Open Esports Paid Positions – Unannounced Company

The following positions pertain no relevance to this website, the contents or subject matter. This is merely a temporarily site used for current job postings prior to a 2017 launch of a new company.

When applying, please format your subject line as: ‘Full Name – Position Name You Are Applying For‘. Due to the expected number of applicants, not all applications may be responded to in time.
Those applying for full-time positions, but who are also interested in freelancing, should indicate their interest somewhere in the body of their email.


When applying, please include the following details:

  • CV or Resume (no more than 2 pages)
  • Any personal/professional social media accounts and/or personal websites
  • Range of expected salary or freelance rate if you’re applying as a translator or freelance writer
  • Current residing location
  • Make sure to read the key notes for some positions and their requirements in addition to these details

Email your application to: [email protected] (2 Ts)

Open Positions

North-American Editor
European Editor (Possible Future Relocation)
  • Responsibilities:
    • Assigns and communicates content production with writers/freelancers
    • Copy-writes and edits content from daily news cycle to unique content creation
    • Recruits freelancers and coordinates deadlines for pitched content
    • Organizes editing and publishing responsibility with other editors to ensure smooth transition of work between regional time-zones
    • Ensures content quality and number of content published on weekly/monthly basis is fulfilled
    • Tracks data records of published works and relevant KPIs for evaluation
  • Qualifications:
    • 2 years’ minimum experience in editorial process and writing
    • Ability to travel and produce on-site event coverage
    • Comfortable writing general news-related esports content
    • Experience managing staff members and pushing necessary deadlines and responsibilities
    • Familiar in League of Legends/Dota 2/Counter-Strike esports and pro-actively plays the game
    • Flexible schedule
      • Photoshop a plus

Esports Writer (North America)
  • Responsibilities:
    • Regularly pitches and drafts unique editorial content, per editor approval, to be worked on throughout the weeks
    • Creates insightful written/video content regarding esports and the competitive games involved, incl. strategies, changes to the game and its effects
    • Produces unique content ranging from interviews, match/game analysis to profiles on team and player histories
    • Is comfortable and charismatic on camera, speaks enthusiastically about their opinions regarding a team’s success or failures, the specific games and upcoming matches
    • Cooperates with graphic designer to communicate needed images/graphics ahead of time for their content
      • Photoshop a plus
  • Qualifications:
    • Up to 3 years of experience in writing
    • Previous experience in writing hard-hitting articles, breaking esports news or credible strategy analysis
    • Comfortable and engaging on camera; charismatic and can portray a strong enthusiasm for esports to an audience
    • Expert in League of Legends and/or the Counter-Strike esports scene
    • Flexible schedule
      • History of the players, team organizations and strategies
  • Key notes before applying
    • Please only apply if you’ve written extensively about League of Legends and/or Counter-Strike scene:
      • Interested in writers who have written opinion, analytical pieces
      • Interested in writers who have broken major news stories (first)
      • Comfortable on-camera and able to talk about the game extensively
    • When applying, please send examples of your work that range from the types of content we’re looking for (breaking major news stories, opinion pieces, or strategy analysis, on-camera interviews or discussions)
(Social) Media Manager (Europe – Possible Future Relocation)
  • Responsibilities:
    • Manages all Twitter/Facebook delivery and curation
    • Plan and strategize ideal social media promotion to reach largest audience
      • Design unique campaigns to support published projects and event coverage
      • Design and execute strategy in creating content to continue promoting the brand when no published content is available
    • Coordinate with other brands’ social media teams for recurring cross-promotion of content published between brands
    • Maintain Live-streaming and VOD/YouTube formatting
      • Including titling/tagging to capture largest market
      • Additionally, flagging non-licensed republished works
    • Responsible for communication/outreach, coordinating giveaways and sponsored-related contests
    • Monitor results of social campaign and send results to supervisors
    • Comfortable with Photoshop and video/gif-editing
      • Photography a plus
  • Qualifications:
    • Familiarity with all esports titles and the general gaming/esports community
    • Up to 2 years of experience in (preferably esports) social media and/or marketing
    • Experience with web-analytics, social media advertising and data analysis
    • Articulate and personable, able to channel excitement through written medium
    • Organizational with a flexible time-schedule
  • Key notes before applying
    • Please only apply if you have a proven record of growing a brand’s following within esports or gaming.


