We have a special announcement about our videogame section.
Explore the largest community of artists, bands, podcasters and creators of music & audio
I transcribed the first 10 minutes roughly, but I don’t think I have the endurance to do the entire thing, since there’s seeming like there’s going to be a lot of interrupting and talking at the same time that will make this more difficult. But I think this should prove a nice sample of what to expect.
J: Yeah that should be working just fine now. Okay, right, well I guess I’ll do a little intro and then we’ll get on with… with whatever it is you’d like to talk about. We’ll let this be your day. Um, I’ll just say hello. Hello hello, I’m Jim Sterling. Many of you will know me from videos what I do on this channel what you’re, presumably, watching it on now. Unless Digital Homocide want to host it on their website, they’re more than welcome to do so. I’m here with Digital Homocide themselves, hello.
R: Hello, this is Robert.
J: “This is Robert”. Hello Robert. I am, first of all, somewhat relieved that I’m hearing the voice of an adult man. Um, I was expecting to not hear the voice of an adult, so this… makes me feel a little bit better about things. And-
R: Oh yeah, I have uh, I have three kids, I’m 35, I’m definitely an adult.
J: Oh dear. Okay then, um, you requested this interview – I guess we can call it an interview – after today’s video, where I covered Medieval Mercs. Uh, that’s
short for mercenaries. And… you seemed quite eager to have a freeform discussion about things, and-
R: Oh yeah absolutely, because every time that you do a video, it’s always a one-sided conversation, and your audience comes and attacks me based on your one-sided conversations. So I wanted to make sure that we can talk and get both sides of everything, so everybody knows.
J: No I mean I full agree with you there, it’s… it’s really been two different one-sided conversations. Because as you quite correctly point out: when I do a video on a Digital Homicide game, it is a very one-sided issue, because I’m just speaking directly to MY audience, and then uh when you go on the Steam forums, uh for your games, you are talking to YOUR… audience.
R: No I’m talking to your audience too. Because your audience comes to MY forums, and attacks me on a REGULAR basis. I’m not talking to just my audience, I’m talking to YOURS. Because I have to deal with your audience every single day.
J: Mm, mm. And um, my main question would be, uh, with that issue there, uh, can YOUR audience, uh… Let me rephrase that question. Does your audience, outside of my audience… exist?
R: Oh yeah, totally. There is people that enjoy our games. Uh, you might be surprised… at the amount of games that we have sold. You’d be surprised that there’s actually people that defend against the people that come and attack and spout off your nonsense…
J: Oh, I
R: Let’s talk, specifically, about your nonsense. Just go ahead and start all the way back at the beginning and go ahead and ramble off all your… all your accusations and stuff, and I will address every one of your issues specifically step-by-step. Start from the beginning, the first thing, whatever you want.
J: Okay uh, when we say right back from the beginning, are we talking specifically about The Slaughtering Grounds?
R: Sure, we can talk about The Slaughtering Grounds.
J: Okay. Now was that your very first foray into uh creating a game.
J: That was your second game, what was your first?
R: The first one was Forsaken Uprising.
J: Mm-hm. Ah yes, I do recall.
R: How long have you been doing videos?
J: How long have I been doing videos?
R: Yeah, so let’s just give some perspective. How long have you been doing videos? This is what you do for a living, correct?
J: This is… that’s absolutely correct.
R: Okay, so you’ve been… you’ve been probably been doing this for what, I’m guessing… 10 years maybe? Videos?
J: Not videos specifically. I’ve mostly… for most of my career I’ve been a writer, and I’ve been writing for… let’s say, professionally within the realm of games, about 8 years.
R: Okay so how long have you been doing VIDEOS?
J: How long have I been doing videos? Um… let’s [crosstalk] be generous and say 5? Let’s say 5. Give or take.
R: [interposing] 5 years?
R: Okay, so you’ve been making videos for 5 years. Were your first videos absolutely professional quality?
J: Absolutely not, um, because they were on a Youtube channel but I wasn’t charging money for.
R: But have you taken those videos off of your Youtube channel? Are they still available for people to watch? Because you have advertising revenue being generated from those unprofessionally-done videos. Correct?
J: No, no, because-
R: There’s no, there’s no ad revenue being generated from those?
J: Uh they might be generated for somebody, but not me. Uh, I was, uh, experimenting. Destructoid, when I was first starting working, Destructoid was doing very experimental stuff, uh and, just kind of, they had a kind of throw any odd shit up and see what sticks. Uh, it was all kind of, uh, ‘cause it was free of charge, and everything-
R: But you did make money off of that. Because you worked for Destructoid, so you did earn your salary from Destructoid, or however they paid you, so in some form or manner, you were paid for those unprofessional products. Were you not?
J: That’s actually not true. That’s actually not true. I was paid a salary for my reviews work. I worked as Reviews Editor for Destructoid for several years, and that’s what I was paid for [crosstalk] and because Destructoid is an independent website, uh and at the time, uh wasn’t making a huge deal of money, and um was trying to get video production off the ground, all of the videos I did for them was pro-bono.
