For those who have been somewhat out of the loop or are not big followers of this blog, I've been slaving away at a web television concept since the end of the 48 hour film challenge last year.
This has been a real eye-opening and strengthening experience for me. Firstly, I have a new found respect for the amount of trouble and time that goes into producing a show and I really now understand why some shows can take decades to be produced.
One thing that has always bugged me about producers is that it is never really clear what a producer does and how they go about it. Well the reason is because a producer really does a little bit of everything and has to spend a lot of time looking at the real logistics of a film.
It does surprise me how many people I have met who kind of think that saying "oh I want to be in a film" don't realise how much work making a film is. Like I said - new found respect.
I'm not sure who coined the phrase, but it is very much a case of herding cats. Particularly when you are making a production on a zero-budget. Relying on volunteers means you have to be skilled at balancing compromise with control. You need to get everyone together and keep them pumped about the project, but at the same time you have to make it as little hassle as possible for them because they are not getting paid for the work.
You can't rely on the promise of "if this becomes big..." you really need to make sure that the people involved are as committed to the vision as you are.
For me the big challenge isn't so much the compromise, nor the frustration when people aren't available - these are par for the course and I expect those things. It's about me being able to give the design, director and actors room to interpret my script and world in a way that works for them.
This is tough when you're trying to stay true to a vision, but also be open to new ideas. And it is one I find I constantly berate myself over. Sure, there are important things that I want to ensure make it into the series, but I have to make sure that everyone is enjoying the project - and they need to be able to express their own creativity when doing this. Which means I have to be willing to say "cool, not what I really wanted, but let's go with it."
Like I said - compromise.
We've recently been doing casting calls for the series - which has been a fantastic experience for me. Norman, our director, is really good at guiding actors and while he sometimes has different ideas about the characters than I do - he does a good job in auditions at getting the actors to try out ideas.
There is something cathartic as a writer to see people reading your lines and bringing the characters to a semblance of life - and it really helps to push me further with the project.
But the best part to date is how everyone who has auditioned has genuinely laughed at the jokes in the script and commented on how fun the characters are. I had some doubts about how humourous the script was going to be - but after watching some of New Zealand's prime time "comedy" out there - I think our show is going to knock people's socks off.
While we are still to finalise who is playing what roles, we have found some very talented actors who are keen to just be in the series and love the characters. Now, more than ever, I really find myself genuinely believing that this project is going to be something that people are going to talk about and want to see more.
That pushes me to work harder and get everyone organised and ready to shoot this sucker.
Why WebTV and not a short film or national television show? Well I have a bit of a strategy here. Firstly, Web TV doesn't require as much in the way of resources to film and distribute. Secondly, every man and his dog in Wellington is shooting a short film. It's easy to just get lost in the sea of mediocrity and fringe film. There is an increasing demand from television companies for local web based content. What we're doing with our show is ambitious and has the potential to be news worthy once it is released. Thirdly, a television show allows for more time to tell your story and focus on characters. It also means you can release a feature length story in fifteen minute parts. I find this preferable.
Although it does mean that we are effectively filming six short films as opposed to one! :)
I am so excited! This is proving to be a very eye-opening and educational experience. It also has the potential to lead to some very big things, and that potential also excites me.
Love and Huggles
Conan
Sunday, July 27, 2008
Saturday, July 19, 2008
Review Time - Uncharted: Drake's Fortune
In this age of Next Generation consoles, you often hear a lot of talk about graphics, story and playability. This is a market that is dominated by games like Gears of War, Halo etc...
This is a market where innovation is often the driving force behind game design.
But there is something to be said for eschewing innovation in favour of doing something well, and doing it right.
Ladies and Gentlemen, I present you with Uncharted: Drake's Fortune, a flagship game for the PS3 that many have overlooked as "Tomb Raider with testicles."
Frankly, it is not. Part of this is because the main character, Nathan Drake, is not some mindless treasure hunter with big tits and a posh accent. He's a character with emotions and personality.
And this game is a classic example of innovation not through gameplay, but through design approach. This is a game that ever so quietly shows why the PS3 is such a powerful gaming console, and does so effortlessly.
Adventure, Exotic Locations, Women, Villains, and Lost Incan Treasure
Inspired by the old pulp classics, with dash of Indiana Jones, Uncharted is focused on three characters. There is your quintessential hero, the character you play, Nathan Drake - a treasure hunter who believes himself to be the direct descendant of Sir Francis Drake. Elena Shipman - a reporter who films for a show about treasure hunting, and whose producers have paid for Drake's little treasure hunt. Sullivan - also known as Sully, he is Drake's gruff sidekick and handy getaway guy when things get tough.While these characters are stereotypical adventure/cliff-hanger movie characters, the actors and graphics engine inject them with an incredible life of their own. They laugh, smile and have extremely detailed expressions. Compared to Nathan Drake, Commander Shepard of Mass Effect looks positively wooden in comparison.
And Drake's expressive nature is not restricted to cinematic scenes... more on that in a moment.
The main story revolves around Drake discovering a journal of Francis Drake's that leads him to discover that Sir Francis may have found the lost treasure of El Dorado.
Through in a greedy and influential debt-collector, a mad superstitious Phillipino mercenary, a cold and efficient Spanish terrorist and an lost island of secrets with a dash of lost Nazi U-boats - and you get a genuine pulp-adventure story worthy of the big screen.
Gameplay and those Graphics
Still shots simply don't do justice to how this game looks.
Gameplay-wise, Uncharted is essentially a longer and slicker version of Gears of War. Most of the time Drake will be ducking behind cover and engaging in tense and exciting shoot-outs with pirates, mercenaries and an assortment of other enemies. There is a straight forward but cinematic melee system - but you kind of use it in a rare case of finding an opponent on his own and out of range of anyone else. Then it goes down to fisticuffs.
This is indicative of the level of detail that has gone into this game. Every tree and frond moves on its own. Jungles are a riot of colour and movement, and Drake himself is detailed to the point that his biceps bulge when he pulls on objects, his shirt wrinkles when he walks - and when I say wrinkles, it looks like a piece of clothing and not just a skin over a model.
When Drake walks in the water, the bottom of his jeans get wet. When he swims, he comes out dripping with his clothes soaked with water.
The fluid movements, the incredible attention to details- it makes for a lush and gorgeous game to play.
Now for the part that will stun you...
The game doesn't install itself on the hard-drive. It runs directly off the disc and only has one load time - when you start or leave the game.
It does all this without texture pop-up, and only the very occasional screen tear.
Compared to the unholy graphical nightmares of some 360 games, this is stunning. I simply cannot believe that the same level of quality and detail would be possible on any other console on the market.
Uncharted is a game that more people should try out and play. It is worth every penny and is a prime example of what the PS3 is truly capable of.
I love it and highly highly highly recommend it.
Laters!
Conan
Thursday, July 10, 2008
iPhone-y Baloney
My current Nokia phone is seriously on its last legs. I've been holding out replacing it because to get a new phone would require me to sign to a new contract and all the fiddly mess that goes with it. After all, I've been working myself out of debt rather than aiming to get back into debt.
I've been tempted by the usability of the iPhone for some time. As anyone who knows me can attest - I'm a big fan of Apple, and the ability to have a Smartphone that synchs with my mac is very appealing.
So what has gone wrong?
Vodafone has unfortunately opened that can of worms that has been waiting to explode - mobile data usage.
New Zealand has some of the highest prices for internet and mobile usage in the world. We have had all manner of excuses piled out about this, and now the iPhone may be the product that causes companies to pause and think.
I watched the "rebuttal" from Vodafone last night on Campbell Live, and it comes down to 'this is our cheapest plan' and 'New Zealand is isolated.'
Now I'm not a big fan of John Campbell, he's a bit of a phoney himself I feel, but damn if he didn't do a good job of making Vodafone's PR guy look like a fool. Campbell was armed with figures - including Australian markets - and the PR guy kept running back to his "we have plans from $50 and up" over and over like a mantra, as if that would answer the question.
Then as a defence he argued that New Zealand has the highest fixed broadband costs too. Dumb move - that's not a defence for high prices, that's an example why Vodafone could have led the way by competitive pricing.
As it is, they seriously underestimated the backlash, I suspect. We wont know until the actual release day how much this pricing plan has worked or failed - but given the rumblings, and the fact that the people Vodafone are counting on purchasing the device are savvy enough to know that they are being ripped off - this could be a bit of a bomb for VF.
The harsh reality is that a similar plan on Telecom with an OKTA touch - which might not have all the iPhone's features, but is close enough for a lot of users - is a few HUNDRED dollars cheaper on a two year plan.
Arguing that the iPhone is a unique product is a weak defence, as comparably there are still alternatives, and when nearby nations are selling this item for demonstrably better deals - it is a bit rich to argue that "it's the best deal compared to our other prices"
Guys, if your other prices are stupidly high, this defence is a failure. And I looked - I stuck with Telecom because Vodafones standard contracts are ridiculously priced compared to the current plans Telecom is offering. So even standard Vodafone plans are a rip-off.
All in all, Vodafone have made a big marketing error here. I predict that there will be a pick up rate - but a number of people will be waiting to see if Telecom offers a better deal once they get to run the iPhone off their network...
Love and Huggles
Conan
Sunday, July 06, 2008
Ego, Film, Work and Life
So your anecdotal evidence is better than his anecdotal evidence? I knew you had an ego problem, Keggy, but I never knew until now just how bad it was.
This is from this forum post on RPG.net where I, somewhat foolishly, got involved in a debate about the new Fourth Edition of Dungeons and Dragons. Now folks who know me well, would know that I love this game. They probably also know I have a habit of getting into debates.
I have a thing about people making wildly inaccurate claims, a bad habit when I have been known to do the same myself at times. However, in this particular case I was pretty confident that the person who wrote the review that this forum was linked to had made a number of inaccurate claims. I made an effort to be reasonable and stick purely to the facts.
This this guy/gal, who clearly knows me outside of the interweb (s/he refers to my name in a way that he knew would give this fact away) says this. Now I will be humble enough to say that I took the bait - but I did make an effort to keep my response sharp, simple and avoiding too much in the way of personal attack.
But it does niggle at me. Not because I feel s/he's right - but rather it has played on one of my weaknesses. I worry too much about being too arrogant. I have a habit of lecturing people when I don't mean to, and I have a low self-confidence because of people like this. No doubt this "spectral knight" is one of the infamous a-holes from Auckland who spent five years trying to wear me down because I had the audacity to suggest that the Auckland University roleplaying club could use improvement.
There were a core of people who hated the idea that I suggested AMERICA pay attention to such events as KapCon and Buckets - that the club should aim to draw in more members and actually promote our hobby. Thankfully a large number of the newer crowd at the club seem to have taken up this goal thanks to the hard work of Karen - who was part of a group of us who all felt that the club needed to be more inclusive.
But for five years I had to put up with people accusing me of doing it for my own self-aggrandizement. Despite my working hard to encourage people to join, donating time games and energy to the club - it was always seen as to benefit my ego. Of course if I took a step back and decided to just run games... me being egotistical again. Anything I said - it was out of ego.
How do you deal with that? I would end up feeling exhausted and frustrated. I really believed in helping the club out and supporting the hobby - but some people didn't want to see me do that because they got it in their heads I was doing it for my own benefit.
Because, you know, being known as the guy who changed a small university roleplaying club into a happier small university roleplaying club with fun activities would be the pinnacle of my life.
It was kind of depressing and taught me a valuable lesson about how much damage a few negative people can do.
So I do have an ego problem - in that I don't always have faith in my abilities. Not that I think I can do no wrong - but that I feel I will inevitably fail and that it is hard to rely on others because they will always expect you to think only of yourself, and in doing so will do the same.
Yet another part of me knows that I should be proud of myself. Not in an arrogant manner, but in a healthy confident manner. And this week has shown why...
Firstly, work is offering me a chance to prove myself and develop my skills to move up to management. I have been there only four months, and they are that pleased with the work I do. I have kept my head down and slaved away, and it hasn't gone unnoticed. It doesn't pay more - but the opportunities for the future are amazing!
Secondly, my web tv project proceeds nicely. William is doing some amazing design and art work for the project, and I recently started casting calls - already we have some very talented and experienced actors keen to volunteer their time for the project! If this keeps up I'll have more actors than roles!
Life in general is improving, one of my major debts is almost paid off and while I'm poor for the next couple of weeks I'm feeling positive about the future.
There are a number of people who are being great sources of support and encouragement, and if I was such an egotistical wanker, I'm sure I wouldn't be getting so much coming this way. I am confident that the next few months are going to see my fortunes improve. We have so many talented people working on this web show, and more coming on board over the next few weeks.
Work has informed me of how well I'm doing and how pleased they are with my efforts.
I could possibly be forgiven for having a little bit of a swollen head on these matters. :)
Love and Huggles
Conan
Sunday, June 08, 2008
Temporal Affairs - on the net!
So here it is - our 2008 48hour film. Temporal Affairs... let me know what you think! :)
Love and Huggles
Conan
Love and Huggles
Conan
Saturday, May 24, 2008
48 Hours - Learning to play with Time
I love the 48 hours challenge. For the last few years I have really wanted to be involved, but time and work often got in the way until last year when I finally got the opportunity to work with Gino and his team to create a movie.
