One of the most common questions I receive in my e-mail is “How do I become a popular streamer?” often followed by “what did YOU do to become a popular streamer?”

I’ve seen more than a few people guess at why I grew in popularity. Some people say I was incredibly lucky. Others say I was just being as vulgar/grotesque as possible, akin to a “shock jock.” Some say it was just because of the volume of streaming I did.

In truth, it was a little bit of all three, plus a bit more.

When I started all of this a few years ago (Around January of 2011 was when I moved to Justin.TV), I had no idea what my end goal was with streaming. It was literally just something I was doing in my free time because it looked fun. I was initially unemployed, then began working with a small local business cleaning carpets/upholstery/hard floors, and doing other work related to water damage or carpet removal and installation.

My bestest buddy, Kyle, pointed out that there were a handful of people who streamed Broodwar. I did a little bit of digging around and found out that there were websites in existence (Livestream, Ustream, and Justin.TV) where people could sign up and stream for free. Back then, there were data caps and quality limitations on how much you could stream. You made no money from advertisements; hell, you couldn’t even control when commercials were played, they would literally come on in the middle of a game without any control at all from the user. There were no saved VoDs or any kind of archiving system unless you paid a ridiculous amount of money (per gigabyte). The software of the day was horribly inefficient, bandwidth was more expensive for everyone, etc…etc…

Basically, the entire industry was just starting to take off.

I was incredibly new to the industry and I had zero connections. No one knew who I was. I was a relatively average player, and I had no inside sources with Teamliquid or with any teams. Essentially, I was starting from scratch in an industry that was heavily populated with already-made names on a website where preferential treatment is dished out to established names.

I’m giving you this background now so that you can understand where I’m coming from when I talk about the things I did to get to where I’m at today. A lot of people feel incredibly overwhelmed when breaking into the streaming scene (or any new industry, for that matter), but it’s possible with proper planning, time commitment, and the right strategy.

– I did a lot of research into streaming technology.

When I first got into streaming, I was a complete and total noobie. I had never been involved in any kind of video/audio streaming before in my life, and every single program I’d come to use and understand was foreign to me. There were two huge problems to overcome when approaching streaming, from the technology side:

1) All of the software was relatively new and not commonly used, meaning there weren’t very many people using it, and finding it was sometimes incredibly difficult.

2) Finding help for your problems was impossible; you had to troubleshoot everything yourself. This downloading obscure .dlls or trying to figure out obscure and nondescript error messages. Forums and communities were filled with loads and loads of misinformation and it was impossible to take anything you read for face value because no one followed up with any posts.

The only way to overcome this was through brute-force research. Since there were no software guides or anything available, I would literally have to read up on encoders and how they function in order to understand what was the more efficient/optimal choice (vp6, anyone? hhehehe) for streaming, especially since my processor at the time (I’ll remember you forever, E6750) restricted my ability to stream and play simultaneously. Although, to be fair, the 300-500kb/s bandwidth caps placed on streamers at the time limited the amount of information you could even stream at all. Even when you had downloaded the correct program, sometimes you had to swap out the internal components (such as the encoder) for a more efficient, later version of said encoder.  I remember that at one point I was using an encoder with an insanely weird name composed of all numbers that you had to download from some obscure Japanese website.

It’s mind-boggling how I was even able to stream, given the number of programs required to even get the stream running. Here’s what I needed to have running at the time in order to get a stream off the ground:

1. Flash Media Live Encoder running with a modified h264 file
2. Virtual Audio Cables service running in the background
3. 2 Virtual Audio Cables running, 1 to connect audio from the computer into the stereo mix, one to connect audio from the microphone to the stereo mix
4. Camtasia Studio to capture the screen region

Each one of these programs took a painstaking amount of research and tweaking to get them to run just right, and if any of them updated or glitched out, everything had to be readjusted and reset in order to get things working again. Troubleshooting was a nightmare and help was non-existent. It seems easy to think that “streaming just worked” from the broadcaster’s point of view because people never really saw what was going on from my end, but this was, honestly, one of my hugest headaches in getting started. There were a lot of programs being worked on at the time, namely the Livestream’s Livecaster application and Xsplit, which aimed to do things in a more streamlined fashion, but even they were rife with bugs and errors.

