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January 26, 2012

Over-Analyzing Katawa Shoujo

Filed under: Ultraklystron — admin @ 5:00 pm
Ultraklystron

Frankly, I should probably go back and bundle this all up a little more cleanly as review for toonzone.net, but for now, I think I can indulge myself in some more relaxed writing. In fact, if only because I’m supposed to blog for my writing class, I feel I can voice my opinions here and then double dip later. Nobody really reads this page anyway.

Back on topic, I’ve gradually stumbled through some more of Katawa Shoujo. I’ve been playing it honestly, and rather than aim for a character, I’ve let the chips fall where they may and answered everything honestly. The result actually has surprised me. I completed the path for Emi Ibarazaki with the good ending, and that alone kind of felt unexpected. I am not an athletic person by nature, but I made the decision I would’ve made if in the same situation – if it’s run or die, I’ll get up and run.

The more richly surprising part is the extent that certain aspects of the Emi path have mimicked my own relationship history. I didn’t expect my responses in game to lead to a progression with parallels to my real world habits. I almost feel like I’m gaining new insight into my own behavior and choices. I’m not sure exactly what that says about the writing in a quantitative sense. If nothing else though, it has me suckered in. I want to play through another route, and see whether it’s just the nature of the game, or something deeper.

In fact, maybe the game isn’t good at all, and I’m just having too much fun thinking about the Lacanian aspects of the visual novel medium for the first time as I play. Is a visual novel only good so long as you see yourself reflected the visual novel’s Other? Does the player only feel like they been reflected because they want to believe their choices impact the Other? Does this mean the player will enjoy the game without regard to it’s objective qualities because of the very structure of the game? I mean, is it only good because it’s fitting what I’ve been led to believe are the patterns I’d fall into naturally? I don’t know because I’ve never thought about it before. I do think there is a certain rose tinting that comes into play here, but that’s the human condition to some extent. Where does one’s limited perception end, and the manipulation of that limited perception begin?

Of all the things I would’ve thought could engage my contemplative side, Katawa Shoujo should’ve been at the bottom of the list. Maybe that’s the best I can expect since the game probably wasn’t intended to spark these questions. I guess that constitutes quality.

On the flip side, it breaks up my over-intellectualizing up with some genuine humor in between the odd and possibly imagined parallels. Laughs are laughs, and even if some of them are a bit morose or surreal, they are there. How bad can a smile be?

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Concerts, Conventions and Expansion

Filed under: Ultraklystron — admin @ 5:00 am
Ultraklystron

Even though I just played a show in Seattle last month, it seems I have signed on for even more. On February 11th, I’m playing a free show at the Shipwreck in Seattle. There is a Magic the Gathering tournament beforehand if you’re interested in that kind of thing. If not but you’re still in the area, please turn out. Later, on April 7th, I’m performing at Norwescon. In fact, on April 5th, Rai Kamishiro is also playing Norwescon, and I should at least be her DJ for that set, though I may jump on a couple of songs myself. Rai (and perhaps also myself) are also looking at doing a panel at SakuraCon the same weekend if the logistics can be sorted.

What does this “influx” of activity mean? As I’ve said previously, 3 (or 4) albums I am involved with in varying degrees are nearing completion. However, what’s become obvious to me now is just how close all of these releases might be. My own album, Animatic, is almost done as there are only a few outstanding collaborative elements to be sent to me, and even the bonus/remix disc is fairly well appointed and effectively complete. Neither Rai’s nor Nursehella’s albums will be as lengthy as mine, so while they each have more work do on them, I don’t doubt that they’ll be wrapped up sooner rather than later. Once the vocals are recorded, it should be an manageable, almost mechanical process. Therefore, it’s a safe bet to say this Spring should bring a unplanned deluge of music from myself and my associates.

Of course, with university soaking up the majority of my time, I won’t be touring. Gigging regularly in Seattle? Sure, as often as Death*Star, Klopfenpop and other artists in the Emerald Empire crew and overall Seattle Area will have me. I’d do shows up here in Vancouver if the opportunity could be seized (actually much easier said than done since I need some Seattlites to drive up to fill the bill.) However, I wouldn’t rule out some touring for Rai and Nursehella, albeit separately and in radically different venues probably. Still, both have pitched some very interesting plans. Should said plans come together, I hope my (largely overlapping) fanbase gets out to support them because it does directly support me.

Or to summarize, let’s put it in the words of rapper T.I.:

“Big things poppin’ [...] failure’s not an option.”