As I noted back then, it was an enjoyable and exciting experience that cemented in me the knowledge that creating films was what I wanted to do - and was something I had a knack for.
This year due to Gino and Viv's new bundle of joy, Rebel Faction was not able to make a return appearance, but Margie was entering the competition again and I was keen to sign up.
A couple of my friends entered this year, but the benefit of Margie's team was that it was a small crew. While larger teams can be a bit more sophisticated with their films, I feel that individuals involved miss out on benefiting from the full experience.
We went with the name Tuk Tuk Inferno for our team after Margie suggested it (inspired by a truly bizarre chase sequence in Ong Bak) and both Ming and I (who were given the roles of Producers) loved it.
I feel that our key goal this year was to keep everything simple. We wanted to enjoy the weekend, learn new skills and give everyone an opportunity to provide positive input into our production.
Following the experience last year with Rebel Faction, it was important to me to keep everyone focused and organised. Fortunately, all of our team members were on the same page with this.
To this end, I had secretly decided that I would ensure that everyone got at least six hours sleep each night. This was vital to me, as a good night's sleep produces better results the following day.
Unfortunately a serious anxiety based illness from work had me laid up on the couch at home on the Friday - and I was worried I would be too ill to do the challenge. Fortunately my new work is very understanding and let me take the day off to rest up.
About 7:03pm I got the word - our genre was Time Travel, the character was Kerry Post, a perfectionist, the prop was a brush and the line was "wait a minute..."
I was initially panicked. Time Travel? That's not really a genre at all. Worst, it's possibly the crappest genre for a short film because you don't really have a lot of screen time to tell a story without risking being too obtuse. I immediately started wracking my brain for ideas to suggest.
I txted Lynn and Kent - who had agreed to help out with acting in the film - and they were almost about to not come over. But when I informed them of the genre - they were in the car and on their way.
Once Ming, Margie and her Dad arrived we sat down and began brainstorming. We ran a gamut of ideas and initially closed in on a concept that was challenging but viable. When Lynn and Kent showed up we shared our ideas and kept working away.
It was at this point that I felt it was important to keep everyone focused - A lot of good ideas were coming out, but I wanted us to have a script written by midnight at the latest. To this end, Margie and I reiterated that we wanted to keep the story simple. We had a maximum of seven minutes. I pointed out that a 48 hour film should be like a short story - it doesn't need complex layers, it just needs to focus on one or maybe two key ideas and stick with those. We chose to focus on a romance story and a theme of a day-in-the-life.
Margie noted down scenes as we hashed out a quasi-treatment of the film, noting down amusing dialogue that people came up with and such. Then while Margie and Ming worked on setting things up for the next day, I wrote the script in the next forty-five minutes.
Once the initial script was written, I read it out to Margie and Ming, making changes as they suggested them - by the way Celtx is a brilliant piece of software for scriptwriters.
We went to bed around 11:30pm pleased with our script and having arranged for everyone to meet at our place by 8:30am.
Again, organisation came to the fore. We knew we wanted to have all the principle photography and rough edit done on the Saturday. Keeping to our motto of keeping things simple, the plan was to make a kind of Sapphire and Steel/Doctor Who kind of show where most of the effects were editing cuts and sound effects - along with some lighting.
People started gathering in the morning, and we took stock of our equipment, planned our locations - wisely sticking to two locations. Once all the cast and crew were assembled, we ran the team through the script again taking notes when people suggested alterations.
It was cool how, with such a small team of 10 or so people, everyone had the opportunity to suggest ideas and give input on the film.
We all piled into cars and headed over to the restaurant where a good portion of our story was going to take place.
This was when we came across a hiccup - the restaurant was not laid out the way any of us remembered it. Whoops!
We started shooting, after replanning scenes to suit the location, when it quickly became apparent that something wasn't working for Margie, who was the director. It was time for me to step up to the producer role and we went away to talk in private about her concerns.
It turned out that Margie was having trouble linking the scenes we had shot together. While I, who was thinking like an editor, was piecing everything together, Margie needed to have things link a little more closely. We talked about this and I stressed that it was important to me that Margie makes the film her way - and that we could just go back and reshoot if we needed to. It was my job to remind her of how much time we had the restaurant for, but she should just choose how to shoot the film.
We came back and Margie went back to the script and replanned the shoots to suit how she envisioned the film. I pointed out where I could edit in footage we had already shot - meaning that we were able to get moving.
It ended up that this worked to our advantage - because we had shot two scenes with a key character facing the wrong way for our story to work!
We took a break for Nandos, then went back to shooting - with everyone putting in an incredible amount of effort and energy to deliver. Special mention has to go to Sharon - an actress I sourced through advertising on the 48 hours forums - she was a real trooper, providing lighting help and make-up, and willingly having a door slammed in her face about six to eight times. (It ended up that her father had used to play the same prank by pretending he had been hit in the face by a door when she was a kid, so she was very skilled at making it look convincing.) Also, Sharon was amazing when it came to direction. When Margie told her what needed to be done in a scene, Sharon would deliver it first hit!
I should also credit Anton for being amazingly still in a shot when we needed it to look like time had frozen. He was impressive.
We finally wrapped up that location with about thirty minutes before the restaurant was due to open. Everyone piled into cars and headed back to our place for the rest of the shoot.
Once again, planning was our friend. While the team sorted out gear, some pick-up shots and dinner, I was transferring all the restaurant footage onto computer and began the early stages of our rough cut.
After dinner, we shot the final scenes - where all our cast showed that they could be genuine and convincing actors. There is a scene with Sharon and Kent that is genuinely touching and felt *real* - Margie and I are both really proud of the work those two did in that scene.
Once everyone had left, I finished transferring footage and built a rough timeline of the scenes we wanted. Margie, Ming and I then sat down and cut the hour and half of footage down to a more manageable length and decided to head to bed around midnight.
When I got up at 7:30ish, I immediately went online to hunt out sound effects and check up on the legality of using music loops from Garageband.
I then started working on the editing.
I had decided early on that I wanted to show that while iMovie is a basic commercial editing suite for home use, it could be used to make genuinely good films. After all, the Cannes Film Festival 2004 hit, Tarnation, was made for $218 and edited with iMovie...
In regards to that, iMovie is an incredibly easy tool to use, and I soon had a good cut of the film with music and sound effects all ready by around 10:30pm. Jon came around to shoot a short pick up sequence, which we slipped into the edit, I tweaked a few scenes and added some sound effects for our time-stop white-outs - then it was time to render the film and transfer it back to tape.
We finally had a complete movie ready by 2:30pm. I was surprised. It wasn't an ambitious piece, but it was something I was proud of.
Around 4-4:30pm, Margie and Ming departed to hand in the tape, and I chilled out for the rest of the day - pleased as punch.
Ultimately, I learned a lot over the 48 hour experience this year. The first thing is to have trust in your team, and make sure that you make them just as passionate as you are about your project.
I think everyone in our team felt like they were integral to the creative process. We were fairly fluid in how we handled roles - really focusing on the film itself.
Time Management is central - but it isn't just about time spent making the film, it is also about making sure a good amount of time is spent *not* on making the film. When our team was working on the film, they were putting everything into it. By ensuring that they had some down time, we ended up making sure that the time spent filming, editing and planning was used efficiently and productively.
Pick an idea, stick with it and make sure everyone is satisfied - I hear about so many teams who brainstorm and compromise in a hurry to get done, and some teams who spend forever throwing ideas around. It clearly helps to have a producer/director sitting with the script-writers and telling them when it is time to just start writing the story. Both years I have worked on we have had producers step in and say to the writers when they should start just sticking to an idea. Part of this is about spotting when an idea is just going to go bad before it goes bad.
Keep it simple. There are some impressive and complex films made during 48 hours - but these tend to come from experienced professionals. And sometimes they don't win. Looking at what has won in the past, I knew that simple concepts work best. You only have seven minutes at the most - You can either explore a single concept and do it well, or try to show all your ideas and kind of lose the audience. I hope that our film this year was simple enough, but interesting enough.
Remember that it is about having fun as much as being in a competition. I think this is where our team really shone. Everyone was kept involved with the process and free to provide input. We all just wanted to have a great weekend - and I believe we did. :)
I want to thank everyone who worked on our team and helped us out. It was a really enjoyable experience this year and has further influenced me to ensure that I get off my tush and get TWC made! :)
Love and Huggles
Conan
As I noted back then, it was an enjoyable and exciting experience that cemented in me the knowledge that creating films was what I wanted to do - and was something I had a knack for.
This year due to Gino and Viv's new bundle of joy, Rebel Faction was not able to make a return appearance, but Margie was entering the competition again and I was keen to sign up.
A couple of my friends entered this year, but the benefit of Margie's team was that it was a small crew. While larger teams can be a bit more sophisticated with their films, I feel that individuals involved miss out on benefiting from the full experience.
We went with the name Tuk Tuk Inferno for our team after Margie suggested it (inspired by a truly bizarre chase sequence in Ong Bak) and both Ming and I (who were given the roles of Producers) loved it.
I feel that our key goal this year was to keep everything simple. We wanted to enjoy the weekend, learn new skills and give everyone an opportunity to provide positive input into our production.
Following the experience last year with Rebel Faction, it was important to me to keep everyone focused and organised. Fortunately, all of our team members were on the same page with this.
To this end, I had secretly decided that I would ensure that everyone got at least six hours sleep each night. This was vital to me, as a good night's sleep produces better results the following day.
Friday
Unfortunately a serious anxiety based illness from work had me laid up on the couch at home on the Friday - and I was worried I would be too ill to do the challenge. Fortunately my new work is very understanding and let me take the day off to rest up.
About 7:03pm I got the word - our genre was Time Travel, the character was Kerry Post, a perfectionist, the prop was a brush and the line was "wait a minute..."
I was initially panicked. Time Travel? That's not really a genre at all. Worst, it's possibly the crappest genre for a short film because you don't really have a lot of screen time to tell a story without risking being too obtuse. I immediately started wracking my brain for ideas to suggest.
I txted Lynn and Kent - who had agreed to help out with acting in the film - and they were almost about to not come over. But when I informed them of the genre - they were in the car and on their way.
Once Ming, Margie and her Dad arrived we sat down and began brainstorming. We ran a gamut of ideas and initially closed in on a concept that was challenging but viable. When Lynn and Kent showed up we shared our ideas and kept working away.
It was at this point that I felt it was important to keep everyone focused - A lot of good ideas were coming out, but I wanted us to have a script written by midnight at the latest. To this end, Margie and I reiterated that we wanted to keep the story simple. We had a maximum of seven minutes. I pointed out that a 48 hour film should be like a short story - it doesn't need complex layers, it just needs to focus on one or maybe two key ideas and stick with those. We chose to focus on a romance story and a theme of a day-in-the-life.
Margie noted down scenes as we hashed out a quasi-treatment of the film, noting down amusing dialogue that people came up with and such. Then while Margie and Ming worked on setting things up for the next day, I wrote the script in the next forty-five minutes.
Once the initial script was written, I read it out to Margie and Ming, making changes as they suggested them - by the way Celtx is a brilliant piece of software for scriptwriters.
We went to bed around 11:30pm pleased with our script and having arranged for everyone to meet at our place by 8:30am.
Saturday
Again, organisation came to the fore. We knew we wanted to have all the principle photography and rough edit done on the Saturday. Keeping to our motto of keeping things simple, the plan was to make a kind of Sapphire and Steel/Doctor Who kind of show where most of the effects were editing cuts and sound effects - along with some lighting.
People started gathering in the morning, and we took stock of our equipment, planned our locations - wisely sticking to two locations. Once all the cast and crew were assembled, we ran the team through the script again taking notes when people suggested alterations.
It was cool how, with such a small team of 10 or so people, everyone had the opportunity to suggest ideas and give input on the film.
We all piled into cars and headed over to the restaurant where a good portion of our story was going to take place.
This was when we came across a hiccup - the restaurant was not laid out the way any of us remembered it. Whoops!
We started shooting, after replanning scenes to suit the location, when it quickly became apparent that something wasn't working for Margie, who was the director. It was time for me to step up to the producer role and we went away to talk in private about her concerns.
It turned out that Margie was having trouble linking the scenes we had shot together. While I, who was thinking like an editor, was piecing everything together, Margie needed to have things link a little more closely. We talked about this and I stressed that it was important to me that Margie makes the film her way - and that we could just go back and reshoot if we needed to. It was my job to remind her of how much time we had the restaurant for, but she should just choose how to shoot the film.
We came back and Margie went back to the script and replanned the shoots to suit how she envisioned the film. I pointed out where I could edit in footage we had already shot - meaning that we were able to get moving.
It ended up that this worked to our advantage - because we had shot two scenes with a key character facing the wrong way for our story to work!
We took a break for Nandos, then went back to shooting - with everyone putting in an incredible amount of effort and energy to deliver. Special mention has to go to Sharon - an actress I sourced through advertising on the 48 hours forums - she was a real trooper, providing lighting help and make-up, and willingly having a door slammed in her face about six to eight times. (It ended up that her father had used to play the same prank by pretending he had been hit in the face by a door when she was a kid, so she was very skilled at making it look convincing.) Also, Sharon was amazing when it came to direction. When Margie told her what needed to be done in a scene, Sharon would deliver it first hit!
