Dan Amrich
Los Angeles, CA
Male, 41
I started reviewing videogames professionally in 1993, when Genesis and SNES roamed the earth. Over the next 15 years I worked for magazines and websites like GamePro, GamesRadar, Official Xbox Magazine, and World Of Warcraft Official Magazine, while freelancing for Wired, PC Gamer, and many others. In an attempt to guide the next generation of reviewers, I wrote and published Critical Path: How to Review Videogames For A Living in February. Ask away!
Little confused by the phrasing here, so I will try to answer. Most press kits are a stack of paper, or rather, a zip file of screens and Word documents. I saved the Interstate 76 folder and papers because it is one of my favorite games of all time. The games themselves that you get for review -- if they are final retail copies, which they may or may not be -- usually become the property of the magazine, unless the publisher wants them back, and they sometimes do. Pre-release copies of games have to be returned or destroyed. Check the question about the process of reviewing a game for a more detailed answer on this one. I am proud to have held on to my copy of Earthbound for SNES. I really enjoyed that game (one of the few RPGs that I got into) and it has turned out to be rather rare/collectible. I also have a copy of an obscure Xbox game called Circus Maximus signed by the whole dev team; I was one of the very few reviewers who really liked that game, so when they sent me a personal copy, it was autographed by 50 people.
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Many times games would be 95% done, or "RC1" -- release candidate 1 -- meaning "we think it's done, it's being approved now by the first-party companies.": But my job was to evaluate, not offer advice for improvement; by the time it reached my hands, it was ready for judgment. A few times we got demos ahead of time and the publisher would overtly ask for design feedback, but it was something of an etiquette breach; most publishers hire consultants during development (many of whom are ex-media) to tell them what they feel the game needs and what score it is likely to receive in its current state. So the reviewer is really there to serve the potential customer, not the publisher.
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Sure, why not? There is no expiration date on loving your hobby, even if it's your job. One of my mentors is Andy Eddy, who has several years on me and jokingly calls himself "the oldest gamer." You're gaining wisdom and more information, which really puts a review in a more authoritative context. When you are reading the review of a 20-year-old, they have only been playing games attentively for maybe 10 years. When you read the review of a 40-year-old, you have three times as much experience going into that opinion. So older writers definitely have value...says the older writer. And I have no reason to fall out of love with my lifelong hobby.
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I have a specialty and most reviewers acquire one. I was not a sports guy when I was reviewing games, except for action-oriented sports games like NBA Jam or NFL Street. Simulation sports games were reserved for experts who really knew the depth of those franchises and could give better advice. My specialties have been music games, skateboarding games, and arcade racers, but I didn't do many JRPGs, as it wouldn't do the reader much good to to the reader to have someone who was not naturally drawn to and informed on that genre do a review.
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Police Officer
Have you ever been shot or seriously injured on the job?
Flight Attendant
What kinds of passengers annoy you the most?
Zookeeper and Animal Trainer
Which cuddly-seeming animals are actually dangerous to be around?
I realized I was a writer in college, and on my first job at Guitar World, I learned that you had to be able to write about anything if you are truly going to call yourself a writer. So I specialize in entertainment stuff -- I've written movie reviews, music reviews, feature stories, news items -- but I have also written -- but I can, with a little practice, write other things too. More grown-up things, if you will. My mom spent 25 years as a bookkeeper. I do not have her gift for math, but I went to work with her one summer during college, in another department, in the typing pool at an insurance company. For me, it was a little taste of hell. New Jersey's drivers license numbers are 17 digits long and a mix of alphanumerics. At the time (early 90s) they were still hand-typing insurance cards on electric typewriters. I had a strict hour for lunch and was not allowed to leave my desk for other reasons. I was not allowed to get up to go home until a bell rang. This is in a company that has existed for decades. A bell. And when it rang, people RAN away from their desks. I could not believe it -- and I have never seen a less healthy work environment. Thankfully my mother has retired; I now check the news hoping to hear that the company has gone out of business, or perhaps burned to the ground. So when my parents said "what do you WANT to do for a career," I thought about what I thought my strengths were and what I found satisfacting doing, and I set about doing that. I then put a colossal amount of work into making that career happen -- lots of cold calls, lots of awkward introductions, lots of unpaid writing for exposure and establishing myself -- because I knew what I would wind up doing if I didn't. You're basically asking me if I wish I had chosen a job where the topic was less fun. The answer is no. :)
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It's a big community; I think there's some of both. The negative gamer stereotype is not going away; you could argue that's because of cruel jokes being so common and tolerated, or you could argue that it's because they are based in fact. The very thin distinction is that the South Park guys are themselves huge WoW fans and players; they are equal opportunity offenders, so they are making fun of themselves along with everybody else they make fun of. So some gamers took that episode as an offense, and some took it as a signifying self-mocking. I laughed. I also laughed at the "Guitar Queer-O" episode they did. Would it be worth the time and energy to get offended anyway?
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Well, let's differentiate between "journalism" and "reviews." I don't think a review should ever be a casual, on-the-surface look at a game. I think you need to go deep, but it's about what you are analyzing -- the artistic elements or the value proposition. Other forms of criticism are the same way -- some folks write and read movie reviews as artistic commentary on the work, other people just want to know if it's worth their time and money this weekend. It's very difficult to say one approach is better than the other, because both have merit and value -- but neither is a surface scan. Both require deep thought and careful creative analysis to be worth anything. For the larger realm of "journalism," some of my favorite pieces (that I've read and that I've written) have been personality focused. I had a fantastic conversation with Cliff Bleszinski between Gears 2 and 3 where we talked not about either game so much as his place in the industry, and his accidental role as one of the five or six game designers people could actually name. Feature-length pieces that show you insight into a developer or what makes them tick, or offer a look at a trend that affects gaming as a whole...I think those are valuable too. But again, they don't strike me as casual or on the surface just because they are less product-focused. So I guess the takeaway is never do casual on-the-surface looks at games and call it a form of journalism. :)
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