Happy Sunday!
It has been the best kind of Sunday for yours truly--that is, absolutely no plans whatsoever. With all sorts of travel behind me, and another trip out of the country in a week, I seriously needed a day of downtime, and today I got it.
The best part of my day--or maybe the worst--was finally finishing up Patrick Rothfuss' The Wise Man's Fear. If you read my previous blog entry on this book, and if you cared, you will note that I was supremely disappointed in this followup to one of the great fantasy novels of the best decade or so--The Name of The Wind. I was holding out hope, against all reason, that the last bit of the book would somehow redeem the mess that is the first 2/3. But, nah. No surprise really. This book was just all over the map plotwise, with just atrocious pacing throughout, so even though some individual parts were okay, thanks to Rothfuss' lovely prose and good ear, my overall impression is the same as it was about 800 pages ago: this book needed a serious edit. Ugh.
In happier news today, I plowed through a humongous chunk of Uncharted 2 today on my new PS3. It took me five years to finally get my act together and buy the console, partly because of money (like everyone else), and partly because I felt like my 360 was enough and I don't play that much of that console anyway. What tipped me over the edge was receiving the email from Sony that I was entitled to the two free "welcome back" games on PSN, following their security debacle, thanks to my foresight in registering the one PSP game I've bought in the last five years, Tactics Ogre. Those free games, plus the fact that I knew I had $300 in credit sitting on my card at GameStop, finally pushed me over the edge. And, ya know what? I'm glad. I'm totally digging it.
I have four PS3 games in my possession now: Infamous and Little Big Planet from the "welcome back" deal, Uncharted 2, and Demon's Souls. Uncharted 2 I picked up at the store with the machine, based on remembering everyone and their mom and their mom's mom telling me this was the best game of 2009, back when I didn't give a shit cuz I didn't have the console. And, yeah. It's awesome. What's particularly satisfying to me is the dialog--something I was not prepared for.
Since I'm so utterly LTTP on this, there's no real point in me blabbering on about it, but I'll just say that it's a rare videogame indeed that actually manages to pull of witty, adult banter that isn't just cheesy or groan-inducing or a pale imitation of the sources its mimicking. Clearly we're in Indiana Jones turf here--obviously--but somehow Naughty Dog is able to give Nathan Drake and his pals (and enemies) personalities, and lines to say, that totally hold their own. And if the story isn't particularly original, I still--amazingly--feel emotionally invested in the characters' plight. Gameplay-wise (and I believe I have at most 2 chapters to go), I've loved the variety of the level design (the train was my favorite), and the difficulty (I'm playing on Normal) is just right for me, though I imagine lots of hardcore folks find it too easy. My only complaint? A bit too much shooting, especially near the end here. I'm all for shooters. It's not that. It's just that I like the adventurey/platformy stuff in games like this more. Some of the firefights here just feel a bit too gratuitous, and long. And I seriously could have done without the sniper level (or any sniper level in any game ever again.) Overall, though, I'm loving it. And had I played it at the time, chances are it would have been at the top of my list in 2009 too. Now I just have to go back and play the first one.
More quick pop culture hits:
The Killing on AMC: Still totally hooked on this, as is the wife, but it ain't perfect. For one, there's the issue of the rain. Seriously, it doesn't even rain this much in the fucking rainforest. There isn't this much water in the ocean. We get that it's in Seattle, okay? And we get that you must have read somewhere that it rains in Seattle. But the constant heavy downpour in practically every scene has now moved from distracting to ridiculous. Oh yeah, and, err, it might help to advance the plot a bit now and then, and not devote weeks to plot points that end up being total red herrings. (And also, I can't tell if the Twin Peaks references are deliberate and loving homage, or just straight ripoff. At least they didn't call the casino Two-Eyed Jacks.) But credit the writers, and my love of a good whodunnit, for still tuning in every damn week.
Oz on HBO GO - I've already seen this entire series. And there's other series on HBO that I could/should be watching instead. But there's something about Oz that's compelling me to do a second run-through, and I don't think it's all the male nudity. At least that's what I'll keep telling myself. Mostly I'm loving seeing all the actors who would then go on to The Wire. So many more than I originally thought! Still, I wish I could just get myself to stop watching it already, since I know what happens, and finally get on to Deadwood.
