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What does it really take to build a sustainable community around experimental games? In this essential conversation, we sit down with Bria Davis, Community Director at Young Horses, to explore the intricate dynamics of gaming communities and what art-forward creators need to know before diving in. Bria brings a unique perspective to community building, having worked her way from Discord moderator to leading community strategy for some of gaming's most innovative studios. Her journey through p...
What does it really take to build a sustainable community around experimental games? In this essential conversation, we sit down with Bria Davis, Community Director at Young Horses, to explore the intricate dynamics of gaming communities and what art-forward creators need to know before diving in.
Bria brings a unique perspective to community building, having worked her way from Discord moderator to leading community strategy for some of gaming's most innovative studios. Her journey through projects like the cultural phenomenon Blaseball offers invaluable insights for creators bridging art and gaming audiences.
Key insights for experimental game creators:
Whether you're preparing for your first Steam release or cultivating an audience for your interactive art project, this conversation reveals how authentic community building can amplify your creative vision while maintaining artistic integrity.
Bria's expertise spans community health, cultural engagement, and the delicate balance between creative expression and audience development—making this a must-listen for any creator serious about finding their people in the gaming space.
This episode was hosted by Jamin Warren. Music was provided by Lusine.
Twofivesix is a strategic consultancy that helps artists and cultural organizations engage with gamers. Founder and CEO Jamin Warren speaks to experts at the intersection of game-based art and marketing to help you find your audience.
From writing for the Wall Street Journal to advising MoMA’s permanent collection to launching one of the first game-based arts spaces in the world, Jamin Warren talks through contemporary issues in bringing games to the arts-world public
Jamin Warren: Warren. Hey,
there. I'm Jamin Warren, and
today we're going to be diving
deep into one of the most
fascinating and I think
misunderstood aspects of gaming
community management and fandom.
It's something I get asked
about, and I have the perfect
guest. My guest today is Bria
Davis, who we recorded this back
in 2023 and she was working as a
freelance community director,
and has since moved on to become
the community director at young
horses, the studio behind games
like bugsnax. Bria brings a
really unique perspective to
community building. She cut her
teeth monitoring discord
servers. Worked her way up
through some of the more
interesting community based
projects, specifically the wild
cultural phenomenon that was
Blaze ball, which was an online
baseball simulator game that was
really community driven. One of
the things I really liked about
beer's perspective is that she
has a minor in creative writing,
art, pop culture, and then
worked in tour guiding a
distillery. She'll talk a little
bit about her background, and
that eventually became a passion
for moderation. In this
conversation, we're going to
explore some critical concepts
that anyone who's looking to run
their own Discord server or
participate with somebody else,
or is just interested in space
really needs to know. Bria
breaks down the crucial
differences between platforms
like Twitch and discord. She
explains why fandom is an ocean
beautiful but potentially
dangerous if you don't respect
it. And also talks about why the
loudest voices in gaming
communities are not necessarily
the ones that you should be
listening to. We also had some
fun talking through some theory
we dig into what she calls
intimate publics, which is how
shared media consumption can
create a false sense of shared
values, and why that matters if
you're an artist trying to
navigate complex cultural
conversations, so if you're
someone who's working on
artboard games, you're trying to
bridge the gap between art world
recognition and gaming
audiences. Maybe you've been
toying with the idea of starting
a Discord server for your
specific community. This
conversation is going to be
super authentic and really
essential for you, particularly
for anyone who's doing
communities around experimental
work, which is a lot of the
stuff that Priya does, albeit in
a very specifically video game
context. So if you're looking to
cultivate genuine fandom without
losing that you know so precious
artistic integrity, and you also
really want to understand how
the platform dynamics work in
these spaces, this is going to
be a great conversation for you.
All right, let's jump into it.
Bryn, well, thank you so much
for joining me. I really
appreciate it. I think to get
started, can you just tell me a
little bit about like who you
are and what you do and like how
you moved into your current
role?
Bria Davis: Sure. So hello. My
name is Bria. I actually don't
come from a games background. I
studied communication in school,
and are a triple minored in
creative writing, art and pop
culture, and then I did a bunch
of jobs that had nothing to do
with video games. I was a tour
guide at a distillery for a
while. I did project management
for a screen printing studio. I
worked in instructional design
for a bit, but I always really
liked games, especially indie
games, and the capacity that
they have to tell interesting
stories and connect with people.
