Collection of writing, thoughts and stories from Mark "Sabre0001" O'Beirne. Former professional student - Business (Marketing w/Entrepreneurship) and Journalism masters graduate. Current gaming, esports and tech lover and writer.
Find me on Twitter (@Sabre0001) or YouTube (youtube.com/user/sabre0001)
King of Chinatown is more than a documentary about the fighting game community; it is a story. It is the story of the potential conflict between the “industry” and the community, the story of Empire Arcadia attempting to break into the big leagues, and the story of Justin Wong’s quest to become a professional gamer and defeat his arch nemesis on a major stage.
The documentary itself does not feel the need to handhold. There is a brief introduction regarding the emergence of the subculture of the fighting game community and potential careers as a professional gamer. However, the documentary is not stop-start with various definitions and explanations. The introduction gets straight to the point. Immediately, viewers meet Justin in his natural environment of an arcade and the imposing figure of Isaiah Triforce Johnson, the manager of Empire Arcadia. From the beginning, viewers are armed with key pieces of information: Justin is a hugely talented player and confident in his abilities, he is an integral part of the Empire Arcadia structure, and Empire Arcadia plans to grow as an organisation.
There is a natural progression to the film. Even the tournaments and scenes featured grow in scale. The initial scenes are shot in a local arcade. This is followed by a tournament in a local Gamestop, games at a garage based arcade, the major Gamestop finals and finally, Evolution (EVO) 2009. While Justin has been a competitive player for some time, and there are tournaments of various sizes all the time, this paints a clear picture for all viewers regardless of their background knowledge. The film builds to the biggest stage in the world and Justin’s biggest opportunity, but also his biggest challenge.
Justin’s rivalry with Japanese legend, Daigo “The Beast” Umehara, provides a fitting background to the story arc. The infamous parry video from the loser’s final of EVO 2004 is a painful reminder of Daigo’s dominance over Justin on the competitive circuit. Throughout the documentary, Justin is looking for redemption; he wants to be able to stop people from reminding him about it. In the words of one tournament attendee, “everyone remembers it.” This rivalry is at the focus of Empire Arcadia’s plan as well. If Justin can slay that demon, Empire Arcadia gets a big win under its belt and the potential for massive exposure within “the industry”.
The various strands of the storyline are woven together seamlessly throughout. For example, many interviewed during the documentary such as Justin, Triforce and Ryan “Gootecks” Gutierrez say that the Gamestop tournament may not be widely acknowledged by the community. However, as Triforce explained it will get attention within the industry. It sets Justin on the way to becoming a fully fledged professional, and, of course, it gets Empire Arcadia in the limelight. There is the added benefit that the winner will get the chance to play the Japanese champion, Iyo, Korean champion, Poongko and Daigo himself. This is just one instance where the various threads cross over.
King of Chinatown rounds off particular scenes with interviews involving Justin’s friends, Empire Arcadia members or former members, and other members of the fighting game community. These interviews serve to illustrate additional pieces of background information that some may want unknown. Triforce explains that he is looking out for Justin’s interests legitimately but acknowledges that he is looking to make a career for himself at the same time. Other interviewees focus on the latter, and explain that a career is Triforce’s main objective.
The soundtrack, provided by The Gay Blades and Kiss Kiss is truly excellent. The songs used are implemented perfectly and add to the tone of each individual segment. It also helps that the songs themselves are incredibly catchy and good songs in their own right, unlike some soundtracks which don’t work when the songs are heard outside of that setting.
The King of Chinatown is a must-see for any fighting game or competitive gaming enthusiast. It is a gripping story full of twists, turns and emotion. Prepare to learn how the community and industry collide and co-exist, what gamers have to do to make it, and what a year in the life of a gaming organisation feels like.
If children’s TV shows have taught us anything, it’s that things are easier and work better when people work together. Yet, looking at the history of eSports, one would think that the major players involved had never been allowed watch these shows. Instead, they may have been reared on documentaries about conquerors; people who looked out for themselves and were fascinated with the idea of conquest and dominance.
