Michael Crichton, R.I.P.

Saturday, November 8th, 2008

Ronald Bailey had long been annoyed by the Luddite and Frankensteinian themes of Michael Crichton‘s novels, but he got the opportunity to share those complaints with the author before his death:

Eventually, over drinks at a conference at Cold Spring Harbor a couple years ago, I got to tell him how I thought he could have gotten the same narrative bang for his buck if he had instead celebrated the achievement of bringing dinosaurs back to life. In my alternative plot, a kindly old paleontologist, using the miracle of biotechnology, conjures dinosaurs back into existence to delight the world’s children. Things go wrong only when a cadre of evil anti-biotechnologists led by Jeremy Rifkin break into the peaceful island zoo to kill the dinosaurs. This revised scenario would provide Crichton with all of the gunfire, gore, chase scenes, and satisfying explosions without the Luddite baggage of the original.

Crichton, slightly miffed at my presumption, asked why I preferred my alternative plot. I answered that I worried that his novels were helping to promote a technophobic attitude among the public that could unnecessarily slow the development of new technologies. He responded that I must be kidding. He doubted that anyone paid any attention to his novels other than to be momentarily entertained by them. I still think he was wrong. After all, two centuries later we’re still reading Mary Shelley’s thinly plotted potboiler and worrying about mad scientists.

The Grammar of Fun

Friday, November 7th, 2008

In The New Yorker, in a piece called The Grammar of Fun, Tom Bissell looks at Epic Games, its hit, Gears of War, and its infamous design director, CliffyB, or Cliff Bleszinski — who makes an interesting aside about futuristic backdrops:

Bleszinski asked his artists to create a “sci-fi” hybrid of London and Washington, D.C., but advised them to keep the futuristic well balanced with the historical. The big flaw in most depictions of the future, he says, “is that they always forget to leave in the past. Everyone always assumes that the entire world would just explode and be rebuilt in this kind of super-futuristic style. I still see old cars from the thirties and forties around, right next to things that look like they’re from the year 2000. It’s that mix that makes things interesting.”

Where the Deep Ones Are

Tuesday, November 4th, 2008

Ken Hite and Andy Hopp have combined H.P. Lovecraft and Maurice Sendak to produce Where the Deep Ones Are.

Protecting Children From a Zombie Attack

Saturday, November 1st, 2008

Somehow the Zombie Combat Club — dedicated to educating the public on effective hand-to-hand combat techniques to eradicate the threat of the living dead — managed to fly under my radar, but a recent GeekDad post alerted me to their valuable article on Protecting Children From a Zombie Attack.

The ZCC recommends a sling as one of the best ways to transport and protect your child during an outbreak of the living dead, for several reasons:

Security: Because exposure of your child to the external environment is minimized, there is less likelihood that an exposed limb will find its way into the mouth of a hungry corpse. The child is also positioned lower on the guardian’s torso in a sling than in other mobility carriers, keeping his body out of close range to a ghoul’s open maw.

Flexibility: Not only is this type of carrier relatively inexpensive compared to the other options discussed, it packs well into a small space and requires a minimal footprint. It also enables hands-free use by the guardian, so that she can execute other tasks.

Comfort: One of the benefits of this carrier type is that it secures the child close to the guardian’s body in a soothing position. During a plague of walking corpses, there is no better time to provide maximum comfort and reassurance to your child.

Frankenstein

Friday, October 31st, 2008

When I read Frankenstein years ago, I immediately realized how little resemblance it bore to the version of the story I’d osmotically absorbed through the culture.

