My Response to the NRA

I originally posted this in the forums at Gun Nuts, but I figure I might as well open it up to people who aren’t likely to find it there.

The topic of conversation was whether or not the NRA, in the press conference today, made a good showing on the subject of a response to the Sandy Hook tragedy. My verdict: Absolutely not.

Full disclosure, I’ve been an NRA member for years; as was my father and his father before him. Today I have pledged to not renew my membership.

**

I am one who thinks the NRA Press conference was a failure.

I agree that the School Shield was a well-conceived and reasonable solution to the primary problem we’re dealing with, when discussing mass shooting tragedies at schools. Something of that nature, if followed through, will do much more to deter future tragedies than banning specific types of weapons. So, yes, Bravo to NRA on that.

The major point of failure for me on the conference, however, was the absolute and total failure of the NRA to discuss guns. You know, those things we join the organization to hopefully protect our right to keep owning? The things in the NRA emblem? The things that *every single other organization and media outlet are discussing right now*? Where is the NRA on the subject of guns? Don’t know. They didn’t say.

While I applaud the initiative to protect schools through tighter security, the NRA is neither an acknowledged security nor education expert, and their members (myself formerly among them) do not contribute in order to specifically help influence debates in those two territories. The reason we are (or were) members of the NRA is to ensure that the conversation on gun rights in America is conducted along lines we can approve of.

Today, in breaking its week-long silence on Sandy Hook, the NRA spoke for almost an hour in a nationally televised press conference and they will be quoted and re-quoted endlessly in all of the major media outlets. Yet they did not say a single meaningful word about guns. They remained silent on the gun control measures proposed by President Obama. They neither opposed his plan nor approved of it and absolutely failed to present any meaningful alternatives.

I tuned in to the NRA conference to see the organization my family has supported for three generations take the lead on the issue that is at risk of dividing our nation. After a week-long period of “respectful silence,” their response was to essentially clap their hands over their ears and pretend the conversation isn’t happening. And then blame Hollywood and videogames.

In most states in this union, you must take an eye exam before getting a driver’s license. You must take a written test on traffic laws and pass an on-site driving test to ensure you can safely operate your vehicle. Then you must register your vehicle and pay a tax on the use of the roadways. I am a believer in the 2nd Amendment and the freedoms it grants us. I do not believe a ban on “assault weapons” will prevent future atrocities. But I find it patently absurd that we must jump through more administrative hoops in order to drive a car than to purchase a combat weapon. I have paid fees, taken training, submitted to investigation and passed certification in order to carry a concealed firearm in my state – and I did so willingly. I would happily jump through hoops before purchasing an assault rifle. But if we are not willing to even discuss that, then the subject of a ban is what will be on the table. The discussion will be bans, not controls. The “takers” will be leading the debate, as they are right now.

The President and his administration are proposing bans. They are saying “we want your ARs.” The NRA, by saying nothing, is essentially repeating the refrain of: “cold, dead hands.” Between the two extremes of “I want your ARs” and “cold, dead hands” there is a wide, wide margin for reasonable debate and consensus. Today I was hoping the NRA, as the nation’s foremost gun rights advocate, would take the lead on getting us there. Instead they pointed fingers and looked the other way and perpetuated the polarity that threatens to drive this nation apart.

As the saying goes, you can either lead, follow or get out of the way. This past presidential election was not a victory for Democrats, it was a defeat for right-wing polarity. The NRA needs to realize that the battle is lost and either lead in a new direction or get out of the way so that someone else can.

Advice

A friend recently asked me for advice on how to get started with video production. I figured more people might be curious about this, and since I haven’t written a blog post in a while, I decided to post my answer to him here.

I hope you find it useful.

**

A lot of people think of video production as a one or two dimensional thing; they look at a video camera and imagine the steps between holding that in their hands and publishing a good video and the number of steps they imagine are almost always off by a factor of ten. Production is such a massive discipline.

If you’re looking for how to get started, it depends on what your goal is. I know guys who are really solid shooters, and others who are really solid editors or directors or producers. I know guys who just do motion graphics effects. Some of the guys we have on the crew for Press Reset are shooters and editors, but don’t do graphics, etc. It’s like picking a class in D&D. If you want to be a director or producer, you should try to get your hands in as many aspects of production as possible, since you will be responsible for working with everyone, no matter what their specialization. If you’re looking to be an editor or graphics guy, you can dig right in, take some classes or buy a program like Premiere or After Effects and start tooling around. There are great resources on the web for learning both of those tools.

