Category: Stream of Consciousness

Xboxin', Part 2

The Witcher 2: Assassins of Kings -- My favorite game of 2011, though the Xbox version just came out a few months ago and is still pricey. (I saw it on sale for $30 recently; maybe you can find a deal.)

Now, the first game is PC-only, and in fact the whole thing is based on a series of Polish fantasy novels that were only recently published in English. But you don't really need to know all that stuff. Here are the important bits of the backstory:

It's a medieval fantasy setting, of the dystopian sort that's currently vogue. Think Game of Thrones, only even more bleak.

Witchers are mutants who fight monsters. They're all male, they have yellow eyes, age slowly, are immune to disease, can cast a few simple spells, and use various potions to enhance their senses.

Our Hero, Geralt of Rivia, is supposed to be dead, but for some reason he's not. He's got amnesia (and if you're playing an RPG cliché drinking game, drink up) and has recently been caught in the middle of a race war in the city of Vizima. A terrorist organization of elves and dwarves called the Scoia'tel invaded, a Knights Templar-like religious organization called the Order of the Flaming Rose seized control of the city, and ultimately the King of Vizima showed up and managed to regain control. The first game ends with Geralt foiling an assassination attempt on the King, only to discover that the would-be assassin has yellow eyes.

The PC version originally had a steep-ass learning curve (as Penny Arcade put it, "It's not that hard. You just have to use abilities they won't discuss and techniques they haven't entirely taught you via controls they never quite explain.") but I hear the Xbox version fixes that and has a tutorial section that doesn't just throw you in the deep end.

Sonic Generations: The first good Sonic game in a decade. There's a plot involving time travel that causes 2011 Sonic to team up with 1991 Sonic; you play through new versions of levels from previous games (Green Hill from Sonic 1, Chemical Plant from Sonic 2, etc.), and each is split into one 2D level you play as '91 Sonic and one 3D level you play as '11 Sonic. The conceit works really wonderfully; the levels are well-designed, full of nostalgia, and have some good remixes of the old music; there's not much to the plot but it's pretty funny (particularly when 1991 Robotnik meets his future self).

Sonic CD: And speaking of 1990's-vintage Sonic games, they've ported this one to the Xbox as a downloadable title. (BTW, a friend of mine advised me never to buy Microsoft Points directly from Microsoft; they store your credit card online, tie it to a Windows Live/Hotmail/Whatever account, and if one of their affiliate sites gets broken into there goes your credit card information. You're better off buying a Microsoft Points card at GameStop or wherever and then entering it into your Xbox.) A few tweaks here: the game works in 16:9, they've changed the spin-dash to work the way it does in Sonic 2 instead of the original clunky version, you can choose either the Japanese or American version of the soundtrack, and after you beat the game you can replay as Tails.

(I think they've got a bunch of other old Genesis Sonic games for download, but they haven't been updated in any way.)

Real Alternatives

To: NPR's All Things Considered

On this afternoon's All Things Considered, you referred to the computer-illiterate, failed copyright bills SOPA and PIPA, and spoke with economist Steve Siwek. You noted, "Although both bills seem to be on permanent hold, Siwek says their critics have offered no real alternatives." You did not challenge this assertion.

A Google search for the phrase "alternative to sopa" produces 41,100 results. A Google search for the phrase "real alternative to sopa" produces 4,930.

These proposed alternatives range from simple -- focus on the biggest infringers -- to the more radical -- completely overhaul copyright law to provide shorter copyright terms and broader exceptions for fair use.

Indeed, there is a proposed alternative to SOPA and PIPA working its way through Congress right now; it's called the OPEN Act.

To put it bluntly, it is impossible that Siwek is unaware of these proposals. When he says no one has offered any alternative to SOPA and PIPA, he is lying.

Xboxin', Part 1

Welp, couldn't think of an entry to write this evening, and I got to thinking -- my brother just got an Xbox (rather like I did), and I was meaning to recommend some games to him. So hey, howzabout a blog post about my favorite Xbox games.