Graphic Designer (Europe – Possible Future Relocation)
  • Responsibilities:
    • Create all relevant imagery and graphics for everything brand-related ranging (but not limited to) articles, social media, video production and web design
    • Consult with our content team to maintain style and colour scheme for both article presentation, infographics and site features/additions
    • Cooperate with writers in creating art assets that are customized precisely for the intent of the content, its tone and intent
    • Provide social media key graphics to use in attracting audience attention
  • Qualifications:
    • 2 years’ experience in a creative position
    • Comfort in Adobe Photoshop and Illustrator
      • Some video editing, animation and After Effects experience a plus
      • Basic HTML and CSS familiarity preferred
    • Communicative and comfortably working with deadlines and juggling multiple projects
  • Key notes before applying
    • Please send portfolio reel or published works displaying your range of graphic capabilities and strengths


Freelancers & Translators
  • Esports Writer position
  • Korean Translator
  • Chinese Translator
    • Responsibilities [Freelance Writers]:
      • We are seeking strongly-opinionated and knowledgeable freelancers to join and contribute with our content team
      • Should be regularly prepared to pitch ideas and coordinate with an editor to map out a working structure for the piece
      • (pays per word/per article and type of content)
    • Responsibilities [Freelance Translators]:
      • We are seeking translators to assist in understanding relevant news and interviews published around the world (Dota 2/Counter-Strike/League of Legends)
      • Preference over translators who can comfortable write compelling stories and conduct (written/speech) interviews on their own
      • Should also available to travel in-case of international events and international players
        • Translators who are comfortable on-camera and can serve as a pundit with interview is a strong preference
        • Translators who are familiar with the game and can comfortably talk about it is also a strong plus
    • Key notes before applying
      • If applying as a translator, please specify the game you are most comfortable with, primary language and secondary-learned language
      • Please forward any published works or interviews done as well

3 years, 170 million: Dota Builds Project Year in Review

This is a continuation of last year’s article, “2 years, 100 million: Dota Builds Project Overview” and 2014’s article: “1 Year, 40 million: Dota Builds Project Overview

**some images may appear smaller than intended, click the images to see their full resolution/detail**

It’s now been three and a half year since this project started in February, 2013. I do this ‘year in review’ article once a year in October as that is when I started collecting statistics for these hero builds. In 2015, we achieved a remarkable feat: 100 million total subscriptions. I persevered in updating the hero builds despite the system being completely system. Begun implementing a better hero builds tooltip system and established a proper policy in what direction and emphasis I want the hero builds to go towards.

2016 was challenging in and outside the project and the public recognition for it has been the highest it’s ever been – with all of its appreciation and harsh criticism of character.



For those new to Dota 2, Hero Builds are an in-game guide system for users to learn on how to play a hero. These guides suggest in what order a hero’s ability should be leveled, which items and in what order should be bought and guides can include tooltips to give contextual value on how best to use a hero’s set of items or abilities throughout the game. This 2013 integral feature has been useful for many new players along with other Valve-released tools including the ‘coaching’ feature and robust tutorial system. This project was created to establish and maintain a ‘standard’ way of playing each and every hero in nearly all roles or forms.

Today we celebrate reaching over 170 million subscriptions across 150 guides (177,425,506 as of November 17, 2016). This article will take a look at the relevant statistics of our growth, discuss the continuing motivation to maintain these guides and the future goals and challenges for 2017.


100 Million to 170 Million – A Year of Statistics

In summary, this project has gained 70 million new subscriptions since last year. In fact, approximately 5 million a month since late-May 2014 (30 months consecutively). Hero builds have risen from 145 builds to 150 hero builds thanks to the release of the final DotA-Allstars hero: Arc Warden & Underlord.


In October 2013, we started with less than 5 million. Since 2014, our growth has been consistent of 4 to 6 million a month. In 2015, 37 guides have reached 1 million unique subscribers individually. That number has almost tripled with now 100 guides with their own 1 million unique subs.


Forecasts project that the project will achieve 200 million by February, 2017 and 234 million by October, 2017. Last year, we missed our prediction by a good margin and it might be safe to assume the same here. That said, we’ve achieved new milestones today with individual guides now breaking into the 2 million unique subscribers mark. Lifestealer, Sven, Juggernaut, Phantom Assassin, Phantom Lancer and Faceless Void have all recently hit their two million milestones and there are many other guides nearing it.


