Who benefits? Ember and public player salaries

This is going to be the start of a new series called “Who Benefits.” At its core, the series looks at marketing and PR decisions in eSports in a critical way in order to attempt to decipher choices and why they’re made.

The origin of the name comes from a panel in DC Comics’ Identity Crisis #4, published in 2004. Faced with a murder mystery of the wife of a fellow hero’s wife, Batman is tasked with determining a motive and possible culprits. He muses:

It’s the first rule of solving a crime. If you want to know who did it, you need to find out who benefits.

The stuff I’m going to be writing about are not crimes, nor the people who make them criminals. I’ve found, though, that “who benefits?” is a great question to put yourself in a mindset to look at choices made by companies that might have more motivations than what’s on the surface.

Whether these motivations are good or bad are up to interpretation.


Today’s post is going to be about Ember Gaming, who took some initiative and did something that eSports teams rarely do: they talked about money.

Obviously in the West there’s a bit of a stigma when it comes to talking about salaries. In most workplaces, talking about what you make is discouraged, mostly because it presents an uncomfortable situation for the company where employees may be surprised to know that their current salary is lower than their perceived worth. An employee who knows that someone else who does “less” work is paid more may resent that, especially if they cannot negotiate a higher salary.

In eSports, salaries and revenue are usually a pretty big mystery. Twitch, Google Adsense, YouTube and other platforms have clauses in their TOS that keep the amounts private; someone using those platforms who disclose the exact money that they’re making stands to lose their account (and often their earnings with it.)

However, Ember decided to make their players’ salaries public in a Medium post by their owner, Jonathan Pan.

Bonuses include sign-on and performance.

  • Gleeb — $57,500 base, $15,000 in bonuses, total comp $72,500
  • Contractz — $60,000 base, $10,000 in bonuses, total comp $70,000
  • Goldenglue — $65,000 base, $27,000 in bonuses, total comp $92,000
  • Solo — $65,000 base, $21,000 in bonuses, total comp $86,000
  • Benjamin— $60,000 base, $15,000 in bonuses, total comp $75,000

For context, Ember are not a LCS team, but will compete in the North American Challenger Series during Spring 2016. They do not have any sponsors, nor are they backed by any headline-friendly source of money, like the Sacremento Kings’ owner forming NRG.

As far as I can tell, they are hoping that they will be able to build up an organic brand with money from investors, perhaps including members of Bitkraft, an eSports investment group that Pan is a part of. Bitkraft was founded by Jens Hilgers — founder, former CEO, former chair, current member of the Supervisory Board of ESL. [Edit: Pan (or someone from Ember) has informed me that Bitkraft are not investors, nor will they be in the future.]

Brands with large, loyal followings are more likely to sell for more money later on down the road, or at least remain healthier for longer periods of time.

As many former Challenger players can attest, Challenger players do not regularly make this level of money; many community members have also noted that the perceived values of the players included (many of whom have not competed at a top level) may not warrant that salary level.

Those things don’t really matter in the context of this blog; again, the main thing to ask ourselves is “Who benefits from publishing this?”

Keep in mind, these points below are subjective, and merely my opinion.

Benefactor: Ember

One of Ember’s main motivations in publishing this piece is marketing and introducing themselves to a League of Legends audience who usually gives bigger teams a bigger portion of mindshare.

Had they not involved themselves in this debate, there’s a good chance their players and team would not be as prominent, as they’ve now established themselves as “the team who cares.” Much like Renegades before them, Ember are attempting to break the hegemony of the TSM/Cloud9/CLG trifecta in North America by establishing their identity as player-focused, independent, and different.

The messages that they’re sending imply a focus on being genuine, and hoping that resonates with an audience, and that audience will take their actions at face value. According to them, Ember are plucky. They’re willing to do what other teams do “for the good of the players.” They are willing to take risks. They are willing to invest in their players to become better people.

Selected quotes from the piece:

We believe in family, friends, lovers, and community.

That is why we decided against purchasing a LCS slot directly. We would rather invest in the challenger scene and work with regional players who want the opportunity to compete at the highest level of esports.

Companies have more leverage when there is information asymmetry. And that’s wrong. Last night, we shared our players’ salaries with each other. Today, we are going to share this information with the rest of the esports world so that players in CS and LCS are armed with some facts before their next negotiation.