Traditionally, one league or tournament would pick a game, set rules or choose maps, and others would be expected to fall in line. The players expected it, the fans expected it and of course the decision makers demanded it. Those who attempted something different were questioned and berated until they submitted and joined the idea of the “perfect set of conditions”.
There were two problems with this scenario. Firstly, particular organisations held the power and set the tone. This meant that nothing changed. It was very easy for things to become stale. Meanwhile, the world looked to the east as Starcraft took Korea by storm, even changing map pools along the way. However, one central organisation held power there with people signing up to the changes. In the west, those who tried to change rules or maps did so alone. It must be asked if they were hoping to steal away some of the market from others.
However, there could be a new, wacky idea of co-operation about to take the world of eSports by storm. Game choices have been replicated across tournaments for some time. This is simply a numbers game, as outlined by Head of Competition of Games Solutions (ESWC), Camille Versteeg. Other tournament settings can act as a wild card. Maps, bracket layouts, sudden death settings and playoff stipulations can court controversy or rile forum members up the world over.
With Counter-Strike 1.6 still rumbling on, many of the same maps have been played to death. Some maps have become no more than plain football fields that some teams have made their home ground. In a sense, they know the location of every divot and every blade of grass. The top teams are already two to three steps ahead without this advantage. eSports will never have the drama of an F.A. Cup match where a Division 2 side knock out a Premiership contender if the top teams simply have to show up to win 16-0.
New maps may change this, but rather than one tournament organisation seeing this possibility a joint decision has been made. The ESL, DreamHack, ESWC and eStars Seoul have signed up to a map pool consisting of de_mirage, de_forge, de_tuscan, de_train, de_dust2, de_inferno, and de_nuke. The maps will be subject to plenty of discussion and analysis, but it is great to see a co-operative effort being made. Could this have greater repercussions for the future? Could we see a more collaborative decision making process? Have we seen the emergence of a conjoined decision making group without the need for a fancy name, title or website? One can only hope that this signifies the start of something special.
eSports is back in favour and with a new flavour: Starcraft 2. Unfortunately, that brings a wave of players, teams, tournaments and cowboys that try to hijack a good thing. In the past, eSports fans and audiences have seen organisations that set their sights too high and fell short on their promises. Their eyes were bigger than their bellies, as the expression goes. Is the IGN Pro League (IPL) just another flash in the pan? Will we see a rumoured five year plan turn into just two seasons?
The cynical could say that IGN has money to burn. After all, it is an organisation that comes under Rupert Murdoch’s umbrella. However, that is a double-edged sword. On the one hand, the backing is there to challenge any area that IGN desires. However, Mr Murdoch is a businessman. At the end of the day, if a venture isn’t going to be profitable or doesn’t fit, it will be cut.
In spite of this, the first season of the IGN Pro League focused on getting the basics right. The FAQ was upfront with interested visitors. The promise for 2011 was that $110,000 had been allocated to the league. However, just $5,000 was awarded in Season One. Immediately it was acknowledged that to go above this barrier would require more discussion with Blizzard, and that negotiations were underway for future seasons.
The ‘Best of the West’ tournament was focused. Sixteen of the best North American Starcraft 2 players were contacted and invited to take part. IGN acknowledged that eSports in America had not yet taken off and tried to rectify this. Money would be one approach but as stated, IGN looked beyond this. The announcement itself contained one very important word: “sustainable”. Instantly, it was recognised that, while IGN could make a short term splash, it is more beneficial to make an impact in the long term.
The IGN Pro League promised a polished viewing experience. Spectators have come to expect more and more over the years. Free streams run by volunteers and passionate fans are expected to be lag-free with perfect commentary and professional quality. Within the Starcraft scene, there are other elephants in the room, so to speak. GOMtv set the bar with coverage of the Korean scene. The Major League Gaming (MLG) circuit picked up Starcraft 2 and has become proficient at coverage. The North American Star League (NASL) started recently too, and would be regarded as the IPL’s closest rival. Naturally, IGN had a lot to live up to.