Why waste so much time researching into all of these different streaming options when I could just stream at the same quality as everyone else? The reason is because I was looking to set myself apart from other streamers in as many ways as possible, and streaming quality was an easy area to compete in since a lot of people weren’t motivated or knowledgeable enough to do the required research to set up a stream that looked nice. An easier option would have been to simply wait for one of these programs to come out before I started streaming, but every single day I wasn’t streaming I was missing out on the opportunity to grow my fan base of 5-15 people to something larger.

If you’ve been keeping up with any online gaming communities, you’ve undoubtedly heard of Anita Sarkeesian’s Tropes vs Women in Video Games. Anita’s goal in the production of this video series is to analyze commonly used tropes in video games. She hopes to explain why they are sexist and, ultimately, damaging to women as a whole.  As of March 8th, Anita released the first of these videos on her Youtube channel. I’m going to be discussing why I disagree with a majority of what she says in the videos and why I believe that the “Damsel in Distress” trope problem is one that can be easily dismissed as a problem in today’s video game market.

To start things off, I am aware of Anita’s past. I am aware that she raised a lot of money to produce these videos. I am also aware that it took her a long time to release the first video in her series. I want to make it very clear, however, that I am only interested in the ideas set forth in Anita’s videos, not in Anita herself.. If you are here looking to bash on her for whatever reason, you have come to the wrong place. There are plenty of circlejerks that exist on the internet that will gladly rave and rant about whether or not she is qualified to produce these videos. I will not deal in ad hominem here, however, because I believe it detracts from the overall argument of sexism in gaming, which is a very important discussion to have. Also note that I am only discussing the trope of Damsel in Distress, the same one that Anita discusses in her video series. Just because I am dismissive of this trope in particular does not mean that I am naive enough to say that there is no sexism present in today’s world of games. I very much agree with Anita in that “it’s both possible, and even necessary, to simultaneously enjoy media while also being critical of its more problematic or pernicious aspects.”

Firstly, let’s start with some factual analysis in one of her primary examples.

The first game she spoke about was Dinosaur Planet, a game that was later cancelled and turned into Starfox Adventures. Anita uses this as one of the largest examples in her first video, claiming that “the tale of how Krystal went from protagonist of her own epic adventure illustrates how the Damsel-in-Distress trope disempowers female characters and robs them of the chance to be heroes in their own right.” When speaking of how Dinosaur Planet was transformed into Starfox Adventures, Anita mentions that Miyamoto “joked about how he thought it should be the third installment in his Star Fox franchise.” If you do a bit of research and you find the exact interview that she’s referencing, however, the relevant point in the interview where they are discussing the game makes it appear as though Miyamoto is more interested in how visually similar the game is to Star Fox, rather than just wanting to take over a completely unrelated game for no reason and turn it into another Star Fox game. To be fair to Miyamoto, it’s easy to see the resemblance between Sabre and Fox McCloud. It’s also much less risky from an investor standpoint to reinvest in currently existing and successful intellectual property rather than to launch a completely new title. All that being said, I don’t think it’s fair to use this as a prime example of a woman being “robbed” of her ability to star in a game, rather it was a prudent business decision to sell more video games by continuing the Star Fox franchise.

Another point in Star Fox Adventures that she criticized was how Fox McCloud ogled the now “Damsel in Distress.” While I agree that this part is pretty cringe-worthy, I take issue with two things. Firstly, she edited the video clip to make it look worse than it actually is (here it is in its entirety). If you’re going to be criticizing something, especially in regards to a topic as controversial as sexism, editing your videos to strengthen your argument is usually a bad idea. Regardless, even the unedited video is pretty bad. Secondly, however, the reason why this video is objectionable has more to do with the ogling/objectification of Krystal as a character rather than her being a “Damsel in Distress,” which makes her rather irrelevant to this topic.