Comic Books: Yeah, I'm back in. Only digitally though. And I'm taking it easy so far. Based on recommendations from Twitterites, I've now gotten myself into Chew, Atomic Robo, Criminal, Invincible, and Morning Glories. All great stuff. I'm totally going to stay away from the Marvel/DC superheroes though, especially with DC's reboot looming. I've lived long enough to see this kind of reboot more than once, and ya know...no thanks. In fact, let's get Hitler to weigh in on this matter, since he says it best:
That's it for today. Not a particularly funny or witty or insightful post, but, hey, maybe none of them are! This was more a Sunday afternoon brain dump, in front of the NBA Finals. And if you made it this far, and have a PS3, and feel like being my pal on PSN, go ahead and add me: JeffAtPopCap. I'm reluctant to send that out to 17,000 people on Twitter, but since only a fraction ever look at this page, and only a fraction of that will make it to this paragraph, why, consider yourself "lucky!"
cheers,
Jeff
Sunday, June 12, 2011
Sunday, June 5, 2011
On not attending E3 for the first time since 1996
When I attended my first E3 convention, as a writer/editor for Computer Gaming World magazine in 1996, there was no Web yet. No Kotaku, Joystiq, IGN, GameSpot. No fansites. No liveblogging. No Twitter. There wasn't even a TV presence yet, because, at that point, the mainstream media still didn't really give much of a shit about videogaming. So when it came to the press, the print magazines--the "hobbyist" magazines-- were it.
Walking through the LA Convention Center that first year with Editor-in-Chief Johnny Wilson is still one of my most indelible memories of all 15 E3s I have been to (I missed only the very first one, in 1995). That was as close to an "Omar comin!" moment as I've ever witnessed, as the arrival of Johnny to your E3 booth meant that the King had arrived. I'm barely exaggerating. With the press (and gaming in general) being such a relatively small world at the time, Johnny's blessing, in the PC gaming scene, was about as high a stamp of approval as you could get.
In those days, the pressure for the writers and editors at this show was not nearly what it is for the poor saps covering it today, when even a blog post is now "late," what with everyone livetweeting everything. For us, we just had to make sure to take good enough notes to be able to write our articles for the print magazine when we got back to San Francisco. We still had deadlines, of course, and often they were brutal around E3 (we'd have the whole magazine basically ready to go before the show, and then have to come back and hurriedly write the E3 feature in time to make the printer deadline), but still, compared to today, it was luxurious.
My head is entirely full of E3 today, not just because the show starts tomorrow and almost my entire Twitter feed is full of pre-show chatter, but also because this is going to mark the first time in 15 years that I am not attending, and I'm finding myself to be full of conflicting emotions about it. When you attend something so many years in a row, it becomes part of your life. For me (and most of the folks I know who attend), it ends up being less about whatever may be happening at the show than something of a gigantic reunion, a ritual we all go through together. And within that ritual, our group had its own rituals: the Ziff Davis party at the Figueroa, the Morton's steak dinner, cigars by the Figueroa pool, and, for me personally, my annual breakfast with my dad at the Patio restaurant.
I had the option to go this year. So it wasn't a matter of not being able to go. But my reality, this year, is this: I'm on the road all the time now. I just got back from China, then spent a few weeks in my "regular" PopCap routine of back-and forth to Seattle, and in two weeks I'm flying off to Dublin for 6 days. That's a lot of being away from home, and my family. And this week, this E3 week, is my daughter's finals week. And when I arrived back home from Seattle after my last trip up, she said, as clear and direct as she always is, "Dad, please be home for my finals week." So, ya see, right then and there it was decided. Nothing trumps that. Nothing.