Ember are hoping that by getting involved in a player welfare debate they will be regarded as being on the correct side of it. Due to taking definitive action in starting the debate, they ensure that they will always be mentioned when it is; if TSM or any other team comment on this issue, Ember will be linked to it.

That means a bigger audience for their team, which means a bigger potential for return on investment.

This is crucial for a team like Ember, as eSports teams are finding that their potential audience is shrinking with every new announcement. As Ember do not have the hook of a novelty behind their formation (like say, Mark Cuban buying a team), they need to find a way to stick out from the deluge of other news.

So why not establish themselves as one of the good guys? Why not set themselves up as an underdog that fans will believe are making a morally right decision? Why not have that kind of positivity and goodwill attached to your brand?

If this becomes the dominant narrative, Ember gain a number of side benefits, as well:

  • Positive mainstream coverage when/if that reaches publications. “Breaking the mold” stories are always good for business.
  • Mediocre play becomes forgivable, to a point. Organizations who treat their players well usually have a lot more leeway.
  • They become seen as a more modern brand for eSports moving forward. A lot of the language in the post is consistent with the Venture Capitalist/entrepreneurship crowd, enabling their owners to take thought leadership roles.
  • Said thought leadership roles become valuable when bigger money becomes involved in eSports. As larger teams become “claimed” by larger sponsors, latecomers will look for more stable opportunities.

In short, Ember want to avoid getting lost in the shuffle and put the best foot forward when it comes to launching their team. By doing something that allows them to set a narrative about their organization, their values and their impact on eSports, they ensure that people will likely remember them enough to come check out their games despite their lack of star power.

They also hope that by presenting a genuine image, they will build loyal, enthusiastic fans who want to believe they are helping to change eSports for the better, even if fans see no benefit themselves.

I’d say this strategy has paid off for them, as the response on Reddit and across forums seems positive among the rank-and-file, non-professional observer. Ember are seen as doing something positive and different, and are shaking up a faceless industry which is easy to push blame onto.

While others may bring up issues with the model, the average viewer may not think critically enough to care, or may have moved on to the next shiny thing by now. The vagueness of the immediate impact works in Ember’s favor, here: we may not know if it even matters in the long term, but in the short, they definitely “win” as much as they could have.


Matt Demers writes about eSports while living in Toronto. You can follow him on Twitter, Twitch and sign up for his newsletter about eSports and culture.

Fishing for pre-feedback, and how it hurts your product

Today I’d like to start a series of posts where I examine some of my pet peeves when it comes to content creation. These posts will attempt to deconstruct bad habits and common mistakes I see made, as well as provide decent reasoning for thinking them a problem.

As a disclaimer:

This article is not based off of anyone specific, nor is it meant to be passive-aggressive. This is more to help explain my methodology when it comes to making content, and pass on some of the stuff I’ve had to learn the hard way.

I’ve been guilty of every point I’m about to write about in the past; all I can say is that I’ve come to view them as mistakes.


Part 1: Stop fishing for pre-feedback

Fishing for pre-feedback occurs when you make a post about something you’d like to do in the future with the intention of seeing if “anyone would read/watch it.”

Here’s the thing: asking that question hobbles you in a number of way that outweighs the focus group testing that you think you’re doing.

For starters, it makes you look like you aren’t confident in your own product. No matter what your level of success it, your direction should be your own. You should know whether something is going to be received well or not – if it’s something that won’t be, but you want to do it anyway, response should not dictate whether you take the plunge.

Putting what you do in the hands of random people on Twitter means you are sacrificing your identity to those who can be fickle, misguided or selfish. In short, you need to be doing this for you as much as you’re doing this for them, because the passion you bring to your project bleeds into it. Something created with interest and drive will turn out better than content that isn’t.

It also causes a problem where it creates expectation in the finished product. As many of us know, starting something new is a process of compromise: we have a vision in our heads, but sometimes you need to be able to change things as needed.

For example, if I asked my Twitter following if anyone would like the concept for BetterDota, there’s a good chance that some people would respond positively. However, if I over-promised and wasn’t able to deliver, people would remember.

Originally, BetterDota was going to be a lot more ambitious, and only telling a select few people of my idea allowed me to gauge interest and tweak it when I realized that five videos a week would be a little too much work.

Sometimes, privacy is project planning is liberating, because if you’re going to mess up or drastically alter an idea, doing it without people noticing allows you to lose fear associated with trying new things. It allows you to eventually launch your product with confidence, knowing it’s something that you can handle because you’ve set the terms and experimented.