(Actually, I've mostly played the PC versions of these. Because, again -- just got the Xbox.)

Mass Effect -- I haven't played 3 yet, but the first two games are, straight up, my favorite games of the current hardware generation. It's the guys who made Knights of the Old Republic, but it's a new science fiction setting they've cooked up. Humans have begun exploring space and are treated as second-class citizens by the Galactic Council; your character is the first human to be selected for an elite special-ops position. Of course, as these things go, you uncover a threat to all of galactic civilization.

The first game's a not-quite-perfect hybrid of third-person shooter and RPG; it's got a wonky inventory system but is pretty great aside from that. The second game streamlines out all the crap and is more of a pure shooter; on the whole I'd say it's a better game but the first has the better story. I haven't played the third yet; from what I've read it's pretty good but the ending is so bad the company actually released a new ending at fans' insistence.

Batman: Arkham Asylum -- When this game came out it got the Guinness Record for the best-reviewed game of all time. It's easy to see why. It's got a script by Paul Dini and stars Kevin Conroy and Mark Hamill. The gameplay is just perfect, and the enemy AI is a great touch; a lot of the fighting is focused on the idea of sneaking around and slowly picking off thugs one-by-one. (You can even hang upside-down from a gargoyle, wait until a guy walks underneath you, and drop down and tie him up.) As you take thugs out the remaining ones get more and more agitated and have different reactions; some start firing randomly into the air, others start traveling in pairs -- the AI's not exactly brilliant but it's a really nice touch. And that's before the game even starts messing with your expectations, playing with what you expect out of the world of Batman and even the mechanics of the game itself.

The sequel, Arkham City, is supposed to be pretty fantastic too, but I haven't gotten around to that one yet.


Guess that'll do for a start. Other stuff for later: Dragon Age, The Witcher 2, Sonic Generations, Sonic CD. And, hell, Ghostbusters. Because it may be mediocre as a game, but as a Ghostbusters sequel, it's pretty great.

Too soon!

There's a sentiment I've seen in the CBR comments section a couple of times recently: this "How dare you try and tie this to a political agenda?" faux-outrage.

Now, there are lots of times when it's inappropriate to bring up controversial political subjects. Particularly when there's a recent tragedy in the news and you're sensationalizing it. Like, for example, after the V-Tech massacre, when soon-to-be-disbarred fuckface Jack Thompson tried to blame the killings on Counterstrike, a game which the shooter did not play.

Some things are completely inappropriate in the wake of a tragedy. Like flailing around trying to blame it on Doom or Marilyn Manson or Dungeons and Dragons. Or jumping all over a quote from some guy on the opposite end of the country about what the killer supposedly said. Or grabbing whatever Batman comic your film critic has on his desk, thumbing through it until you see a scene that takes place in the theater, and wildly speculating that the killer was imitating it. Or plastering the killer's name and stupid fucking face all over TV and the Internet to make good and sure that every crazy asshole out there knows that hey kids, if you wanna be on TV, all you have to do is murder a bunch of people. Or typing his name into Google and falsely conflating him with a Tea Party member. Or having an honest dialogue about the ease of access to high-powered weapons and high-capacity clips in this country, and the sorry state of our mental health system.

Wait, what was that last one?


The subject came up again in a discussion of the recent news that comics writer and inker Karl Kesel recently adopted a baby with a methadone addiction and is selling his comic collection to pay for the child's medical bills.

Now, it goes without saying that this is a feel-good story, that Kesel and his wife Myrna are clearly legitimately wonderful human beings, and that they're doing something great that really matters.

But if you can read a story like that and not, even for a moment, think "They shouldn't have to do that" then you and I are very different people.

Nothing but respect to the Kesels, and I certainly speak only for myself and not for them. But it strikes me that there are a lot of people out there with sick kids who don't have tens of thousands of dollars in investments, and that getting slapped with tens of thousands in bills -- even if you've got insurance! -- is a sign of a broken healthcare system.