Secondly, let’s talk about the myriad of examples that she uses of video games containing plots that are primarily driven by “Damsels in Distress”. Here’s a list of the games she used:

• Castlevania
• Crash Bandicoot
• Double Dragon
• The Legend of Zelda
• Rolling Thunder
• Sonic Adventure
• Super Ghouls and Ghosts
• Super Mario
• Time Crisis
• Wizards and Warriors

One absolutely crucial detail that Anita overlooked is that there’s a common thread connecting all of these games to each other – the plot is incredibly simple and almost completely unrelated to the game play of every single one of these listed games.

A bit of misinformation has been spread recently, and just wanted to clear some things up concerning my contract with own3d.

The penalty for leaving was simply paying 60% of the average revenue earned for each of the months that you had remaining on the contract you signed. Nothing was said about “all payments owed to you will be void etc..”

I’m not even sure why I bother with contracts in this industry anymore, to be honest.

This is the contract I signed in its entirety. I have only removed my personal information (address/phone number) for the safety of my family – Own3d.tv contract with Destiny.

Hi. My name is Destiny, and I am one of the most prolific streamers in the world at the moment. I stream League of Legends, primarily, and I used to stream Starcraft 2.

In December of 2011, I was approached by own3d.tv to switch over from twitch.tv. I wrote a relatively detailed article explaining that my decision was primarily motivated by financial reasons. Basically, own3d.tv promised me more money for advertising plus a cash incentive for signing up with them. According to the contract, own3d.tv would pay “within 30 (thirty) days of receipt of revenues from advertising.”  I was also promised “60% of all Premium Subscription” revenue, referring to the people that subscribed to me via the $5/month system on own3d.

Let’s look at a few different things that I was promised as part of my contract:

Signing Bonus

Upon signing up with own3d.tv, they agreed to pay me a cash incentive bonus for signing up with their service. According to the contract, “50% upfront payments for the first month” was to be paid out. I also had a smaller amount ($5,000) to be used for an event of my choice, such as hosting a tournament or showmatch series, that own3d.tv would put up for me. In requesting whether or not the cash incentive would be paid out, I contacted Oleg (COO of own3d.tv) multiple times [1] [2]. After the first three times, he said that it would be wired to me next week, back in April. I inquired again about it and received no response, then was assured sometime in May that I’d be receiving it within the week. Finally, on May 25th, Oleg assured me that the signing bonus was wired to me. Of course, later I’d find out it was only 1/3rd of what I was owed, and that I’d be receiving it in 1/3rd “chunks” over the next few months. So after 7 months of streaming with own3d, I was finally paid my cash incentive for signing up with them. Not the greatest, but at least I received all of it.

Event Bonus

I was given a certain dollar amount “to be managed by own3D.tv to run events for the Publisher.” As time went on with own3d.tv, my paychecks gradually came in later and later. They were incredibly unreliable with paying me, and I was incredibly uncomfortable trying to manage an event with them being responsible for paying anything out. I wasn’t willing to risk my name and reputation with them in regards to paying out prizes or payments. As a compromise, I inquired about using my event budget to schedule a trip to Poland to stay at the Ministry of Win with my family. Although this wasn’t in the contract, Oleg assured me it would be okay via Skype on June 12th. At this time, I told Ministry of Win I would be coming to visit them and entered contract negotiations with them for my stay. I messaged Oleg later asking how I would go about booking the plane tickets, but (as usual) received no response. Eventually I received an e-mail from someone working with own3d.tv that it would be impossible to use it unless I signed another contract with them to “unlock” the money. Since they were incredibly shaky with payments (among other things) I  imagine they were worried that I would be switching streaming platforms upon the expiration of my contract. That’s just conjecture, of course. Finally, Oleg told me on Skype that it would be impossible to use said funds for traveling.

As of January 17th, I haven’t been able to use this event money for anything, and I assume that I’ll never have the opportunity to.