In short: do something because you want to do it, not because other people are hyped for it. When you eventually do make your idea public, having something tangible to present rather than just an idea creates a much better first impression. I can tell you from experience: having someone ask what happened to a project you hyped up and then abandoned sucks.

Lastly, and perhaps most dangerously, when you fish for pre-feedback you run the risk of satisfying your ego to the point where the work never gets started.

Many writing teachers I’ve had fight over the idea of whether telling an audience about an idea is a good thing or a bad thing: on one hand, you become committed/responsible once that idea is in public, but on the other, your ego can get stroked enough to kill the drive to actually follow through. It’s important to remember that your audience always remembers being lied to: they will likely only stand this a couple times before calling you out on it.

You also owe it to yourself to knuckle down, create, and then release. You owe it to yourself to be consistent, improve yourself, and earn that praise. It builds resilience, habit, and an organic audience.

While your self-worth should never be determined by the amount of views or follows you get, your brand and progress are built with shipped products, not ideas. Ideas count for nothing if they don’t get made.

Part of building a brand and respect as a creator is doing the leg work, having a vision, putting something out there to getting torn apart, and then doing — like DJ Khaled says so eloquently — another one.

Working in eSports is a grind, and as gamers, we know that experience well. There is a lot of work that will never be seen by a larger audience, and you will rarely get a pat on the back for the time spent learning, experimenting and failing.

However, I can assure you that failing fast and failing often allows you to truly get a feel for your identity and what sets you apart from other content creators. It keeps you from becoming a copy of someone whose success you envy, but will never achieve yourself. It keeps you from becoming a meme machine Facebook Page that rips peoples’ stuff off for hits.

It builds a pride and confidence that allows you to stop caring about what other people think, which is more than a high school platitude: it is probably the single most important quality to have in terms of maintaining motivation, drive and mental health.

The grind makes you stronger. Seeing an idea you had take off is one of the best feelings in the world.

However, half-assing it (or let’s be real, not trying at all) means you’re admitting that you don’t deserve that success in the first place.

Get out there, put your head down, and work.


Matt Demers has written about eSports since 2012. You’ll be able to find another instalment in this series soon — and yes, it will get made. Follow him on Twitter.

Writers, here’s why you should learn Markdown

As a writer, I’ve become painfully aware that we don’t get many “toys.” Artists have stores devoted to different tools of their trade, while we have… keyboards — maybe some fancy notebooks.

Over the past couple years I’ve come to appreciate Markdown as something that makes my writing more efficient and better for the web. Markdown is a language that parses formatting a lot easier, and makes it simpler to type in code.

Why is this important, you might ask?

Let’s put it this way: the less time you have to worry about how a post is going to look on a site when you’re done with it, the more time you have to work on actually relevant things. Markdown lets you write in plain text to avoid all the stupidity that comes from copy/pasting from a Word or Google Docs document, and lets you control exactly what shows up while being easier to type than HTML.

The other thing about Markdown is that if you use Reddit, you’ve already used it: apart from some syntax that Reddit doesn’t like (namely, inline images), Markdown is the main tool for post formatting.

I simply like it because it minimizes the amount of keystrokes you need to do something, and because it allows me to make posts with confidence, instead of needing to worry about what will copy over.

If you want to make text bold in Markdown, you would surround that texts with two asterisks on either side. In HTML, you would need to type out <strong> tags on each side, and remember to close. Four keystrokes for Markdown (all the same key) versus 17 for HTML.

**Bold text**
vs
<strong>Bold text</strong>

Simple, right?

This gets even better when you either work with a CMS (like Anchor, which this blog uses) that supports Markdown; since the syntax is easy to remember, you can craft a whole post in Notepad and then just copy-paste it over. On CMS’ like WordPress, there are tools (like Showdown & Highlight) that will quickly convert your Markdown to crisp, clean HTML, so you can post it to the source.

The above paragraph, in Markdown.

Limitations

Like any other system, there are going to be some drawbacks with Markdown. The main things for me are images and HTML options.

Images, since they aren’t being integrated into your CMS, need to be added in WordPress, or hosted somewhere beforehand. Since Anchor’s image system doesn’t work very well, I host all the images for this blog on Imgur and reference them with Markdown. However, because of the next problem, I need to make sure they’re the exact dimensions to show up properly on the blog.