Observed is the incredible growth the Sven Hero Build achieved to reach and surpass Lifestealer Build’s subscribers. Lifestealer achieved 1 million by August 2014 whereas Sven achieved similar by April 2015. By June 2016, both guides achieved two million simultaneously.

Though it isn’t definitive, I firmly believe that because Sven has been more relevant in more patches and professional competitions than Lifestealer, its growth rate followed suit. This growth is not unique to a couple of builds. The average has grown from 716,000 to 1.16 million. The majority of hero builds have 1 million or more in unique subscribers. The distribution of subscribers is also much more ranged than before where guides can have as little as 150,000 subs. to as much as 2.4 million.



Achievements and Challenges

 This year was the most revolutionary year for this project yet. Not only did the project see a complete overhaul in title classification, but it was also the first time the Valve Dota 2 Development team acknowledged, communicated and fixed some of the longest standing issues that plagued the system and caused many users to outright quit making builds. Here is the list of achievements this year:

  • Expanding the Hero Builds Catalog from 145 to 150 hero builds
  • Streamlined Patch Changes Accountability and Changelog for future reference
  • Finished overhauling the entire hero builds item and ability texts to better denote contextual value for each.
  • Released a Patreon campaign after years of users asking for a way to support the project
  • Transitioned the hero builds title system (Lane/Middle/Jungle) to less antiquated system (Core/Offlane/Jungle/Support) with sub-title specifications (Roaming, Safe Lane, Middle, etc.).
  • Released /r/HeroBuilds & to better curate user feedback from more community hubs.
  • Released an All-Subscribe Tool, a long-awaited feature asked by users (thanks LemonWarlord)
  • Established a direct line of communication with the Valve Dota 2 Team
    • After years of problems, Valve took the initiative to fix some of the most glaring issues that outright halted the ability to make and publish hero builds. Even more so, they have been very responsive in any new critical bugs reported to them.


Before Valve, a user named Parnakra literally saved this project. I was on the brink of giving up before he helped not only fix the Dota 2 Hero Builds Cloud Server, but improve it in many ways.
Thank you Parnakra.


Now with a direct line of communication with Valve and their promptness in fixing any new critical bugs, I hope to see more hero builds created and updated regularly without anything preventing users in doing so.

In terms of challenges, there are very few from the outside. There is still no real competition in terms of valuable hero builds currently in the database as the ones that are newly-created and maintained cannot break past some of the outdated versions from 2013 who continue to be rated up, regardless of accuracy or attention to relevance of the current patch (e.g.: heroes that get completely remade). Heroes such as Faceless Void don’t have any updated hero builds in the year 2016 except for my own. In terms of competition, the top guide creators are still the same as last year with some emerging players such as EDJE and EZ MMR.


Across the board, we can see growth in all hero build collections from the most popular catalogs of hero builds. This can be indicative that there are just more or rotating new users subscribing to hero builds as a whole.

Future Goals and Motivations

In December 2015, after much hesitation, I released a Patreon campaign for users who asked how else they can support the project. Generally, feedback was always preferred, but with the support of these great people, I can start to think about expansion into other medias to help players of all kind.


Alfred Vogl, Pearson Mewbourne, Leonardo Lambertini, Scott MacDonald, Sutas, Nicholas Chlumecky, Dice, Bartlomiej Jan Pasek, Graham Bullard, Daxdiv, Mikey Kaminski, Ryan Goss, Startracker, Freeze ray, Nate Hubbard, The WLD Crew, Benjamin Miller, Kistaro Windrider, Elliot Cuite, Daniel Thackray, Jose Cacho, Matthew Nami, tale, Joel Absolom, Tyler Reid, Hursha, Aaron Bell, Jason Davis, Cooper Johnson, Samuel Enocsson, JimmaDaRustla, slashershot, Igor Dolgiy, Ramona Brown, Duncan, Alishams Hassam, Leon Traill, Josh Laseter, Genc Musliu, Joshua Rodman, Moe Foster, Steve, Oliver, Vinzent Steinberg, Cabanur

Thank you so much to the many people here for their generosity, support and care. They saw something that was made entirely for free and still wanted to provide support with the money they’ve earned. It’s a great honor to receive this kind of support.