Seems to me that stories like that are perfect opportunities to have a conversation about healthcare -- but somebody brought it up and immediately got shushed by another commenter's righteous indignation: "How dare you politicize this?"

(In fairness, the guy who brought it up was kind of an ass about it.)

Seems to me that, when presented with a story that's a clear, directly-pertinent object example of some important sociopolitical issue, it's probably a good time to talk about that issue!

I mean, should we just wait until there are no stories about gun violence or healthcare debt to talk about gun access and healthcare costs? Don't make much sense if you ask me.

What Sticks With You

At the company I'm working for, temps' keycards get automatically disabled every six months.

It's a rote thing and I know how it works by now, but it still raises the hairs on the back of my neck. I've got a visceral reaction to coming in and finding myself locked out, something left over from the job last year where I just came in one morning (a 30-mile drive for a 6 AM report time) and they told me I'd been fired.

I know that was an anomaly. I've only ever been fired from that one job; it was a fluke, and by now I know about the security procedures here and can think of things like "Oh, it's the first day of the month that marks one year I've been here? Yeah, that sounds like an expiration date."

But even though I know, calmly and rationally, that it's no big deal and I just need to go up to the front desk and get my account reinstated (and damn it, the guys I work for now are decent human beings and wouldn't do that to me), I still get that sinking feeling in my stomach; maybe it is happening again.

As traumas go, I suppose getting fired from a crappy temp job is a pretty minor one. But it definitely left an impression with me.

Dark Knight Rises Initial, Non-Spoiler Impressions

  • Dark Knight keeps its spot as the best of the three. But this one hung together a lot more consistently than Begins.
  • I think Hathaway wins as the best movie Catwoman. Nice that they remembered "cat" refers to being a cat burglar, not some goofy-ass feline mysticism.
  • For that matter, Hardy of course wins as best Bane, but he could do that just by default given that the previous one was a mute thug in Batman and Robin.
  • It's gotten progressively harder to ignore the right-wing fantasy element of these movies.
  • Not that there's anything wrong with that. I'm a liberal, but -- Superman's original New Deal leanings notwithstanding -- there's something inherently conservative about the superhero genre. (But that's an essay for another day.)
  • Bit too much of characters explaining their philosophies and the themes of the movie in dialogue.
  • Which you can't understand half the time. It turns out my experience watching Dark Knight a few months back with the bass up too high to hear what anyone was saying was an authentic theater experience!
  • And it's an ending. A real, honest-to-God ending. The exact thing that indefinitely-serialized comics lack. (And movies, for that matter -- superhero movie series are rife with finales that the filmmakers didn't know were finales and, thus, lack conclusive endings: Batman and Robin, Spider-Man 3, Superman 4, Superman Returns, even X-Men 3 and Blade 3.) This was a real-ass ending, and it was satisfying.

I expect I'll get into spoilers and specifics later on down the line. But that's it for now.

Adjust That Score and Play Some More

Xeni Jardin posted this video on BoingBoing. It's a jest.com montage of Phil Moore singing along to the theme music on Nick Arcade.

In the comments section, someone going by Seg links to a Splitsider interview with Moore and the creators of the show, James Bethea and Karim.

On the so-famous-somebody-made-a-montage-of-it song-and-dance silliness, the piece has this to say:

And there’s his rather — at times — goofy antics (which he also told me he can now look back on and laugh about, wondering "what kind of crack was I smoking," explaining to me that he only would so indulge when he felt the kids were freaking out so bad about being on a nationally televised show that if he was weird enough, nothing they could do would embarrass them).

There's some fascinating stuff in there -- I never thought about the logistical challenge of the simple four-directional decision tree for Mikey's movements on the game board. Dragon's Lair was out nearly a decade before Nick Arcade aired, but of course there's a difference between burning LaserDiscs for mass distribution and having one put together especially for an episode of a game show. Or at least there was 20 years ago; you can do all that shit on a phone now.