HTML options like <a href="http://google.com/" target="blank"></a> or <img src="http://i.imgur.com/008NFf8.gif" width="100%"></img> aren’t possible in Markdown, so you need to go in and manually do them. It’s nice, because any HTML you add to a Markdown document will be translated as normal, but if you’re counting on your CMS to do this stuff for you, you may have to do some memorization.

These shortcomings don’t really keep me from writing every post I do in Markdown, because there’s just a good feeling in knowing that what you write down is what’s going to show up. If you press Enter twice to get to a new paragraph, you will know that it will be surrounded by the proper <p> tags, instead of two <br />‘s.

While that last bit sounds ultra nitpicky, it’s something that tends to matter when you want your blog or site to look consistent and work across multiple platforms.

I’m a big fan of Tinyletter for newsletters, and one of the things a friend brought up to me was that the editor was absolutely terrible for inputting text. Every “Enter” press would be a line break, not a new paragraph, and it could break depending on the platform viewed. With Markdown, I never have to worry about how bad a CMS’ editor is, as long as I can paste HTML somewhere.

This kind of freedom helps so much when it comes to knowing I can write anywhere, and have what I format carry over with no questions asked.

If you’re a writer or blogger, I really urge you to learn Markdown. It will speed up your writing, and give you a degree of control that you probably never knew you valued until it’s taken away. Go nuts.

Word editors that support Markdown:

MarkdownPad is a free Windows program that I use and love. The paid version will even upload images to Imgur for you and fetch the link to use automatically.

Byword for OSX ($5.99) does many of the same things as MarkdownPad, but allows for greater syncing with Dropbox.

Markdown support can be added to Sublime Text for people who use that in their day-to-day.

Showdown & Highlight is a simple Javascript port of Markdown, and is amazing for beginners because the right pane can show you a cheat sheet, a preview of what your text looks like, or the HTML code for easy copy/pasting. Great for converting Markdown to HTML for your blog, if nothing else; doesn’t allow saving, though.

Dillinger.io takes elements of Showdown & Highlight and allows you to save/sync with Dropbox, which might be useful for people on the go. A bit more difficult to get the HTML conversion of a post, though, so I don’t really like it.


If you liked this guide, consider following me on Twitch, YouTube and Twitter. Cheers!

The real winners of The Summit 4: Team OG

The real winners of The Summit 4: Team OG

Like many Dota fans, I had the chance to watch The Summit 4 this past week. The Summit, produced by studio Beyond the Summit, tends to be a bit of a gift to the community in the sense that it’s a casual environment for pros to compete with eachother while interacting with the audience through commentary. Whether they take that chance, though, depends on them.

I had the chance to go to The Summit 3 back in May of this year, and had a great experience. However, I noticed that there were definitely a couple different types of pros: some were content to hang around the house, while some decided to leave for the hotel immediately after winning or losing their sets.

Even though Evil Geniuses won The Summit 4, and Team Secret won The Summit 3, I believe that the true winners are the ones who take the time to put in the extra hours in a comfortable, inviting setting to increase their presence on camera.

If we go by that metric, I think the real winners of The Summit 4 were Team OG.

A bit of history: Team OG were formerly (monkey) Business, a Western team formed in August 2015 after The International 5. Johan “BigDaddy” Sundstein reunited with former Fnatic teammate Tal “Fly” Aizik, who competed with David “MoonMeander” Tan with compLexity Gaming at TI. Andreas “Cr1t-” Franck Nielsen was picked up after ping-ponging around multiple mid-level European teams, and Amer “Miracle-” al-Barqawi brought the hype and uncertainty that comes with being a ladder star, but having relatively low competitive experience.

Considering the calamity that comes with the post-TI atmosphere, I was ready to see (monkey) Business become another team that tried something new, then broke up when the going got tough. BigDaddy had had a middling time with Cloud9 at TI, and his shift back to the mid lane role that he excelled at in Heroes of Newerth was an uncertainty. Fly and Moon’s TI went better than most people expected, but coL crumbled in the lower bracket. Cr1t- and Miracle- were unknown factors, and could easily be duds.

As with most things in these cases, I was pretty happy to be wrong.

It turns out that in esports it’s standard for the best orgs to own the rights to the players they contract. There’s so little transparency, if any, between the players and the organization. Players are often never consulted on what brands they will be promoting. They’re never included in decision making.