And so I joined a discord for a
game studio that I liked a lot.
I liked the stuff that they
made, and I just took a big
investment in their work. And
eventually they were like, This
person seems cool. We should
make her a mod. And so I started
moderating the space, and
through that, met a bunch of
really incredible folks in the
industry. And when a job opened
up, I was like, what about me?
And they said, Yeah, you seem
good enough. Let's see, yeah.
And it worked out, they haven't
got rainy yet.
Jamin Warren: Is that? Is that a
common path for folks into your
particular role. I presume you
can't get like a like a BA in
Bria Davis: Yeah, game degree do
exist, but they're usually much
more like technical I find a lot
of the folks that I know in
community management and in
games in general have very
unique career paths where they
eventually land in, like, the
right time, the right place, the
right needs from a specific
studio when they know someone,
or they apply on a whim, and
then the studio is like, yes,
that skill set makes a lot of
sense for us. Let's bring you on
and see what we can do
community, especially since it's
so many, like social soft
skills, so many skills that
apply to a bunch of different
types of roles. People come from
all sorts of backgrounds, and
then connections are a really
great way to get put in a place
that allows you to succeed.
Jamin Warren: Got it. Got it.
Can you tell me a little bit
about moderation? You know, this
is a place where I think games
are. Games are really
interesting in terms of they're
often these developed
communities. They have a high
interest area. Can you tell me a
little bit about, like, what a
mod does? I'm sure people have
heard the term before, but maybe
they're unfamiliar with like,
what that person day
Bria Davis: to day is, yeah. So
in. It. It's really going to
depend on what website you're
on. So a moderator on Reddit is
going to do something different
than a moderator on Discord is
going to do something different
than a moderator on like a forum
for a niche interest. I
primarily do discord moderation,
Twitch moderators also would
have different skill sets and
day to day activities, but in
general, what you are doing is
making sure that content that
you don't want to exist in your
space exists in your space. This
changes depending on context,
but for a place like discord,
you know, you don't want people
showing up and posting spam
links to crypto websites. You
don't want people showing up
saying hot singles in your area.
You don't want people shouting
racial slurs or harassing your
users, or, you know, any of that
kind of inappropriate content
that you don't like seeing on
the internet. It is my job to
get rid of that content, and
then potentially get rid of the
people that are doing that. And
then on a much smaller scale, it
is just about curating a space
that's fun to be in. So making
sure that you're setting rules
for a space that makes sense
with what what you want. So if
you want a friendly community,
making sure that people are
being friendly, if you want a
community that participates in
healthy competition, making sure
that your rules are set up for
that and that you're enforcing
those boundaries. So it's
everything from deleting cuss
words to taking someone aside
and saying, Hey, I don't know if
you're understanding or reading
the room properly. This is how
your behavior is, like coming
off to other people. Can you
change course? It also can
involve customer support,
depending on if you're in like a
games official setting, or
you're like a volunteer
Moderator. So you know, people
will show up and say, I found an
issue with my game. What do I do
about it? Or, right? I can't
figure out how to do this. Will
you help me? Or, you know, all
sorts of things that customers
ask and want to know about. We
lead a lot of that communication
as well in official game spaces.
Do you have
Jamin Warren: a sense of like
the the brief history of online
mods. I mean, I know online
communities are one of those,
like, one of the oldest forms of
interaction on the internet. I
mean, arguably, I guess that is
what the internet was designed,
yeah, to do, to, like, use that
and but do you have a sense of,
like, what that, how that role's
changed over, like, your, at
least your life as a as an
internet internet user?
Bria Davis: Yeah, I think,
honestly, there is a lot of
connective tissue between, at
least when I started on the
internet as a as probably too
young in age, and now you do a
lot of the same things with a
lot of the same tools, or
similar tool sets, remove a
user, stop a user from posting,
communicate with a user, delete
a post. You know, those things
haven't really changed in a
large capacity, but I think the
expectations of moderation have
changed because of how the
Internet has changed. So, you
know, 20 years ago, it's
troubling to say 2003 Oh no,
I've made myself feel old.