I should also credit Anton for being amazingly still in a shot when we needed it to look like time had frozen. He was impressive.
We finally wrapped up that location with about thirty minutes before the restaurant was due to open. Everyone piled into cars and headed back to our place for the rest of the shoot.
Once again, planning was our friend. While the team sorted out gear, some pick-up shots and dinner, I was transferring all the restaurant footage onto computer and began the early stages of our rough cut.
After dinner, we shot the final scenes - where all our cast showed that they could be genuine and convincing actors. There is a scene with Sharon and Kent that is genuinely touching and felt *real* - Margie and I are both really proud of the work those two did in that scene.
Once everyone had left, I finished transferring footage and built a rough timeline of the scenes we wanted. Margie, Ming and I then sat down and cut the hour and half of footage down to a more manageable length and decided to head to bed around midnight.
Sunday
When I got up at 7:30ish, I immediately went online to hunt out sound effects and check up on the legality of using music loops from Garageband.
I then started working on the editing.
I had decided early on that I wanted to show that while iMovie is a basic commercial editing suite for home use, it could be used to make genuinely good films. After all, the Cannes Film Festival 2004 hit, Tarnation, was made for $218 and edited with iMovie...
In regards to that, iMovie is an incredibly easy tool to use, and I soon had a good cut of the film with music and sound effects all ready by around 10:30pm. Jon came around to shoot a short pick up sequence, which we slipped into the edit, I tweaked a few scenes and added some sound effects for our time-stop white-outs - then it was time to render the film and transfer it back to tape.
We finally had a complete movie ready by 2:30pm. I was surprised. It wasn't an ambitious piece, but it was something I was proud of.
Around 4-4:30pm, Margie and Ming departed to hand in the tape, and I chilled out for the rest of the day - pleased as punch.
Afterthoughts and Thanks
Ultimately, I learned a lot over the 48 hour experience this year. The first thing is to have trust in your team, and make sure that you make them just as passionate as you are about your project.
I think everyone in our team felt like they were integral to the creative process. We were fairly fluid in how we handled roles - really focusing on the film itself.
Time Management is central - but it isn't just about time spent making the film, it is also about making sure a good amount of time is spent *not* on making the film. When our team was working on the film, they were putting everything into it. By ensuring that they had some down time, we ended up making sure that the time spent filming, editing and planning was used efficiently and productively.
Pick an idea, stick with it and make sure everyone is satisfied - I hear about so many teams who brainstorm and compromise in a hurry to get done, and some teams who spend forever throwing ideas around. It clearly helps to have a producer/director sitting with the script-writers and telling them when it is time to just start writing the story. Both years I have worked on we have had producers step in and say to the writers when they should start just sticking to an idea. Part of this is about spotting when an idea is just going to go bad before it goes bad.
Keep it simple. There are some impressive and complex films made during 48 hours - but these tend to come from experienced professionals. And sometimes they don't win. Looking at what has won in the past, I knew that simple concepts work best. You only have seven minutes at the most - You can either explore a single concept and do it well, or try to show all your ideas and kind of lose the audience. I hope that our film this year was simple enough, but interesting enough.
Remember that it is about having fun as much as being in a competition. I think this is where our team really shone. Everyone was kept involved with the process and free to provide input. We all just wanted to have a great weekend - and I believe we did. :)
I want to thank everyone who worked on our team and helped us out. It was a really enjoyable experience this year and has further influenced me to ensure that I get off my tush and get TWC made! :)
Love and Huggles
Conan
Saturday, May 03, 2008
Brideshead Revisited - EXTREME Edition!
So it all began with this on apple.com's trailers.
While I appreciate that Brideshead Revisited has always been a tale of forbidden love, and epic drama - it still is bizarre to see the film version sold in a kind of Talented Mister Ripley extreme blockbuster way.
Charles Ryder! Was he just an innocent painter twisted by hedonism, or a calculating sociopath looking to shag his way into gentry!
Something tells me that the actual film is just not going to be a shock-a-minute sexy thrill ride that this trailer is implying it is.
Amazingly enough, this ploy is likely to work though - getting people to talk about the film. I think I will definitely be checking it out - if only because I love Emma Thompson as an actress, and it looks like she is at the top of her game in this film. :)
Love and Huggles
Conan
While I appreciate that Brideshead Revisited has always been a tale of forbidden love, and epic drama - it still is bizarre to see the film version sold in a kind of Talented Mister Ripley extreme blockbuster way.
Charles Ryder! Was he just an innocent painter twisted by hedonism, or a calculating sociopath looking to shag his way into gentry!
Something tells me that the actual film is just not going to be a shock-a-minute sexy thrill ride that this trailer is implying it is.
Amazingly enough, this ploy is likely to work though - getting people to talk about the film. I think I will definitely be checking it out - if only because I love Emma Thompson as an actress, and it looks like she is at the top of her game in this film. :)
Love and Huggles
Conan
Sunday, April 27, 2008
Beautiful Katamari and a long awaited update...
Hey there folks! So it has been a long time since I last posted on here. Firstly, ESG has closed. After much thought, and the fact that I'm hoping to move forward with my webTV project, I needed to close that current chapter.
I'm currently sitting at home in my new flat while Margie rolls up things with her Katamari in We Love Katamari - although I think we're both in agreement that Beautiful Katamari is the better looking iteration. :p
Nick is busy working out- getting all buff and the like.
I've been taking it easy this weekend, work is quite demanding and I find that I often need to relax when I can. My new job is pretty cool though.
I've also got a new bed - which is super sweet. Not a heck of a lot else to update at the moment - I'm working on projects and stuff - I will keep y'all posted. :)
Love and Huggles
Conan
I'm currently sitting at home in my new flat while Margie rolls up things with her Katamari in We Love Katamari - although I think we're both in agreement that Beautiful Katamari is the better looking iteration. :p
Nick is busy working out- getting all buff and the like.
I've been taking it easy this weekend, work is quite demanding and I find that I often need to relax when I can. My new job is pretty cool though.
I've also got a new bed - which is super sweet. Not a heck of a lot else to update at the moment - I'm working on projects and stuff - I will keep y'all posted. :)
Love and Huggles
Conan
Friday, February 29, 2008
The Good, The Bad and the Lost
Well it sure is a mixed bag of things this week. I've moved into the new flat with Margie and Nick - which is good. I've had the worst week in record this week at work - which is bad.
The new flat appears to be working out quite well, we all get on and things are going well. I'm even getting used to the bus service here.
Unfortunately work has not be so good. Dealing with inexperienced staff, a heavy workload and a lot of things that have led to my being very stressed out. I was left feeling like I was doing all the major jobs without any support. One of the staff had not left the shop in a good state and then tried to say that I was the one who messed everything up.
Meanwhile, I spent the last two days trying to get everything set up for customers while being constantly interrupted and having to deal with the reality that not a lot of the necessary work had been done the day before! Having one of the senior staff call in sick further complicated things.
I got so stressed out and infuriated, I took the day off today. Only to then have one of the staff at work tell another staff member I was pissed off with him. His response? To send me an abusive text. When I rang up to explain that I was stressed and grumpy - not anything personal - he abused me down the phone.
Two days out from my leaving. Well it is looking less and less likely that I will be going in tomorrow with the way things have gone the last couple of days. I shouldn't be letting it get to me, but it just has snowballed out of control. *sigh*
On the bright side, my xbox came back. :) So I have FINALLY got to start Lost Odyssey. This is Xbox 360's answer to Final Fantasy. And it is a damn good answer. The story is really interesting, and the voice actors are really good - along with some very good scripting. I can't wait to see what happens next!
Here's hoping that the weekend brings some more reasons to be positive and happy...
Love and Huggles
Conan
Currently Reading: Scion: Hero
Currently Playing: Scion, Ptolus, Star Wars Saga Edition
Mood: Tired of being taken advantage of and insulted...
The new flat appears to be working out quite well, we all get on and things are going well. I'm even getting used to the bus service here.
Unfortunately work has not be so good. Dealing with inexperienced staff, a heavy workload and a lot of things that have led to my being very stressed out. I was left feeling like I was doing all the major jobs without any support. One of the staff had not left the shop in a good state and then tried to say that I was the one who messed everything up.
Meanwhile, I spent the last two days trying to get everything set up for customers while being constantly interrupted and having to deal with the reality that not a lot of the necessary work had been done the day before! Having one of the senior staff call in sick further complicated things.
I got so stressed out and infuriated, I took the day off today. Only to then have one of the staff at work tell another staff member I was pissed off with him. His response? To send me an abusive text. When I rang up to explain that I was stressed and grumpy - not anything personal - he abused me down the phone.
Two days out from my leaving. Well it is looking less and less likely that I will be going in tomorrow with the way things have gone the last couple of days. I shouldn't be letting it get to me, but it just has snowballed out of control. *sigh*
On the bright side, my xbox came back. :) So I have FINALLY got to start Lost Odyssey. This is Xbox 360's answer to Final Fantasy. And it is a damn good answer. The story is really interesting, and the voice actors are really good - along with some very good scripting. I can't wait to see what happens next!
Here's hoping that the weekend brings some more reasons to be positive and happy...
Love and Huggles
Conan
Currently Reading: Scion: Hero
Currently Playing: Scion, Ptolus, Star Wars Saga Edition
Mood: Tired of being taken advantage of and insulted...
Sunday, January 13, 2008
Reviewtime: Veronica Mars
Continuing my trend of watching shows that have been canned by braindead American television executives who don't understand how to handle polling or scheduling, I was finally convinced to watch Veronica Mars.
I had always given this show a bit of a wide berth. Sure, it had been talked up heaps - but I kind of fell into that Joan of Arcadia mentality of thinking it was a teen show for girls.
Boy. Was I wrong.
Although the first two seasons were often promoted as such - one viewing of the first episode presented a show that was really the kind of Noir that Brick aims for. Just with a little less pretention and more focus on being intelligent and engaging.
There are so many things about Veronica Mars that won me over. Well paced mysteries, an excellent storyline, great actors - it's all there.
For those not in the know, Veronica Mars is about a teenage girl whose life gets turned upside down when her rich best friend is murdered. In the process of this occuring, her father is fired, her boyfriend dumps her, her mother goes missing and Veronica goes to a party where she believes she may have been date-raped.
Hardly the start of a teen girl television series.
We quickly learn that Veronica is a strong willed young woman who teams up with her father - who becomes a private investigator after being fired as sheriff for arresting the wrong man for the murder of Veronica's friend. In the pilot episode we learn that Veronica is feisty, intelligent and independent. She stares down bikers, stakes out seedy motels to get shots of unfaithful spouses and is secretly investigating the murder of her best friend.
Nancy Drew just can't keep up with this teen detective.
The first two seasons present two big mysteries that arc over each season, each being revealed by season's end. The third season takes a different approach of having a number of smaller arcs that present several mysteries while the various storylines from all three seasons are brought to a head.
I ended up loving both models. By third season the over-arcing mystery just seemed a bit of a stretch. The second season's mystery did sometimes feel that things were being padded out. I liked that in third season, each mystery was wrapped up just before they could get tired.
What is so great about the mysteries is how they rarely feel like the writers pulled the resolution out of their butts. Each of the big mysteries felt well established, and that the clues were all there if you looked for them.
Further, the cast were great at keeping everything at a reasonably believeable level. Kirsten Bell who plays Veronica is a true find. She is hugely talented and the series allows her to really show her range and ability. The relationship between Veronica and her father, Keith, are pure gold moments of television - as are the interactions between Veronica and Logan Echolls, her dead best friend's boyfriend.
As each season develops, loyal viewers are constantly rewarded with references back to previous episodes and characters are regularly brought back - even when they were just bit parts in an episode shown during the previous season. The series treats its viewers as intelligent thinkers who are engaged with the mystery as much as Veronica is.
I'd also like to mention that this is a truly wonderful show for computers. For the first time in a long time, it shows computers working like they do in real life. Virtually all the software used is recognisable as real software - not some cheesy computer graphic for dumb dumbs.
Veronica uses search engines that present logical search results. When she is watching a file on her mac, it opens in Quicktime. She uses Photoshop. Files take realistic amounts of time to download - websites look like real websites. Even her PI database site looks like a genuine site without a whole bunch of stupid flash special effects.
This is a series that wants things to be believable. That deserves credit.
In short - Veronica Mars is a funny, witty, intelligent, thrilling, enjoyable and oddly resonating show that should never have been cut. It successfully shows that television can be as engaging as cinema and is populated with a cast of characters that you grow up with and fall in love with - even the assholes. :D
Top viewing! Get it now!
Love and Huggles
Conan
Currently Reading: Reign
Currently Playing: Exalted: Lunars
Mood: Still perky from Veronica Mars
I had always given this show a bit of a wide berth. Sure, it had been talked up heaps - but I kind of fell into that Joan of Arcadia mentality of thinking it was a teen show for girls.
Boy. Was I wrong.
Although the first two seasons were often promoted as such - one viewing of the first episode presented a show that was really the kind of Noir that Brick aims for. Just with a little less pretention and more focus on being intelligent and engaging.
