games journalism is many things. I think that there’s a place for, you know, appliance style reviews of games where you can list the levels and features and weapons and things like that. Uh, obviously there’s a huge need for, um, deeper criticism around games. And I - I think that, again, there is so much game writing going on that - that, uh, you know, one can pick and choose. So, there are, uh, publications like [Killscreen] which bills itself as a New Yorker of video games, right, where they’re really trying to write about games in a more personal way and more experiential way. Um, there are people doing sort of very end critical theory deconstructions of games, how they work, you know, what it means to be a player, how you relate to the system of game. Then there are game designers spinning out, you know, their own theoretical structures for how they understand what they do, how a game is put together, how you can, you know, structure an experience to - to result in a certain kind of, um, uh, uh, impression to have on a player. So, yeah, there’s a lot. Um, I - I do my own writing about games as well. So, I guess I - I - I fit into that, but I, I, um, you know, I - I - I still feel like we’re scratching the surface in terms of what games are. And what they could be. And to me that’s still what’s so exciting about games. The games represent something which is so ancient, um, a part of being human and human culture, but somehow digital technology has given games a new kind of rel-relevance and - and has helped them explode into not just geeky gamer culture but really mass culture and popular culture at large. And I think that the explosion of interest in games and writing about games is part of that.
