Well, here's some diagnostic and therapeutic help. No guarantees--you may have come up with an entirely new form of writing trouble--but others have found the following ideas useful. First, the taxonomy of "can't write".
A blunt critique of game criticism Note: This essay has gone through a couple drafts based off extensive feedback which you can read below in the comments.
I'm aiming for a version of this essay that is less likely to violently misinterpreted by a majority of readers. Apologies for altering the context of any of the comments below Again, let me know where I'm wrong. Let me know which portions makes sense.
I read Ben Abraham's weekly summary of game criticism over at Critical Distance. Unlike a decade ago, there is now an absolute deluge of essays being written about games.
I see reactions, counter reactions, and copious commentary.
What is difficult to find is good writing that dreams of improving the art and craft of games. There are three areas of improving writing on games: We need better methods of filtering game criticism.
The types of writing about games have exploded. With communities of writers attempting to support highly divergent goals and audiences, simply understanding if an essay is useful is a huge challenge.
We need writers who are more deeply educated in the art, craft and science of games. The majority of "game criticism" tends to be informed by a narrow population of gamers, journalists and academics specializing in the humanities. We are often missing experienced perspective from the sciences and the developers of games.
The vast body of game criticism is written by people that I would consider partial game illiterates.
They are dance judges who have watched Dancing with the Stars, but who have never danced. We need a defined class of game writing that focuses on improving games.
The existing community will continue writing about the experience of gaming. But what if there were a small group that wished to do more than talk about playing? Imagine holding your writing to the standard that asks you to ratchet forward the creative conversation.
The blossoming of shallow game criticism When I started writing about games, there was hardly anyone talking about games in a thoughtful manner. At best, you had the chatter of more vocal gamers. Even journalists were little more than gamers with a bigger podium.
The developers snuck in peer conversations once or twice a year in hotel bars and then went off to toil in intellectual isolation. An admittedly sad state of affairs.
Today,we've got the developer blogs on Gamasutra, dozens of conferences, the efforts of the Escapist, the rise of the intellectual game journalist and the slow blossoming of academic writing. The language has improved dramatically.
With the arrival of communities of like-minded bloggers and the co-opting of various university departments, writers find themselves encouraged to say what little they can say in increasingly wordy missives.
Each week I find myself inundated with essays that appear on the surface to be fascinating treasure troves of insight. When I invest my time digging past the fresh coat of erudite language, much of the content is a regurgitation of the same tired discussion from ages past.
Adam is introduced as "a PhD candidate, currently writing about Video Games Criticism" and "a pretty smart guy! There is little insight that couldn't be gained by sitting down with a beer and a controller.
Adam could have saved everyone a vast amount of time with the TL;DR summary: There's a clear and obvious need for writing by young gamers attempting to think about their hobby.
Without such essays, you never gains the skills needed to write something better. But there needs to be a better filter. Classifying game criticism To create a filter, it helps to ask "what is game criticism? The stated goal is to inform players if they should purchase or try a specific game.Write an essay in which you explain how Paul Bogard builds an argument to persuade his audience that natural darkness should be preserved.
In your essay, analyze how Bogard uses one or more of the features in the directions that precede the passage (or features of your own choice) to strengthen the logic and persuasiveness of his argument.
Lost time is never found again Lost time is never found again When you are young, eager and full of beans, you rarely cOntemplate how precious time is. You just live and revel in life, devoting almost all your time to the things that you are keen on doing.
We show so much impatience looking forward to our birthday and hate those hapless few days that . Joan Didion arrived in Los Angeles in on the way to becoming one of the most important writers of her generation, a cultural icon who changed L.A.’s perception of itself.
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Dec 03, · NPR’s Book Concierge Our Guide To ’s Great Reads. by Nicole Cohen, David Eads, Rose Friedman, Becky Lettenberger, Petra Mayer, Beth Novey and Christina Rees – Published December 3, Disclaimer: This essay has been submitted by a student.
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