I always loved that Nintendo's game designers were all people without a games background: Pikmin was created by a gardener, Splatoon by an artist. Disco Elysium was written by a political activist and novelist. If your reaction is to say that "Shigeru Miyamoto wasn't a gardener!", this magazine might not be for you. That's okay.Filmmakers Without Cameras is a misnomer.It's not a magazine just about or for filmmakers; it's a love letter to films, video games, and board games written by people whose passions lie beyond those things.--I always loved that Nintendo's game designers were all people without a games background: Pikmin was created by a gardener, Splatoon by an artist. Disco Elysium was written by a political activist and novelist. If your reaction is to say that "Shigeru Miyamoto wasn't a gardener!", this magazine might not be for you. That's okay.Filmmakers Without Cameras is a misnomer.It's not a magazine just about or for filmmakers; it's a love letter to films, video games, and board games written by people whose passions lie beyond those things.It's down to earth, thoroughly unpretentious, and easily accessible. I want this to be a platform for people who don't usually write about games or films to write about those things, and I want this to be a gateway for people to start looking at the art they love in meaningful ways.We set out to find the most niche of takes, asking contributors to write things only they could write. Things like: Strong beliefs that A Bug's Life is the socialist bible for the masses Interests in the historical origins of board game mechanics That one really oddly specific take you have about Keynesian economics and Netflix's The Floor Is Lava.This is volume two of the pitches we received; pitches which were personal, pitches which made us say "I hadn't ever thought about it that way before!", and pitches which carried voices we don't see enough of.You're not just backing to secure a copy of the mag; you're also backing to support a platform for unique perspectives that don't have a place in mainstream publications. Every penny we raise after printing and distribution costs will go straight to our contributors, divided evenly between everyone involved.