Other interesting subjects: making sure the girls on the show were comfortable; not realizing Moore was the only African-American game show host on TV at the time; the surprising ease with which they convinced the major publishers to send them games, even betas.

Those betas, of course, have become important to the collector community; most notably, the Sonic 2 prototype, which made its way into the wild some 14 years later. It includes the Hidden Palace Zone, which was teased in magazine previews but didn't make it into the final version of the game (causing, as you might expect, all manner of proto-Internet rumors in its day), and contains a whole lot of leftover material from the original Sonic, proving that Sonic 2 was built on top of the Sonic 1 code.

A silly little show, probably mostly forgotten -- funny how cutting-edge the thing actually was.

(And I don't know about you, but I was singing "Adjust that score and play some more, adjust that score and play some more..." before I pressed Play.)

(Also funny: "Fillmore", by coincidence, is the name of the first area on Act Raiser -- which was featured on Nick Arcade.)

Tick and Jayne

Watched Jaynestown again last night, and gorrammed if'n it ain't still one of my all-time favorite hours of television.

There's something about the way it all comes together -- it takes the most two-dimensional character on the show, the comic relief, and gives him more depth and humanity than we ever see in any other episode. It asks Big Questions -- and manages to approach those same questions, of the relationship between symbol and reality, in two different subplots, without it ever feeling forced. And while the Inara/Fess subplot is pretty standard Inara Being Wise stuff, the Book/River one has some of my favorite lines from the series and does a great job pairing off two characters who don't usually interact with each other.

It's a great episode -- legitimately funny, with a downer of an ending. If that's not vintage Whedon I don't know what is.

But while it's a Whedon show, the writer credit on this episode is Ben Edlund -- perhaps best known as the creator of The Tick.

And I got to thinking -- you know, there are a lot of ways Jayne and the Tick are similar.

They're simple and childlike, we don't really know anything about them other than their basic personality traits, they provide comedy rather than depth of character, and they seek simple solutions to their problems, usually consisting of violent mayhem.

And then, of course, you get to temperament, and they're polar opposites.

The Tick is pure. He wants to do the right thing, the heroic thing, the thing that helps people. Jayne is pure id; he's not actually evil (I'd say more chaotic neutral, though people with more D&D experience can feel free to correct me on that) but he has no motivations beyond his own immediate and selfish gratification. Jayne's speech to the mudders at the end of Jaynestown is like the inverse of an inspirational Tick speech -- full of anger, despair, frustration, cynicism, nihilism, and self-loathing. It's a bitter pill: "Heroes don't exist and no one is going to help you."

Needless to say, this kind of thinking is anathema to everything the Tick stands for.

I think maybe it comes down to something like this: the Tick is an overgrown 8-year-old, and Jayne is an overgrown 14-year-old.

At any rate. Damn good television, and thought-provoking -- and it's not even my favorite episode. (That'd be the one immediately following, Out of Gas.)

Nymwars

Yesterday Google started encouraging YouTube commenters to use their Google+ accounts. Google claims that this will make YouTube commenters use their real names and, therefore, not act like such assholes all the time.

I think it's more to do with Google desperately trying to get people to use Google+ after everybody tried it for a month and then went back to Facebook. But the notion of "realname enforcement" as a deterrent to trolls is a pipe dream and it's been pretty roundly torn apart already. So, I present to you this post, a reworked version of something I wrote last October.

John Gabriel's Greater Internet Fuckwad Theory posits that ordinary people, given anonymity and an audience, turn into total fuckwads. I agree with this assessment wholeheartedly.

Which is why the suggestion that removing people's anonymity so they've got to stand by their words is so appealing: at least some people would be a little less obnoxious on the Internet if they had their real name attached to everything they said, right?