IGN’s presentation style almost acts as a tribute to GOMtv and the Korean tournaments. The wonderful hand-drawn player portraits are reminiscent of the usage of player pictures used as part of the opening sequences for Korean broadcasts. IGN is meticulous to include details about players including recent performances and what spectators may have to watch for in terms of playing style. The prelude to games is very spectator friendly with the player details, the map portrait and other subtle elements, such as the player’s name matching the colour that they will be represented by in-game.
Many tournaments and broadcasters focus on the event itself and then lose track of what is important. The first season of the IPL has come to a close and with the second season looming, it is vital to continue the hard work. Some tournaments omit the latter rounds in brackets or are found lacking in video uploads. However, for those that could not watch the tournament as it occurred, the IPL site itself is viewer friendly. Player profiles, including performance details, full brackets and a comprehensive video on demand section serve to inform and entertain.
IGN is gearing up for the launch of Season Two. The prize fund has increased to a whopping $50,000. This may raise a few eyebrows as eSports fans have seen previous organisations expand too fast and promise the sun, moon and stars. However, IGN appears to have stability in mind.
It must also be recognised that IGN has a team of dedicated and knowledgeable commentators on board. One in particular must be highlighted, not only for his talent but for his dedication to eSports. DJ Wheat has been on the scene longer than he would care to remember. He has been stung in the past, and has seen organisations close their doors despite the promise of longevity. One series recently made the promise of a five year plan that was cut short. If IGN are doing something wrong, the right team of advisors is in place to guide things back on track.
IGN has recognised that Korea is catered for, while Europeans are allowed to compete so long as they fulfil the American criteria. There are plenty of tournaments for Europeans. IGN has spotted a gap in the market and has identified where other organisations have fallen down. With a focus on the spectator as well as the spectacle, the future is promising for the IPL.
If you've never heard of Mike Ross, EVO or the idea of competitive gaming, you don't need to worry. You don't need to switch off your set or ignore this DVD; FOCUS caters for you. Then again, if you do have an interest in the above, FOCUS is right up your alley.
FOCUS is a documentary about competitive gaming, Street Fighter, and in particular, Mike Ross. Mike is a 26 year old from California who likes playing guitar, hanging out with friends at comedy clubs and making videos. Now that the online dating-esque profile is out of the way, he also plays Street Fighter professionally and has established himself as one of the best players in the United States.
The adventure begins in May, 2010 and traces Mike's preparation leading up to the biggest tournament of his life, EVO 2010. Viewers are given a 360 degree look at what makes Mike Ross, well, Mike Ross. His family provide a background to Mike including how he started gaming, and when his competitive nature kicked off. Viewers are treated to candid interviews with Mike, his father, his brother and his friends throughout the documentary.
These break up the competitive footage nicely and complement the pace of the documentary. His family, as he puts it himself, are "here to look out for me". Mike's mother passed away tragically but still represents a pillar of support, inspiration and influence. These interviews are endearing and build a relationship with Mike that goes beyond the professional gamer image. From the outset, Steve Hwang tries to establish a connection between the viewer and Mike.
This early glimpse at Mike's competitive nature establishes something that competitive gaming needs. When he was eight, he entered a tournament at a local arcade in a basketball game. He was beating players in their teens and this brought a crowd. There was a hook; spectators got invested. From this simple example, and primitive home video footage, Steve Hwang illustrates that the general masses need to see more than just a competitive video game. Spectators have to get emotionally invested, or be backing a particular competitor.
Mike is portrayed honestly. Fans of his various webseries (Cross Counter, The Excellent Adventures of Gootecks and Mike Ross, and The Marvellous Adventures of Gootecks and Mike Ross) will have some idea of what to expect. Most of the time, he doesn't take himself seriously; he will joke around and even when he is relatively confident, there is a modesty about him. He comes across as a likeable guy and is willing to interact with fans. However, he does not take losing well and will readily admit to being salty.