I do have a fair bit of jealousy and of feeling "left out," if I'm being honest. But the truth is, too, that since I left the press in 2008, the show itself isn't the same for me anyway. When it comes to actually seeing things at the show, nothing beats a press pass. And the previous two years, when I attended on behalf of EA, while still awesome from a socializing aspect, were brutal in terms of trying to actually see the stuff (like the Nintendo 3DS) that people were raving about. Suddenly I was waiting in all those lines I'd been able to cut in front of for over a decade--and man did that suck. Now that I'm at PopCap, my "need" to be at this show is even less crucial, at least right now, this year, as what we do isn't necessarily the best fit for a show of this scale. (PAX is much more are speed--and yes I'll be there.) And finally, in regards to my PopCap job itself, I love it, and the things I'll be doing during this E3 week, and then in Dublin, are thoroughly satisfying to me, and really just what my life is about right now. So, I'm trying to be philosophical about it, be happy for my very, very lucky place in life, and know that I will be back to E3 again when it makes more sense and the timing works better.
I could probably write a book (or at least an extremely long blog post) on my E3 experiences, but here are a few random memories from year's past, before I get on with my day:
1997 in Atlanta: Absolutely sweltering, unbearable heat that had all of us even sweatier and smellier and grosser than we already normally were. Having one of the CGW editors say he was taking us to the "best wings place in Atlanta," only to realize, as we approached it, that he was talking about Hooters. Seeing the Foo Fighters at the Sony party on an outdoor rooftop.
1998: Seeing Duke Nukem Forever for the first time. LOL.
1999: Seeing Team Fortress 2 and thinking it was going to be the greatest PC game of all time.
The original look of Team Fortress 2, circa E3 1999
2000: Having the CGW editors literally running up to me telling me I had to go see the new, secret, behind-closed-doors PC game that Bungie was working on: Halo.
2001: Seeing how hard Microsoft was pimping the Xbox and realizing, even back then, that they were going to bail on PC gaming (even if they'll never admit it).
2002-2006 (Exact dates lost to the vagaries of time and memory): One of my then brand-new editors ordering a double Porterhouse for $80 at the annual Morton's dinner and eating the whole thing by himself. Smoking cigars with Bioware's Dr Ray and Greg by the Figueroa pool. Trying to get into every "hot" E3 party at night, and, when succeeding, staying for about 20 minutes because the parties were always too crowded and lame, and it was much nicer and fun and relaxing and satisfying by the Figueroa pool. Getting annoyed with the increasingly bigger crowds at the show, and the TV cameras, and the websites and "bloggers" invading "our" space.
2007: Getting what we wished for by having the oversized, overcrowded convention reduced to a tiny "business summit" in Santa Monica, and then instantly realizing it was a huge mistake as it felt too tiny and marginal and depressing, like a door-to-door encyclopedia salesman convention. We "needed" the giant party that was E3 as much as a celebration of self and gorilla chestbeating than for actual, logical work business reasons.
2009: Attending E3 for the first time ever not as part of the media, but as a representative for the Sims team at EA, and discovering that the only thing harder than rushing from one appointment to another as a member of the press and frantically trying to write everything as fast as possible, was standing in one spot all day long demoing the same shitty-ass Wii game that no one gives a crap about over and over and over until I wanted to shoot myself.
So, yeah. There are more of those. I'll get to 'em someday. Meanwhile, I have a lot to do this week in my current job, but I will, of course be monitoring Twitter and the websites and even the TV to see all the fun stuff coming out of the show. I'll miss all my friends and colleagues. I'll miss the general insanity of the whole thing. And I'll miss breakfast with my dad.
But I'll be home, where I'm needed and where I want to be this week. So have a great show everyone. And don't forget, amidst all the "work," how lucky you all are to be there!
Walking through the LA Convention Center that first year with Editor-in-Chief Johnny Wilson is still one of my most indelible memories of all 15 E3s I have been to (I missed only the very first one, in 1995). That was as close to an "Omar comin!" moment as I've ever witnessed, as the arrival of Johnny to your E3 booth meant that the King had arrived. I'm barely exaggerating. With the press (and gaming in general) being such a relatively small world at the time, Johnny's blessing, in the PC gaming scene, was about as high a stamp of approval as you could get.
In those days, the pressure for the writers and editors at this show was not nearly what it is for the poor saps covering it today, when even a blog post is now "late," what with everyone livetweeting everything. For us, we just had to make sure to take good enough notes to be able to write our articles for the print magazine when we got back to San Francisco. We still had deadlines, of course, and often they were brutal around E3 (we'd have the whole magazine basically ready to go before the show, and then have to come back and hurriedly write the E3 feature in time to make the printer deadline), but still, compared to today, it was luxurious.
