known is to embrace stagnation.
However, the intrusion of the unknown is a terrible thing, because it represents the risk of loss, or more accurately the possibility that the subjective self will be harmed in some way.
The unknown is also the source of anything better than what is currently had, however. This makes it desirable; one who is able to frame an encounter with the unknown in such a way that they are able to approach it to their advantage is going to wind up having success in their endeavors, and their prize will be either what they desire or something that transcends that which they originally wanted.
Joseph Campbell’s monomyth, from which the Hero’s Journey is derived, draws upon this relationship with the unknown: the Hero must find it within themselves to find a subjectively greater future by entering the unknown and confronting it. You can find more in his seminal work The Hero With a Thousand Faces (Amazon affiliate link).
Much of what I am applying to Warframe is also based on the mythological analyses modeled by Jordan Peterson in his book Maps of Meaning: The Architecture of Belief (Amazon affiliate link). I’ve been listening to it on-and-off for the past few weeks, and I’ve been finding it incredibly interesting.
Tiers of Cosmogony
Before I get too far ahead of myself, I also want to talk about cosmogonic tiers.
There is a distinction in cosmogony based on the “depth” of experiences, and we can see this in classical myth as well. The concept of cosmogony centers around the idea that everything started as chaos, and then became more structured and ordered as things go along. Each generation overthrows its predecessors in a heroic revolution, although this eventually stops when we reach the current generation–the one in which humanity resides.
This can be distilled into tiers and generations. There’s not always a clear descent between generations (i.e. two generations may fit one cosmogonic tier in some places), but these figures can be generalized by category.
A good example from this comes from Greek myth, where we see Chaos, which is the first entity in existence.
At this point existence is beyond comprehension, and beyond anything that is relevant to our audience, and it is only through filtering down to further levels of experience that we reach anything that has relevance in human life.
Chaos’ cohorts and children (some of the distinctions here are blurred based on the telling) represent universal entities: Gaia, land; Tartarus, the underworld; Eros, the sexual drive; and so forth. These are primordial deities–they exist before the world that is known does.
These are personified entities (and, in some cases, Chaos is as well), but they are not directly interfaced with the human world. To humanity they are alien, and even when personified their motivations and drives are not necessarily comprehensible.
From this initial generation come the Titans, a second generation of the divine. These figures now have their own clear families, and by extension a clear role in the universe. More heavily personified, they are portrayed as the creators of humankind, but are themselves still more defined by their differences than their similarities.
The third generation, the traditional Greek gods as we would know them, represent archetypal figures. They have a particular divine domain, but otherwise they are human in motivation and depiction. They obey the rules which apply to humanity (albeit frequently with special privileges; these rules often apply only to their interactions with each other) and face consequences when they fail to do so.
The gods serve as representations of tradition and upright action.
It is in the fourth or later generations that we see mortals and demigods appear. These figures are defined by their vulnerability; where the earlier cosmogonic forces develop from existing outside the world to eventually become a mere part of it.
Onward to Warframe
The psycho-mythic nature of Warframe’s narrative contributes to its emotional power. It takes place in a universe where the players take on the role of the heroic individual–one born into the fourth generation of the cosmogony in the same place that humans would fall in the Greek mythosphere–but one which relies on symbolism and psychological establishment of the cosmogony that unfolds.
The reason why I define this as psycho-mythic, instead of simply psychological or symbolic storytelling, is that it relies both on the more modern storytelling methods and approaches while also building heavily (and not unintentionally) on the mythology of ancient times.
The layering of the cosmogonic process is a key part of this: the players’ characters (collectively known as the Tenno) are children of the old age, but living after its fall.
Children of the Unknown
The Tenno fit the role as the heroic individuals of the mythical saga very well; they are a sort of Horus figure (Peterson elaborates on this mythical type in his book Maps of Meaning) who must bear a sacrifice of themselves to make the world whole.
This sacrifice is not literal death, but it does entail suffering and pain. The Tenno are children who have known nothing but war, and while they have deific powers, they are also exiles.
Hunted by the Orokin, their own society playing the role of mythic progenitors, due to the threat that they posed, the Tenno are awakened by their protector, the Lotus, in the current time of the game.
They are hunted and hounded by forces that are generally their inferiors: as representations of the fourth-generation heroic individual (i.e. a cosmically significant figure that has been personified enough to lack a deific cosmological significance and instead adopt personal motives) they face the Grineer, Corpus, and Infested factions within the game, each of which represent monstrous figures that are themselves the product of the Orokin but also the inferiors of the Tenno.