Communication on the internet
was a lot more asynchronous. So
if you were to go to a Neopets
forum, if you were to pull up a
like knitting community and ask
about whatever, you would expect
to come back, maybe the next
day, the next few days, and see
one or two responses from
people, and it would be spread
out over a longer period of
time. So the energy, I imagine,
that went into moderation was a
lot more. One off this post is
inappropriate, let's get rid of
it kind of thing. And as
internet speeds have increased,
as platforms have become more
focused on, like, instantaneous
communication, things like
Twitter, things like, I mean,
even texting, you know, we're
much more interested in quick
communication, the expectations
for the amount of work that goes
into moderating that content is
very different. You know the
difference between deleting
comments on an Instagram page
because someone is being mean or
said something inappropriate and
wading into a discord argument
where two people are fighting
over a contentious subject, and
like hundreds of people are
watching and you want to figure
out how to de escalate a
conflict live, when at any point
somebody else could hop in and
contribute to that conversation.
That's very different, even if
the tools are still primarily
the same. So. It definitely
evolved. But yeah, I think, I
think expectations for the kind
of stuff that you moderate has
changed, and the ask of the
platforms that facilitate our
social conversation has changed
significantly. The moderators
themselves, I feel, are
primarily
Unknown: the same, yeah, humans
are humans. Like, yeah, we're
we're all
Bria Davis: just people that are
like, I like this space and I'd
like to make it better. Oh no.
Oh God, what have I done? Why
did I do that?
Jamin Warren: Well, along those
lines, on the platform side, one
of the things that I think makes
games very unique is the fact
that there are two very large
platforms, specifically twitch
and discord, that are primarily,
although, you know, now they're
trying to diversify a bit, but
primarily their growth was
driven explicitly by video
games. You can't say that about
film. You can't say that about
TV. You can't say that. You
couldn't you. There's no place.
I mean, there's things like
letterboxed and things like
that. But I think just the scale
of those platforms and the fact
that they primarily focus on
games and gaming communities is
really unique in terms of games
having these places. Could you
tell me a little bit you alluded
to this about the differences
between those two, Twitch and
discord, as it relates to like
community, like your particular
role? Yeah,
Bria Davis: absolutely. So
Twitch, at its base is going to
be a live streaming platform, so
people can go on to the website,
and if I real time and playing a
video game, I can let other
people watch me play that video
game. So it's more of a live
participatory event. People are
talking with each other. People
are talking with the streamer
and interacting, as opposed to
like pulling up a Netflix
episode or pulling up a YouTube
video where someone played the
game and then uploaded it. It's
a very interpersonal
interaction. And of course,
people can pull little videos
from that watch them later, see
what's happened in the past. But
Twitch itself is a facilitator
of like, instantaneous
connection over video games,
which I think is part of why
it's so successful. It really
opened up the experience of
video games to be even more
social than they were before,
and even more interactable than
they were just at like a base
experience. Yeah, this floor
varies depending on on the game,
I think, but by and large, it is
like a very big chat room that
you can organize into different
subjects. So let's say you have
3000 people in one big room.
They can go into a channel and
share pictures at their pets and
look at other people pets. They
can hop into a voice channel and
talk with other people and maybe
play a game together. But by and
large, a Discord is going to be
a supplemental social experience
to whatever a game is, so you
play the game. Wow. This was
really fun. I liked it a lot. I
want to go talk to other people
who played this game and see
what they thought, and that's
going to involve a lot more
content creation. So fan work,
fan fiction theories, wiki
building, where people are
writing about the game instead
of just playing the game. Some
discords will facilitate the
kind of thing that Twitch does,
where people will play a game
and people can watch or where
you can experience something
happening live in a game
together in a chat room. But
those are much more they're
smaller, more curated
experience. It's less
discoverability and more like
retention. I think in those
instances when discords do that
kind of thing, yeah, I
Jamin Warren: mean, there's
also, it's interesting with
Twitch, there's a sense of
authority too, right? Like the
like the person on camera is,
arguably, that is the beauty.
Will have its own interactions,
but there is someone,
ostensibly, like, in charge, you
know, as opposed to and
moderators are, you know,
they're supplement, they're
supplementing that experience,
yeah, whereas discord, I get the
sense it's like, yes, the mods
are there, but the dynamic is
interpersonal between individual
users and their ability to
social influence. And yeah, how
engaging they are. They post
good things or whatever, and
it's much more dynamic in that
way as well. Yeah, it's a
Bria Davis: lot more. Twitch is
more content creator, fan,
relationship and discord is
usually like a bunch of people
in a room and people that ask
them not to break the rules.
