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he apparently has a very long history of being an asshole online so it's whatever

hot tip: don't talk to random women you don't know like this on the internet, just like in general.

this post actually caused some asshole on here to more or less point and laugh at it and say "YOU'RE A JOKE" so mission accomplished i guess, glad to know i still have that effect on some people 9 years later.

wow some lit asshole wearing a balaklava is in a position where they can feel like they can judge me for writing an article about a videogame 9 years ago. amazing

tell your friend not to be so rude and condescending to someone they don't know, i was simply sharing the article i wrote

honestly fuck off asshole, you have no reason to be this randomly hostile and talk down to me like this

the pursuit of respectability is a prison i'm happy to not have put myself in

the one thing that's interesting to me about being a somewhat notable niche videogame figure pushing 40 is that your existence and/or work still gets treated like a joke by a lot of people in more 'Respectable Fields'. frustrating but also sort of liberating at the same time.

psst the article is here web.archive.org/web/20220930101719/https://jacobin.com/2017/04/duke-nukems-dystopian-fantasies/

i remember how upset i got when a few irony left shitposter accounts clowned on my article on Duke Nukem 3D i wrote for Jacobin. but they didn't even read the article, they just thought it was funny to make fun of its existence. being treated as a joke sucks too but it's not remotely the same thing

on the one hand, great to have that kind of audience engaging with your work. on the other it's impossible to avoid the "you're a fraud who is missing the point/doesn't know what they're talking about" accusations if you get scrutinized enough regardless of who you are or what you write.

giving myself intense anxiety imagining what it'd feel like to have people across an entire social media platform scrutinizing and picking apart something i wrote to the extent that one LRB article by emily wilson has

Too many people in this space ultimately only care about their ability to play games. Their entire ideology is based on the premise that games are some right accorded to them. When that's your most core belief, nothing serious can be built on top of it.

yeah i think the other thing is that people who care about classic arcade games already know how to access those games elsewhere

i probably wouldn't just dive into the Criterion Channel if i didn't have a host of recommendations from my friends and film critics built up over time. and even if i did, even then movies are generally shorter and take way less of your time and engagement than games do. so it's even more difficult.

trying to imagine The Criterion Channel w/o the critical infrastructure film has had over the years. just watch a lot of these films from filmmakers you've never heard of. no critical essays, either from Criterion itself or anyone else - that's what a streaming service would be like for indie games.

yeah and demos are (at least theoretically) specifically designed to attract attention to whatever the core of the game is in a shorter amount of time

also there were a much smaller number of commercial indie games at the beginning so it was easier to know about the big ones. i think it's good that a streaming model probably won't work for games, though - and i think generationally younger people are becoming more adventurous 'gamers' (eugh) also.

to me at least one of the original selling points of indie games is that they were simpler and easier to get into: either just straight platformers, or walking sims aimed at being accessible to non-gamers. that distinction no longer really exists, and "forever games" like Fortnite became much bigger

it's more complicated than this imo. normies tend to only play a handful of games they already know about in part because there's little critical infrastructure and games just generally can take awhile to get into. and non-normies who actually play a lot of games prize actual ownership of the games.