This is why we’re launching OG.

(monkey) Business turned into Team OG at the end of October. They announced that they would be “bankrolled” by Hitbox.tv, a Twitch.tv competitor that I primarily know as where games Twitch doesn’t like go to stream. Games like Hatred (violence porn), Huniepop (porn porn) or Project M (dubious legality) find homes and fans on Hitbox, and while the viewer numbers rarely compare to Twitch, the company seems principled and committed to getting better; hell, they even have 4K streaming now (RIP bandwidth).

Team OG joining Hitbox meant that they would be given a degree of autonomy, but would still be leashed to streaming on the platform. For many people reading this, you know that similar arrangements rarely work out for the teams involved unless they receive a large enough contract amount to offset the lower discovery rate and the “inconvenience” of an audience having to leave Twitch.

Ironically, BigDaddy was involved in a similar agreement when he was part of Fnatic, as he was obligated to stream on Azubu. His once-high stream numbers dwindled without the same exposure, and his partnership with them ended when he left Fnatic; the team have since returned to Twitch. [Disclosure: I worked at Azubu as a contract content writer during the time Fnatic were at the company. I had no interaction with the team during that time.]

Many of us know that the digital consumer can be finicky and lazy; if they can’t consume content in a way they’re used to, it can be difficult to convince them to change venues or put in extra work to find the same content. OG ran a huge risk in going to Hitbox: would their audiences follow them? Would they even have audiences at all?

The Summit 4 banner

This brings us back to The Summit.

Team OG took some initiative at the event, casting multiple games from the couch when they probably could have spent the time preparing for their matches. The matches went so well that many Reddit threads and social media matches praised them, asking for more. Beyond the Summit must have liked the experience, because they actually labelled the games they cast as “OG Casts,” like the video below.

In the casts, the players showed both their expertise and their personality, which is essential for any eSports player wanting to expand their audience. Those two facets of a player are main drivers in follows, engagement, and spending: you either think the player is amazing at the game they play, or you think they’re entertaining as hell.

For Team OG, this is absolutely crucial in their stage of development, because if they want to keep control of their brand, they need to be able to have numbers that bring leverage. I didn’t have the foresight to track numbers from before the event, but I can only imagine how much their personal Twitter numbers shot up during that time.

We all want to have more control over the content we put out. We love streaming and see it as by far one of the most important ways for us to kick back with our fans and soak up the DOTA2 universe. The guys at Hitbox believe in making sure players are on equal footing with the organization; they will continue to guide, sponsor, and help us every step of the way.They’ve been incredible to work with in getting us here. Go check out Hitbox.tv, register and prepare your bodies for our streams.

Looking at the team on Twitter, it’s clear which players have the bigger following: Fly and BigDaddy have momentum from their time on Fnatic, a huge name in eSports in general.

  • BigDaddy – 85.8k
  • Fly – 36.6k
  • Moon – 22.2k
  • Miracle- – 18.3k
  • Cr1t- – 14.2k

However, I can imagine that both Cr1t- and Moon got a big boost from this event, as they spent their fair share of time on the couch. Fly got a lot of positive feedback from being the “straight man” to counteract jokers, which is a great position to be in: like the boy bands of the late 90s, having a social niche helps cater to the individual tastes of fans, but it doesn’t matter at all if you aren’t trying.

OG may have won the Frankfurt Major, but the team stands to lose a lot of momentum if they can’t keep their winning ways up. Even worse, if one member of the team stands out in a specific way, they risk getting picked up by a team with a bigger budget. Team OG’s strength is in their unity for the moment, and being able to give themselves an injection of fan support is crucial to their continued success.

Being able to show initiative in investing in a team’s stability is a good sign for a brand; while I doubt they all had a meeting and said “we’re going to try to be on the couch as much as possible,” it does nothing but good things to put forth the effort.

Speaking a little to other teams, I really hope that more recognize that this kind of interaction should be part of their job. The gameplay is the core foundation, sure, but the fan support is the reinforcement and safety net. If you suddenly get injured, kicked, or your results fade, having a secondary form of support (the entertainment) means that you will be able to try to fix your problems in a more comfortable environment with less pressure.

This isn’t to say that a team should get too comfortable, but knowing that you’ll be able to keep the lights on while you grind your way back to the top definitely removes a lot of stress.

