From the bootleg Thing-Fish Demos.
Stuck a new hard drive in my cousin's computer, biked on up to Changing Hands to pick up my copy of Circle of Enemies, grabbed a bite of dinner with my grandparents. A little bit of the ol' job search in there, plus some work on a couple of projects I'll probably talk about a little later. (And my uncle grabbed me a copy of Dragon Quest 6 as thanks for the computer work; on the list it goes.)
Tomorrow: Uncle Garth's military funeral and maybe a birthday lunch for Grandpa if he's feeling up to it.
Something weird about my cousin's laptop: the trackpad didn't work properly. At boot the left mouse click behaved like a right-click; on plugging in an external mouse, the external mouse would exhibit the same problem for several seconds -- and then it would correct itself, and both the external mouse and the trackpad would left-click correctly. (But only the external mouse would right-click correctly -- I never got the right-click on the trackpad to work at all.)
Drivers were up-to-date (and I tried uninstalling and reinstalling them) and the Toshiba Value-Add software was installed. Any other Toshiba users have this problem?
Per uploader Mathieu Fiset, this is Fiset himself with a group called Viva Zappa. I can't pick out individual tunes I recognize, but it definitely sounds like Zappa compositions.
I got a Nexus 7 for Christmas. As you might expect, the first thing I did was root it. The second was to get all my usual apps -- E-Mail, RSS, emulators -- set up and working. The ones I'm used to from my phone.
But the third thing? Comics.
I've been very excited about Mark Waid's digital comics endeavors for years now. He gets it. Release your books in DRM-free standard formats, and treat pirates like they're potential customers instead of treating your customers like they're potential pirates.
In a nutshell, I'd been waiting to get a tablet just for the opportunity to see what it was Waid was up to.
Well, for starters, his books up on thrillbent.com are just straight-up free downloads.
Want to download all of Thrillbent's marquee book, Insufferable, by Waid and artist Peter Krause, for free? (Hint: yes. Yes you do.) Here's a simple, handy bash script to do it:
for((i = 1; i <= 9; i++)); do
for((i = 10; i <= 34; i++)); do
And presumably next week #35 will be out with a "2013" in place of that "2012" in the filename and it'll go on from there.
From a nuts-and-bolts storytelling perspective, Insufferable is a perfectly compelling superhero book. It's a Batman pastiche, but I happen to like Batman pastiches. (I often say that my all-time favorite Batman comic is Astro City: Confession.) The setup here is, loosely: What if Nightwing was a total douchebag?
It follows that moment of the sidekick -- named Galahad, in this case -- striking off on his own, no longer able to work with his mentor (Nocturnus). And Galahad isn't the class act that Dick Grayson is -- he's an insecure, spoiled celebrity. Nocturnus, meanwhile, has seen better days; he's something of a has-been and is now superheroing on a budget.
That, by itself, is enough for an intriguing, human superhero yarn. Insufferable would be a thoroughly enjoyable book on the strength of good old-fashioned traditional comic book storytelling.
But instead, it innovates. Waid and Krause make a point of doing things with a digital comic that can't be done on paper. Frames appear one swipe at a time; characters' facial expressions change. In one case, Nocturnus does the classic Batman entrance -- in one panel, the room is empty; swipe your finger and suddenly he's just there. As Galahad rides off after the bad guy, he receives a tweet making fun of him. Swipe and a few retweets appear over the scene; swipe again and the screen starts to fill with them.
Waid discusses these techniques in a recent Robot 6 interview. He cites the master, Bernie Krigstein, as his greatest inspiration in thinking of panel composition as a tool for pacing.
Waid's got the right idea, and it almost always works. As I read Insufferable I keep thinking of how smart he and Krause are in their use of these techniques, how they're not flashy and they're not there just for the sake of Doing Something Different; they actually serve the story in a way that -- while original -- has its roots in decades of traditional comics.
For my money, there is one example where it doesn't quite work: repeating the same panel exactly. I get what they're trying to do -- hell, where would Bendis be without that technique? -- but while you can repeat a panel exactly on paper as a pacing tool, it throws me to see it in a digital comic. There's a simple UI design reason for this: when a user interacts with a program, the program is supposed to do something. If I swipe a page, I can't tell the difference between "the same panel repeats" and "nothing happens". My first thought isn't "Oh, that's a beat", it's "Did I not press hard enough?"
There's a simple solution -- just change something, anything, in the panel. Make somebody blink, or change a facial expression slightly -- anything at all to give the user some sort of feedback that yes you turned the page and now this is the next image.
But you know, the occasional false note is the price of innovation. Yes, I found something small that, in my opinion, doesn't quite work in Waid and Krause's book. But there's so damn much that does work, and works astonishingly well.
I've said before that now is the best time to be a comics fan. Insufferable is one more example of why. Go give it a read -- it won't cost you anything and I think you'll be glad you did.
I haven't gotten around to the other Thrillbent books yet, but I intend to. But first -- well, it's Wednesday. I've got some traditional, paper-and-toner-and-staples comics to go pick up.
Hollywood, 1984; uploaded by Steve Sparx.
Finally got around to seeing Wreck-It Ralph today. And I must say, it was great; one of my favorites of the year.
I'd braced myself, based on reviews, for a movie that went off the rails after the first act and descended into poop jokes, product placement, and a completely different character's arc -- and an ending with a lousy message. But that's not how I read it at all; spoilers follow.
I'll grant that there was product placement -- hell, the climax revolved around Mentos. And there were poop jokes -- because it's a kids' movie with Sarah Silverman.
And the ending -- Ralph goes back to being a bad guy but now he enjoys it? I guess I can see how some people thought that betrayed the story's premise. Hell, I'd have figured they'd go the route of Ralph's clear inspiration, Donkey Kong, and make him a hero in a sequel.
But you know, there is something to be said for the message: you may have a lousy job, but you can find ways to make it better. There's a bit of Camus's Myth of Sisyphus to it; Sisyphus may not have a choice in how he lives, but he does have the freedom to feel however the hell he wants about it. (And it doesn't hurt that Ralph's coworkers finally start treating him right.)
I'll also grant that the movie spends an awfully long time in Sugar Rush, but the game proves to have a pretty rich set of environs after all. Indeed, it almost feels like they cheat a little bit, like there's a whole lot of stuff in there that doesn't belong in a racing game.
Then again, maybe it's a franchise. Maybe it's like in Mario Kart 64 where you can go off the track and ride right up to the castle from Super Mario 64. Maybe Sugar Rush is just one piece of a larger world. Don't know -- but it's even fun thinking of examples of games that make this idea make sense.
And as for Mario Kart, the racing sequence really does a wonderful job of evoking it. The tracks have a lovely design, familiar but different, and beautifully realized.
For all that, I'd almost grant that the movie peaks early, in its opening act -- except that my favorite part was the credits.
On the whole, sure, it's not perfect -- it's probably not even my favorite animated movie of the year. (Maybe my third, after Pirates! and ParaNorman. Yes, before Brave -- though Brave would be #4.) But you know, it's a movie that steps into the shared-franchise space of Who Framed Roger Rabbit? and Toy Story and actually manages to be a worthy entry -- maybe not as good as those two, but that it can even stand in the same league as those giants says a lot.