There are so many things about Veronica Mars that won me over. Well paced mysteries, an excellent storyline, great actors - it's all there.
For those not in the know, Veronica Mars is about a teenage girl whose life gets turned upside down when her rich best friend is murdered. In the process of this occuring, her father is fired, her boyfriend dumps her, her mother goes missing and Veronica goes to a party where she believes she may have been date-raped.
Hardly the start of a teen girl television series.
We quickly learn that Veronica is a strong willed young woman who teams up with her father - who becomes a private investigator after being fired as sheriff for arresting the wrong man for the murder of Veronica's friend. In the pilot episode we learn that Veronica is feisty, intelligent and independent. She stares down bikers, stakes out seedy motels to get shots of unfaithful spouses and is secretly investigating the murder of her best friend.
Nancy Drew just can't keep up with this teen detective.
The first two seasons present two big mysteries that arc over each season, each being revealed by season's end. The third season takes a different approach of having a number of smaller arcs that present several mysteries while the various storylines from all three seasons are brought to a head.
I ended up loving both models. By third season the over-arcing mystery just seemed a bit of a stretch. The second season's mystery did sometimes feel that things were being padded out. I liked that in third season, each mystery was wrapped up just before they could get tired.
What is so great about the mysteries is how they rarely feel like the writers pulled the resolution out of their butts. Each of the big mysteries felt well established, and that the clues were all there if you looked for them.
Further, the cast were great at keeping everything at a reasonably believeable level. Kirsten Bell who plays Veronica is a true find. She is hugely talented and the series allows her to really show her range and ability. The relationship between Veronica and her father, Keith, are pure gold moments of television - as are the interactions between Veronica and Logan Echolls, her dead best friend's boyfriend.
As each season develops, loyal viewers are constantly rewarded with references back to previous episodes and characters are regularly brought back - even when they were just bit parts in an episode shown during the previous season. The series treats its viewers as intelligent thinkers who are engaged with the mystery as much as Veronica is.
I'd also like to mention that this is a truly wonderful show for computers. For the first time in a long time, it shows computers working like they do in real life. Virtually all the software used is recognisable as real software - not some cheesy computer graphic for dumb dumbs.
Veronica uses search engines that present logical search results. When she is watching a file on her mac, it opens in Quicktime. She uses Photoshop. Files take realistic amounts of time to download - websites look like real websites. Even her PI database site looks like a genuine site without a whole bunch of stupid flash special effects.
This is a series that wants things to be believable. That deserves credit.
In short - Veronica Mars is a funny, witty, intelligent, thrilling, enjoyable and oddly resonating show that should never have been cut. It successfully shows that television can be as engaging as cinema and is populated with a cast of characters that you grow up with and fall in love with - even the assholes. :D
Top viewing! Get it now!
Love and Huggles
Conan
Currently Reading: Reign
Currently Playing: Exalted: Lunars
Mood: Still perky from Veronica Mars
Thursday, December 27, 2007
Reviewtime: Undeclared - The Complete Series
What is wrong with television executives? Especially in the States. These guys are supposed to be trained in business, marketing and a little bit in the entertainment business. And yet a great many shows have been hobbled by poor programming and promotion - only to be cancelled because there was no apparent audience according to the "ratings."
Have these guys just never actually looked at the possibility that showing a programme inconsistently and out of order could be at fault, and not the show itself?
Think I'm talking about Firefly? No. I'm talking about Judd Apatow's follow-up series from Freaks and Geeks - Undeclared.
Hampered by many of the same clumsy and unprofessional mistakes caused by programming, Undeclared - like it's spiritual predecessor, Freaks and Geeks - made TIME's top ten television shows of 2001. It was universally acclaimed and hit a chord with its audience.
That is, when they were able to catch it. The show was shown at odd occasions, and often out of sequence. A pivotal episode never screened, and generally everything was done to ensure that it would die in ratings limbo.
Which is a shame. Because it is a DAMN good series. Thanks to my brother providing me with the complete DVD set for Christmas, I have had the chance to once again see why Judd Apatow and his friends are some of the funniest and coolest people in America.
Undeclared takes place in a modern day campus where freshman Steven Karp has started his life at College. (Or as we in the Antipodes like to call them, University.)
Finding himself sharing a dorm suite with a sarcastic business type, a flaky music major and a suave British acting major - ex-geek Steven sets about befriending his room mates in the hopes of a new start.
And that's pretty much the initial set-up for this comedy. Much like Freaks and Geeks, the series is about the characters. Each episode follows from the last, but focuses more on the people and how they related to each other.
Unlike Freaks, Undeclared is a half-hour format and is purely a comedy. This means that the jokes often come hard and fast. But in true Apatow fashion, each character has layers to their personality - even the most comical ones.
The result is a remarkably honest and familiar telling of life in University. Even though it is set in America, I found several episodes mirrored my own University experiences - the excitement, nervousness and horror. The characters are hilarious, while managing to be likeable. Even the arch-nemesis figures are painted with depth and believability. They are not simple people to hate, there is a likable side to them.
Featuring many Freaks and Geeks alumni, the show proves how Apatow has the wisdom and eye for picking people who he isn't afraid to let loose. Like Freaks and Geeks, Undeclared's true genius comes from the rare synchronicty of all the people working on the project - not just one man.
A great crew, talented and eager cast who never seem to try to upstage each other - but rather give everyone room to shine... it was a delight to watch this show. And a shame to know that it never got continued.
I've studied how polling works, and you simply cannot rely so heavily on ratings alone. Fox's exec should have been asking why the ratings were low. If no programming gaffs had been made, then they may have had a case. But any idiot should know that a series being shown out of sequence loses its audience. Most choosing to wait for re-runs, by which point the series is usually canned.
I do wonder how Undeclared would have done if it had been allowed to run in sequence as intended...
If you haven't seen it yet - GET IT! This is pure gold. And if you loved Freaks, you ought to love Undeclared too.
Conan
Currently Reading:
Currently Playing: Exalted: Nexus of the Sun
Mood: Buzzing from lots of Undeclared!
Have these guys just never actually looked at the possibility that showing a programme inconsistently and out of order could be at fault, and not the show itself?
Think I'm talking about Firefly? No. I'm talking about Judd Apatow's follow-up series from Freaks and Geeks - Undeclared.
Hampered by many of the same clumsy and unprofessional mistakes caused by programming, Undeclared - like it's spiritual predecessor, Freaks and Geeks - made TIME's top ten television shows of 2001. It was universally acclaimed and hit a chord with its audience.
That is, when they were able to catch it. The show was shown at odd occasions, and often out of sequence. A pivotal episode never screened, and generally everything was done to ensure that it would die in ratings limbo.
Which is a shame. Because it is a DAMN good series. Thanks to my brother providing me with the complete DVD set for Christmas, I have had the chance to once again see why Judd Apatow and his friends are some of the funniest and coolest people in America.
Undeclared takes place in a modern day campus where freshman Steven Karp has started his life at College. (Or as we in the Antipodes like to call them, University.)
Finding himself sharing a dorm suite with a sarcastic business type, a flaky music major and a suave British acting major - ex-geek Steven sets about befriending his room mates in the hopes of a new start.
And that's pretty much the initial set-up for this comedy. Much like Freaks and Geeks, the series is about the characters. Each episode follows from the last, but focuses more on the people and how they related to each other.
Unlike Freaks, Undeclared is a half-hour format and is purely a comedy. This means that the jokes often come hard and fast. But in true Apatow fashion, each character has layers to their personality - even the most comical ones.
The result is a remarkably honest and familiar telling of life in University. Even though it is set in America, I found several episodes mirrored my own University experiences - the excitement, nervousness and horror. The characters are hilarious, while managing to be likeable. Even the arch-nemesis figures are painted with depth and believability. They are not simple people to hate, there is a likable side to them.
Featuring many Freaks and Geeks alumni, the show proves how Apatow has the wisdom and eye for picking people who he isn't afraid to let loose. Like Freaks and Geeks, Undeclared's true genius comes from the rare synchronicty of all the people working on the project - not just one man.
A great crew, talented and eager cast who never seem to try to upstage each other - but rather give everyone room to shine... it was a delight to watch this show. And a shame to know that it never got continued.
I've studied how polling works, and you simply cannot rely so heavily on ratings alone. Fox's exec should have been asking why the ratings were low. If no programming gaffs had been made, then they may have had a case. But any idiot should know that a series being shown out of sequence loses its audience. Most choosing to wait for re-runs, by which point the series is usually canned.
I do wonder how Undeclared would have done if it had been allowed to run in sequence as intended...
If you haven't seen it yet - GET IT! This is pure gold. And if you loved Freaks, you ought to love Undeclared too.
Conan
Currently Reading:
Currently Playing: Exalted: Nexus of the Sun
Mood: Buzzing from lots of Undeclared!
Thursday, December 06, 2007
Reviewtime: Mass Effect
Introduction
An ancient threat returns. One final hope emerges.
How many times have we heard that or something similar? The usual theme of computer RPGs arises again in Mass Effect, a game that manages to plunder every sci-fi cliche under the sun and produce a truly compelling and enjoyable gaming experience. However it is not without faults.
Mass Effect enjoys quite a pedigree. Designed by Bioware, it draws upon the design themes of their two previous hit RPGs, Knights of the Old Republic (KOTOR) and Jade Empire. Many of the people associated with the development of these games have also been involved in Mass Effect's development, so it should be no surprise that it is a sort of evolution of these two games.
How many times have we heard that or something similar? The usual theme of computer RPGs arises again in Mass Effect, a game that manages to plunder every sci-fi cliche under the sun and produce a truly compelling and enjoyable gaming experience. However it is not without faults.
Mass Effect enjoys quite a pedigree. Designed by Bioware, it draws upon the design themes of their two previous hit RPGs, Knights of the Old Republic (KOTOR) and Jade Empire. Many of the people associated with the development of these games have also been involved in Mass Effect's development, so it should be no surprise that it is a sort of evolution of these two games.
Story
Derivative to the point of robbing every space opera and sci-fi since the early 70s for ideas, Mass Effect still manages to make a compelling and vibrant universe from its pillaged resources.
The main plot itself is very much a celebration of all things space opera, with homages and sly asides abounding. After discovering an ancient alien observation post on Mars, humanity unlocked the technology required to travel to the stars. They end up discovering a millennia old galactic civilisaton that has an uneasy peace. As the young race in the galaxy, humanity is struggling to gain political advantage within this civilisation.
Along comes Saren, a Spectre - a sort of James Bond meets the Texas Rangers-type agent for the Council that rules over this galactic peace. He has gone rogue and allied himself with a long lost race of sentient machines. You, as human Commander (insert name here) Shepard quickly learns that Saren is up to something far greater than it initially appears, and thus begins a quest to stop Saren - at any costs.
Naturally there is more to the story. Players choose Shepard's gender and appearance, then his/her history and known psychological profile. This is important to note because the story changes based on how these permutations link together. Often they are subtle changes, but sometimes there are some big twists.
Every NPC you meet will react to you based on these choices, and some quests are only available to certain histories. The rationale behind Shepard's main quest, and how s/he can react towards Saren during a face off are also dictated by these seemingly simple decisions.
For example, taking a Spacer character ends up involving Shepard in a conversation with his family via commlink when a particular NPC shows up and claims to know his mother.
Choose Colonist, however, and this never happens. Instead, it is revealed that your character survived a brutal raid, and Shepard has to face the horrors of what happened there when s/he meets another survivor from the same raid, who was tortured and abused by alien slavers.
This is where Mass Effect's story shines - your decisions have many, often subtle, effects on the flow of the story. While mechanically there seem to be only one or two directions, the permutations are much wider - effected by which characters from your squad of six accompany you, what your past history is, and what choices you made over the course of the game. This kind of story development is amazing.
The main plot itself is very much a celebration of all things space opera, with homages and sly asides abounding. After discovering an ancient alien observation post on Mars, humanity unlocked the technology required to travel to the stars. They end up discovering a millennia old galactic civilisaton that has an uneasy peace. As the young race in the galaxy, humanity is struggling to gain political advantage within this civilisation.
Along comes Saren, a Spectre - a sort of James Bond meets the Texas Rangers-type agent for the Council that rules over this galactic peace. He has gone rogue and allied himself with a long lost race of sentient machines. You, as human Commander (insert name here) Shepard quickly learns that Saren is up to something far greater than it initially appears, and thus begins a quest to stop Saren - at any costs.
Naturally there is more to the story. Players choose Shepard's gender and appearance, then his/her history and known psychological profile. This is important to note because the story changes based on how these permutations link together. Often they are subtle changes, but sometimes there are some big twists.
Every NPC you meet will react to you based on these choices, and some quests are only available to certain histories. The rationale behind Shepard's main quest, and how s/he can react towards Saren during a face off are also dictated by these seemingly simple decisions.
For example, taking a Spacer character ends up involving Shepard in a conversation with his family via commlink when a particular NPC shows up and claims to know his mother.
Choose Colonist, however, and this never happens. Instead, it is revealed that your character survived a brutal raid, and Shepard has to face the horrors of what happened there when s/he meets another survivor from the same raid, who was tortured and abused by alien slavers.
