Hang All The Critics: Towards Useful Video Game Writing

Jonathan McCalmont @ 18-01-2012


  1. The Problem

It does not take a genius to realise that the world of video game reviewing is completely and utterly fucked. Their reputations sullied by an endless cavalcade of scandal and stupidity, video game reviewers routinely find themselves in the impossible position of having to balance the financial requirements of their publishers with the (frequently unreasonable) expectations of their audience, all the while striving to be completely objective, irreproachably fair, amusingly articulate and uncommonly insightful. Frankly, nobody could satisfy all of these demands at once — and, even if they could, I doubt that anyone would care. The age of the critic has now well and truly passed. Continue reading “Hang All The Critics: Towards Useful Video Game Writing”

The Grand Lie

Brenda Cooper @ 26-10-2011

Most of my day-to-day life is good to great. A little too much stress, a few challenges with weight and sleeplessness, but I’m living my dreams about writing and I’ve got a job that pays the bills and leaves a bit extra behind for electronics. I’m usually optimistic. At the core, I suppose I still am, even though today, I am also convinced many of our choices are simply awful. Continue reading “The Grand Lie”

Coppola on the future of filmmaking

Paul Raven @ 31-01-2011

Via kottke, here’s a very interesting interview with Francis Ford Coppola, which has some points worthy of consideration by musicians and writers and other artists worried about the internet killing off their chances of success:

Is it important to veer away from the masters to develop one’s own style?

I once found a little excerpt from Balzac. He speaks about a young writer who stole some of his prose. The thing that almost made me weep,  he said, “I was so happy when this young person took from me.” Because that’s what we want. We want you to take from us. We want you, at first, to steal from us, because you can’t steal. You will take what we give you and you will put it in your own voice and that’s how you will find your voice.

And that’s how you begin. And then one day someone will steal from you. And Balzac said that in his book: It makes me so happy because it makes me immortal because I know that 200 years from now there will be people doing things that somehow I am part of. So the answer to your question is: Don’t worry about whether it’s appropriate to borrow or to take or do something like someone you admire because that’s only the first step and you have to take the first step.

How does an aspiring artist bridge the gap between distribution and commerce?

We have to be very clever about those things. You have to remember that it’s only a few hundred years, if that much, that artists are working with money. Artists never got money. Artists had a patron, either the leader of the state or the duke of Weimar or somewhere, or the church, the pope. Or they had another job. I have another job. I make films. No one tells me what to do. But I make the money in the wine industry. You work another job and get up at five in the morning and write your script.

This idea of Metallica or some rock n’ roll singer being rich, that’s not necessarily going to happen anymore. Because, as we enter into a new age, maybe art will be free. Maybe the students are right. They should be able to download music and movies. I’m going to be shot for saying this. But who said art has to cost money? And therefore, who says artists have to make money?

In the old days, 200 years ago, if you were a composer, the only way you could make money was to travel with the orchestra and be the conductor, because then you’d be paid as a musician. There was no recording. There were no record royalties. So I would say, “Try to disconnect the idea of cinema with the idea of making a living and money.” Because there are ways around it.

Of course, Coppola is wide open to the standard Doctorow Rejoinders here: “that’s easy for him to say, he’s got a steady income from doing [x] on the side!”; “he’s already got a market thanks to his own fame in other areas!”; “he had lucky breaks that I’ve never got a chance of getting!”… all of which are elaborate ways of avoiding saying “I don’t want to have to work for years on my art with no guarantee of getting rich from it!” Best stop now then, eh? It’ll save you a lot of anguish, and you’ll open the field up for those who’re willing to fight on regardless.

Maybe musicians, writers and movie-makers will have to accept poverty – or at least a low income and/or a supplementary day-job – as the sacrifice they make for the chance to create their dreams; as Coppola (and many others) have pointed out, that’s actually the historical norm rather than a fall from a god-given state of grace. And maybe that will mean there’s less shallow cookie-cutter crap clogging the art marketplaces. Sounds like a net win to me.

We interrupt this mission to Mars for a word from our sponsors…

Paul Raven @ 04-01-2011

Via Slashdot, here’s a paper at the Journal Of Cosmology (who need to hire a web designer, like, yesterday) that suggests such well-worn corporate PR strategies as sponsorship, “naming rights” and other licensing angles as a great way to finance a manned mission to Mars.

Sound familiar? So it should – Jason Stoddard did something very similar when he made a Mars mission into a reality TV challenge in his story-that-became-a-novel “Winning Mars” (free online versions are available; the book is in the production pipeline at Prime Books at the moment).

In a way, it’s a sad indictment of the post-modern nation state that the only viable funding methods for space exploration are corporate; a mars mission would be a terrible waste of taxes that could be used for more important matters, right?

  • The predicted cost of going to Mars: ~$145 Billion.
  • The cost of the Iraq war thus far: ~$739 Billion. [via MyElvesAreDifferent]

SpaceX Dragon capsule: breaking a trail to a new economic frontier?

Paul Raven @ 09-12-2010

You’d have had to be living under that oft-mentioned internet-proof rock (or possibly just focussing on that other currently ubiquitous news topic) to not have noticed that yesterday’s launch and re-entry of SpaceX’s Dragon capsule went off exactly according to plan. So when – if? – the Wikiwars die down a bit, expect a lot of pondering from all sides about the future of commercial space exploration, unfettered (well, kind of… or rather not really) by the capricious politics and budgeting of nation-states. Hell knows I’ll be waffling about it a fair bit… but then you probably knew that already.

The sceptical among you may be wondering what’s going to convince profit-motivated businesses to clamber up the gravity well. Well, Centauri Dreams has a pretty good run-through of a paper entitled “Space Colonization: A Study of Supply and Demand”, which suggests that there may well be gold platinum in them thar lunar hills

Lunar prospecting, then, is a first step in determining the existence of asteroidal metal containing nickel, cobalt and platinum-group metals on the surface. We have much to learn, including not just the quality and location of ores, but also the location of volatiles like water. We also need to learn what happens when asteroidal nickel/iron is made into metal products, and to what extent we will have to rely on engineered alloys to get the desired result. At present, of course, we cannot test the processes we might use on the lunar surface, requiring a preliminary manned base there to work through these contingencies.

Andrews works out a simple cost model exploring mining, processing and shipping operations, comparing these to existing costs. With platinum, for example, selling at close to $40,000 per kilogram, a price that is itself escalating, the case for lunar mining is clearer than that for more plentiful products like cobalt.

How will the mining be accomplished? That’s left for someone else to write a paper about… but how we might get there and back again gets a look-in.

Andrews proposes a lunar sling for launching metal products to Earth, but goes into greater detail on what any space infrastructure requires going out of the gate: A simple and inexpensive way to get to Earth orbit, what he calls FRETOS — Fully Reusable Earth-to-Orbit Systems. A fleet of five launchers supporting a flight rate of 1000 launches per year using four tethers is at the heart of the proposal. On the space side, a Skyhook capture device located at 300 kilometers orbital altitude is part of a picture that also includes a Low Earth Orbit station at 1000 kilometers, a powered winch module at 1700 kilometers and a counter-balance at 2400 kilometers. The total mass of the space segment is estimated at 190 metric tons, including 2100 kilometers of tether lines, high-speed winches, power generation arrays, counter balances and station-keeping components, all to be launched separately and docked together for assembly.

All hypothetical at this point, of course, but the space where possible and plausible overlap is a nice place to hang out… that’s why I read science fiction, at any rate. 🙂

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