The core Press Reset crew is four guys, but that can balloon up to closer to a dozen depending on the episode. And we’re working in a studio filled with people in support roles, who are doing things to make everything we do easier. By the time we finish the series, the total credit list will probably be around 30 people. Maybe more. None of those guys just started yesterday and almost all of them have specializations and a lot of experience backing up their work.

There is no good shortcut. The trick is building up a foundation of knowledge and experience that will allow you to improvise intelligently when shit goes sideways. There are deeply technical aspects and subtly nuanced artistic elements. Being able to juggle both is one of the key challenges and that only comes through experience. Learning by doing is the best way. Going to school for it is second best.

I’ve been making video since the late 80s – occasionally professionally – and there’s stuff I run into all the time that’s surprising or new. I started with writing scripts and doing production work (clipboard holding, making phone calls) for indie productions and doing shit jobs for local professional productions — learning from talented people I knew who were doing cool things. Eventually I bought a camera and started producing my own videos from scratch. This led to eventually getting hired at TechTV, then Escapist, then now, etc. This was before YouTube and iMovie, so it’s a lot easier to jump in and get some experience now, but it’s still just as hard to motivate yourself to get started and make the connections and build the experience that can lead to a career.

I’d honestly recommend total immersion as the best way to start picking up skills and experience. Look online or in your local weekly paper for any calls for production assistants or “grips” (guys who carry stuff) for local productions happening near you. Take whatever shit job you can get. Drive for hours to get there each day if you have to. You’ll learn a lot and make some connections. If you don’t have a good local production scene where you are, I’d recommend taking a class on basic video or film production at a local junior college or technical college. Even if the tools they teach you with aren’t the latest and greatest, you’ll still pick up a lot of valuable experience on the basics of how to frame a scene and make good edits. A lot of times these classes will also help you get connected to local productions, and it all can kind of snowball from there, if you’re lucky and persistent.

AAK Podcast Episode 13

Gaming, internet, television. Repeat. It’s your life. We’re not judging.

This week, Russ and Shawn talk Vegas, baby. Vegas. Plus the joy of shooting guns, Diablo III and (as usual) much, much more.

Russ Pitts is the Features editor for @VoxGames and the former Editor-in-Chief of The Escapist. Shawn Andrich is the co-founder of Gamers with Jobs. Russ and Shawn were previously co-hosts of GWJ’s acclaimed videogaming podcast Gamers with Jobs Radio. Shawn is currently host of the “Gamers with Jobs Conference Call” and “Striving.”

Music by: Ian Dorsch.

Running time: 1 hour, 31 minutes
File size: 178 MB

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AAK Podcast Episode 12

Gaming, internet, television. Repeat. It’s your life. We’re not judging.

Talking with mega-prolific writer and novelist Chuck Wendig about writing for a living, the role of narrative in games, how writers are changing the world and a few simple things you can do to dramatically improve your writing.

Russ Pitts is the Features Editor for @VoxGames, the former Editor-in-Chief of The Escapist and former producer of Tech TV’s The Screen Savers. Chuck Wendig is a freelance author, novelist and writer for games, film and many, many other things.

Music by: Ian Dorsch.

Running time: 56 minutes
File size: 111 MB

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A Week in Washington with @VoxGames

It’s Day 2 of the first-ever VoxGames meeting in Washington D.C. and I’m staring at the ceiling, nerves buzzing on caffeine, eyes bleary, head throbbing and wondering if any of this is even real.

The eight of us are sitting in what used to be the living room of a three story house in Dupont Circle, on the receiving end of what seems like an endless train of speeches and presentations. We hear about our insurance, we get the brief on how the company was founded and we get bludgeoned over the head with more detail than we need about how the technology works.

It’s a deadening assault of amazing information that all amounts to roughly the same thing: This is going to be awesome. We haven’t started building the site or planning our strategies yet, but my head is swimming with data and I’m dizzied by the possibilities. That’s when the full import of this thing we’re about to do hits me: We could conceivably change everything.

We’ve already changed some things, inarguably. Eight editors from a handful of different sites coming together to build a new one. We’ve changed the sites we left and changed our own perceptions of what each of us is capable of doing, personally. I think we’ve also changed some minds about how ready the eight of us – arguably some of the greatest minds in our industry – are for something different. How much we’re each willing to put on the line to prove games journalism doesn’t have to be something of which we are ashamed. We are, as the glamorous Bowie sang, the Goon Squad and we’re coming to town, beep beep. Banding together to break it apart and rebuild it anew. Sure, it’s happened before, but not on this scale, and not with this level of investment. Not with a corporate partner who knows what the hell they’re doing. And not by us.