The hallmark of the Tenno, however, is also their outward identity, the Warframe.
The Warframe as Protective Father
One step up the generational chain from the Tenno is the warframe. In-universe, the warframes were created for the Tenno, but when the Tenno awaken the warframes are out of their control–at least, most of them are.
Each warframe is based on a theme, and these themes often tie into great symbols. While they are not innately sentient (with the exception of the Excalibur Umbra, which was created by fusing an Orokin with the infestation that spawns every warframe), they are the first experience that the player has with the Tenno, and are defined by their impersonal relationship with the universe.
This is not to imply that the warframe has no personality unto itself, but rather that it has a role in the third generation of the cosmogonic structure. Each of the individual warframes is an example of something that has a deific role in the universe: the Excalibur represents mastery of the blade, the Volt represents power over lightning, and the Loki represents trickery and deception.
Each warframe plays a deific role, rather than a personal one, and while they are merely tools to an end they are simultaneously idols to concepts that play an important role in the life of the Tenno and in the universe of Warframe, assuming the role of protector gods among primitive civilizations that have begun to spring up in the ashes of the Orokin world.
In this sense, the warframe serves as a sort of archetypal father, who in a psychological sense is often thought of as a bringer of order.
The Titanic Lotus
It is the Lotus who searches for and awakens the warframe and the Tenno, however.
To draw a parallel to the Egyptian myth of Osiris, it is Osiris’ wife who finds the parts of Osiris after he is murdered by Set and reassembles them, giving birth to the mythical figure Horus, who is a fourth-generation cosmogonic figure representing humankind.
The Lotus fills this void in the psycho-mythic framework of Warframe; she is the one who awakens the Tenno, and also plays a key role in mentoring them and directing them toward solving the problems with their universe.
However, the Lotus’ origins are shrouded in mystery, and as the world is revealed through the storyline of the game it is clear that she is not necessarily who she seems.
At first, the Lotus is associated with Margulis, an Orokin woman who raised the Tenno after they encountered the void (both of these are first generational figures in the cosmogony), but it is later revealed that she is actually a Sentient, one of the creations of the Orokin.
The Sentients have a clear parallel to the Titans of Greek mythology; the first gods to have been purified and complicated to the extent that they can represent natural forces, rather than abstract spheres of existence, the Titans are often portrayed as rebelling against or usurping their precursors, only to be usurped in turn by the third-generation deities.
When the Sentients turn against their creators, the Orokin, the warframes are created to destroy them; the warframes skip to the third cosmogonic generation but it is the Lotus, a second-generation figure, who preserves them from both her fellow Sentients and the Orokin themselves, mimicking the myth of Zeus being given to Amalthea for safekeeping. The fact that both the Lotus and Amalthea are feminine figures is important in a Jungian psychoanalysis; the archetypal father can bring order but also tyranny, while the archetypal mother brings promise but also risk.
The Orokin and the Void
The Tenno gain their power from the Void, a sort of ur-chaos. The Void is an extradimensional space, one that requires special means to access.
The Void is the palace of the Orokin, the grand civilization that spawned the Tenno (again, we see the generational nature of mythology resurfacing), though they were unable to reach it without significant sacrifices and even for their technologically advanced civilization it was something of an outlier; when they fell, so did their dwellings in the Void, which exist in the current day of the game as either derelicts or uninhabited, but still active, stations.
The Void serves as a primordial first-generation figure in the cosmogony of Warframe; many ancient myths involve a later generation’s members returning to the originator of the world and slaying it, making its corpse into their home.
The Orokin serve as additional manifestations of this first level. Along with the Void, they are the ultimate progenitors of the Tenno, originally children who were lost in the Void following a failed expedition to that extra-dimensional space.
The fact that the Tenno, who ultimately are responsible in part for the eventual Orokin conquest of the Void, are able to draw power and shelter from the Void has mythic significance; it is common for a great heroic figure to slay a great threat and make use of its remains for sustenance, shelter, or both.
The Universe in Balance
The conflict that unfolds in Warframe is one of bringing the universe into balance. The Tenno, reawakened and representing humanity, face both other fourth-generation forces, like the Grineer, Corpus, and Infested and the Sentients.