This is where Mass Effect's story shines - your decisions have many, often subtle, effects on the flow of the story. While mechanically there seem to be only one or two directions, the permutations are much wider - effected by which characters from your squad of six accompany you, what your past history is, and what choices you made over the course of the game. This kind of story development is amazing.
Gameplay
KOTOR and Jade Empire both involved the player creating a character, often based off a template, and then wandering around locations talking with Non-Player Characters (NPCs) and getting into the occasional fight. Not much has changed with this formula, but Mass Effect does provide a few twists.
Drawing more on the idea of having active combat over turn-based, most of the fighting is similar to a third person shooter, with some clear inspiration from recent gaming hit, Gears of War.
You gain experience from fights, completing quests and achieving various other little victories. When your character gains enough experience, s/he levels up, allowing you to allocate talent points to each character's various abilities. While it initially appears that talent points don't have a major effect on your shooting ability - they end up improving the chance of hitting an enemy rather than firing wild, and provide special abilities that can be utilised by hitting the right bumper.
Combat can be fast and furious, and firefights are often over quicker than in many shooter games. While it is possible to button-mash your way through most fights, the combat system is designed more around creating a personal style of combat rather than figuring out the "winning" combination. After three playthroughs, I have had three very different combat play experiences. Take something like a Soldier or Vanguard, you are often running ahead of your squad firing wildly at your enemies while occasionally stopping to call up special abilities to help finish them off.
Play as an Adept and you find yourself hanging back in the fight, constantly attacking with mysterious biotic powers which have opponents flying around the battlefield crashing into each other. Take engineer and you hack into Synthetic opponents to cause them to go on a rampage attacking other enemies, or neurally shocking organic opponents to knock them out - leaving them vulnerable for your squad mates to pick off.
But this is not without flaws. Squad control is virtually non-existent, and often the squad member's AI is woefully inadequate. The number of times you or another squad member is caught in friendly fire because the third member of your party didn't think to walk *around* friendly targets before opening fire happens often enough to be a little annoying.
Sometimes squadmates will randomly draw weapons they are not skilled in rather than using the preferred weapon, causing you to hit the left bumper, pause the game and reselect the proper weapon.
Yet the enemy AI is pretty good. Enemies take cover, they co-ordinate attacks and for the most part show a great deal of smarts. However some do just charge into melee against oncoming gunfire. *sigh*
Another great aspect of the game is the addition of the conversation wheel. Unlike previous Bioware games, where you had a drop down menu of dialogue to choose from whenever talking with major NPCs; Mass Effect has a wheel with six "slots" for dialogue. Usually a short precis of what you intend is presented, then when you select it Shepard will speak his/her own dialogue that captures the intent.
For example, you select "I don't trust you" and Shepard might say "That is all well and good, but your actions aren't exactly matching with what you are claiming to me at the moment." Or, depending on where on the wheel the slot is (there are fixed "types" of intent) Shep might say "That's crap. I'm keeping my eye on you."
The other beauty is that because the wheel keeps choices to the point, it pops up mid conversation, allowing you to select an option without seriously breaking up the flow of conversation - making for a much more cinematic feel to the dialogue sequences. The choice of giving the PC a voice and actions means that you genuinely feel like you are part of a great sci-fi film.
But again there are little flaws. The wheel is not utilised enough in the way it was intended. There are occasions where it simply is just another way of conversing with characters. Also, there are times where you only have two or three options, which boil down to "be nice, be neutral, be an a**hole." But when the wheel is fully utilised in conversation, you get some genuinely memorable sequences - such as the conversations with Wrex; the face off with Saren; a dramatic decision making segment on the world of Virmire.
It is at these points that Mass Effect elevates itself above its normal gameplay and really shows what kind of game the developers truly had in mind when creating it. It's just a shame that large parts of the game don't reach this level.
Drawing more on the idea of having active combat over turn-based, most of the fighting is similar to a third person shooter, with some clear inspiration from recent gaming hit, Gears of War.
You gain experience from fights, completing quests and achieving various other little victories. When your character gains enough experience, s/he levels up, allowing you to allocate talent points to each character's various abilities. While it initially appears that talent points don't have a major effect on your shooting ability - they end up improving the chance of hitting an enemy rather than firing wild, and provide special abilities that can be utilised by hitting the right bumper.
Combat can be fast and furious, and firefights are often over quicker than in many shooter games. While it is possible to button-mash your way through most fights, the combat system is designed more around creating a personal style of combat rather than figuring out the "winning" combination. After three playthroughs, I have had three very different combat play experiences. Take something like a Soldier or Vanguard, you are often running ahead of your squad firing wildly at your enemies while occasionally stopping to call up special abilities to help finish them off.
Play as an Adept and you find yourself hanging back in the fight, constantly attacking with mysterious biotic powers which have opponents flying around the battlefield crashing into each other. Take engineer and you hack into Synthetic opponents to cause them to go on a rampage attacking other enemies, or neurally shocking organic opponents to knock them out - leaving them vulnerable for your squad mates to pick off.
But this is not without flaws. Squad control is virtually non-existent, and often the squad member's AI is woefully inadequate. The number of times you or another squad member is caught in friendly fire because the third member of your party didn't think to walk *around* friendly targets before opening fire happens often enough to be a little annoying.
Sometimes squadmates will randomly draw weapons they are not skilled in rather than using the preferred weapon, causing you to hit the left bumper, pause the game and reselect the proper weapon.
Yet the enemy AI is pretty good. Enemies take cover, they co-ordinate attacks and for the most part show a great deal of smarts. However some do just charge into melee against oncoming gunfire. *sigh*
Another great aspect of the game is the addition of the conversation wheel. Unlike previous Bioware games, where you had a drop down menu of dialogue to choose from whenever talking with major NPCs; Mass Effect has a wheel with six "slots" for dialogue. Usually a short precis of what you intend is presented, then when you select it Shepard will speak his/her own dialogue that captures the intent.
For example, you select "I don't trust you" and Shepard might say "That is all well and good, but your actions aren't exactly matching with what you are claiming to me at the moment." Or, depending on where on the wheel the slot is (there are fixed "types" of intent) Shep might say "That's crap. I'm keeping my eye on you."
The other beauty is that because the wheel keeps choices to the point, it pops up mid conversation, allowing you to select an option without seriously breaking up the flow of conversation - making for a much more cinematic feel to the dialogue sequences. The choice of giving the PC a voice and actions means that you genuinely feel like you are part of a great sci-fi film.
But again there are little flaws. The wheel is not utilised enough in the way it was intended. There are occasions where it simply is just another way of conversing with characters. Also, there are times where you only have two or three options, which boil down to "be nice, be neutral, be an a**hole." But when the wheel is fully utilised in conversation, you get some genuinely memorable sequences - such as the conversations with Wrex; the face off with Saren; a dramatic decision making segment on the world of Virmire.
It is at these points that Mass Effect elevates itself above its normal gameplay and really shows what kind of game the developers truly had in mind when creating it. It's just a shame that large parts of the game don't reach this level.
Visuals
Visually, Mass Effect is one of the most amazing games on the market. Many of the story locations are truly memorable and stunning to see, and the detailing on the characters is second to none.
This game sometimes shows exactly what a next-gen console is capable of. But it isn't without some gripes.
Firstly, many of the minor NPCs suffer from what I call "Oblivion-syndrome." Apart from some very rare examples, the world is full of ugly human males that look like the hillbillys from Deliverance. Women tend to be attractive, although they too suffer from a number of weird drag-queen like characters.
HAIR. I know it is hard to do natural looking hair, and when you have this many NPCs wandering around you can't afford to be too fancy. But some characters look like they have plastic molds of hair slapped on their heads like some dire space version of Polly Pocket! While some characters, like Ashley and your Female Shepard, are fine - a lot of women look ridiculous. In particular there are two sisters you talk to in a casino sequence who look like they are naturally bald and have some weird red hat slapped on their heads.
Having said that - the aliens are all uniformly impressive. The amount of detail on the Salarians, Turians and Krogan in particular are brilliant. While they initially might look similar, you soon notice that each character has differences. Different Salarians have different skull shapes, the Turians all have different head spines and tattoos.
And the detail of scales, slime and even alien irises are impressive. Which brings me to another great feature of the visuals - the eyes. This is likely the first game I have seen where the characters have eyes that seem to show a depth, a reality to them. This carries over to the impressive detail of movement. Eyes "track" and "scan" like real people. Nobody stares all the time like some fish, their eyes move around rapidly and in short random fashion - like real eyes. Facial expressions change, the eyes shift naturally when characters talk rather than just have a randomly moving mouth.
This is most evident in Krogan squadmate Wrex - whose complex facial movements are stunning to behold. He looks almost alive and real. That is something that Bioware can be truly proud of how they have managed to do this.
This game sometimes shows exactly what a next-gen console is capable of. But it isn't without some gripes.
Firstly, many of the minor NPCs suffer from what I call "Oblivion-syndrome." Apart from some very rare examples, the world is full of ugly human males that look like the hillbillys from Deliverance. Women tend to be attractive, although they too suffer from a number of weird drag-queen like characters.
HAIR. I know it is hard to do natural looking hair, and when you have this many NPCs wandering around you can't afford to be too fancy. But some characters look like they have plastic molds of hair slapped on their heads like some dire space version of Polly Pocket! While some characters, like Ashley and your Female Shepard, are fine - a lot of women look ridiculous. In particular there are two sisters you talk to in a casino sequence who look like they are naturally bald and have some weird red hat slapped on their heads.
Having said that - the aliens are all uniformly impressive. The amount of detail on the Salarians, Turians and Krogan in particular are brilliant. While they initially might look similar, you soon notice that each character has differences. Different Salarians have different skull shapes, the Turians all have different head spines and tattoos.
And the detail of scales, slime and even alien irises are impressive. Which brings me to another great feature of the visuals - the eyes. This is likely the first game I have seen where the characters have eyes that seem to show a depth, a reality to them. This carries over to the impressive detail of movement. Eyes "track" and "scan" like real people. Nobody stares all the time like some fish, their eyes move around rapidly and in short random fashion - like real eyes. Facial expressions change, the eyes shift naturally when characters talk rather than just have a randomly moving mouth.
This is most evident in Krogan squadmate Wrex - whose complex facial movements are stunning to behold. He looks almost alive and real. That is something that Bioware can be truly proud of how they have managed to do this.
Negatives
However there is a down side to all this brilliance. By trying to have too much, Mass Effect ends up almost having too little. Odd decisions, a buggy graphics engine, a main plot that's too short and repetitive sidequests that are too long help to drag this game down.
During development the story goes that Bioware realised that they didn't have all the resources to be able to do everything that they wanted with the game. It was decided that rather than cut an entire element out of the game, each area took a cut, the reasoning being that they could have everything they wanted and build up from there in later developments - but to be able to meet all promises and show what they had in mind.
Unfortunately this ends up making a game that is full of different elements, but master of none. Squad control was virtually removed in favour of an anemic system that doesn't quite work anymore. The side worlds that you can visit - of which there are dozens - are all the same world with different textures and slightly different mountain layout. The Mako - a vehicle you drive around in sidequests - is not upgradeable, which is frustrating when opponents do scale with your level.
Graphically, the game suffers from the worst framerate issues I have ever seen in a console game. Frame rate stutters to a near standstill just by moving the camera around too quickly at random points. Texture load up happens mid scene - and in some cases doesn't load up until the sequence is nearly over.
There are random loading times as the game streams info off the disc and this happens at virtually random points in the game.
In the aim to have some 50+ sidequests, most end up being simply collect missions with no pay off - a tour around the galaxy to find text boxes.
The codex, an intergalactic tome of information accessible from the menu, has vast swathes of spoken dialogue that repeats what is already written on the screen. I found myself wondering why this was kept - as the spoken dialogue would have used data and resources that could have been better put to use elsewhere.
Some of the writing is atrocious. While the main story is brilliant and full of great moments, it does suffer from some ill-planned sequences. One level - Noveria - is weak as it ends its sequence with a bit of an anticlimactic departure with no real denouement.
One of the areas most let down is the inter-relationships of your team. Jade Empire excelled at creating the illusion that the various characters were interacting and talking. Being able to stop and talk with characters at any point in the game allowed the player to develop and foster believeable friendships - and often there are moments where the characters talk to each other about their lives. Most popular was the romance subplots - where players could interact with romanceable characters and build a lasting relationship that was referred to during the game.
Mass Effect has seriously taken a step back in this regard. Characters only quip when riding elevators in one location of the game - one world, where you rarely use elevators either. Also, these dialogue moments are in a lower range so any loud sound effects nearly drown the characters out.
Characters rarely talk to each other at any other point. On only a few occasions near the end of the game does this change. Worst though is that most of the romances in Mass Effect feel like they were written by a thirteen year old sitting in his maths class. The dialogue is often stilted and unnatural. Where Jade Empire made the player interact and build a relationship with the romanceable characters, Mass Effect virtually starts with "I would like to shag you sometime" and kind of stays on that tangent.
The only exception I noticed was the Female Shepard and Kaiden romance, where Kaiden takes time to build a rapport with your character.
All this leads to a rather tasteful, but seemingly pointless, sex scene near the end of the game. It's kind of sad that the pay off for building a relationship is just to get to see some blurred out butt and a potential "blink-and-you'll miss it" nipple shot.