So congrats, OG. I hope you’ll be around for the next Summit, and that your player-led focus works. God knows we could use some new variance in the way organizations are run.


Matt Demers writes about eSports from Toronto, Canada, and catalogues his attempts to improve at Dota at BetterDota.com. Check it out, and subscribe to his newsletter if you like his writing.

First impressions: Xenoblade Chronicles X

Note: the gfys in this post are bugged due to something on the end of Gfycat. They should display at the proper crop after a loop or two.

I’m likely going to be doing a video on this later, but I thought I’d write down a couple thoughts on Xenoblade Chronicles X, since I picked it up yesterday.

So far, I’ve played four hours of the game and gotten past the first few story missions. I’ve just unlocked the main “go off and have fun on your own” portion of the game, where it lets you pick the main story back up at your leisure. It’s also just opened up the ability to do co-op missions with friends, so I’m about to dive into the meat of it.

After going through the character select screen, I basically tried to make my guy look un-anime as possible. I was a little disappointed to find out that our protagonist is silent, but I’m starting to enjoy his ugly mug.

If you’ve played the first Xenoblade Chronicles for the Wii, you’ll know that a large part of the game is the expansive environments that feel alive. This is the Gaur Plains/Bionis’ Leg intro from that title:

The same thing exists in Xenoblade Chronicles X, but things have been enhanced due to a greater draw distance and detail that the WiiU can provide. To be honest, I’m not going to hide that the WiiU is very underpowered compared to the other consoles in its generation, but at the same time I haven’t experienced any major slowdown when viewing scenes like this:

Xenoblade also boasts a “if you can see it, you can go there” system, which I haven’t quite had a chance to explore yet. This kind of exploration is a huge contributor to my enjoyment of JRPGs, as Dragon Quest VIII has a similar system and I really enjoyed that game.

While I haven’t got any of the Gundams/Skells that the cover of the games boasts, travel has been great in the sense that you can sprint without any repercussions and jump around like Spider-man due to the (presumably) lower gravity of the planet Mira. This makes traversing around the map really fun, and the speed at which you can do it, combined with the awesome vistas, gives me a number of moments where the hairs on the back of my neck stand up.

This article seems a little overly-praising so far, but while streaming there were a number of moments I noticed where I was genuinely grinning ear-to-ear. I know that sounds a bit corny, but I need to highlight how absolutely rare that is with AAA titles for me these days.

I feel like I’ve fallen out of a lot of mainstream games because they just do nothing for me. There’s no sense of wonder or catching me unaware: either I know pretty much what the game has to offer, or the premise doesn’t interest me to the point I’m cool about missing out.

However, Xenoblade Chronicles X surprised me because I expected some kind of trashy anime of a JRPG. The writing is surprisingly funny and sharp at times, and the voiced characters have a decent enough cast behind them that they aren’t reduced to blob stereotypes that you’d find in a hastily-translated English offering.

The character of Lin looks like someone I would dislike a lot in a video game. As a 26-year-old dude who isn’t a complete weeb, you’d have to forgive my first negative impression:

However, despite her being a huge ball of sometimes-annoying pep, her lines have been delivered in such a way that she seems to have way more personality than a typical demure little-sister stereotype. When I figured this out I was so happy to be wrong about my impression, because it means I wouldn’t be spending the game wishing she wasn’t there.

When you can immerse yourself in all of the game, it makes it so much better than clawing through parts you hate just to get to a part you actually want to play.

Perhaps what I’m looking forward to most is the massive amount of distractions that the game seems to have set up. Expanding the map requires finding sites to bury probes in, which in turn look to make hunting monsters and mining that much easier. As someone who loves the exploration/climbing sections the Assassin’s Creed franchise has you do to expand the map, I can see this inflating my play time considerably.

It looks like Monolith Software has set up for players to experience a “single player MMO” with a lot of side elements that involve other players in small ways, like contributing to daily rewards or co-op quests. As someone who doesn’t have enough time to dive into an MMO proper, I’m definitely excited to give Xenoblade a ton of my attention.

I’ll likely be doing a video about my thoughts on this game as I get deeper into it, but for now, I’ll be happy to experience more moments like finding this huge-ass monster. I just wonder how long it’ll be before I can take it down.


Matt Demers is a Toronto writer who enjoys eSports, hip-hop and tea. You can follow him on Twitter, Facebook, YouTube and Twitch.