If you are a newcomer to fighting games or the competitive circuit, that one word could raise an eyebrow. "Salty"; almost single handedly highlighting one aspect that the entire documentary could fall down on. Games have a terminology and it is quite easy to get lost or caught up if you didn't quite understand it. However, Steve Hwang, Mike Ross and a variety of interviewees steer the viewer calmly through this potential minefield without ever seeming patronising. The interviewees know what they are talking about, and how to break it down in a viewer friendly manner. That is the simplistic beauty of FOCUS. It is casual enough for anyone to watch as an underdog story, without taking too much time out so that more veteran members of the fighting game brethren feel like it's a waste of time or detracting too much from the movie.
The documentary draws from a number of different elements of footage. Viewers are given a brief overview of the Street Fighter series, there are interviews and of course, there is in-game footage. This is used initially to showcase Mike's abilities and skills matched with a chorus of "oohs" from commentators and spectators. This enables the director to quickly arm viewers with knowledge that will come in handy later on in the documentary. Viewers are rapidly taught why Mike plays as E.Honda, how this character is typically played...and then how Mike plays.
For those who thought that playing video games as a living would be easy are quickly educated as Mike travels to a small 2v2 tournament to compete with "ShadyK". For a $5 entry fee, first place will earn $70, while 3rd place will win a handshake from the organiser. After the tournament, Mike says that winnings aren't his only source of income. He also produces videos on the side. While some payouts may be relatively small, Mike looks on the positive by saying that it's a good meal. Despite the difficulties that professional gamers may face, Mike says that if he were given the choice, he would want to be paid for video games over videography.
With that brief introduction to the pitfalls of competitive gaming, the documentary heads to Arizona for Devastation. The pressure, passion, highs and lows of competitive gaming are laid bare. It is here that the documentary title takes on a meaning. Competitive gaming is often as much about mental ability as it is about game skills. Mike highlights that newcomers will feel nervous because of the pressure, while more experienced players will feel a more positive sort of energy. It is important to manage these feelings and stay FOCUSed.
Tournament footage is broken up between in-game coverage and shots of Mike, the crowd and the other player. Again, this serves the purpose of making Mike a person that the viewer should be rooting for. Every reaction is captured from a raised eyebrow to a shake of the head. The commentary overture mixed with crowd reactions heightens the drama for the viewer. If you know the result, the action is still exciting; if you don't, you will be on the edge of your seat.
After matches, the audience is given a glimpse of Mike's reactions through a series of shots of him contemplating his last game to interviews regarding his thoughts on the game. Without giving too much away, he does say that after losing a match at Devastation, he just wanted to leave because he knew he would lose the next one if he was thinking too hard about the loss. Once again, viewers are shown that it is a mental game. This is reinforced time and time again throughout the documentary.
EVO 10 represents the biggest tournament of Mike's career. After the passing of his mother in 2008, he had a horrible tournament in 2009. This was his chance to prove himself, his chance for redemption. To add that extra element of pressure, he would have to move through a bracket featuring 2,000 players with an impressive prize pot on offer, and thousands of spectators online and in person.
It is at this point that the difficulties of professional gaming are put on the table. While Mike likes the idea of getting some payouts for smaller tournaments, he realises that it's not enough in the long run. He speaks candidly and says that things have to get serious or he would have to walk away. He "doesn't want to be wasting his time". This is another reason why EVO is so important, and why it weighs more heavily on his mind.
EVO is completely different to most tournaments. It is possibly the biggest in the world and draws thousands of players from around the world. Fans seek photographs and autographs, and Cosplayers roam the halls. But Mike is focused on making top eight. If he can do that, he establishes himself as a great player.
The crowd react to every combo and every missed opportunity. Shots of the crowd show how much this tournament means to some, even if they are not involved directly. Photographers stand by, posed with cameras to take reactionary shots. With this amount of nervous excitement buzzing around the crowd and commentators, one can only assume what the players themselves are feeling.
Those who followed EVO will know how it panned out. Otherwise it's like watching Titanic and hoping it doesn't hit the iceberg. But sometimes, it is not about the destination. What is important, is the journey to get there.
Mike says that Street Fighter could replicate skateboarding's success where it starts small and grows. It certainly could, and just like skateboarding it needs ambassadors. After watching this documentary, it is clear that he is someone that you would want representing a scene.