My head is entirely full of E3 today, not just because the show starts tomorrow and almost my entire Twitter feed is full of pre-show chatter, but also because this is going to mark the first time in 15 years that I am not attending, and I'm finding myself to be full of conflicting emotions about it. When you attend something so many years in a row, it becomes part of your life. For me (and most of the folks I know who attend), it ends up being less about whatever may be happening at the show than something of a gigantic reunion, a ritual we all go through together. And within that ritual, our group had its own rituals: the Ziff Davis party at the Figueroa, the Morton's steak dinner, cigars by the Figueroa pool, and, for me personally, my annual breakfast with my dad at the Patio restaurant.
I had the option to go this year. So it wasn't a matter of not being able to go. But my reality, this year, is this: I'm on the road all the time now. I just got back from China, then spent a few weeks in my "regular" PopCap routine of back-and forth to Seattle, and in two weeks I'm flying off to Dublin for 6 days. That's a lot of being away from home, and my family. And this week, this E3 week, is my daughter's finals week. And when I arrived back home from Seattle after my last trip up, she said, as clear and direct as she always is, "Dad, please be home for my finals week." So, ya see, right then and there it was decided. Nothing trumps that. Nothing.
I do have a fair bit of jealousy and of feeling "left out," if I'm being honest. But the truth is, too, that since I left the press in 2008, the show itself isn't the same for me anyway. When it comes to actually seeing things at the show, nothing beats a press pass. And the previous two years, when I attended on behalf of EA, while still awesome from a socializing aspect, were brutal in terms of trying to actually see the stuff (like the Nintendo 3DS) that people were raving about. Suddenly I was waiting in all those lines I'd been able to cut in front of for over a decade--and man did that suck. Now that I'm at PopCap, my "need" to be at this show is even less crucial, at least right now, this year, as what we do isn't necessarily the best fit for a show of this scale. (PAX is much more are speed--and yes I'll be there.) And finally, in regards to my PopCap job itself, I love it, and the things I'll be doing during this E3 week, and then in Dublin, are thoroughly satisfying to me, and really just what my life is about right now. So, I'm trying to be philosophical about it, be happy for my very, very lucky place in life, and know that I will be back to E3 again when it makes more sense and the timing works better.
I could probably write a book (or at least an extremely long blog post) on my E3 experiences, but here are a few random memories from year's past, before I get on with my day:
1997 in Atlanta: Absolutely sweltering, unbearable heat that had all of us even sweatier and smellier and grosser than we already normally were. Having one of the CGW editors say he was taking us to the "best wings place in Atlanta," only to realize, as we approached it, that he was talking about Hooters. Seeing the Foo Fighters at the Sony party on an outdoor rooftop.
1998: Seeing Duke Nukem Forever for the first time. LOL.
1999: Seeing Team Fortress 2 and thinking it was going to be the greatest PC game of all time.
The original look of Team Fortress 2, circa E3 1999
2000: Having the CGW editors literally running up to me telling me I had to go see the new, secret, behind-closed-doors PC game that Bungie was working on: Halo.
2001: Seeing how hard Microsoft was pimping the Xbox and realizing, even back then, that they were going to bail on PC gaming (even if they'll never admit it).
2002-2006 (Exact dates lost to the vagaries of time and memory): One of my then brand-new editors ordering a double Porterhouse for $80 at the annual Morton's dinner and eating the whole thing by himself. Smoking cigars with Bioware's Dr Ray and Greg by the Figueroa pool. Trying to get into every "hot" E3 party at night, and, when succeeding, staying for about 20 minutes because the parties were always too crowded and lame, and it was much nicer and fun and relaxing and satisfying by the Figueroa pool. Getting annoyed with the increasingly bigger crowds at the show, and the TV cameras, and the websites and "bloggers" invading "our" space.
2007: Getting what we wished for by having the oversized, overcrowded convention reduced to a tiny "business summit" in Santa Monica, and then instantly realizing it was a huge mistake as it felt too tiny and marginal and depressing, like a door-to-door encyclopedia salesman convention. We "needed" the giant party that was E3 as much as a celebration of self and gorilla chestbeating than for actual, logical work business reasons.