In particular, I was shocked to realize that Doctor Frankenstein does not assemble the monster from dead body parts — or, if he does, it’s left terribly, terribly vague:

One secret which I alone possessed was the hope to which I had dedicated myself; and the moon gazed on my midnight labours, while, with unrelaxed and breathless eagerness, I pursued nature to her hiding-places. Who shall conceive the horrors of my secret toil as I dabbled among the unhallowed damps of the grave or tortured the living animal to animate the lifeless clay? My limbs now tremble, and my eyes swim with the remembrance; but then a resistless and almost frantic impulse urged me forward; I seemed to have lost all soul or sensation but for this one pursuit. It was indeed but a passing trance, that only made me feel with renewed acuteness so soon as, the unnatural stimulus ceasing to operate, I had returned to my old habits. I collected bones from charnel-houses and disturbed, with profane fingers, the tremendous secrets of the human frame. In a solitary chamber, or rather cell, at the top of the house, and separated from all the other apartments by a gallery and staircase, I kept my workshop of filthy creation; my eyeballs were starting from their sockets in attending to the details of my employment. The dissecting room and the slaughter-house furnished many of my materials; and often did my human nature turn with loathing from my occupation, whilst, still urged on by an eagerness which perpetually increased, I brought my work near to a conclusion.

The monster also bears little resemblance to the iconic movie version:

It was on a dreary night of November that I beheld the accomplishment of my toils. With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet. It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.

How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips.

Note too that the good doctor does not scream, “It’s alive! Alive!”

Beatles Unknown "A Hard Day’s Night" Chord Mystery Solved Using Fourier Transform

Wednesday, October 29th, 2008

The opening chord to “A Hard Day’s Night” is famous because no one has been able to figure exactly what chord Harrison was playing — and they’ve been trying to figure it out for 40 years. Now the chord mystery has been solved using Fourier transforms:

Four years ago, inspired by reading news coverage about the song’s 40th anniversary, Jason Brown of Dalhousie’s Department of Mathematics decided to try and see if he could apply a mathematical calculation known as Fourier transform to solve the Beatles’ riddle. The process allowed him to decompose the sound into its original frequencies using computer software and parse out which notes were on the record.

It worked, to a point: the frequencies he found didn’t match the known instrumentation on the song. “George played a 12-string Rickenbacker, Lennon had his six string, Paul had his bass…none of them quite fit what I found,” he explains. “Then the solution hit me: it wasn’t just those instruments. There was a piano in there as well, and that accounted for the problematic frequencies.”

“I started playing guitar because I heard a Beatles record — that was it for my piano lessons,” says Brown. “I had tried to play the first chord of the song many takes over the years. It sounds outlandish that someone could create a mystery around a chord from a time where artists used such simple recording techniques. It’s quite remarkable.”

Dr. Brown deduces that another George — George Martin, the Beatles producer — also played on the chord, adding a piano chord that included an F note impossible to play with the other notes on the guitar. The resulting chord was completely different than anything found in the literature about the song to date, which is one reason why Dr. Brown’s findings garnered international attention. He laughs that he may be the only mathematician ever to be published in Guitar Player magazine.

Indie Films Hit the Web

Monday, October 20th, 2008

A glut of movies is jockeying for theater screens, and the once-bullish market for “indie” movies has lost some of its core buyers, so now indie films are hitting the web and trying to figure out how to make a buck:

Offering art online rarely earns a creator much up front, but it boosts the odds of broad exposure. With no need for old-fashioned film prints, going on the Web is cheap and quick. And directors can get instant feedback from online viewers.

Mr. Wang’s “Princess” was made with the $200,000 the director had left over after delivering his traditionally released film “A Thousand Years of Good Prayers,” under budget.
[...]
On YouTube, which is offering “Princess” on its new Screening Room channel for professional short films and features, the movie will generate revenue from ads on the site. But Mr. Wang says the bigger payoff comes in viewership. Last week, before “Princess” was available, the trailer had been viewed more than 80,000 times. In theaters, the same trailer would have been seen some 5,000 times, the director estimates.
[...]
Director David Modigliani spent roughly three years making the documentary “Crawford,” a portrait of the people living in the adopted Texas hometown of President George W. Bush. The movie was first screened for the public last spring at the South By Southwest Film Festival in Austin, Texas. But as “Crawford” went on to get accepted into more than 30 other festivals, no solid offers came in that would land it in theaters or on television.