Every day starts like an open road, destination unknown. I’m up early, walking to the market for breakfast, stopping for coffee on my way back, spending a few quiet moments on my own in the D.C. winter, sharing the sidewalk with the morning commuters and my thoughts. I’ve never been in the company of such a diverse group of talented individuals assembled for one purpose. This thing we are building has been compared to a Dream Team, but that’s not a fair comparison. The Dream Team had more structure. What we’re doing at Vox would be like assembling not just the best basketball players, but the best athletes from every sport and setting them the task of creating a brand new game. It’s daunting until you realize that each of us has already done it, just never once at the same time, on the same team.

I’ve built many things in my various careers. From benches and tables to houses and garages to full-scale replicas of the interior of Victorian manor houses. I’ve built companies, television shows and even websites. I’ve built myself, twice over. I’ve built almost everything, and it’s always different, yet starts the same way: with the first step. Building this thing will follow the same path, and the first step is what we’re doing now. Soaking in the data. Taking the measure of the technology and each other. Learning to trust one another. Of everything else that follows, this will be the hardest part. Who even knows if we can manage it?

What we can manage without even trying is playing games. Lots of them. At the end of Day two, there’s pizza and beer and games and lots of laughing (and a little crying). After a round of beatings at Call of Duty, I get a chance to show the younger guys how Halo is played and score my single win in the dozens of games we’ve played together. It feels good for about a minute, then I lose again. We’re playing on a giant projector screen with a ludicrously small speaker at Vox HQ, and even though the gaming is a good time, one thing becomes abundantly clear: These Vox guys need better gear. Next time, we find out where they watch football and take over that room.

Frushtick is playing a new iPhone game a day, seems like, and kicking everyone’s asses at it. Everybody, it seems, is playing at least one game no one else has heard of. I’m remembering what it’s like to share space and ideas. To play with gamers who love, first and foremost, the joy of the game. And I’m remembering what it feels like to be a part of something. Wherever this ends up, whatever each of us does from here, I’ll remember this week as a time when anything seemed possible and the limits were ours to impose. And I’ll remember having fun. That most of all.

Beyond the personal realizations, what’s most shocking about my time at Vox so far is how eager the Vox people all are to help us start something new. Some folks want to write on our site, some folks want to sell ads against it and some just want to see it go up and smile. Everyone is enthusiastic. Almost as enthusiastic as I am, but my own enthusiasm is tinged with a low tone of anxiety. With all of this support and love and encouragement, if we do this thing and it isn’t any good, there won’t be any chest-high walls of blame to hide behind. They’re giving us the best they can give and now it’s on all of us to make something great out of it. Whether we succeed or fail is in our hands. No pressure.

By the end of my stay in D.C., I’m anxious to get started and wired from two weeks of no sleep, but the most intense feeling is a presence I haven’t felt a long, long time. It’s a subtly happy feeling that deadens the nerve endings spiking off my personal anxieties and mellows the jagginess of coffee-fueled sleep-dep. It’s like a smooth bass line under the symphonic chaos of the past few weeks and, like any good groove, it’s driving me forward, forward. If I had to name it, I’d call it “hope.”

AAK Podcast Episode 11

Gaming, internet, television. Repeat. It’s your life. We’re not judging.

This week, Rus and Shawn shrug off the post-holiday laziness and talk about @VoxGames, cake mockery, the state of games media, Diablo 3, Saints Row the Third, SOPA, online communities & Iron Man vs. Robcop.

Russ Pitts is the Features editor for @VoxGames and the former Editor-in-Chief of The Escapist. Shawn Andrich is the co-founder of Gamers with Jobs. Russ and Shawn were previously co-hosts of GWJ’s acclaimed videogaming podcast Gamers with Jobs Radio. Shawn is currently host of the “Gamers with Jobs Conference Call” and “Striving.” Russ is currently taking some time off and watching a lot of TV.

Music by: Ian Dorsch.

Running time: 1 hour, 38 minutes
File size: 47.3 MB

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No AAK Podcast This Week, Will Continue Next

Due to the @VoxGmes announcement craziness, I didn’t have time to do an AAK podcast this week. That’s the bad news.

The good news is that my new job with Vox will not prevent me from continuing to do the AAK podcast. So look forward to more of those for the foreseeable future. Starting next week, when my good friend and polar opposite Shawn Andrich returns.