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January 21, 2012

Pacing

Filed under: Ultraklystron — admin @ 9:15 pm
Ultraklystron

So, like many other internet savvy otaku, I have long been aware of the Katawa Shoujo project. At least a few of my friends have cosplayed as characters from the title, and I had seen the little fan comics that have floated around the internet about it. However, I imagine that like most people, I figured nothing would really come of it.

After all, countless internet forums have had their goofy ideas for projects created by forum members, but usually you’re lucky if you get passed the idea and concept art stage. If that it doesn’t stop there, you’ll maybe see a very mediocre first level or some very rough animation at best. In fact, I can think of at least 2 or 3 I’ve been involved with myself in some small way. Usually, creative projects on the internet are most productive when one or two people do something with little-to-no external input.

Yet, here we are with a full visual novel game with good art and good music, all inspired by single page joke from a decade-old doujinshi. It’s a miracle that it exists at all. However, that won’t stop me from nitpicking.

While a lot of the aesthetic aspects of the game are remarkable for an independent, no-budget project, the writing starts off very, very slow. It’s vastly too wordy (perhaps like these blog posts?,) and the tone is a little too inwardly focused on the protagonist. To make matters worse, that inner focus is a bland self-loathing, the kind that you’d think an otaku-made project would avoid considering how commonplace that complaint is in regards to anime and manga. It’s also a bit inauthentic. One gets the feeling sometimes that the writers lack the life experience to communicate the right feeling in some of these scenarios. Maybe that’s to be expected a bit as well, but while it may make for an interesting meta-commentary, it’s a hassle to sit through walls of text that don’t really engage the player. To make matters worse, there are a lot of different dialogue options, especially early on, and that feels off for a game like this. Being able to take some ownership of the protagonist is critical in visual novels, and I wouldn’t have minded a bit more in Katawa Shoujo at all.

Troubles aside, I can’t seem to really let it go now that I’m into it. It’s clearly a little undercooked, but I still can’t help but marvel that it was served at all. There are also a few sharp bits of characterization and humorous dialogue that manage to string the player along in spite of themselves, and that’s quite impressive since those pieces have to override the drawbacks. I’m certainly glad that I did a little tribute track to the game which will turn up on my next record because, if nothing else, it’s a nod to the efforts of people who beat the odds for fan projects on web forums.

Good show.

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January 20, 2012

News: 01.20.2012

Filed under: mc frontalot — admin @ 5:00 pm
mc frontalot

Front and bandmates are in Utica, NY for a SUNY/IT show on Sunday night. They’d love to invite you, but it’s a closed-campus show. So you still have part of the afternoon left to enroll, and/or photoshop yourself a student ID.

Dorknote: The Plot Summary Of The Rise Of The Planet Of The Apes

Filed under: mc frontalot — admin @ 1:21 pm
mc frontalot

Posted to Bootleg Review by MC Frontalot.

This is not technically a bootleg review since I paid for a 48-hour rental on Amazon, but I did watch it at like 480p blown up to fullscreen so it was pretty similar to watching it embedded on a russian pharmacy affiliate link traffic funnel page.

This plot summary is written in tribute to Gabe’s ‘The Hunt For The Worst Movie Of All Time‘ while that feature is on hiatus.

Rise Of The Planet Of The Apes

Poor James Franco. His dad John Lithgow has a disease. It is called THE DISEASE throughout but also at some point accidentally called Alzheimer’s, and obviously it’s Alzheimer’s because when it’s acting up John Lithgow can’t play piano excellently or hold his fork the right direction. So obviously James Franco is devoting his life to developing and testing a new ANTI THE DISEASE drug called one-twelve. One-twelve has no side effects. Except that it makes test chimps into noble revolutionaries. Oops!

Our man’s reporting his success to a group of people in business suits that is both the governing body of the drug company and a set of potential investors(?) when his powerpoint presentation goes so poorly that testing is discontinued and all the apes are put to death. Doctor(?) Franco heads home in defeat, pausing only to adopt a newborn chimp who’s already received ape-smartening chemicals prenatally. Oh, right! One-twelve! He takes some of that home too in case he wants to give it to his dying father. After three years he figures, sure. Why not.

His dad has an immediate total recovery! But our boy is cagey, and keeps this wildly exciting CURE FOR ALZHEIMER’S a secret. Perhaps he is hardened by years of subterfuge — his grim duty of protecting and hiding the stolen chimp Caesar. Caesar of course is the smartest ape on the planet, wears clothes, enjoys a gym at home but prefers trips to the redwoods, is protective of John Lithgow, pummels a neighbor, and winds up in an intensely implausible ape prison in San Bruno.