Worst yet, the relationship does not exist outside of its limited storyline segments. Whenever you are on location or talking to the character outside of your ship - it's as if the relationship does not exist. Again, I found Jade Empire handled this much more effectively.
My final comment is about the choices of romanceable characters. It has been stated that Bioware chose to only have three characters so that they could focus all their attention on making those characters interesting and do the romances justice. I would say that Bioware can comfortably say... mission aborted. While the characters have some depth, their storylines are clumsily handled. Furthermore, Bioware have limited the range of romances available. Sorry to all you gay guys out there. The military don't mind lesbian sex with alien women, but normal male-male fraternisation is a no-no. Bioware are likely unaware of the fact that by not having a male-male option in a supposedly "mature" R13 game - even one that is as tame as Jade Empire's - they are saying something about gay relationships by not saying anything.
I will discuss this further at the end of the review, as I don't feel it is something that should effect the overall score - considering a great many players will be heterosexual.
During development the story goes that Bioware realised that they didn't have all the resources to be able to do everything that they wanted with the game. It was decided that rather than cut an entire element out of the game, each area took a cut, the reasoning being that they could have everything they wanted and build up from there in later developments - but to be able to meet all promises and show what they had in mind.
Unfortunately this ends up making a game that is full of different elements, but master of none. Squad control was virtually removed in favour of an anemic system that doesn't quite work anymore. The side worlds that you can visit - of which there are dozens - are all the same world with different textures and slightly different mountain layout. The Mako - a vehicle you drive around in sidequests - is not upgradeable, which is frustrating when opponents do scale with your level.
Graphically, the game suffers from the worst framerate issues I have ever seen in a console game. Frame rate stutters to a near standstill just by moving the camera around too quickly at random points. Texture load up happens mid scene - and in some cases doesn't load up until the sequence is nearly over.
There are random loading times as the game streams info off the disc and this happens at virtually random points in the game.
In the aim to have some 50+ sidequests, most end up being simply collect missions with no pay off - a tour around the galaxy to find text boxes.
The codex, an intergalactic tome of information accessible from the menu, has vast swathes of spoken dialogue that repeats what is already written on the screen. I found myself wondering why this was kept - as the spoken dialogue would have used data and resources that could have been better put to use elsewhere.
Some of the writing is atrocious. While the main story is brilliant and full of great moments, it does suffer from some ill-planned sequences. One level - Noveria - is weak as it ends its sequence with a bit of an anticlimactic departure with no real denouement.
One of the areas most let down is the inter-relationships of your team. Jade Empire excelled at creating the illusion that the various characters were interacting and talking. Being able to stop and talk with characters at any point in the game allowed the player to develop and foster believeable friendships - and often there are moments where the characters talk to each other about their lives. Most popular was the romance subplots - where players could interact with romanceable characters and build a lasting relationship that was referred to during the game.
Mass Effect has seriously taken a step back in this regard. Characters only quip when riding elevators in one location of the game - one world, where you rarely use elevators either. Also, these dialogue moments are in a lower range so any loud sound effects nearly drown the characters out.
Characters rarely talk to each other at any other point. On only a few occasions near the end of the game does this change. Worst though is that most of the romances in Mass Effect feel like they were written by a thirteen year old sitting in his maths class. The dialogue is often stilted and unnatural. Where Jade Empire made the player interact and build a relationship with the romanceable characters, Mass Effect virtually starts with "I would like to shag you sometime" and kind of stays on that tangent.
The only exception I noticed was the Female Shepard and Kaiden romance, where Kaiden takes time to build a rapport with your character.
All this leads to a rather tasteful, but seemingly pointless, sex scene near the end of the game. It's kind of sad that the pay off for building a relationship is just to get to see some blurred out butt and a potential "blink-and-you'll miss it" nipple shot.
Worst yet, the relationship does not exist outside of its limited storyline segments. Whenever you are on location or talking to the character outside of your ship - it's as if the relationship does not exist. Again, I found Jade Empire handled this much more effectively.
My final comment is about the choices of romanceable characters. It has been stated that Bioware chose to only have three characters so that they could focus all their attention on making those characters interesting and do the romances justice. I would say that Bioware can comfortably say... mission aborted. While the characters have some depth, their storylines are clumsily handled. Furthermore, Bioware have limited the range of romances available. Sorry to all you gay guys out there. The military don't mind lesbian sex with alien women, but normal male-male fraternisation is a no-no. Bioware are likely unaware of the fact that by not having a male-male option in a supposedly "mature" R13 game - even one that is as tame as Jade Empire's - they are saying something about gay relationships by not saying anything.
I will discuss this further at the end of the review, as I don't feel it is something that should effect the overall score - considering a great many players will be heterosexual.
Positives
So that's a lot of negative commentary about the game. Yet with even all these little faults, Mass Effect is an amazing game. When it gets the forumla right, it does so amazingly.
Despite the graphical issues, these happen only occasionally, and for most of the game it's pure graphic gold. The expressive faces, the lush locations and stunning cut-scenes (all done with in-engine graphics) are awe inspiring.
The storyline is engaging and suitably dramatic. The game's conclusion is simply one of the most satisfying finales I have played in a long time, and keeps the player involved with the outcome right up to the final frame. Despite claims of not many big choices, it is clear after three runs through the game that your decisions throughout the game have a number of subtle and interesting effects on the direction the story takes - and this keeps on going to the last frame.
The fact that the game saves your character and choices suggests that these decisions will also carry over to the next game! I'm keen to see how that works out.
Most of the characters are very interesting, and you really make a connection to a lot of them. While they don't quite have the engaging appeal of Jade Empire's classics (who can ever forget Henpecked Hou, Sagacious Zu and Black Whirlwind...) there are some great characters on show here.
Despite the graphical issues, these happen only occasionally, and for most of the game it's pure graphic gold. The expressive faces, the lush locations and stunning cut-scenes (all done with in-engine graphics) are awe inspiring.
The storyline is engaging and suitably dramatic. The game's conclusion is simply one of the most satisfying finales I have played in a long time, and keeps the player involved with the outcome right up to the final frame. Despite claims of not many big choices, it is clear after three runs through the game that your decisions throughout the game have a number of subtle and interesting effects on the direction the story takes - and this keeps on going to the last frame.
The fact that the game saves your character and choices suggests that these decisions will also carry over to the next game! I'm keen to see how that works out.
Most of the characters are very interesting, and you really make a connection to a lot of them. While they don't quite have the engaging appeal of Jade Empire's classics (who can ever forget Henpecked Hou, Sagacious Zu and Black Whirlwind...) there are some great characters on show here.
Summing up
While Mass Effect has bugs and issues - it is still one of the best games of the year. It has laid a foundation that Bioware can build up from. With the promise of regular downloadable content for the game there is room to improve where the game has faults. What is there is impressive, and I suspect that as the amount of additional game content is created, the game has room to become closer to the vision that Bioware wants the game to be.
In a way its imperfections help to show what makes Mass Effect so great. It is a stunning achievement of a game that breaks the mold for RPGs and manages to be engaging and enjoyable despite its flaws. Even with my various gripes, it still is a game I want to just keep playing over and over. I haven't even covered all the aspects of the game. This is an epic game that ultimately is worth the price of admission. Warts and all.
A Note about Romances
I want to bring this up as an aside more than a direct critique. As a gay gamer, I find that it is a rough life finding satisfying computer games with romances in them. A lot of developers don't seem to grasp how media can affect the way people perceive themselves.
When you create a sandbox game with customisability - particularly a game like Mass Effect which wants you to out yourself in the shoes of the character and tell your own story through your actions and choices - there is a certain message being sent to gamers with the choices allowed.
By denying players the opportunity to romance a male character, there is a sense of disconnect for a gay gamer. It sends the message that it is not okay to want to romance a male character.
This negative message is further reinforced by allowing a lesbian love affair. Claiming "she's an alien who is asexual" loses its validity when said asexual alien is rendered as a beautiful woman with clear female traits, and refers to herself as female.
I don't think Bioware did this maliciously, but it is a serious concern. Jade Empire had a gay romance, and there was very little hoo-hah from the "moral" crowd against it. The precedent has been set. To not include a gay romance in a supposedly mature game is a step backwards, in my opinion.
Bioware is limiting players and is implying (even in unintentionally) that it does not approve of male-male relationships.
Some would argue that market forces dictate. But given that the gay market is a multi-billion dollar a year industry - and that there are a marked number of "gaymers" out there - it seems bad business sense to not try and tap into that market.
To argue that conservative gamers would boycott the game loses effectiveness when one looks at The Sims. It is a huge money spinner that not only has gay relationships, but gay marriage and simulated gay sex! And it isn't even R-rated. The PS2, PSP, PC and Mac versions allow for gay relationships. Only the DS version is non-gay friendly. But then it also doesn't have any sexual connotations at all.
So I feel the need to express my disappointment in Bioware's failure to show support for a market that they initially won over with games like Jade Empire - which allowed gay relationships.
For me, this was a big let down that genuinely spoiled my enjoyment of the game. It is not sufficient to argue "that's the way the world is." As a producer of media, and making the claim that I can make the story I want, Bioware has failed me.
To that end, Mass Effect is not supportive of gay gamers - and that is a shame.
In a way its imperfections help to show what makes Mass Effect so great. It is a stunning achievement of a game that breaks the mold for RPGs and manages to be engaging and enjoyable despite its flaws. Even with my various gripes, it still is a game I want to just keep playing over and over. I haven't even covered all the aspects of the game. This is an epic game that ultimately is worth the price of admission. Warts and all.
A Note about Romances
I want to bring this up as an aside more than a direct critique. As a gay gamer, I find that it is a rough life finding satisfying computer games with romances in them. A lot of developers don't seem to grasp how media can affect the way people perceive themselves.
When you create a sandbox game with customisability - particularly a game like Mass Effect which wants you to out yourself in the shoes of the character and tell your own story through your actions and choices - there is a certain message being sent to gamers with the choices allowed.
By denying players the opportunity to romance a male character, there is a sense of disconnect for a gay gamer. It sends the message that it is not okay to want to romance a male character.
This negative message is further reinforced by allowing a lesbian love affair. Claiming "she's an alien who is asexual" loses its validity when said asexual alien is rendered as a beautiful woman with clear female traits, and refers to herself as female.
I don't think Bioware did this maliciously, but it is a serious concern. Jade Empire had a gay romance, and there was very little hoo-hah from the "moral" crowd against it. The precedent has been set. To not include a gay romance in a supposedly mature game is a step backwards, in my opinion.
Bioware is limiting players and is implying (even in unintentionally) that it does not approve of male-male relationships.
Some would argue that market forces dictate. But given that the gay market is a multi-billion dollar a year industry - and that there are a marked number of "gaymers" out there - it seems bad business sense to not try and tap into that market.
To argue that conservative gamers would boycott the game loses effectiveness when one looks at The Sims. It is a huge money spinner that not only has gay relationships, but gay marriage and simulated gay sex! And it isn't even R-rated. The PS2, PSP, PC and Mac versions allow for gay relationships. Only the DS version is non-gay friendly. But then it also doesn't have any sexual connotations at all.
So I feel the need to express my disappointment in Bioware's failure to show support for a market that they initially won over with games like Jade Empire - which allowed gay relationships.
For me, this was a big let down that genuinely spoiled my enjoyment of the game. It is not sufficient to argue "that's the way the world is." As a producer of media, and making the claim that I can make the story I want, Bioware has failed me.
To that end, Mass Effect is not supportive of gay gamers - and that is a shame.
Saturday, November 17, 2007
Politics and Perceptions
I find it sometimes amazing the capacity of some people to convince themselves that they couldn't possibly be wrong, as if all things in the universe have a defined black or white position. Often the world is made up of a mixture of all things.
What am I going on about?
Well it is the highly predictable, but still somewhat sad, response to the Dom Post's revelations last Wednesday.
Now part of this is based on how you choose to interact with your media. If you are like me, you take it as a cue rather than the full story. The media can only provide someone's point of view - either the person being interviewed or the journalist reporting the incident.
What we got from the Dominion Post last Wednesday is enough proof that the police were right to act in regards to the actions of certain individuals in the Ureweras. We did not get proof that the accused were terrorists, but that they were clearly involved in some disturbing activities that they have been less than honest about.
It did not prove that the Tuhoe are behind some conspiracy, nor did it prove that these guys were genuinely capable of following up the threats mentioned in the quotes provided.
What it did prove was that there wasn't some conspiracy to shut down activists - but it did suggest that those being investigated were using such communities to make contacts.
Yet now we are hearing from the people who were protesting against the suppressed 'evidence' decrying that the Dom Post has acted appallingly for revealing it. I'm sorry, can you say that again?
Now I do think that the Dom Post has potentially acted in contempt of court - that evidence being revealed, particularly in such an anonymous manner (which is probably how Fairfax will get around the contempt of court charges) will work against the accused getting a fair trial.
But I have no pity for the kind of person who tries to argue such BS as claiming the comments were taken out of context. It is abundantly clear that there was a sizeable history of these kinds of conversations amongst a group of people who were then meeting and partaking in military-style training with illegal weapons.
How much context do you need? I'm curious to know exactly how such comments could be taken in context with the greater picture provided by surveillance - and be called innocent. It's a hard sell. One I don't buy.
