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I was spearheading most of our Triple-A reviews. And because my job at that point had largely morphed away from reported pieces and more towards longform cultural stuff, and then also reviews. I started off as a staff writer, and then moved on to a position which was essentially a senior position, but we called it “senior writer and critic,” because, I don’t know, we could. Heather Alexandra: Yes, about four years. Samer Kalaf: So just to give a little background as to where your expertise is coming from: Before you were at Double Fine, you were at Kotaku for roughly four years. Our conversation is transcribed below, edited and condensed lightly for clarity. In order to get a better understanding of the issue from someone with firsthand knowledge and experience, Samer, who edited the original blog, and I spoke with Heather on a call last Thursday.
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In a comment under the blog, Heather raised several objections to the article’s portrayal of the games press and the role of NDAs in shaping coverage of games. Some of the most pointed and thoughtful criticism came from Heather Alexandra, a former senior writer at Kotaku (and colleague within the various companies that housed both Kotaku and Deadspin during our tenures at those publications) who now works as a content and community manager for the video game developer Double Fine. The blog angered a number of readers, including many in games journalism, who felt that I’d failed to account for the constraints and power dynamics of their industry, and in so doing had unfairly attacked powerless writers for systemic issues far beyond their control. 20, I published a blog, titled “ At Least Now You Know Which Video Game Reviewers Are Sellout Clowns,” about games journalists who’d complied with the studio CD Projekt Red’s non-disclosure agreements limiting how they could cover Cyberpunk 2077 in exchange for early access to what has turned out to be a shamefully broken product. Still, Take-Two is forging ahead with games, as it’s set to launch Rockstar’s Grand Theft Auto: The Trilogy – Definitive Edition later this month.On Dec. A 2018 Kotaku report, also from Schreier, details much of the studio’s history and its struggles over the years.ĢK also announced that Marvel’s Midnight Suns, a different kind of superhero game from Firaxis, would be getting pushed back from spring 2022 into the latter half of next year. Hangar 13 is the studio behind 2016’s Mafia III, which has since gone through some tough times. The studio will reportedly discuss next steps tomorrow, Nov. 2K executives reportedly didn’t see it as a worthwhile investment, due to the amount of time needed before it could become a finished product. This project, reportedly code-named “Volt,” went through several iterations and struggled with reboots and technological hiccups, as well as challenges posed by the COVID-19 pandemic.Īccording to the report, Volt would have featured superheroes competing online in a new IP for Hangar 13. According to a new report, that game was a Hangar 13 project called Volt.īloomberg’s Jason Schreier reports that Take-Two’s 2K Games has canceled an unannounced game from Hangar 13, according to sources familiar with the matter. Take-Two Interactive’s earnings report today mentions a $53 million impairment charge, related to its decision to not proceed further with development of an unannounced game in its pipeline. The new project from the Mafia III studio has reportedly been shut down