Relationship, you get sort of
parasocial dynamics in all of
those places, but you're going
to get them a lot more in in
Jamin Warren: Twitch got God.
And by parasocial, that means
like someone sort of, uh,
projecting a relationship on the
someone, yeah. Someone relation,
Bria Davis: yeah, someone
misunderstanding a relationship
with a content creator as, uh,
friendship. Or a much more.
Intimate, close relationship,
instead of like, oh, I watch
this person's videos and I like
a lot of what they do.
Parasocial relationships drive a
lot of her dynamics on social
media, Twitter, like main
characters of Twitter stuff,
people's relationship with
celebrities, all of that is has
undercurrents of people's
different understandings of what
their relationship is to
consumption versus knowing
someone or connecting with them.
Jamin Warren: Great. Well, I
wanna talk about fandom, and
then we can talk a bit about,
like, connecting what we just
discussed on the community side
compared to as it relates to
fandom, and we can
Bria Davis: bring the whole
picture together. Yeah, exactly,
Jamin Warren: exactly. Can you
tell me a little bit I loved, I
was looking at your talk at the
Game Developers Conference, and
I love that distinct the analogy
used about fandom being an
ocean. Can you tell me a little
bit about about that analogy to
help people understand like,
what fandom is? I
Bria Davis: think fandom as a
word has so many different
definitions, depending on who
you're asking and what scale,
especially your company is
working on the difference
between fans of like a cartoon
that is going to be on Cartoon
Network or Disney Channel, the
scope of that, versus fans of
like a small web comic that one
person is making in college, are
going to be very different
contextual experiences, and are
also audiences that are probably
going to be pretty different in
how you engage with them. I
think fandom, for me, is a level
of engagement that you get
beyond a casual fan or a casual
like audience member. So the
kind of person that is going to
use your product once or twice
and be like, yeah, that was
cool, or like, oh, I watched
this movie. I liked it. I'm not
gonna watch it again. Maybe I'll
talk about it at work. I don't
necessarily consider that part
of fandom. I just consider that
an audience. Fandom, for me, is
sort of one step more, someone
who's going to re watch the
movie, someone who is going to
still be thinking about a piece
of media for a week after,
someone who is going to go onto
social media and talk about it.
This can involve sort of
creating their own content, fan
art, fanfic, those things that
people have heard, where her
fans will take whatever world
they're experiencing and like
and then make their own stuff
out of it. And I think it also
just includes, like, hearing a
lot about a thing driving
engagement higher, revisiting
websites, that kind of stuff. So
when I say fandom is an ocean,
it is almost a precautionary
language that I use, because I
think a lot of people do say,
like, we want a fandom, and
don't necessarily understand
that that is not something that
you can control, both in a like
literal sense, you can't control
what your fandom does and how it
behaves and how it impacts your
brand. And also, you can't
necessarily control whether or
not you develop a fandom. There
are definitely aspects of media
or things that you can use that
tend to attract fandoms. But
more than anything, I think of
fandom as just a very intense,
not even very intense, just
slightly more intense, group of
people that are going to engage
with your thing over and over
again. And as we know, people
are not easily controlled,
necessarily. And so I think
fandom should be treated with
respect and care as something
that is uncontrollable and is an
ecosystem that we all exist
within, especially when we're
all so connected online. And the
way that you treat the ocean, at
least the way that I treat the
ocean, is know when there's
danger, and don't go into the
danger like, be smart about how
you engage with it. Be smart
about how you like enter it. And
I guess, like, invite it into
your space. You know, you don't
take 14 shots of tequila and
then run into the ocean with no
one around at night. That might
be unsafe, but if you go to the
beach during the day with your
friends and there's a lifeguard,
that's great. And so I think
thinking about how you engage
with something as big and as
tumultuous as the human
condition, as we consume media,
takes a lot of care, and when
done right, can be really
successful and also make a
really good experience for your
users. And if not, you're you're
most likely, your customer
support team, or your user
experience team, is going to get
swallowed by the ocean and drown
a horrible death if you don't
think about the ramifications of
what you're asking for. And
ideally, we don't want that.