These guys were clearly involved in something illegal. They probably weren't terrorists, but they were up to something stupid and they were naive to think that the police wouldn't get involved with the kind of theatrics some of their members were getting up to.
Remember, the investigation began after one of these yahoos made threatening moves towards the Prime Minister - which eventually lead Police to find out about the rest of their activities.
If it was some sort of elaborate set-up to expose flaws in our legal system, then these guys are idiots. New Zealanders, in general, don't appreciate being led on a merry chase. Given that the racial hot buttons have been pressed as well, that will only further work against these guys. They have been exposed as racially motivated and acting against a nation that has been working hard to try to resolve racial issues.
I fail to see how 'kill some pakehas' could lead to anything other than an increase in racist sentiments. It is no different than National Front spouting some bullshit ethnic cleansing drivel about Maori.
Let's get that clear. The evidence presented gives more than enough for police to get warrants. Comparing it to the US invading Iraq is also a false analogy. Iraq was a sovereign nation. As much as the Tuhoe want sovereignty, they are a part of New Zealand's legal system and if there are idiotic anarchists acting illegally in their midst, the police are required to investigate and act.
Why aren't these people getting angry at Tame Iti and friends for being such boneheaded idiots as to reap such a response from the police.
As for not finding any weapons of mass destruction - a cache of illegal semi-automatics, molotov cocktails and an IRA training manual are exactly the kind of things that the warrants were in aid of finding.
Yet having found that they bet on the wrong horse, those people who stepped up too soon to decry foul are now seeming to be working just as hard and vocally to cover their tracks.
This is why I find it is important to wait for evidence. Without it, you are making pure speculation and risk serious backlash if you are wrong.
This saga is far from over. I suspect you will find that some of the 17 accused will be found innocent - from what I read in the paper, it seems to me that not all of them are behind this little posse. But I will not be surprised if there are a couple more twists in this tale.
I do think that Jamie Lockett and Tame Iti need to be taken down a rung or two. They are clearly arrogant men who are too smart for their own good. But terrorists? I'm not so sure. I think the SG took the right course of action...
Which clumsily seagues me into my second topic of the day - Polls.
In the current polls National lost ground between September and November. Labour is now on the way back to preferred party, with Helen Clark pipping John Key at the post by a mere 2-3 percent as preferred Prime Minister.
Currently the Maori Party holds the king-maker role if there were to be an election tomorrow. Current events would suggest that they would lean towards National over Labour, as Labour has been more than a little antagonistic towards them. But also, given the rather shameless politicking they have been doing recently - and which has kind of left them with egg on their faces - it is likely that neither National nor Labour would be willing to negotiate a favourable deal.
What could that mean for government?
Well let's face facts. Labour is more likely to be able to broker a successful deal. Helen Clark has a long and successful history of being able to make deals with parties to create a government. She has managed to keep the Greens on side even while offending them on several occasions. She is likely to be able to get NZ First on side again, and United Future's Peter Dunne will likely recognise that Helen is more likely to win over the Maori Party than John could - thus leaning over to her again. Regardless of what he would like to claim.
Why do I think this? Because National still has failed to understand how MMP works. They still think that government is theirs if they hold a majority. Any allies would soon find National wanting them to fall in line. Labour's policies take their allies in mind, and they know how to broker deals that get them the policies that they really want while also accepting their partner's perspective. I just can't see John Key having the kind of statesmanship to successfully pull this off. Most noticeably, if the Maori Party sign on with him, they will find that once government is sworn in, they will be helpless against a juggernaut party that will only be out to keep things at status quo.
It is still to close to call, but I predict a minority Labour party successfully brokering a complex (and likely confusing to onlookers) government and National will again be left sitting in opposition. John Key is not a true leader - he's not as wishy washy as Don Brash, but he is kind of bland. I predict we will see Bill English returning for the election after next. Bold, I know, but he has now learnt from his experiences and is well placed to oust John Key if National loses the next election.
Helen Clark is wise enough to let all the chest thumping and carry on happen now - she sees the long game and knows that it is better to act when people are holding their voting slips. The public is fickle, and if you get them when they are on your side - all the better. It's a technique that has helped them out in the past, I don't see them playing National's game now.
Laters!
Conan
Currently Reading: What they don't teach you in Film School.
Currently Playing: Ptolus
Mood: Interested in how things are developing
Currently Reading: What they don't teach you in Film School.
Currently Playing: Ptolus
Mood: Interested in how things are developing
Wednesday, November 14, 2007
Police State New Zealand? I don't think so...
Who says there is no solidarity in the media? No doubt spurred on by the drama unfolding with TV3, The Dominion Post decided to publish the suppressed evidence regarding the "Terrorist" Raids - to ensure that the public can come to their own decisions.
Now I'm not so sure this was a wise action as it may possibly jeopardise the fairness of the approaching trials of those involved. However, what is done is done. At least by taking this action TV3 and the Dom Post have inadvertently (or maybe deliberately) proven something about this case - that we do not live in a true police state.
Why do I say this? Because in a true police state, the suppression of this information would have been vital - the Police would have stopped the presses, people would have been arrested (and possible tortured) to find out who leaked this information.
What are the NZ police doing? Investigating. There may be legal action taken against TV3 and Fairfax Media - but it will likely amount to a telling off and a serious fine that either company can probably afford to take on the chin in return for great press and sales.
I also agree with the reasoning offered by the Editor of the Dom Post when he says:
The Police have been accused of over-reacting, and of being racist. Supporters
of those accused have argued there is nothing to justify the operation the
police mounted, that notions of domestic terrorism are as insubstantial as the
Urewera mist, and those arrested are the victims of some sort of vendetta. They
argue that those the police arrested are blameless. Their claims have not been
tested in any meaningful way till now
The bold is my own. While I figure that these were a bunch of wannabe yahoos playing at building a militia - it does sound from the evidence revealed that police did act accordingly. Some very disturbing conversations have been revealed, and they happened over a long enough time to need to be taken seriously. This wasn't a bunch of guys playing a game with the police or clowning around on the phone.
These sound like angry guys who were saying things with a degree of conviction. I do feel that they probably would have wimped out when push came to shove - but on the face of the evidence, there is no way of knowing. Police had probable cause, and good reason to act. I've seen armed offenders get called out for [i]less[/i] without any complaint from anyone. It also adds a chilling aspect to the organised protests for me - that certain people hoped to take advantage of the raids to still stir up the same kind of division of people.
I do worry that after the publication of this information, the trial may now turn against the accused simply through public opinion. But, in a way, it needed to come out. Now let's see what happens to those who challenged the suppression orders - that will reveal much more about how in danger our civil liberties are...
Conan
Currently Reading:
Currently Playing: Exalted: Nexus of the Sun
Mood: Concerned, and also relieved that some of this information is out in the open.
Monday, November 05, 2007
Reviewtime: SKATE
In the console gaming world there has really only been one name for skateboarding - Tony Hawk. The endless parade of button-mashing gaming has been the pinnacle of the genre, if not the only existing product.
Now, as Tony Hawk's line of skating games is beginning to groan under the weight of mediocre game play - EA has burst out with a new type of skating game. Gone is the idea of skating gaming as a kind of arcady unrealistic experience. SKATE wants you to genuinely learn to appreciate the sport.
This is primarily done via the Flickit system - where Tony Hawk requires a Mortal Kombat style left, left, circle, circle, square combo to succeed at a trick, SKATE uses skill with the analog sticks.
Your avatar in the game never statistically improves, you - the player - do. This is a game where you freestyle your lines in any way that you can to perform realistic tricks and lines while exploring the vast city of San Vanelona (a fictional city that combines aspects of several famous cities of the world.)
After a very clever movie at that sets up why your character is such a newbie on the scene, you are literally dumped in the Skate Park of the San Van suburbs at the top of the hills, and given a short tutorial to accustom you with the controls. Then you are literally let loose on the city.
This game isn't about winning any goal. It primarily is about enjoying skating for the sake of it. There are challenges to keep things interesting, and the basic idea is that you will strive to get onto the cover of one of two famous skate magazines (or both if you so choose.) Each photo shoot you end up doing unlocks more challenges and come cool hidden locations - but you could happily play the game for ages without ever taking up a challenge.
What impressed me about the challenges is that they are never released before you are ready to take them on. The game is well balanced towards challenging your skills and getting you to learn the system without ever becoming too frustrating.
By no means is the game easy, but it is well balanced to keep things interesting for hours. I literally lost a day to this game, as it is very relaxing and challenging at the same time.
What is also impressive is the ability to take photos and footage of your tricks then load them up to the internet. All the pictures on this post are of my character performing various stunts.
SKATE's system is so fluid and intuitive, you seamlessly move from one trick to another - never having to look at the controller to pull of a trick. The controls aren't perfect - some tricks are too similar in movement, and I had a bitch of a time working on a Nollie 360 Flip, and constantly getting a Nollie Pop Shuvit 180.
But with a game that looks this gorgeous, and with so many challenges, I was always able to skate away and try something else for fun.
I can highly recommend SKATE to anyone who wants to play a game that is entertaining and fun.
Love and Huggles
Conan
Now, as Tony Hawk's line of skating games is beginning to groan under the weight of mediocre game play - EA has burst out with a new type of skating game. Gone is the idea of skating gaming as a kind of arcady unrealistic experience. SKATE wants you to genuinely learn to appreciate the sport.
This is primarily done via the Flickit system - where Tony Hawk requires a Mortal Kombat style left, left, circle, circle, square combo to succeed at a trick, SKATE uses skill with the analog sticks.
Your avatar in the game never statistically improves, you - the player - do. This is a game where you freestyle your lines in any way that you can to perform realistic tricks and lines while exploring the vast city of San Vanelona (a fictional city that combines aspects of several famous cities of the world.)After a very clever movie at that sets up why your character is such a newbie on the scene, you are literally dumped in the Skate Park of the San Van suburbs at the top of the hills, and given a short tutorial to accustom you with the controls. Then you are literally let loose on the city.
This game isn't about winning any goal. It primarily is about enjoying skating for the sake of it. There are challenges to keep things interesting, and the basic idea is that you will strive to get onto the cover of one of two famous skate magazines (or both if you so choose.) Each photo shoot you end up doing unlocks more challenges and come cool hidden locations - but you could happily play the game for ages without ever taking up a challenge.
What impressed me about the challenges is that they are never released before you are ready to take them on. The game is well balanced towards challenging your skills and getting you to learn the system without ever becoming too frustrating.
By no means is the game easy, but it is well balanced to keep things interesting for hours. I literally lost a day to this game, as it is very relaxing and challenging at the same time.
What is also impressive is the ability to take photos and footage of your tricks then load them up to the internet. All the pictures on this post are of my character performing various stunts.
SKATE's system is so fluid and intuitive, you seamlessly move from one trick to another - never having to look at the controller to pull of a trick. The controls aren't perfect - some tricks are too similar in movement, and I had a bitch of a time working on a Nollie 360 Flip, and constantly getting a Nollie Pop Shuvit 180.But with a game that looks this gorgeous, and with so many challenges, I was always able to skate away and try something else for fun.
I can highly recommend SKATE to anyone who wants to play a game that is entertaining and fun.
Love and Huggles
Conan
Currently Reading:
Currently Playing:
Mood: Loving SKATE!
Saturday, November 03, 2007
Protests and Assaults
*sigh* After a week of all manner of opinions being voiced, I have found my personal opinion towards modern day activists hardening. Less and less people who claim to fight for the cause of freedom really seem to understand why they should fight for it, nor what it is that they are actually fighting for.
It, of course, doesn't help when both sides of a debate seem to be heading fast into silly hats territory. Consider today's Labour Conference. A "staggering" crowd of 150 protesters stood outside expressing their rights to freedom of expression. That is a good thing. While I don't agree with these people who are knee-jerk protesting against a mythic police state, they do have the right to protest if they feel a wrong has been committed.
But there are limits to freedoms - and this is something that these protesters don't understand. Furthermore, they seem to miss the irony that most of the people they are protesting against are supporting their calls to repeal certain laws that are on the table.
However, it doesn't help that a Labour Delegate assaulted one of the protesters. That is plain stupid. I don't care how infuriated they are making you, it only serves their purposes to assault them.
Conversely, freedom of expression does not allow you to jump on people's vehicles or spit in the faces of police. Nor does freedom of expression give you the right to push past police lines and verbally assault delegates.
So shame on all those protesters who have failed to learn the lesson that peaceful protest is and always has been a far more effective method of protest. Look at the support and coverage the Buddhist Monks of Myanmar created by simply walking. They live in a true police state - where Junta military open fired on peaceful protestors. These were not people jumping on cars or spitting at military. They were simply staying in a place and sternly refusing to be aggressive.
The police in New Zealand do not, to my knowledge, open fire on protesters. The other stage of peaceful protest is to peacefully go to jail if arrested. You can sit and refuse to move - your freedom of expression allows that. If you genuinely believe in your cause, then you will allow yourself to be arrested to make your point.
Kicking and screaming, threatening and harassing police for doing their jobs will not help. In this country, if you peacefully go with the police you are more likely to learn that some of them support your cause.
That is effective activism.