With the amount earned, I will be giving a portion to long-time feedbackers (though many have opted out or did not respond to request for their owed amount) and the rest will be going towards hiring a proper website designed to brand a website for the Hero Build Project and all the tools available. It will serve as a valuable hub to redirect users in being aware of all the hero builds available, tools, and statistics relevant to its growth and achievement. As always, no amount will be used for purposes other than to continue building this project.

In terms of future goals, the website hub is the first immediate one. Other cloud-level dreams would be expanding to content creation, meeting with the Valve Dota 2 team to suggest a variety of quality-of-life expansion to new player initiatives and/or newbie casting (this one’s iffy – haven’t casted since 2011 in StarCraft II).

In terms of motivations, 2016 turned out to be the year I receive the most recognition, appreciation, condescension and character criticism. Most of all, this year has been the most emotionally taxing where the hours of work remained consistently the same as last year’s: 2-3 hours a day, 28 to 35 hours a week and 9 to 24 hours within two days when a new patch releases. This is nothing new and I’ve made my concerns about it in the past as I juggle work, a personal life and this project. Somewhere along the way, I’ve also noticed my anonymity was lost, where I would be recognized in-game and my words, actions (or inaction) would paint how people speak to me or about me.


My favourite flattery/criticism in recent times. Some others have been less than comedic and more personal.


If I was overly-critical towards someone in-game, it would persist past the game and try to demonize me as some two-faced person (rather than a person who does get mad when we lose and excited when we win). If a new patch hits and I did not update the guides by their expectations, the amount of spam and private messages received would range from begging to rude demands and threats (non-lethal versions). There is a lot of expectation for me to be a public model citizen and I suppose that comes with this newly-found recognition. I do not make a living off my personality, project or appearances – yet I have this new responsibility I was not prepared for and maybe selfishly feel I do not owe towards others. I don’t think it’s something I can rebel against, but I will be taking active measures to either not talk in-game or start using an alternate account for all my day-to-day test games. Come December, I may also slow down the amount of updates and testing, as I’ve recently found myself prioritizing the project over, say, enjoying an overdue vacation with significant partners (at one point, I was updating guides while on the bus to The Grand Canyon due to increased public pressure) or ruining my sleep schedule to keep up with the latest patch. In 2017, I will also be starting something very new in my career, which may cause an impasse on continuing the project at its current level of dedication or something less attentive.

Depsite this rant, I always go back and read previous topics, smile at the appreciation I receive and know there are people thankful. The numbers say it all and the words of the many drown out the negative few.

Thank Yous

Without the help from the community at, and /r/HeroBuilds, this project would not be able to be even remotely as close to its goal as it is now. I would never have the knowledge, expertise or understanding of the game that some of these people have provided throughout the years and for that, I thank them for completing this project in so many ways and keeping me on top of the most glaring inconsistencies with this collection of hero builds.


Recently, I’ve noticed more and more iconic people using my guides. People I’ve admired or see as incredibly talented. Moonmeander, Arteezy, Totalbiscuit, Day [9], Dimitri (GodBlessMali – MarsTV) and Hector Rosario (HelixFrosT – Founder of Flipside Tactics)


This project has been my pride and passion for the many years I’ve changed jobs, countries and lives. It kept me feeling personally successful no matter what low point I’ve hit. That kind of support is immeasurable and I sincerely thank you.
See you next year,

Michael ‘Torte de Lini’ Cohen

Twitter: @TorteDeLini



Dota 2 Hero Builds Hub

PS: thank you James Hu, Tam Vu and Foad Ghafor for the help with the website, graphs and this article.

The Difficulties Overwatch Esports Faces

When Counter-Strike: Global Offensive released in 2012 and later in the years claimed the flagship of FPS esports titles (like its predecessors), it further showed what other FPS titles were lacking in terms of tools and core mechanics to be a spectator-friendly competitive game. Halo, Call of Duty and Rainbow Six: Siege are just some of the current established FPS esports titles that don’t quite measure to the popularity and excitement that Counter-Strike has established.

Among these titles is the prominent new IP from Blizzard Entertainment called Overwatch: a class-based objective-driven FPS with 21 playable characters and three modes: ‘Capture Point (Assault), ‘King of the Hill’ (Control), ‘Escort’ and maps that are a hybrid where you attack/defend a point, then escort a payload.

Before open beta was even released, established esports organizations have already announced their Overwatch squads in preparation for this prosperous competitive title. Announced tournaments from ESL (at Gamescom), GosuGamers and Esports Arena are trying to be the frontrunners to push a flourishing esports scene. However, a mediocre spectator client and questionable map design choices may push the Overwatch esports scene to be as small as Team Fortress 2 instead of as big as Counter-Strike.