Which would probably be true if it could actually be implemented, but it can't. This argument essentially mirrors the DRM argument: intelligent, tech-savvy people understand that it doesn't fucking work, but idiots continue to support it because it sounds like something that should work. So we wind up with something that does fuck-all to stop people who are misbehaving, while managing to create an obnoxious inconvenience for people who have done nothing wrong.

To wit: All "realname enforcement" means is that a troll has to use a plausible-sounding name like "John Smith". Meanwhile, people who have actual unusual names get hassled and held up, as noted in the Washington Post article Offbeat Name? Then Facebook's No Friend. (Some people really are named "Batman" or "Yoda"!)

All that aside, there are legitimate reasons to use a pseudonym on the Internet. Fortune gets it; danah boyd (no relation) really gets it.

Another site has popped up called "My Name Is Me" where people vocalize their support for pseudonyms. What's most striking is the list of people who are affected by "real names" policies, including abuse survivors, activists, LGBT people, women, and young people.

Over and over again, people keep pointing to Facebook as an example where "real names" policies work. This makes me laugh hysterically. One of the things that became patently clear to me in my fieldwork is that countless teens who signed up to Facebook late into the game chose to use pseudonyms or nicknames. What's even more noticeable in my data is that an extremely high percentage of people of color used pseudonyms as compared to the white teens that I interviewed. Of course, this would make sense...

The people who most heavily rely on pseudonyms in online spaces are those who are most marginalized by systems of power. "Real names" policies aren't empowering; they're an authoritarian assertion of power over vulnerable people.

I use my real name online -- but I'm a straight, middle-class white boy between the ages of 18 and 35. Worst thing that's going to happen to me is somebody asks me about my political opinions in a job interview, or posts satellite pictures of addresses you can find if you run a whois on my website.

Charlie Stross has a wonderful analysis of everything that's wrong with realname enforcement under the title Why I'm not on Google Plus; notably, it quotes Patrick McKenzie's Falsehoods Programmers Believe About Names. I'm going to follow Charlie's lead and quote Patrick's list of falsehoods in its entirety:

  1. People have exactly one canonical full name.
  2. People have exactly one full name which they go by.
  3. People have, at this point in time, exactly one canonical full name.
  4. People have, at this point in time, one full name which they go by.
  5. People have exactly N names, for any value of N.
  6. People’s names fit within a certain defined amount of space.
  7. People’s names do not change.
  8. People’s names change, but only at a certain enumerated set of events.
  9. People’s names are written in ASCII.
  10. People’s names are written in any single character set.
  11. People’s names are all mapped in Unicode code points.
  12. People’s names are case sensitive.
  13. People’s names are case insensitive.
  14. People’s names sometimes have prefixes or suffixes, but you can safely ignore those.
  15. People’s names do not contain numbers.
  16. People’s names are not written in ALL CAPS.
  17. People’s names are not written in all lower case letters.
  18. People’s names have an order to them. Picking any ordering scheme will automatically result in consistent ordering among all systems, as long as both use the same ordering scheme for the same name.
  19. People’s first names and last names are, by necessity, different.
  20. People have last names, family names, or anything else which is shared by folks recognized as their relatives.
  21. People’s names are globally unique.
  22. People’s names are almost globally unique.
  23. Alright alright but surely people’s names are diverse enough such that no million people share the same name.
  24. My system will never have to deal with names from China.
  25. Or Japan.
  26. Or Korea.
  27. Or Ireland, the United Kingdom, the United States, Spain, Mexico, Brazil, Peru, Russia, Sweden, Botswana, South Africa, Trinidad, Haiti, France, or the Klingon Empire, all of which have "weird" naming schemes in common use.
  28. That Klingon Empire thing was a joke, right?
  29. Confound your cultural relativism! People in my society, at least, agree on one commonly accepted standard for names.
  30. There exists an algorithm which transforms names and can be reversed losslessly. (Yes, yes, you can do it if your algorithm returns the input. You get a gold star.)
  31. I can safely assume that this dictionary of bad words contains no people’s names in it.
  32. People’s names are assigned at birth.
  33. OK, maybe not at birth, but at least pretty close to birth.
  34. Alright, alright, within a year or so of birth.
  35. Five years?
  36. You’re kidding me, right?
  37. Two different systems containing data about the same person will use the same name for that person.
  38. Two different data entry operators, given a person’s name, will by necessity enter bitwise equivalent strings on any single system, if the system is well-designed.
  39. People whose names break my system are weird outliers. They should have had solid, acceptable names, like 田中太郎.
  40. People have names.