As Service Workers' Union representative, Jill Ovens, said -
It, of course, doesn't help when both sides of a debate seem to be heading fast into silly hats territory. Consider today's Labour Conference. A "staggering" crowd of 150 protesters stood outside expressing their rights to freedom of expression. That is a good thing. While I don't agree with these people who are knee-jerk protesting against a mythic police state, they do have the right to protest if they feel a wrong has been committed.
But there are limits to freedoms - and this is something that these protesters don't understand. Furthermore, they seem to miss the irony that most of the people they are protesting against are supporting their calls to repeal certain laws that are on the table.
However, it doesn't help that a Labour Delegate assaulted one of the protesters. That is plain stupid. I don't care how infuriated they are making you, it only serves their purposes to assault them.
Conversely, freedom of expression does not allow you to jump on people's vehicles or spit in the faces of police. Nor does freedom of expression give you the right to push past police lines and verbally assault delegates.
So shame on all those protesters who have failed to learn the lesson that peaceful protest is and always has been a far more effective method of protest. Look at the support and coverage the Buddhist Monks of Myanmar created by simply walking. They live in a true police state - where Junta military open fired on peaceful protestors. These were not people jumping on cars or spitting at military. They were simply staying in a place and sternly refusing to be aggressive.
The police in New Zealand do not, to my knowledge, open fire on protesters. The other stage of peaceful protest is to peacefully go to jail if arrested. You can sit and refuse to move - your freedom of expression allows that. If you genuinely believe in your cause, then you will allow yourself to be arrested to make your point.
Kicking and screaming, threatening and harassing police for doing their jobs will not help. In this country, if you peacefully go with the police you are more likely to learn that some of them support your cause.
That is effective activism.
As Service Workers' Union representative, Jill Ovens, said -
"But I don't support advocating the use of violence because it just turns people against our cause."
There is a lot of truth in that statement. All the pollings show that an overwhelming majority of New Zealanders feel either that the police did not over-react, or that it is still too early to tell. If activists genuinely want support for their view they need to make sure that they have convincing evidence and the sympathy of the local New Zealander.
Because protests only succeed if the average person gains sympathy. The public does not respond well to acts of violence and show-boating. People like Ghandi became so influential because they used reason and peaceful methods. There is power in being calm and understanding.
That is why a large number of New Zealanders are simply writing activist protests off as hippy foolishness or irrational over-reaction.
Images of protesters being dragged off kicking and screaming simply builds sympathy for the police, not the protester.
Most New Zealanders also know that the Urewera 17 are not political prisoners. The fact of the matter is that many of them have been caught red-handed with illegal weaponry. Nobody has successfully disputed that yet. Joe Average New Zealander doesn't care about race or politics or even the terrorism laws. What average NZer is asking is the pertinant question that activists are ignoring - why do they need those weapons? It's not for pig hunting - there are plenty of legal weapons you can use for that. How does training with semi-automatics and military grade weapons exactly count as a legitimate retreat?
These are the questions going to be raised in court. In normal circumstances the police would be pushing for simple illegal weapons charges. What has effected these people is that Jamie Lockett and friends seem to have stupidly said that they are going to declare war on New Zealand. Now that may have been said in jest or as a joke on the police in the event that Lockett figured out his phone had been tapped. (A theory I find hard to believe after seeing his interview prior to his bail being revoked. In that interview he did not mention anything of the sort and was protesting that he had no idea that the police had been so involved, and he all but admitted to having said those comments in the heat of the moment.)
The problem is that because of those kind of threats being made, the police are bound by law to then seek a terrorism conviction. This is not a political issue - it seems to me to be a case of simple out and out stupidity. And maybe it is some overcomplex ruse to expose a fault in the current laws - but if so, that is a naive and utterly idiotic way to go about it.
Successful protest is about fighting corruption and faulty laws with reasoning and open honesty. Not show tricks and denial. And most certainly not through violent aggressive behaviour.
The more I see the activist reaction to this, the more I despair at the utter clumsiness and showboat stupidity of these protests. They are doing activist causes more harm than good. Those people hoping for another springbok flare-up are living in a perverse dream. New Zealand culture has moved away from that. We are more aware of the growing violence in our country - and we want to stop it. Violent actions - both from delegates and protesters alike are making the rest of us want to not have a bar to do with any of them.
I feel that's a shame. Because New Zealanders need to get into politics. They need to be passionate about this country - but they also need to be able to be reasonable about it too. I find most New Zealanders are reasonable people. They aren't all rednecked conservatives, nor are they tree-loving hippies.
We live in a mostly egalitarian society that is struggling to live up to its perceived dream of a beautiful and friendly nation that looks out for everyone in it. Unfortunately, a lot of conservatives and activists are not sharing that dream - being more interested in forwarding agendas for the good of a core interest group while trying to claim it is for the good of the country.
These people who are resorting to violent and aggressive actions are not doing themselves any favours.
Conan
Currently Reading: Sidereals
Currently Playing: Soon... sooon....
Mood: Not impressed.
Because protests only succeed if the average person gains sympathy. The public does not respond well to acts of violence and show-boating. People like Ghandi became so influential because they used reason and peaceful methods. There is power in being calm and understanding.
That is why a large number of New Zealanders are simply writing activist protests off as hippy foolishness or irrational over-reaction.
Images of protesters being dragged off kicking and screaming simply builds sympathy for the police, not the protester.
Most New Zealanders also know that the Urewera 17 are not political prisoners. The fact of the matter is that many of them have been caught red-handed with illegal weaponry. Nobody has successfully disputed that yet. Joe Average New Zealander doesn't care about race or politics or even the terrorism laws. What average NZer is asking is the pertinant question that activists are ignoring - why do they need those weapons? It's not for pig hunting - there are plenty of legal weapons you can use for that. How does training with semi-automatics and military grade weapons exactly count as a legitimate retreat?
These are the questions going to be raised in court. In normal circumstances the police would be pushing for simple illegal weapons charges. What has effected these people is that Jamie Lockett and friends seem to have stupidly said that they are going to declare war on New Zealand. Now that may have been said in jest or as a joke on the police in the event that Lockett figured out his phone had been tapped. (A theory I find hard to believe after seeing his interview prior to his bail being revoked. In that interview he did not mention anything of the sort and was protesting that he had no idea that the police had been so involved, and he all but admitted to having said those comments in the heat of the moment.)
The problem is that because of those kind of threats being made, the police are bound by law to then seek a terrorism conviction. This is not a political issue - it seems to me to be a case of simple out and out stupidity. And maybe it is some overcomplex ruse to expose a fault in the current laws - but if so, that is a naive and utterly idiotic way to go about it.
Successful protest is about fighting corruption and faulty laws with reasoning and open honesty. Not show tricks and denial. And most certainly not through violent aggressive behaviour.
The more I see the activist reaction to this, the more I despair at the utter clumsiness and showboat stupidity of these protests. They are doing activist causes more harm than good. Those people hoping for another springbok flare-up are living in a perverse dream. New Zealand culture has moved away from that. We are more aware of the growing violence in our country - and we want to stop it. Violent actions - both from delegates and protesters alike are making the rest of us want to not have a bar to do with any of them.
I feel that's a shame. Because New Zealanders need to get into politics. They need to be passionate about this country - but they also need to be able to be reasonable about it too. I find most New Zealanders are reasonable people. They aren't all rednecked conservatives, nor are they tree-loving hippies.
We live in a mostly egalitarian society that is struggling to live up to its perceived dream of a beautiful and friendly nation that looks out for everyone in it. Unfortunately, a lot of conservatives and activists are not sharing that dream - being more interested in forwarding agendas for the good of a core interest group while trying to claim it is for the good of the country.
These people who are resorting to violent and aggressive actions are not doing themselves any favours.
Conan
Currently Reading: Sidereals
Currently Playing: Soon... sooon....
Mood: Not impressed.
Thursday, November 01, 2007
Reshuffling the hordes, Farms in the Wind and other Politics...
It certainly has been a busy time for those who have been following NZ politics. What with every overlooked party piping up regarding the recent raids and Trevor's little bust up with Tau Henare in the corridors of parliament - it would be enough to keep anyone busy with rumour and speculation. So is it any wonder that Helen Clark's new Cabinet reshuffle has been a cautious and down-played affair.
There are some interesting decisions - Making Minister of Police also Minister of Justice, which is an indicator to the forces that the Government is wanting to clean house regarding procedures and structures.
Mallard's clearly been put in his place, but gets to keep his job - which I think is a wise action. Too many people are baying for blood over a schoolboy scuffle. It's a bit sad, really. As usual the desire to punish has nothing to do with the event and everything to do with self-serving politics. Mallard has clearly been given a warning, and this has been set up for him to fail or succeed. Labour has had a history of giving MPs another chance - but there is the classic sense of "screw up again and you're out."
All in all, Labour is making a clear statement that they are focusing on policy not politics. The choices have been people who have shown ability and skill doing their jobs rather than picking scraps in the chamber. Which is something I have come to expect from Labour's leadership.
In other news there I was interested in the constant struggle for the development of renewable energy. It is interesting that so many people are against the use of fossil fuels to provide electricity, but then will fight any attempt at developing renewable energy sources. New Zealand is in a fairly unique position in that we have plenty of wind and water - two of the greatest sources for renewable energy that don't rely on nuclear power.
Yet, while most NZers want a clean green country, they want it to happen 'elsewhere' in the country. Now I haven't done all the research into the pros and cons of Wind Farms, but I do know for a fact that our power demands are rising, and the current sources are strained. The father of a friend of mine worked in the main research panel into the future of NZ's power, and it was decided about five years ago that unless new sources were found soon, Nuclear Stations in NZ would become an inevitability.
The Government has fought that decision, and experts have come from overseas and suggested all manner of potential solutions. We, as a country, need to face up to the fact that some sacrifices will have to be made. I, personally, don't see windmill turbines as particularly ugly - especially when compared to the smaller but nastier looking nuclear plants.
I may just do some more research into this to see what else I can learn and find out.
Finally, a note on NZ's increasing violence. A recent study found that violence in the classroom was indicative of the drop in values throughout the country. This has been attributed to the collapse of a number of families. I do find this a concern about the number of people who are teaching their children that violence is alright and the suggestion has been made for schools to pick up the slack.
I'm not really sure what can be done. The collapse of values is something that happens at home. It isn't the government or our laws that effect values - it's how we as individuals choose to interact with each other. I have noticed a definite decline in respect and common courtesy amongst New Zealanders. This idea that you must be tough and self-sufficient is a breeding ground for ill-will. There is a distinct lack of understanding how to deal with things.
But I'm still trying to figure out how you would get through to these people...
Conan
Currently Reading: Sidereals
Currently Playing: Nothing at the moment
Mood: Concerned for the future of our nation...
There are some interesting decisions - Making Minister of Police also Minister of Justice, which is an indicator to the forces that the Government is wanting to clean house regarding procedures and structures.
Mallard's clearly been put in his place, but gets to keep his job - which I think is a wise action. Too many people are baying for blood over a schoolboy scuffle. It's a bit sad, really. As usual the desire to punish has nothing to do with the event and everything to do with self-serving politics. Mallard has clearly been given a warning, and this has been set up for him to fail or succeed. Labour has had a history of giving MPs another chance - but there is the classic sense of "screw up again and you're out."
All in all, Labour is making a clear statement that they are focusing on policy not politics. The choices have been people who have shown ability and skill doing their jobs rather than picking scraps in the chamber. Which is something I have come to expect from Labour's leadership.
In other news there I was interested in the constant struggle for the development of renewable energy. It is interesting that so many people are against the use of fossil fuels to provide electricity, but then will fight any attempt at developing renewable energy sources. New Zealand is in a fairly unique position in that we have plenty of wind and water - two of the greatest sources for renewable energy that don't rely on nuclear power.
Yet, while most NZers want a clean green country, they want it to happen 'elsewhere' in the country. Now I haven't done all the research into the pros and cons of Wind Farms, but I do know for a fact that our power demands are rising, and the current sources are strained. The father of a friend of mine worked in the main research panel into the future of NZ's power, and it was decided about five years ago that unless new sources were found soon, Nuclear Stations in NZ would become an inevitability.
The Government has fought that decision, and experts have come from overseas and suggested all manner of potential solutions. We, as a country, need to face up to the fact that some sacrifices will have to be made. I, personally, don't see windmill turbines as particularly ugly - especially when compared to the smaller but nastier looking nuclear plants.
I may just do some more research into this to see what else I can learn and find out.
Finally, a note on NZ's increasing violence. A recent study found that violence in the classroom was indicative of the drop in values throughout the country. This has been attributed to the collapse of a number of families. I do find this a concern about the number of people who are teaching their children that violence is alright and the suggestion has been made for schools to pick up the slack.
I'm not really sure what can be done. The collapse of values is something that happens at home. It isn't the government or our laws that effect values - it's how we as individuals choose to interact with each other. I have noticed a definite decline in respect and common courtesy amongst New Zealanders. This idea that you must be tough and self-sufficient is a breeding ground for ill-will. There is a distinct lack of understanding how to deal with things.
But I'm still trying to figure out how you would get through to these people...
Conan
Currently Reading: Sidereals
Currently Playing: Nothing at the moment
Mood: Concerned for the future of our nation...
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