2009: Attending E3 for the first time ever not as part of the media, but as a representative for the Sims team at EA, and discovering that the only thing harder than rushing from one appointment to another as a member of the press and frantically trying to write everything as fast as possible, was standing in one spot all day long demoing the same shitty-ass Wii game that no one gives a crap about over and over and over until I wanted to shoot myself.
So, yeah. There are more of those. I'll get to 'em someday. Meanwhile, I have a lot to do this week in my current job, but I will, of course be monitoring Twitter and the websites and even the TV to see all the fun stuff coming out of the show. I'll miss all my friends and colleagues. I'll miss the general insanity of the whole thing. And I'll miss breakfast with my dad.
But I'll be home, where I'm needed and where I want to be this week. So have a great show everyone. And don't forget, amidst all the "work," how lucky you all are to be there!
Monday, May 30, 2011
In flight, May 30, Oakland-Seattle
So here's the deal. I'm on a plane now: Alaska Airlines Flight 345, Oakland to Seattle, pretty much my "regular" flight when I commute to PopCap. I'm typing on my iPad, and using the inflight wifi, confirming that I am, in fact, communicating with you from the future. Huzzah!
The problem with this flight today, other than the 1.5 hour delay (second one in a week), is that I'm flying on Memorial Day, which not only means I'm not home on the holiday like I should be, but also that the plane is full of civilians, as snobby frequent fliers like me like to call you. Rubes and mouth-breathing morons are two other technical terms, though we try to only use those in our secret meetings.
Anyway, so I have a couple with two screaming babies behind me, and a guy next to me who smells like he hasn't bathed since Hee Haw went off the air in the 70s. And the guy two seats down from me keeps snuffling his nose so loudly I can hear it through my noise-canceling headphones.
I know what you may be thinking: Boy, this Jeff Green character is a real curmudgeonly asshole! To which I can only respond: Welcome to my blog! But, look, I fly a lot now, so what little patience I had in humanity is severely tested aboard these flying tin cans, especially when the guy next to me smells like a soggy bag of dog flatulence. It's times like these that I wish the airports had delousing and decontamination chambers at the gates. I've written letters to all the major airline airlines repeatedly now for months, but oddly, I've yet to receive a single reply, despite me adding "READ NOW OR ELSE" on the front of every Yu-Gi-Oh envelope used for this correspondence.
There's nothing you can do about screaming babies on planes. Nothing legal or socially acceptable, anyhoo. And hey, I've been there. Not only did I used to have my own screaming baby on planes back in the day, but just two weeks ago I was screaming myself when the flight attendants ran out of peanuts before it was my turn. I'm tearing up a little even thinking about it now. But, ya know, smelly passengers--that's another thing. It seems like the bare minimum one should do before confining oneself in a closed space with strangers for a couple hours is to make sure beforehand that one is not emanating a rotten, fetid, and/or fecal odor from one's body, but maybe that's just me. Maybe this guy is proud of his stench, or doesn't actually notice the flowers wilting and dogs whimpering and women fainting as he walks by.
The upside of this situation is that it is giving me something tocthink about and share with you on this flight, which you in turn can share with your children, and their children, and so on. As those noted rock emissaries Journey once astutely noted, "the wheel in the sky keeps on turning." As I look out the window of the airplane right now and gaze at the infinite sky, all I can do is say, "yeah, it does."
I hope you have enjoyed my heartfelt ruminations on this flight, as it has made me feel close to each and every one of you. I hope you feel the same. Now I'm going to blast some Beastie Boys into my ears and try to breathe in as little as possible until this flight lands and I can get the heck out of here.
Namaste,
Jeff
- Posted using BlogPress from my iPad
The problem with this flight today, other than the 1.5 hour delay (second one in a week), is that I'm flying on Memorial Day, which not only means I'm not home on the holiday like I should be, but also that the plane is full of civilians, as snobby frequent fliers like me like to call you. Rubes and mouth-breathing morons are two other technical terms, though we try to only use those in our secret meetings.
Anyway, so I have a couple with two screaming babies behind me, and a guy next to me who smells like he hasn't bathed since Hee Haw went off the air in the 70s. And the guy two seats down from me keeps snuffling his nose so loudly I can hear it through my noise-canceling headphones.