As stated, spectators need a hook to watch something that they may not have had an interest in. Steve Hwang captures it in FOCUS by portraying one man's journey and using more than just in-game footage. FOCUS is a documentary that will keep all entertained and interested, from the casual to the competitive. If you want your granny to understand competitive gaming, show her this. By the end, viewers will be hoping that Mike triumphs. They will, "believe in Mike Ross."
FOCUS is the debut documentary feature of Director Steve Hwang, an Asian-American filmmaker and graduate of Art Center College of Design in Pasadena, California. It currently has no set release date beyond "Spring, 2011". For more information, visit the website, Twitter and Facebook.
...Let’s call the whole thing off. Regardless of what term is given to the idea of playing video games competitively and for prize money, there will be conflict. There is going to be time and energy wasted no matter what term is given. If pushes are made to recognise games, or particular games, as sports then gamers face endless debates over the merits of gaming as sports.
Honestly, I prefer prattling off my rehearsed and practiced speech regarding what eSports are, or what the concept entails. It is a preferable incident than trying to explain, and debate, why games should be recognised as sports. My own explanation regarding eSports aims to personalise it to my target audience.
For some, it is explaining how they enjoy FIFA and, naturally, so many people think that they are the best. eSports is a platform through which people can prove that they are the best, and will be rewarded in a meaningful way – prizes, hardware, travel, fans, etc. This explanation can be tailored to almost anyone. Replace FIFA with Mario Kart – as that has a massive market and a seemingly endless supply of players who claim to be unbeaten – and you have more people who understand.
There are several issues to consider, which could prevent games being recognised as sports. For starters, not all games would be suitable - similar to how not all past times or activities are actively recognised. Gamers are rarely unified, even within certain scenes, and this will come to the fore should backing be requested.
If Counter-Strike is being pushed, there will be conflicting opinions over which is more suitable – Source or 1.6, or indeed CS2 or Tactical Intervention when the time arises. If Quake is selected, there will be backers for Quake 3, Quake Live, CPMA, Team Deathmatch, Capture the Flag, Duel, etc. Of course, there are more ignored titles such as Heroes of Newerth, Team Fortress 2, and even Warsow – which is designed with competition in mind. Can we, as a collective unit, put differences aside and recognise the merits of certain games or modes?
Personally, I would have liked us, as gamers, to get our own house sorted first. We cannot even choose games that should be selected as official eSport or competitive titles. Look at all the tournaments that take place worldwide. They feature a wide variety of games. Sometimes, games appear on the roster thanks to sponsor pressure, while other choices come out of left field. Who should be trusted to make a definitive list? Should the list encompass games which are graphically impressive thus making sponsors more interested, be impressive from a gameplay aspect but features a steep learning curve, be accessible to all which would draw the argument that the game is noobified. So many arguments, so little time!
The games themselves also stand in the way. There is the issue of continuity. When sports undergo changes, they are still fundamentally the same. If soccer ever introduces video technology, at its core, it is still soccer. Despite rule changes in Formula 1 and rugby, they remain fundamentally unchanged. Games do not fall under this umbrella. Sequels often make dramatic changes – for example, look at the mechanics that changed between Quake 3 and Quake 4. Furthermore, sequels often cause divides in player bases. Not everyone made the move to Counter-Strike Source, Quake Live, Starcraft 2, and so on…
eSports was never given a chance as an amateur prospect – it was never a pipe dream before that people could make thousands playing video games in the past. In a sense, it is both a dream and a reality at present – something that sports such as Baseball, basketball, etc did not have. Each sport went through the dream (amateur) phase, became a reality where players could earn a living, and is now almost standard whereby players at a lower level can make a living.
The term of eSports is unique – and that is needed. eSports as a concept and as an industry, if it can be called that, is different! There is a long way to go but the eSports term should not be abandoned.
What difference does a name make? Pro gaming, eSports, competitive gaming, HEGA - call it what you like. Golfers, poker players and darts players come under scrutiny and pressure regarding the “sports” term, but they do not seem to waste time on it as the eSports community does.