Regarding A Certain Issue of Gender

Some hubbub was observed earlier today regarding the Vox Games editorial team. The offending observation being that there are no women in the launch lineup of Vox Games founding editors. The interpretation being that we hate women. Or love men. Or in some way are not inclined to treat all God’s creatures with equal adoration or contempt.

I feel it necessary to comment on this. My comment is as follows: There will be many more writers and editors hired in the months and weeks ahead. The initial lineup of founding editors should not be considered reflective of anything other than the specific skill sets deemed by the founders to be required in order to initially propel the site off the ground, and the people selected who best exhibited those skill sets. Personally, I consider the fact that any or all of those people happened to be of one or another race, gender or creed immaterial to anyone’s decision making processes or personal preferences. It being, in other words, what it happened to be. And now we will add to that lineup to make the whole group stronger. Some writers of the female persuasion, minority races or Oompah Loompah heritage will undoubtedly be included in the forthcoming hires.

Thank you for your time, and patience.

What’s in the Vox?

Now that the cat is out of the bag, I can finally talk about where I’m going next, what I‘m doing there and why, of all the possible things I could have done next with my career, I decided to hitch my wagon to a company few people have ever heard of and work for a guy named Grant.

Let’s tackle that last one first. When I left The Escapist in September of last year, my plan was to try and slip seamlessly into another EIC role at another gaming website. It almost happened, too. I was already mentally packing the house for a big move across the country and talking with my possible prospective employers about all of the great things we were going to do together after they theoretically gave me the keys to their kingdom. Then … fate intervened. I can’t go into too much detail about what happened without breaking a good friend’s confidence, but in spite of everyone’s best intentions – and through no fault of anyone’s – the deal fell apart, almost literally at the last minute.

Cue: Panic.

This was a month or so after leaving my once-secure job, and with no new opportunities in sight, I began working the phones, rekindling old acquaintances and trying to take the measure of the entire game media industry as rapidly as possible to see where my next best fit might be. I talked to everyone (almost). If there was an EIC level or equivalent position available, I interviewed for it and tried to scope out the people I‘d be working with and the companies I’d be working for.

After dozens of conversations and hundreds of hours of research, I came to a startling conclusion: There wasn’t a single job out there I really wanted, nor a single company with which I wanted to work.

Some people get into games journalism because they think it’s all about working in their underwear and playing games for cash. Others get into it because they believe it is an easy road into making games themselves. Both of these things are true, in part, but it can be so much more. I got into games journalism because I am passionate about games and passionate about writing and I wanted to see how far I could push the envelope with online media.

At The Escapist, with a great deal of help from some truly talented people, I pushed it pretty damn hard, and the awards, milestones and accolades that followed are all things of which I am exceptionally proud. But what I am more proud of are the hundreds of articles, interviews and reviews I wrote myself and the relationships I forged with the hundreds of freelance content creators with whom I worked; the writers and video makers who formed the backbone of the beast that broke through all those barriers. I truly believe the work we did at The E was some of the finest work that has ever been done in this industry.

So what next, then, after leaving my old job and finding myself adrift with no clear destination? I decided to take it back to the work and try to forge a freelance career, writing and editing and making videos. Recording podcasts. Taking advantage of no longer having to shoulder the success or failure of an entire website and doing the work that brought me to this industry in the first place, trying to rekindle that passion that led me here.

And then Chris Grant called me out of the blue to offer me a job.

Although I had decided that another full time job at a games publication was the last thing I wanted, I took it. Why? I’ll come to that.

The job, I can now tell you, is to be a Founding Editor at a new gaming website that Chris and I and the rest of the shockingly talented founding staff will build together, working for a company called Vox. My role, the job I was offered and that I accepted, is to be the editor in charge of features, both written and video. Basically the kind of stuff I’d been doing on my own – the kind of stuff that drives my passion – only working alongside a team comprised of some of the very best people working in games journalism today, and working for a company with the resources and vision to break whatever barriers happen to be left in online media. So … you know, a dream job, basically.

So why take another job when freelance was going so well? Believe it or not, this was the hardest part of the decision I made. Working for oneself is intoxicating. It is also, unfortunately, not very stable. The chance to do the kind of work that brings me joy – and not very much more than that – yet still have the kinds of opportunities to build something new and the stability of holding a larger role is just about the perfect arrangement possible. An opportunity that rarely comes along. I decided to take it.