The struggle against other “mortal” forces is not uncommon in mythology, and is a defining trait of some of the early mythic heroes like Odysseus, Beowulf, and Gilgamesh: their foes are not necessarily divine in nature, and they vanquish them using mortal might and cunning.
In this way, the Tenno are able to fight the Grineer, Corpus, and Infested with their own might. As joint members of the natural world, they are on the same playing field, though the Tenno as part-divine by nature of their connection to the primordial first-generation entity of the Void are at a distinct advantage, and as epic protagonists are therefore going to succeed in almost every challenge (even if doing so requires them to come to apotheosis first, something seen in the Second Dream and other storyline missions in Warframe).
It is worth noting that the Tenno is not automatically awoken fully to their abilities at the start of the game, but must instead acquire them during the storyline as they grow in knowledge of their true nature. Up until they achieve this divine apotheosis, it seems that the primary conflict is strictly between them and their worldly antagonists.
As the story progresses, the risks and dangers increase with it. The Tenno are not able to face the Sentients alone. While their warframes provide them with some divine power, the warframes are themselves very much natural; they have power drawn from the Void, but it has been distantly removed and is revealed to have always come from the energy flowing from the Tenno to a warframe, rather than being an intrinsic property of the warframe itself.
In the most recent story update, the Tenno encounters Ballas, an Orokin traitor who sided with the Sentients, but has been corrupted by them. He gives the Tenno a boon, a weapon with which to slay the Sentients, before the scene ends.
Warframe’s compelling story draws its weight from being designed with psychological and mythical archetypes that make every character and element more significant than it seems at first glance.
This powerful storytelling method means that although it has relatively little dialogue compared to many other games and almost no player choices, it manages to tell a story that is part of an epic cycle and put the player at the helm of a character who they can sympathize with.
The ensuing connection to the Hero’s Journey means that the player wants to do the same thing that their avatar does, without requiring coercion or massively branching narratives from the writing team.
Before I started making games, I reviewed them. I see a lot of novice mistakes in reviews I read, and I made them too. Heck, sometimes I still do.
However, at a certain point people started evidently caring about my reviews, including to the point where I started not just getting regular reviews but actually wound up writing for publication from time to time.
At a certain point I hit burnout and stopped reviewing as frequently, and now I’ve got a conflict of interest for reviewing games (so I mostly just review the biggest names around or things I really like), but I still feel the reviewing itch from time to time.
I’m also testing the water for doing a whole series on this, so let me know if you have any feedback, concerns, or good thoughts. I’m going to outline a number of different things here
The first rule of reviewing is “Don’t be a jerk.”
As a reviewer, you are obligated to both the audience and the creator of anything you are reviewing.
Your first commitment is to your audience. You want to treat them with respect and dignity. Don’t inflate value to drive sales (ah, affiliate programs!), and make sure to respect their intelligence.
Some of this just comes down to writing good reviews. Be detailed but not manipulative. That’s basic stuff.
The part of professionalism that doesn’t come across as often is your obligation to the creator of anything you’re reviewing.
You can call out garbage, that’s one-hundred percent fine. One of my greatest regrets as a reviewer is not calling out a particular product enough on some of its flaws, in part because I wound up going a little too soft on it, and while my voice probably won’t change the universe, it’s worth noting that a person who shared my preferences and followed my reviews may not have realized my true feelings about the game.
However, you also want to respect the effort and time that a creator put into their work. If it’s fundamentally flawed or entirely schlocky, then that’s the sort of situation where you come down hard (the example I mention above was fundamentally flawed in execution), but a good reviewer is not an internet troll.
Can you be colorful?
Should you be mean-spirited?
The general rule of thumb is that if you wouldn’t be okay with someone saying it about the product if you made it, don’t say it about something someone else made. Speak critically, but not rudely.
I struggle with clarity.
I’m a fan of long sentences and weasel words. I studied English in college.
As much as I used to make fun of communications majors, there is something to be said for the art of effective communication, especially in a review.
Make sure to format your review in such a way that you have clear points.
Always start with an introduction that talks about the product and makes clear which genre it’s in. I don’t suggest assigning a target audience (I occasionally see reviewers do this; it’s usually either unnecessary or patronizing). Give an initial first impression if doing so isn’t prejudicial to your later review content.
Wrap up with a clear conclusion. Make it clear whether you recommend the product, and if you have any concerns with it.
Remember that your most important part is the conclusion. If you whine about something for 80% of your review, then give a glowing conclusion, the people who skip to the end will see the glowing conclusion.