In late August, the director struck a deal that made “Crawford” the first film to make its debut on Hulu.com. A joint venture of NBC and News Corp. (which owns Dow Jones & Co., publisher of The Wall Street Journal), the seven-month-old Hulu primarily streams familiar TV shows and movies, such as “Saturday Night Live” and “Men In Black,” and offers tools that let viewers post these videos directly on their own blogs, Facebook pages and other sites. Since going up on the site 10 days ago, “Crawford” has been the top movie and one of the most-discussed videos on the site, says Hulu, which doesn’t release the number of views its videos generate.
[...]
His agreement with Hulu was brokered by B-Side, an Austin company that runs the Web sites of some 200 film festivals. Using email addresses and other data gathered from festival goers, B-Side organizes screening events around the country where movies are shown for free as a way to drive DVD sales. Now, with films like “Crawford,” B-Side is applying that strategy to the Web.

Hulu didn’t pay anything up front for “Crawford.” Instead, the company shares revenue generated by the six advertisements that run at various points during the 74-minute film. Neither Hulu or B-Side will say how much that amounts to, but B-Side only expects it to cover the company’s initial expenses on the film — a few thousand dollars. At a time when interest in politics is running high, B-Side is banking on a return from selling “Crawford” on DVD, offered online for $19.99. The director has no investors to pay back. He used his credit card and used tax-deductible contributions made through the Austin Film Society for the movie’s $100,000 budget.

Back-end revenue sources have long been key to recouping the high costs of producing and promoting films for theaters; in 2007, the specialty divisions of major studios spent an average of $26 million to market a film, up from $18 million the year before, according to the MPAA. By contrast, movies using the emerging online-only model don’t have to recoup on that kind of marketing push — but it’s still unclear how they’ll fare without it.

Liquid Comics Banks on Indian Epic With Ramayan 3392 AD Film

Friday, October 17th, 2008

Apparently Virgin Comics has died and come back as Liquid Comics, and it is now banking its future on a Ramayan 3392 AD Film, based on its sci-fi treatment of the Indian epic:

Liquid has teamed up with Mandalay Pictures and 300 producer Mark Canton for the film, which has a planned release date of 2011.

Super-Priced Art

Thursday, October 16th, 2008

Joseph V. Tirella calls it Super-Priced Art:

But it’s not just comic books and their cinematic adaptations that are big business; the market for comic art — the original pencil-and-ink drawings used to produce comic books — is in the middle of a boom that keeps moving into uncharted territory. “It hits a high point and then another and then an even higher point,” says Albert Moy, a New York-based dealer who has been buying and selling comic art for over two decades. (See a slideshow of works that have sold or are for sale.)

While some insiders estimate the global comic art market to be worth $25 million annually, others say it’s more like $70 million to $100 million. At the 2008 San Diego Comic-Con International in July, Joe Mannarino of All Star Auctions and Comic Art Appraisals in Ridgewood, New Jersey, did $1.2 million worth of business in four days, selling the Neal Adams/Bernie Wrightson artwork for Green Lantern No. 84 for $115,000 — a world record for the artist, he says — and two oil paintings by fantasy artist Frank Frazetta for more than $451,000. Anthony Snyder of Anthony’s Collectibles in New Jersey recently set a personal record when he closed a deal worth $150,000 for a 1964 Spider-Man page drawn by John Romita Sr. And dealers say the economic crisis hasn’t yet put a damper on things.

The Last American

Saturday, October 11th, 2008

J. A. Mitchell was the founder and editor of Life magazine, but he also wrote at least one satirical science fiction novel, The Last American, back in 1889.

As James R. Rummel explains, it “details how a Persian sailing ship in 2951 makes landfall amongst the ruins of a once great city, Nhu-Yok.”

Children’s Books Online presents it with its original illustrations, which I quite enjoyed:




(The Last American is also available in print, by the way.)

