Scott Dewalt

Contributing writer for The Artifice.

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    What makes Moneyball stand out?

    Many baseball books that are in the popular conscience are books like The Natural, Ball Four, and The Art of Fielding, typically range from fictional novels to biographies to nonfiction. Despite the range of styles, these books mostly focus on the players or teams.

    Moneyball, on the other hand, is very different from other popular baseball books. It focuses on the front office, economics, and sabermetrics of baseball rather than revolving around players. It was the first popular baseball book about the economic and sabermetric side, and since then many other books in that vein have been written.

    But why haven’t they gotten as popular as Moneyball? Moneyball showed that these books have an audience and can even be marketable to adapt into a film (although the film is very different from the book). But other books like The Extra 2% haven’t had the pop culture impact or reach that Moneyball has had.

    So what makes Moneyball stand among other sabermetric literature and what keeps it as the king of that hill?

    • First, the title helps. The book was well written and baseball stats are not difficult to grasp, unlike a college-level statistics course. In the movie, easy to grasp stats were discussed, formulas just went by quickly. A number of moments in the movie that should lead to a pause where they should be explained in depth, could be glossed over. An enjoyable movie that did not really need to go into the depth of thinking behind the statistics of baseball. – Joseph Cernik 2 years ago
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    Latest Comments

    I think games really need to stop trying to be more cinematic and tell their narratives through ways only a game can. Player agency, transforming content, multiplayer, and other systems are all unique ways to tell stories that so many games (particularly AAA games) never take advantage of.

    It’s easy to see why cinema has had the impact it’s had on gaming, and how many developers wish to emulate it. But if game developers want to be taken more seriously, I think the first step should be to stop apologizing for being games.

    Cinematic Games: Video Games and the Shadow of Cinema

    I think one of the major reasons why abridging has evolved so much is due to creators being more active in the editing. This is particularly evident in YGO:TAS.

    The original episodes were extremely short and had minimal editing. The writing is similar to an anime script adapter: a script is written within the constraints of the animation. Later episodes regularly run over 10 minutes and the new scripts could never fit in the original animation, so it’s edited to accommodate the script instead of the other way around.

    Those creative risks and liberties helped evolve abridged series from fan parodies to what you’ve written here.

    Abridged Series as Derivative Media

    I’ve noticed a trend among these big Silicon Valley companies (and this probably extends to other businesses): whenever there’s a controversy, maybe apologize and do nothing to solve the problem.

    Some of these problems could be solved with strict moderation and taking a more hands-on approach, but these tech companies seem revolted by the idea of hiring human beings to do work and instead just automate everything.

    For Logan Paul and Others, What Happens Online Doesn't Stay Online