Team Liquid’s Overwatch squad are not the first team organization to get on-board with the game. Teams such as Cloud9 and EnvyUs are currently fielding teams and Counter-Strike, Team Fortress 2 and Battlefield 4 players are switching to Overwatch is hopes the scene prospers.

Overwatch is both fun to play, skillfully demanding and requires a good amount of communication to win. Impressively, traditional class-based designs from other games are combined with unique abilities that don’t typically work in a FPS environment, such as: Roadhog’s Chain Hook or Reinhardt’s melee-oriented attacks. Despite the limited amount of maps and modes, each game feels fresh as you approach a match differently with unique team compositions. At its core, Overwatch mostly achieves the first half of what makes a successful esports title: exciting to play. The other half, ‘exciting to watch’, has its issues. These are issues that aren’t new and have been something that’s been around in other games like Team Fortress 2, Battlefield and Call of Duty.

As the Overwatch competitive scene takes off, distinguishing ‘Skill depth’, avoiding ‘rhythmic strategies’, and accommodating the scene with more competent competitive maps/modes will be necessary for the scene to grow and the game’s public interest to continue to be renewed with new features.

Distinguishing Skill Depth

Skill depth is the demanded layers of a player’s ability to perform a character’s capabilities at varying levels of execution.

For example, in Team Fortress 2, you can maneuver as the Solider class at three distinct levels of execution:

  1. Traditional movement on the ground
  2. Rocket Jumping, like in Quake with the risk of self-damage
  3. Jurfing – where the user takes an increased amount of consecutive damage to rollout faster to a specific capture point

In a competitive environment, being able to rollout as the Soldier (or Demo) class is key to a good start in a competitive match for the team.

The skill depth in Overwatch is varied per class, but the biggest issue is the difficulty in distinguishing that skill as a spectator. Like Team Fortress 2, Overwatch suffers from the same quality that makes it so enjoyable to play: projectile chaos. Projectile chaos is what makes the game incredibly fun, frantic and fast-paced, but makes for a terrible spectator esport. This is emphasized in head-to-head confrontations on ‘Capture Point (Assault)’ and ‘King of the Hill (Control)’ maps where the control point is close quarters with little room to maneuver and even less room to see what is going on. Overwatch wants to use the first-person camera to display great skill, but have to somehow also meaningfully convey the skill in team-fighting abilities and big-battle engagements.

The lack of coherence in a player’s individual skill depth is an inherent issue in Overwatch. Ammo is not a problem, thus a player can attack more without risk – leading to a lot of action with little substance. Any key action that does occur, is often lost in the commotion of bombs, rockets and bullets. Especially true for ultimate abilities such as Genji or the attacks of Reinhardt which are melee-oriented and right in the thick of fights. Viewers have to rely on sound cues and the kill feed instead of the match itself.  Overwatch’s inability to display skillful plays in an easy-to-interpret manner may lead to a dwindling viewership. The fact that Overwatch has no tools to help highlight unique team execution leaves little to appreciate during Overwatch matches.

Rhythmic Strategies

What distinguishes Overwatch are its abilities and game-changing ultimates where characters are defined by what they offer to the team. However, these powerful abilities create a rhythmic playstyle that centers each match around these abilities, specifically the combination of the team’s ultimate abilities. Progression in matches end up being dictated by these ultimates rather than as a complimentary layer of skill depth. This is something competitive Team Fortress 2 relates to, but is limited to one class.

In Team Fortress 2, the importance of keeping your medic alive is the highest priority. Not only is the Medic the only support class in Team Fortress 2, but the class’ offensive capabilities are slim to none. However, the Medic has one “ultimate” ability where he can grant invulnerability or guaranteed critical damage. It is game changing and must be charged over time. Overwatch builds on that with ultimates that create great moments for the player to feel “overpowered”, but create huge comeback swings that can make games feel entirely dependent on it. For example, Mercy’s ultimate can resurrect entire teams and Lucio’s ultimate can block damage from the enemy’s team. The enemy team must account for that, so they may also withhold their ultimate or simply pull back to another chokepoint. This creates rhythmic strategies where entire games are dictated by ultimate abilities and the progress/pushback branching from them. Depending on the success of one team’s string of ultimates, the game may progress or stall. Players then focus on survival and dealing as much damage as possible instead of overcoming the enemy team, to continue charging their ultimates.