Browse the Artifacts of Geek History in Jay Walker’s Library

Thursday, October 9th, 2008

Steven Levy invites us to Browse the Artifacts of Geek History in Jay Walker's Library — including a Sputnik, books bound in rubies, a Kelmscott edition of Chaucer, a chandelier from Die Another Day, a 1665 Bills of Mortality chronicle of London’s plague fatalities by week, the instruction manual for the Saturn V rocket (which launched the Apollo 11 capsule to the moon), a framed napkin from 1943 on which Franklin D. Roosevelt outlined his plan to win World War II, and so on.






Giving the Watchmen Motion

Tuesday, October 7th, 2008

A new Watchmen movie is coming out, but that’s not the only new version of the story audiences can expect. Dave Gibbons, the original artist, discusses giving the Watchmen motion in what’s called a motion comic:

One of the attractions for me of having Watchmen made into the first Motion Comic was just that — it was breaking new ground. It was pretty good candidate for Motion Comics as the line style was very clear as I had drawn it years ago and therefore very easy to animate. John Higgins used a very flat, interesting color palate which made the technical aspect of animating easy. Also the story is a complete story — you know a beginning, middle and an end. The person who happens upon the Watchmen Motion Comics does not need to have any previous knowledge of continuity. So I suppose it’s another way to look at the material.

When I first looked at the samples of the Motion Comics, I thought they were quite well done but there are a few things that need tweaking, some things and that could be improved quite easily. One of the problems with the Watchmen material is that I’m so familiar with it and it’s hard to get an unbiased view on it. So I showed it to some friends and family who are in the business of games and animation. Of course we discussed the technicalities of it, but everyone remarked how well it was done. The “civilians” that I showed it to, particularly my two teenage stepdaughters, just thought it was great. They thought it was so exciting. They wanted to learn more and see what happened next in the story. So I think that really convinced me that this was a way of getting the material out to people who might not be aware of the comic, who might not pick up the comic and get some great entertainment value out of it.

Perhaps this will drive people to the original graphic novel.

Stephen Colbert Explains the Financial Crisis

Friday, October 3rd, 2008

Stephen Colbert Explains the Financial Crisis — in great detail — to his formidable opponent:

Some Things Just Should Not Be Mashed-Up

Wednesday, October 1st, 2008

GeekDad Ken Denmead says that some things just should not be mashed-up — but mixing Star Wars‘ Princess Leia with My Little Pony works:

Some of the other My Little Pony mash-ups definitely do not work.

Branagh in talks to direct ‘Thor’

Tuesday, September 30th, 2008

Kenneth Branagh is in talks to direct 'Thor' — aye, verily:

Kenneth Branagh is negotiating to direct Thor, the next Marvel Comics property that will be turned into a live-action film by Marvel Studios. Pic will be released in 2010.

Marvel Studios chief Kevin Feige’s choice of Branagh is surprising, as Branagh hasn’t really directed an action-heavy film since his debut on Henry V, a bloody telling of the British king’s conquest of France.

Branagh is the latest in a string of directors — such as Jon Favreau (Iron Man), Christopher Nolan (the Batman franchise) and Gavin Hood (X-Men Origins: Wolverine) — with arthouse roots taking on big-budget comicbook fare.

Marvel will set a distributor for Thor shortly.

Thor comicbook adaptation, penned by Mark Protosevich, follows disabled medical student Donald Blake, who has an alter ego as the hammer-wielding Norse god Thor.

Marvel will self-finance the film via its $500 million credit facility through Merrill Lynch. Marvel used that coin to fund both Iron Man and The Incredible Hulk and will do the same for the Iron Man sequel that has director Favreau and star Robert Downey Jr. returning.

The Thor negotiations come during a resurgence for Branagh. He’s currently drawing raves on the London stage in the title role of Ivanov, and he’ll next be seen acting in the Richard Curtis-directed The Boat That Rocked and the Bryan Singer-helmed Valkyrie.

Valkyrie is not, by the way, a Norse-mythology movie.