Sure, it’s posh upstairs, but down on the cell block it is all cruel guards and corrupt wardens. You get mush and hay and if you complain you get the hose. Caesar leans his head against his drawing of a window and dreams of home.

Instead of rescuing his chimp son, James Franco reports to his mean boss that one-twelve made his dad smarter than HE EVEN WAS BEFORE HE HAD ALZHEIMER’S, which means obviously that research is back on and it’s time to load up on chimps. Some of these are deliveries from the same ape jail where Caesar lives, so apparently it is an ape jail SLASH test monkey emporium, but when James Franco comes to bail him out, Caesar opts to remain. He would rather escape on his own, steal smart drugs from the fridge, break BACK into ape jail, dose up an army of supergenius ape guerrillas, liberate the drug lab, liberate the zoo (though only the primate exhibit? why not share your smart gas, ape dicks?), and then lead his cohort toward primatey paradise (Sausalito, I think).

It’s a panic on the Golden Gate! The apes whoop ass on the police, mercilessly killing the mean boss from the drug company (who’s helping shoot at them from a helicopter for some reason), then trundle off into freedom’s bosom.

James Franco is only momentarily confused when, in the sun-dappled glade of their final farewell, Caesar speaks English. "This film is terrible and I have not looked like a real living creature for even one frame of it, but I’d like you to trust that all of us CGI apes belong here, in Sausalito, and not in your attic."

James Franco makes a few more hilarious acting faces and they part in peace. Except: his recent upgrade of the Alzheimer’s cure ALSO escaped the lab and is super poisonous and now the whole human race will be wiped out in several weeks. Oops again! Cue credits.

January 19, 2012

Critical Hit

Filed under: Ultraklystron — admin @ 10:00 pm
Ultraklystron

So, I have a new review up on ToonZone.net about Usagi Drop. It figures that long after I’d put the review to bed, it turns out the manga manages to have a bit of a train wreck ending, but the anime cuts it off while it’s still heart-warming and sweet. A rare moment where I really must say the show is better than the book.

Speaking of reviews, it looks like one of mine has been quoted on the front page of FUNimation’s site for Princess Jellyfish (screencap here.) I really do hope the title does well for them. It’s a bit of a risk since it’s a fairly offbeat title. I suspect if it doesn’t payoff, I may not be quoted on another FUNimation webpage anytime soon, as I seem to have a habit of latching on to the offbeat lately, and they did post my review of Princess Jellyfish to their facebook page as a means of gauging whether a DVD/Blu-Ray release should be done.

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January 18, 2012

Explainer: understanding Sopa

Filed under: mc frontalot — admin @ 11:01 am
mc frontalot

 

Source: http://www.youtube.com/watch?v=zBtr4aZtmrQ

 

SOPA and PIPA: How We Got Here

Filed under: mc frontalot — admin @ 11:01 am
mc frontalot

 

Source: http://www.youtube.com/watch?v=9TpZJA9EIPY

 

Google Says Piracy Bills Puts U.S. Censorship On Par With China

Filed under: mc frontalot — admin @ 11:01 am
mc frontalot

NPR

Google’s Brin Says Piracy Bills Puts U.S. Censorship On Par With China

December 15, 2011

by EYDER PERALTA

Google’s co-founder Sergey Brin unleashed perhaps the most stinging criticism of the controversial Stop Online Piracy Act that is working its way through Congress.

In a Google+ post, Brin said if the U.S. passed either SOPA, the House version of the bill, or the Protect IP Act, the Senate version, it would put the country in same league as China and Iran as far as Internet censorship is concerned. Brin said the bills were a “threat to free speech.”

Brin writes:

“Two bills currently making their way through congress — SOPA and PIPA — give the US government and copyright holders extraordinary powers including the ability to hijack DNS and censor search results (and this is even without so much as a proper court trial). While I support their goal of reducing copyright infringement (which I don’t believe these acts would accomplish), I am shocked that our lawmakers would contemplate such measures that would put us on a par with the most oppressive nations in the world.”

As we’ve reported, the Motion Picture Association of America, Recording Industry Association of America and the U.S. Chamber of Commerce are behind the legislation, which would create an Internet blacklist and they say control piracy.

Today, a group of technology A-listers, including Brin, sent an open letter to Washington stating why they oppose to the bill. The first one listed is the legislation’s mandate that web services monitor “what users link to, or upload.”

“This would have a chilling effect on innovation,” the letter reads.

The Internet moguls also say the legislation would change the “basic structure of the Internet,” and “deny website owners the right to due process of law.”