So why take a step down to work for someone else instead of holding out for another EIC job or even starting my own website? Because after three years of sitting in Director’s meetings, living and dying by the pace of the back room machinations at a modern online media company, I’m perfectly fine with letting someone else wear that crown, sit on that uncomfortable throne and do the work of keeping the company in printer toner. And frankly, an EIC job that does not come with the authority to build something new, along with the full faith and support of the company for which I’d be building it, is not an EIC job I’d want to have. Remember, I talked to everyone looking to hire EICs. Most of them have no clue where game media is headed next year, much less next decade.

At Vox’s new gaming website, I will not be the EIC. Chris Grant has that job. I believe he will do a fine job with it. In the meantime, I’ll be doing work I enjoy and helping to build something that has every chance of changing the face of games journalism for a very long time. It’s hard to see that as a step down.

So why work for Vox? I’m going to paraphrase two things that were said to me about the company by its executives. The first is that they believe in building a large media company without sacrificing the quality of their content. The second is that they believe in hiring talented content creators and then getting out of the way.

Just words, to be sure. Words I’ve heard before, in fact, and that turned out to not be true. Some people working in online media today believe that quality is a four letter word. That crap is what people want, and therefore creating anything more costly than crap is a waste of time and money. Other publications pay lip service to quality, but don’t invest in it, creating “good enough” and calling it “great.” Still others just plain have no clue. All of them – every single one – use words similar to what was said to me by Vox.

So it would be easy to assume Vox was bullshitting me and selling a dream of rainbows and happy smiles just to pad the masthead – except for the fact that I believe them. Speaking with the folks at Vox, examining their operation and studying what they do, I believe they mean every word they say. Even better, I believe they can actually deliver on their promises. After all, they’ve already done it.

Late last year, Vox launched their technology website, The Verge, by attracting top talent and letting them do what they do best. As a result, The Verge is now rapidly becoming one of the top tech blogs. If you haven’t heard of The Verge yet, watch the tech news next week, during the annual CES consumer electronics show in Vegas. The Verge is an official media partner and will be all over it. The Verge is no accident. That team has been working on their site for months and the amount of support they have received from Vox to bring their vision to life is phenomenal.

Can Vox do the same thing with a games site? Why not ask these people:

Chris Grant, former EIC at Joystiq.
Brian Crecente, former EIC at Kotaku.
Justin McElroy, former Managing Editor at Joystiq.
Russ Frushtick, formerly of MTV.
Griffin McElroy, formerly of Joystiq.
Arthur Gies, formerly of IGN and Joystiq.
Chris Plante, formerly of everywhere.
And myself, formerly EIC of The Escapist and, once upon a time, a producer and writer on TV.

These are the Founding editors of Vox’s new games website. These are not people you attract with bullshit and happy rainbow PowerPoints. Neither are they people desperate to prove themselves. These are people at the top of their game. People who have literally built the world of games journalism as you know it and accomplished as much as there is to accomplish within it. Any one of them would be well qualified for any of the “lone guy with ten bucks” game blog EIC positions available right now. And yet all of them are here, working with Vox to build something new. And I’m with them.

It’s going to be some time before we can actually get to work writing and whatnot, and even more time before we have an actual website to call our own. Vox is giving us a year to design and build exactly the site we want and to get it up and running. We don’t even have a name yet, but come 2012, you’ll finally get to see what eight of the brightest minds in games journalism can do with a wad of cash and the generous support of people who believe in them. I have a feeling the result will change a lot of minds about how to grow a website, and I hope that you enjoy it as much as we will enjoy making it.

Another EIC Departure

With all of the recent news about videogame website EICs leaving their places of employ, I figured this would be as good a time as any to announce that I will also be making a change.

As of tomorrow, Wednesday, January 4th, I will be officially leaving unemployment and taking a job elsewhere.

Coincidence, you might ask? Sadly, I can’t answer that yet. It may be, it may not be. Watch the news tomorrow and find out.

But I will say this: It will be very exciting to start work tomorrow with one of the most prominent and successful EICs in the business. This is someone I’ve admired and respected for years and I really look forward to what we can accomplish together. I am referring, of course, to myself. I’ve missed working with me since I joined the unemployment team in September, and it will be great to do some good work with myself again. Really looking forward to it.

I’m also looking forward to working with all of those other people I can’t talk about until tomorrow. Not as much as I’m looking forward to working with myself, of course, but still. Very excited.

More tomorrow. Can’t wait!