Though, generally, whining is not a good idea, which brings us to our next big topic…
You want to build a connection with your audience. Let people know what you think and how you feel; give them an insight into your judgments.
The big idea behind this is that you want to give your audience a feel for what you generally like or don’t like.
If I were to review a wargame of incredible complexity tomorrow, I’d have to be really clear about where I’m coming into my review from. Yeah, I work with games all the time, and I also have a decent interest in military history, but I won’t be describing anything for which I have a giant corpus of experience.
I always suggest drawing a lot of comparisons to other similar products to draw a line between what you like and how the product you’re reviewing either does it well or doesn’t. You want to be careful here (you are, after all, not reviewing every product simultaneously).
However, if you look at any major serious review (Consumer Reports stands out to me for this), you’ll see that a few references to other products slip through.
This is because the reviewer needs to build a rapport with their audience, and that’s including shared experiences. I’ve played more video games than I care to admit, so if I review a video game I share my experiences with seminal works that are similar to it (if possible), or otherwise draw comparisons to literature or film as I can.
You also need to be clear about what you like and don’t like. I’m not a huge fan of death spirals and complicated resource management that leads into death spirals. I’m the sort of guy who plays Forza Horizon with the rewind mechanic turned off to build up the challenge and I just restart a race if I’m doing poorly (in single-player, of course), to get practice in doing it right. That tells you a lot about my gaming preferences; I’m skill-driven, but I hate losing.
If I’m playing a survival game with really onerous resource mechanics, I need to make it clear in my review that a lot of my criticism comes from the fact that I don’t enjoy playing a game where eating becomes a concern every three minutes.
Qualification and Quantification
Qualification and quantification are two of the hardest parts in reviews, and I generally don’t like doing them unless I have to.
Qualification involves categorizing, tagging, and describing things, and it’s going to make up the majority of your review in a broad sense.
More particularly, however, the act of qualification in a review is boiling down whatever you’re reviewing into coherent units.
The big problem I see most people do with qualification is treating all products the same. If I took a roleplaying game like Rowan, Rook, and Decard’s Spire (link leads to my review) and compared it to GURPS Lite, I’d have a hard time qualifying them in the same way, even though they’re nominally in the same genre.
I like them both, but I am forced to confront the fact that different audiences will like each, and that I can’t do an apples-to-apples comparison with them.
In other terms, it would be like comparing Monopoly to Sim City. Yes, both offer play experiences, but they are very different experiences.
For this purpose, I suggest simply finding the four or five main “selling points” of the product and then trying to qualify them. For instance, in Spire I love the dice mechanics, the narrative-game interactions, the setting, the artwork and layout, and the prose. In GURPS Lite, I love the dice mechanics, characters, flexibility, speed, and robustness.
Quantification is something I have gotten much less fond of over the years. I used to try to do 1-5 scale ratings on multiple categories, now I do a 1-5 star scale overall if I’m required to do so.
Honestly, quantification is a bit dangerous. It can lead you into a lot of issues with practice; a 10/10 from one reviewer is meaningless, while a 7/10 may be high praise.
Notwithstanding all the controversies about games journalism, the problem with such a quantification is that it is entirely subjective in most cases, or too complex for the audience to appreciate in others.
Remember that reading a review is not a major investment. People are looking for guidance, not scientific dissertations on other things.
The one thing that I would even care to quantify is when that is an integral part of the experience. Cars have a lot of good quantifiable elements: how likely is it to break down in the first year, how much fuel does it consume, what is its resale value?
Games and literature, the two things I tend to review, have nothing like this. You can describe their general length, but that’s not necessarily going to reflect individuals’ experiences (or, for that matter, whether the time is well spent).
Cost can be mentioned, but I find this to be more important in tabletop roleplaying where pricing schemes are less standardized and value tends to be more wildly fluctuating than in video games, where costs are pretty standardized.
Even here, I tend to qualify. Does it offer more value than any other game?
I have more to say on each of these points if people are interested, but I think I’m beginning to go outside the bounds of a general overview.
Reviewing is a process of determining value, and estimating how the value you find applies to other people. I’m not a giant economics buff (though I am a bit of a dilettante and my interests have led me to that a little), but value assessment is one of the most important skills to have in daily life, to say nothing of difficulty.
A good reviewer is careful to make judgements, rather than emotional decisions. They can’t just follow a formula, but they need to make their ideas clear.