To add, some ultimates are clearly more team-contributing than others, emphasizing, almost to essentialness, the need for a Lucio or Mercy over other more situational supports like Symmetra or Zenyatta. This can continue to be a problem should the game release even more characters, diluting its intent for varied use of all characters. This is an issue in Team Fortress 2 as well, where classes that were not maneuverable or did not have the strongest area damage (like the Heavy, Spy or Pyro) were seldom used. Fortunately, the highlander mode (a 9 vs. 9 match-up where all 9 classes are played) is becoming more prominent, a flexibility Overwatch does not share. If Overwatch expands to even more heroes, the importance to include certain “core” heroes in team formations can push others down.


In Team Fortress 2, it is the attacker’s job to make use of the Medic’s invulnerability ‘ultimate’. In Overwatch, ultimates can compensate for a player’ ultimates partially mitigate player individual skill outside of short 30 second bursts.

Too Fast, Too Short, Too Much

At the moment, the best mode for competitive Overwatch is Escort. One of the reasons is that the other modes, Assault and Control, can be too swiftly concluded – removing any build-up. Assault maps such as Volskaya Industries offer up a lot of entryways for attackers to reach the first point, but make it too difficult for defensive line-ups to counter. Especially when the spawn areas are alternating in advantages, creating the intention for the defenders to eventually concede the first capture point, but heavily defend the last one with proximity to their now close spawn. However, the defender’s concession can lead to unsatisfying matches where attackers will snowball by capturing the first point and race to take the second point with their ultimates already charged and the defense squad either don’t have time to setup or simply already used their ultimates to previously defend the first point. At the highest levels of competitive play, these biases too heavily dictate the outcome of a match.


The attacker’s ability to reach the first capture point on Volskaya Industries is numerous. You can approach it from two different levels (upper/lower) and three cardinal directions (North, East, West). It is a challenge for the defensive team to both hold the main entrance choke and counter against heroes that slip by that first defense choke point. Should they lose, scrambling to defend their second point may prove more challenging than intended.

The appeal to the Escort mode, and hybrid maps that have an escort portion, is that there is a build-up and an evolution throughout the matches. Players are faced with different challenges depending at which point or area that cart has reached. From chokeholds to multi-paths of attack, these areas of conflict can create unique strategies that call for different heroes. Escort maps have momentum and progression which can create more engagements and thus a better display of individual skill. However, a singular mode is not ideal for a competitive game where the core adversarial dimension is the same: prevent the enemy team from escorting their cart. It can create feelings of repetitiveness for the viewer, this wouldn’t be as big of a problem if Overwatch’s map-pool for that one mode wasn’t as considerably small.

In the MOBA genre, there are enough characters and item choices to makes matches feel unique from one another. For FPS titles, a variation of maps and modes can alleviate the redundancy of using the same weapons. Overwatch has both a large cast and many maps/modes, but competitively, only takes advantage of less than half of both aspects. This core issue would likely be resolved as the game develops, as did many past competitive titles, for an esports scene to then emerge. However, since Overwatch has ramped up its competitive environment before the game was even released, a lot of its faults are being highlighted.


Overwatch is having an incredible launch with a strong and potentially long-term playerbase. While its competitive spirit is still young and new, the core issues inherent to the quality of the game from a competitive standpoint stick out like thorns. From a viewer’s standpoint, issues like visibility of skill or the feeling of rhythmic strategies can detract from being excited watching matches as much as playing. This is amplified when the mode/map-pool is limited and the essentialness for key heroes, due to their team-influencing ultimate abilities, creates a feeling of repetition for the viewers.

While nothing is final in terms of how the competitive scene will be shaped, it is not right to assume that the competitive scene will flourish as some expected Heroes of the Storm to be. The game is exciting to play, though it is not necessarily exciting to watch for the same reasons some of its predecessors faced. Although developer support is a step in a positive direction, if the community is not behind the idea, a competitive scene might be less than a possibility. For every community-inspired scene like the original StarCraft or Hearthstone, there are also opposites like World of Tanks and Shootmania. If Blizzard hopes to push Overwatch as a legitimate professional esports title, it will need to ensure its game design direction does not go the same way Team Fortress 2 did.