Ideally we want everyone to have
a good time and benefit from the
experience. And, you know, I
think sandom fandom comes from
like a deep emotional connection
to a character, to a story, or
to a version of the world where
you can see your place as
something is something different
than it is. You know, it's it's
escapism, it's self
actualization, it's identity
exploration and its connection,
and connecting to a story is a
lot easier than connecting to
whether or not I'm going to buy
an eyeliner brand that's new on
the market. You know, yeah,
yeah. And so I think, I think
people will get a lot more
realistic and productive
results, if they think about
having fans and having people
that are really energetically
enthused about what they're
doing without trying to
replicate, you know, Marvel's
fandom, Disney's, yeah, I think
something that I do a lot in my
role, because of the the game
that I work on, is very weird
and different from a lot of
standard ones. I look to a lot
of different places that have
done things that are pieces of
what I want to do. So if we are
going to do like a scary plot
line, I look at academic
research on grief and collective
trauma. I look at horror movies
and how horror movies have done
marketing around those things,
and I think companies can do the
same. You know, if you want
people to really care about your
stuff, look at other places that
are adjacent to what you do,
movies that have really
compelling music scripts, if
you're a music company, or video
game audio and the culture
around that. And I think there's
so much to learn without feeling
like you need to copy something
word for word, you know?
Jamin Warren: Yeah, yeah,
absolutely. Can you tell me
about the fandom cycle? I think
people are familiar with it at a
distance. But what is that cycle
for? Yeah. Can you tell me a
little about like, what the,
what the life cycle for fans
often, often looks like. I feel
like people catch the tail end
when people freak out about
something, yes, but maybe not
how that relationship like
develops?
Bria Davis: Yeah, it's, it's
really interesting how people
become involved in a fandom. By
and large, I think someone
consumes a piece of media. Let's
say they play a game. They
really like it. They go, this is
cool. I want some more of this.
And they seek out other people
who are interested in that
thing. Conversations happen. Fan
work happens. People are excited
and they are focused around this
piece of media, and then
especially on, like a
centralized platform. So just on
a discord, we'll say everybody
in that space is going to have
very common natural human
behaviors. So you know, I am
talking with this person, and I
know more about this than them,
so I want to share that with
them, or I have these really
funny jokes that I want people
to read, so I'm going to tweet
about them. And in doing that,
we sort of unknowingly accrue
power in a social space. They
become a resource for other
people. So if I am the person
that played this game, and I
know every name of the
characters. I know all of their
backstories. I know how all of
them are related. You don't have
to know any of that, as long as
I'm also in the space and can
just tell you. And as people
sort of accrue that power in
this natural, sort of social
dynamics forum, in an online
space, the people that have the
most power get to set the topic
of conversation. So if I want to
talk about why these two people
should kiss because of their
backstories, if I'm the one that
people go to to learn about
people's backstories, then
they're also going to talk about
why these two people should kiss
or not they should. I don't know
who these people are, but they
should, and in setting those
conversations, you set these
social norms in a space the way
that any of us do in any
environment, in an office, in a
friend group, in a sports team,
whatever, and anyone new coming
into that space is then either
going to have to get with the
program and meet those social
norms, or If they divert, they
either have to accrue enough
power to overturn those social
norms or leave. And so when you
are asking to develop a fandom,
a lot of times, what you're
asking is to create a social
environment where you have a
limited number of people that
are still going to give you a
lot of engagement. I think a lot
of people don't realize that
fandom can actually limit your
potential. For growth. It
operates.
Jamin Warren: Yeah, absolutely.
Um, I love that phrase that you
you've used the intimate public
around that conflating a sense
of shared experience with a
sense of like shared shared
values. Can you talk a little
bit? Yeah? About that, just
like, how does that go about?
Like, what? What is happening
there between, between fans that
maybe is mistaking, like, one
form of interaction for maybe
something else.
Bria Davis: So there is a
theorist named Laura verlant who
wrote a piece called the female
complaint on 2008 and she talks
about this idea of an intimate
public, which is effectively a
sense of a shared like public
experience and connection with
other people, maybe not based on
our values. So you know what? I
how I think we should treat
people in our community, how I
think people should get support,
or even just like, whether or
not I think honesty is important
as a person, and you think
honesty is important, but in how
we respond to the consumption of
something particularly media. So
if you and I both go and see the
Avengers movie, and we leave and
we're like, that was so fun.
Iron Man is so cool. I liked it
when the Hulk threw Loki around.