The letter is signed by some of the founders of eBay, Craigslist, Paypal, Twitter, Yahoo!, Wikipedia, Flickr, Mozilla, YouTube and others.

CBS News reports that “the House of Representatives Judiciary Committee is meeting today to determine if a slightly, though still controversial, version of SOPA will move onto the House for a vote.”
 

Source: http://www.npr.org/blogs/thetwo-way/2011/12/15/143786288/googles-brin-says-piracy-bills-puts-u-s-censorship-on-par-with-china

 

Hollywood Tries to Wash the Web with SOPA

Filed under: mc frontalot — admin @ 11:00 am
mc frontalot

Bloomberg Businessweek

CONGRESS December 15, 2011, 4:30 PM EST

Hollywood Tries to Wash the Web with SOPA
The Stop Online Piracy Act aims to stop illegal streaming. It won’t

By 

In the spring of 1982 a House of Representatives subcommittee decamped to Los Angeles to hold hearings about a new gadget called the VCR. Movie studios believed home  viewing of feature films would destroy theaters and, ultimately, their entire industry, and they wanted Congress to do something to stop it. The late Jack Valenti, president of the Motion Picture Association of America, warned the committee, “The VCR is to the American film producer and the American public as the Boston Strangler is to the woman home alone.” Home video is now Hollywood’s most profitable business.

Nearly 30 years later, movie industry executives flew back East to warn of a new threat: online subscription services that stream movies. Early this month, members of the MPAA met in Washington with White House Chief of Staff Bill Daley, Vice-President Joe Biden, and members of Congress to promote a bill—now in the House—that will attempt to shut down illegal streaming sites.

The studio heads have grudgingly come to accept free peer-to-peer file sharing. “Yes, you’ll have people who want to camcord the movie, be the hero in their mother’s basement,” says Jim Gianopulos, head of Fox Filmed Entertainment (NWS). “And yes, we live with that.” It’s the infringing for-profit services Gianopulos and his colleagues are after. Hollywood is no longer just worried about theft. It’s worried about competition.

The Stop Online Piracy Act—SOPA—introduced in October by Representative Lamar Smith (R-Tex.) has broad support in both parties. If it becomes law, it would authorize the Justice Dept., with a court order, to direct U.S. companies to stop hosting or providing payment services to foreign sites that illegally stream American content. It could tell search engines to stop listing those sites and instruct domain-name registrars—the companies that ensure when you type in “jeffbridges.com,” you reach The Dude—to direct traffic elsewhere. Studio executives insist the bill targets foreign sites, but it also allows copyright holders to obtain a court injunction that would hit domestic sites in some of the same ways. The studios point to an appeals process, yet offenders would have to fight a court battle to prove their innocence after they’d already been disappeared from the Internet. A similar bill, called the Protect IP Act, is moving through the Senate.

As with many fights about the Internet, this one pits Google (GOOG) and much of Silicon Valley, which have a financial interest in keeping the Web open, against Hollywood, record labels, and software companies, which have an interest in keeping it closed. In a Jan. 12 speech in Washington, Google Chairman Eric Schmidt said Smith’s bill would “criminalize the intermediaries” (like Google). Barry Meyer, head of Warner Bros. Entertainment (TWX), claims the studios are being “death-paneled” by the bill’s opponents.

The two sides are having an argument about the bill’s unintended negative effects, but there isn’t much to suggest there will be intended, positive ones. In a 400-page survey of piracy in emerging markets published in January, the Social Science Research Council, a New York think tank, discovered little evidence that enforcement efforts had “any impact whatsoever” on the supply of pirated goods. What worked, it concluded, are “firms that actively compete on price and services for local customers.” At least one studio has recognized this. In June, Warner Bros. announced a deal with You On Demand Holdings (CBBD) to stream movies in China, where piracy has eroded sales.

This may make sense in the American market, too. Joe Karaganis edited the emerging markets study, and now works on digital issues for the American Assembly, a research institute at Columbia University. In an August poll, he found that of the 30 percent of Americans who have illegally downloaded videos, 40 percent say the emergence of legal streaming services has made them less likely to do so. (Google funded the study.) As the studios point out, foreign websites charge Americans $40 for unlimited, illegal streaming of new releases. Hollywood sees these sites as an affront. Eventually—if the history of the VCR is any lesson—it will come to see them as a business model.

 

The bottom line: Among Americans who have illegally downloaded movies, 40 percent say they now do so less, because of legal streaming services.

 

Source: http://www.businessweek.com/magazine/hollywood-tries-to-wash-the-web-with-sopa-12152011.html

 

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