I know what you may be thinking: Boy, this Jeff Green character is a real curmudgeonly asshole! To which I can only respond: Welcome to my blog! But, look, I fly a lot now, so what little patience I had in humanity is severely tested aboard these flying tin cans, especially when the guy next to me smells like a soggy bag of dog flatulence. It's times like these that I wish the airports had delousing and decontamination chambers at the gates. I've written letters to all the major airline airlines repeatedly now for months, but oddly, I've yet to receive a single reply, despite me adding "READ NOW OR ELSE" on the front of every Yu-Gi-Oh envelope used for this correspondence.
There's nothing you can do about screaming babies on planes. Nothing legal or socially acceptable, anyhoo. And hey, I've been there. Not only did I used to have my own screaming baby on planes back in the day, but just two weeks ago I was screaming myself when the flight attendants ran out of peanuts before it was my turn. I'm tearing up a little even thinking about it now. But, ya know, smelly passengers--that's another thing. It seems like the bare minimum one should do before confining oneself in a closed space with strangers for a couple hours is to make sure beforehand that one is not emanating a rotten, fetid, and/or fecal odor from one's body, but maybe that's just me. Maybe this guy is proud of his stench, or doesn't actually notice the flowers wilting and dogs whimpering and women fainting as he walks by.
The upside of this situation is that it is giving me something tocthink about and share with you on this flight, which you in turn can share with your children, and their children, and so on. As those noted rock emissaries Journey once astutely noted, "the wheel in the sky keeps on turning." As I look out the window of the airplane right now and gaze at the infinite sky, all I can do is say, "yeah, it does."
I hope you have enjoyed my heartfelt ruminations on this flight, as it has made me feel close to each and every one of you. I hope you feel the same. Now I'm going to blast some Beastie Boys into my ears and try to breathe in as little as possible until this flight lands and I can get the heck out of here.
Namaste,
Jeff
- Posted using BlogPress from my iPad
Saturday, May 28, 2011
Thoughts on Sons of Anarchy, Season 3
So I just plowed through Season 3 of Sons of Anarchy, paying $1.99 a pop to watch 'em on my iPad, rather than wait for the DVDs, or reruns on FX, to come out later this summer. It was worth it.
Season 3 has gotten somewhat of a bad rap in some quarters, both for the slower pace (vs the near-nonstop action of the first two seasons), as well as the extended foray over to Belfast, was a decidedly different turn for the show, with all sorts of new characters and subplots, which, for some, detracted from the "main story." Not for me, though. For me, it only deepened the main story--that being the coming of age of Jax Teller and what he is going to do with his father's legacy.
[THERE WILL BE BIGTIME SPOILERS FROM HERE ON OUT. STOP NOW IF YOU HAVEN"T SEEN SEASON 3 YET.]
The key to the theme of this season lies in the names of the opening and finale episodes: "SO" and "NS," respectively. Series creator/writer Kurt Sutter loves his symmetry and cleverly constructed narrative architecture in his show. These two episode names, of course, form the word "sons," which not only are shown physically in the 2 rings that Jax leaves behind on his father's gravestone, but also represent what this entire season was about: Jax searching for his son, and Jax searching for his role as a son. (And the moment that Jax ponders letting his son go was the most devastating scene, emotionally, of the entire season, and maybe even of the series as a whole.)
Even back in Season 1 we knew that the Sons of Anarchy's primary revenue stream came from selling IRA guns, so Ireland has always loomed in the background as central to the show's mythology. What we learned this season was that it goes way beyond the simple gun-running. Jax's father, John Teller, has an entirely different, and somewhat secret, life over in Ireland, complete with a mistress and another child. Until this point in the show, Jax has looked up to his father, and wrestled with his father's belated wishes, expressed in his memoir, to have Jax take the club in a "better direction," away from the violence and outlawism represented by Clay and Gemma.