R: [interposing] You just said you did it for Destructoid.
R: All of the video work you did for them was pro-bono?
J: Yes, yes.
R: But you just associated it to Destructoid, as in “well that was my reasoning, is I did it under Destructoid so it’s not associated”.
J: No, no. What I’m saying is… is you asked if I got ad revenue for those videos, which I don’t and didn’t. Uh only when the videos reached a level of quality I was happy with did I then move the Jimquisition to The Escapist, where I signed professional contracts and actually made money off it, and have continued to, uh, in the face of criticism, which you know I get just as much as you, continued to evolve and improve the product over many many years by listening to feedback. Not, say, censoring comments, not banning people from forums, that have problems with the work at hand, no matter how innocuous because let’s face it even the innocuous stuff gets banned on a Digital Homicide game forum, so-
R: Wait wait wait. We can totally address the whole banning thing. Like for instance when you said that I ran a contest during Slaughtering Grounds and that I was just indiscriminately banning people – which is a total lie. We can bring up a Steam moderator – one of your people who went and posted on the Steam community forums – and the moderator locked his thread and told him “no, he is totally following his rules and guidelines for the contest”. If… they could talk all the trash they wanted, there was very few people banned. I gave three keys away to the people who talked the most trash in that. But this goes along with everything else that you do. You spout a whole bunch of unalleged facts, things that you conject as being fact, but let’s talk about today, what about your video today? Your headline for that video, nothing in it was true. Your timeframe… in uh, years-
J: But my headline for it was um, “Bullshit” and I-
Sam Barlow has developed a penchant for making games featuring intimate interviews about traumatic experiences. Austin sits down with Barlow to perform his own intimate interview, hoping to uncover some of the hidden influences on Barlow's latest game, Her Story.
Comedian Marc Maron is tackling the most complex philosophical question of our day - WTF? He'll get to the bottom of it with help from comedian friends, celebrity guests and the voices in his own head. You loved him on Morning Sedition. You kinda liked him on The Marc Maron Show. You tolerated him on Break Room Live. Now, embrace him on a show from which he cannot be fired - WTF with Marc Maron.
Download the audio file.
Tom Standage is the digital editor of the Economist, responsible for its appearance in many electronic forms: web, native apps, digital audio, and more. Tom also regularly writes fascinating non-fiction titles that teach us about the present through the lens of the past, such as The Victorian Internet about the business and culture of telegraphy and Writing on the Wall, about the first 2,000 years of social networking.
Host Glenn Fleishman spoke with Tom about finishability, completism, and the raging endless river of content. We also discuss the reasoning behind the Economist's new bite-sized daily Espresso app, pulling back from blogs, and the importance of audio — both podcasts and the professionally read-aloud versions of every article.
The Periodicalist is an irregularly produced series looking for a sponsor to help underwrite regular production of episodes. We would love to find a partner that wants to feature the podcast as part of their larger efforts at looking at the future of publishing. Get in touch if you're interested.
Links to items discussed in this episode:
Somethin’ Else runs six studios in parallel on Thursdays for the Economist audio edition.
Phil Gyford coined the term "finishability."
Tom wrote about wet-plate photography on Vantage, a collection at Medium: "A First-Timer’s Foray Into Wet-Plate Photography."
Economist editor John Micklethwait, the 16th since its founding in 1843 and in charge for the last nine years, is departing after nearly three decades at the newspaper for Bloomberg News.
My blog entry about Twitter friendship was mentioned by company founder Biz Stone and the link heavily retweeted, and yet had only modest readership.
App-download completion rates vary by app size in megabytes and the country in which it's downloaded.
Mark Zuckerberg explained the rationale for splitting messaging function into a separate mobile app
Why are The Economist’s writers anonymous?
Her Nipples Remained Plausible
Jurassic World and our logo finally explained!
Jurassic World's website is kinda cool
The Time Jessica Worked at [Redacted]
Your Dinosaurs are Wrong
Download | Subscribe
We have the pleasure of welcoming the amazing Leigh Alexander to Brookago
this week. We chat about why video game stories have been so bad. Ask the
question of whether game consoles should go extinct and dig into both Leigh
and her newest project, Offworld’s origin stories.
Ladies and gentlemen, put your hands together for the fabulously funny,
smart and talented Maddy Myers!
As you can see, Anna and Jessica are both unabashed members of the Maddy
Myers Fan Club. On this episode we finally got the chance to talk to Maddy
about her gaming past, how she came to not hate on casual gamers,
feminism, and much, much more.
Don't forget to review us on iTunes, follow us on Twitter (and followAnna
and Jessica too) or email us with questions, comments, concerns or offers
of millions of dollars ;-)
John Roderick and Merlin Mann's exclusive interview with Asher Vollmer, creator of the diabolical iOS game, Threes.
Page 1 of 5Older