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!
The top frustration is the assumption that all reviewers are on being paid by publishers for their postiive reviews. I have seen so many allegations of corruption that stem not from evidence but from differences of opinion. If I give a game a 9 but you were expecting a 7, then I'm on the take -- "obviously." If I give it a 7 but you were expecting it to get a 9, suddenly that means I'm taking money from a rival publisher to keep its score low. To be accused of a crime like that and assumed guilty is the single most frustrating and difficult part of reviewing games professionally. Worse than any deadline, any unstable early build, or any inconvenience... Read More +
The social experience has simply changed, I think. I could not have dreamed of a day when I'd have voice chat while playing something as sophisticated as we have now. My mom never liked it when I went into arcades because of all the unsavory elements you heard about -- people getting into fights, people dealing drugs, you name it. It's a dark room; bad things are invited by that, I guess. So while I never had any issues (one guy did try to hustle me out of money if I could beat him at NBA Jam, but I declined), the worst someone can do over Xbox Live is call me names. And they do, all the time -- but they can only *virtually* stab me, which... Read More +
NHL Open Ice.
Sure, and the opposite is also true -- strong start, lousy finish. You have to stay open minded throughout the entire process; you have to allow yourself to be not only impartial but also impressed. That means that while my first impressions are usually indicative of where the review will go, they are just first impressions, and I have to let the game teach me about itself.
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Well, buying a game and being given a walkthrough document are not the same thing. Most of the time, the publisher would supply me with a copy of the game -- sometimes final retail boxed copies, but because I spent so much time on print magazines, it was more often pre-release 100% or "near 100%" versions of the game that would run on special development hardware (or in the case of the older cartridge-based games, an EPROM, which was a naked circuit board with interchangable chips). These pre-release versions were necessary in the days of print if you wanted to have the review appear in the magazine around the same time that it became available... Read More +
Of course! This is not a trail I blazed. Some of the earliest game journalists were Arnie Katz, Bill Kunkel, and Joyce Worley; they proved that intelligent analysis and criticism could be formed back in the early 80s. The magazine they worked on, Electronic Games, was my constant companion and led the way. Some more info on them: http://www.vghmuseum.org/collections/the-katz-kunkel-worley-journalistic-archive/
When I got to college and started reviewing different forms of art and media, I actually started with music. I remember reading... Read More +
The short and unpopular answer: First, polish your writing skills so they are worthy of a publication, then approach outlets and ask them if they use freelance writers. Nobody will approach you; you really have to take the initiative and inquire at editorial outlets if you want to write for them. Many will say no; some may say yes. If they do, you have to be ready to accept all the responsibilities that go with it. They do not want to teach you as you figure it all out. I know this sounds like a bad plug, but answering this question is why I wrote Critical Path. This was the top question I got over those 15 years, so I wanted answer it... Read More +
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