The tension between Jax and Clay, of course, has been the central conflict of the entire series, and, for all those who know their Hamlet, upon which Sons of Anarchy is explictly based, we know this isn't going to go well. But this discovery, by Jax, that his father, too, was less than a saint, coupled with the present day threats to the club (the white supremacists of Season 2, and his kidnapped son in Season 3), help lead Jax back into the fold with Clay--thus depriving some viewers of what satisfied them most: Jax vs Clay. But the season finale's brilliant final minutes makes it clear that this conflict has merely just been postponed, and, in fact, is only going to get worse.
The final scene is a juxtoposition of the show's two main female characters each reading a letter, and the two letters perfectly, brilliantly make clear just how ironic and tragic Jax's resolution with Clay is. The first is from Jax to his mother, making it clear that he has renounced his father now and is totally with Clay and the club. The "betrayal" she was worried about, that we were worried about, turned out to be a fakeout for a good portion of the season. But if there was any doubt that we, the viewers, were supposed to consider this a good thing, we had Jax's letter juxtaposed with his father's old letter to Maureen in Ireland, now discovered by Tara, in which he reveals his fear that (hello, Hamlet!) that he was going to be killed by Gemma and Clay. So Kurt Sutter, evil bastard that he is, picks the exact moment that Jax has finally given up his father's path towards the "good" to reveal what we knew all along but were waiting to have explicitly revealed: that his father had been murdered by his mother and step-dad. And because Tara now knows, that means it's only a matter of time before Jax finds out, with a path of destruction to follow.
But, ya know, this is also a pulpy action show about a motorcycle gang. One in which we expect (and enjoy) large chunks of violence and badassery (Clay's "I don't recognize your bullshit MC" was my favorite line of the season), and while this season *did* have plenty of that, I can see, if you were watching it one week at a time, rather than in a marathon like I did, how this season's slower pace might have been frustrating. Sutter is always looking at the big picture, setting things up in long arcs with big payoffs. He spins a million plates at once over a variety of characters and story arcs, some of them crossing multiple seasons, and in this season more than the first two he let some individual episodes contain more exposition than action. But, holy crap, the action, when it finally came, was awesome, as two of the show's biggest villains--Stahl and Jimmy O-- finally get their due in the most satisfying possible way. I don't know about you, but I almost let out a vocal cheer when Chibs finally gets his revenge, as brutal as it was. And, hey, after we had to watch Ethan Zoebelle slip away scot-free last season, this was amazingly satisfying.
Of course, a lot of this stuff doesn't really hold up to close scrutiny. Once you really start thinking about Jax's and the club's "The Sting"-like triple cross of Stahl, it kind of falls apart, in how they could possibly have known it would all play out the way it did. Gemma's escape from the hospital seemed totally unrealistic, as did the fact that killing of Stahl and Jimmy wouldn't have raised 1000 red flags that would have backfired on the lot of them, including Unser.
But, hey, it's a pulpy action show about a motorcycle gang. And I love it. I love Kurt Sutter's ambition, the way he digs deep with the characters, the way he so brilliantly orchestrates his plots, while simultaneously reveling in the pulp and violence. It's a highbrow show in a lowbrow form, or maybe a lowbrow show with highbrow ambition. (Or, if you're not a fan, it may be a middlebrow show that thinks it's more clever than it is---but I wouldn't agree with you.)
In any event, I loved Season 3, and recommend, if you watched it at the time and were disappointed, that you watch it again when you can binge on multiple episodes at once. Because I think the story will seem much more tighter and focused and suspenseful if you do. And if you've actually read this far, and are as big a fan as I am, than I know you will at least agree that Season 4 can't start soon enough.
Season 3 has gotten somewhat of a bad rap in some quarters, both for the slower pace (vs the near-nonstop action of the first two seasons), as well as the extended foray over to Belfast, was a decidedly different turn for the show, with all sorts of new characters and subplots, which, for some, detracted from the "main story." Not for me, though. For me, it only deepened the main story--that being the coming of age of Jax Teller and what he is going to do with his father's legacy.
[THERE WILL BE BIGTIME SPOILERS FROM HERE ON OUT. STOP NOW IF YOU HAVEN"T SEEN SEASON 3 YET.]