That was great. We would feel
like we are a part of a
community together that makes a
meaningful impact on the world,
because we liked that movie a
lot. You know, we feel
connection through that, but we
may have very different values
about how we engage with the
world, how we engage with our
community, how we're people on
this earth, and a lot of times,
because media consumption is
such an easy way to connect with
other people, that supersedes
the way that we exist within the
world in sort of meaningful
ways, because We like the same
things. We like the same band.
We both want to see the Barbie
movie. We both want to play
Fortnite. Those things are
significantly less important
than you know, whether or not I
think that healthcare should be
free for people or whatever.
Spicy and what that does is it
facilitates an environment
where, if you and I like the
same movie, and then our friend
who came with us to watch the
Avengers was like, I thought
that was terrible, and I hated
it. Joss, Whedon, sucks. That
person would be in the out
group, and that sets up
opposition over something that
doesn't, doesn't matter at all,
but is really easy to take
advantage of and to to
weaponize. You know, I'll, I'll
pull literally the quote from
Berlin that I put in my
presentation, which is, what are
the political consequences of a
commoditized relation among
subjects who are defined not as
actors in history, but as
persons who shop and feel. And
you know, the the layman version
of that is, I think, in the end
there, like, what does it mean
for us to connect with other
people and to connect with the
world around us by how we shop
and feel, as opposed to how we
like, actually interact with our
fellow person. And that is very
beneficial from a marketing
capacity, if people want to take
advantage of it, you know, like
if we if we define our
identities based on what we
spend money on, based on what we
like, what we think is cool,
that's really easy to tap into
for success, and I think has
been used really successfully, I
would also argue that that's
something that could be really
forefront in the mind of people
who are who want to market in
what feels like ethical and
aligned with specific values, of
like, how, how are we appealing
to people in meaningful ways,
versus, how are we Taking
advantage of the systems around
us to convince people that their
way of improving the world, that
their way of interacting, of
caring for other people, is by
buying that thing that we're
selling. And that applies to
fandom as well. You know, we
form these really strong
identities with what we consume,
with what we make, with what we
buy. You know how many Funko
Pops we have, and that feels
very meaningful, that to bring
it all back, like part of
community management is ensuring
that those connections extend
beyond just shared interest in
media. But yeah, we treat other
people. And I think what's
really interesting about
community management I'm this is
live. I'm figuring it out as we
talk my cogs are turning, is
that one of the things that I
tell people my job is, is just
professionally setting
boundaries. And a lot of times
in community management, like
something rolls out in a game,
maybe the audience doesn't like
it very much. I have no control
over whether or not that gets
rolled back. I can just
communicate feedback, and then
we have to move forward, and I
have to start setting boundaries
about engagement. Community
management plays a really
valuable role in reinforcing
those values, in making sure
that people engage with your
brand in alone. Fine with those
values, and can help you set
those boundaries and set the
terms of that conversation, so
that even if people don't like
what you've done, they can pound
sand or they can pound sand
elsewhere, the people that like
what you've done are going to be
even more committed to what you
do, to be committed to
facilitating a space that they
want to spend time in. It's all
it's all connected, but mostly
like his boundaries, baby, all
of his boundaries, all the way
down, its values and,
Jamin Warren: well, last thing I
had for you was just maybe on
the very practical, practical
side, what does like a
beginner's engagement from a
community management standpoint
with a gaming audience look
like, versus maybe a more, some
more advanced, advanced
strategies. What does that look
like?
Bria Davis: Yeah, that's that is
an excellent question. I will
spare you the nitty gritty
details, like turn this
permission off and do this
instead, but reach out if you
want help. But know some folks,
I think the biggest thing is
going in with a clear focus on
what you want to accomplish and
what you want to facilitate. The
advice that I have gotten the
most feedback from of being like
extremely useful for folks, when
thinking about discords is the
more things that you host in
your space, the more types of
conversations you host, the more
channels you have with different
subjects, the more work you are
putting on yourself to moderate.
I think at the end of the day,
it is really like figure out
easy, low stakes ways for people
to participate. Make sure that
you have a focus on what your
space is supposed to accomplish
it shouldn't just be a nebulous
come hang out and talk to people
and pay your moderators. You're
gonna get much better moderation
if you pay your moderation team.
Jamin Warren: You should do that
well. Thank you, Bria, so much.
I really appreciate it. This was
an amazing
Bria Davis: conversation. Yeah,
my pleasure. Thank you. Thank
you for doing the good work of
demystifying the world of video
games for others. You're doing
the Lord's work,
Unknown: of course. All right.
I.