Now, it's true that Internet Fuckwads use pseudonyms to behave in a way that they probably wouldn't if they were forced to use their real names.

However, any potential benefit of such realname enforcement is negated by the fact that -- and those of you familiar with my opinions on swear filters and DRM may notice a trend here -- realname enforcement doesn't fucking work.

Stross also links a Gary Walker piece, A Firsthand Examination of the Google+ Profile Reporting Process, which pretty much takes a wrecking ball to any notion that Google+'s realname enforcement is, well, even slightly competent.

To wit:

He set up a second Gary Walker account, and used the same avatar -- which isn't personally identifying, just a Lolcat.

Then he reported the second account as an impersonator. To file such a report, he had to prove his original account was the "real" Gary Walker. To do this, he Photoshopped a crooked scan of his picture onto the McLovin ID from Superbad, and replaced "McLovin" with his own name, in a different font from the rest of the ID.

Google accepted this as a valid ID, and temporarily blocked the second Gary Walker account.

To prove his identity, Gary responded from the second account, taking the same fake ID and Shopping a picture of Jared fucking Loughner on it.

The account was reinstated.

In short, in a revelation that should surprise absolutely fucking nobody, realname enforcement doesn't stop anybody from using pseudonyms -- it just forces them to use pseudonyms that sound, plausibly, like real names.

Meanwhile, both honest people who want to use pseudonyms and people with unusual real names are penalized.

So yeah, I think the comparison to DRM and swear filters is apt: legitimate users get fucked, abusive ones don't even have to break stride.


That was where my original post ended. The rest of the thread is well worth reading; a number of the guys on the board note that as far as they're concerned, their handles are their real names at this point. Forumgoer Kayin, creator of cult gaming hit I Wanna Be the Guy, is best known on the Internet as Kayin; nobody knows who the fuck Michael O'Reilly is. (And, as I note, even O'Reilly tends to fuck with "realname" parsers, due to the apostrophe.) I've met some of these guys and still didn't address them by their real names; Kazz will always be Kazz. Sei won't even tell us his real name.

(Hell, I've been mostly-using my real name online since 1990, but there are still some people out there who think "X" is actually my middle initial. I used to know a guy who always addressed me, in person, as Thad "X" Boyd. As in "Hi, Thad 'X' Boyd. How are things, Thad 'X' Boyd?")

Google+ did add support for pseudonyms a few months after the criticism started, so that, say, Madonna can sign up as Madonna, but it still requires that the pseudonyms be "established" -- as vaguely defined by some guy in an office somewhere. Kazz and Sei, presumably, don't qualify. I guess Kayin might, but I doubt it, and to my knowledge he hasn't tested it -- last I heard he'd deleted his Google+ account.

Anyway. If all that's not enough to convince you that realname enforcement doesn't work, consider this: do you generally think of Facebook as a place where people are polite and don't say offensive or insulting things?

And consider this: I post under my real name, and have been for over twenty years -- and it hasn't stopped me from posting things with titles like Nintendo President Still a Fucking Idiot, Experts Say.

Amelia Earhart is Still Dead

So the top story on my Google News feed today is that we still haven't found the remains of Amelia Earhart's aircraft.

I really don't think "Situation completely unchanged since yesterday or the preceding 75 goddamn years" falls under any existing definition of "news", but on the other hand, it got that crazy-eyed Red Fraggle-looking fuck off the top of my feed, so I'll take it.