The key to the theme of this season lies in the names of the opening and finale episodes: "SO" and "NS," respectively. Series creator/writer Kurt Sutter loves his symmetry and cleverly constructed narrative architecture in his show. These two episode names, of course, form the word "sons," which not only are shown physically in the 2 rings that Jax leaves behind on his father's gravestone, but also represent what this entire season was about: Jax searching for his son, and Jax searching for his role as a son. (And the moment that Jax ponders letting his son go was the most devastating scene, emotionally, of the entire season, and maybe even of the series as a whole.)
Even back in Season 1 we knew that the Sons of Anarchy's primary revenue stream came from selling IRA guns, so Ireland has always loomed in the background as central to the show's mythology. What we learned this season was that it goes way beyond the simple gun-running. Jax's father, John Teller, has an entirely different, and somewhat secret, life over in Ireland, complete with a mistress and another child. Until this point in the show, Jax has looked up to his father, and wrestled with his father's belated wishes, expressed in his memoir, to have Jax take the club in a "better direction," away from the violence and outlawism represented by Clay and Gemma.
The tension between Jax and Clay, of course, has been the central conflict of the entire series, and, for all those who know their Hamlet, upon which Sons of Anarchy is explictly based, we know this isn't going to go well. But this discovery, by Jax, that his father, too, was less than a saint, coupled with the present day threats to the club (the white supremacists of Season 2, and his kidnapped son in Season 3), help lead Jax back into the fold with Clay--thus depriving some viewers of what satisfied them most: Jax vs Clay. But the season finale's brilliant final minutes makes it clear that this conflict has merely just been postponed, and, in fact, is only going to get worse.
The final scene is a juxtoposition of the show's two main female characters each reading a letter, and the two letters perfectly, brilliantly make clear just how ironic and tragic Jax's resolution with Clay is. The first is from Jax to his mother, making it clear that he has renounced his father now and is totally with Clay and the club. The "betrayal" she was worried about, that we were worried about, turned out to be a fakeout for a good portion of the season. But if there was any doubt that we, the viewers, were supposed to consider this a good thing, we had Jax's letter juxtaposed with his father's old letter to Maureen in Ireland, now discovered by Tara, in which he reveals his fear that (hello, Hamlet!) that he was going to be killed by Gemma and Clay. So Kurt Sutter, evil bastard that he is, picks the exact moment that Jax has finally given up his father's path towards the "good" to reveal what we knew all along but were waiting to have explicitly revealed: that his father had been murdered by his mother and step-dad. And because Tara now knows, that means it's only a matter of time before Jax finds out, with a path of destruction to follow.
But, ya know, this is also a pulpy action show about a motorcycle gang. One in which we expect (and enjoy) large chunks of violence and badassery (Clay's "I don't recognize your bullshit MC" was my favorite line of the season), and while this season *did* have plenty of that, I can see, if you were watching it one week at a time, rather than in a marathon like I did, how this season's slower pace might have been frustrating. Sutter is always looking at the big picture, setting things up in long arcs with big payoffs. He spins a million plates at once over a variety of characters and story arcs, some of them crossing multiple seasons, and in this season more than the first two he let some individual episodes contain more exposition than action. But, holy crap, the action, when it finally came, was awesome, as two of the show's biggest villains--Stahl and Jimmy O-- finally get their due in the most satisfying possible way. I don't know about you, but I almost let out a vocal cheer when Chibs finally gets his revenge, as brutal as it was. And, hey, after we had to watch Ethan Zoebelle slip away scot-free last season, this was amazingly satisfying.
Of course, a lot of this stuff doesn't really hold up to close scrutiny. Once you really start thinking about Jax's and the club's "The Sting"-like triple cross of Stahl, it kind of falls apart, in how they could possibly have known it would all play out the way it did. Gemma's escape from the hospital seemed totally unrealistic, as did the fact that killing of Stahl and Jimmy wouldn't have raised 1000 red flags that would have backfired on the lot of them, including Unser.
But, hey, it's a pulpy action show about a motorcycle gang. And I love it. I love Kurt Sutter's ambition, the way he digs deep with the characters, the way he so brilliantly orchestrates his plots, while simultaneously reveling in the pulp and violence. It's a highbrow show in a lowbrow form, or maybe a lowbrow show with highbrow ambition. (Or, if you're not a fan, it may be a middlebrow show that thinks it's more clever than it is---but I wouldn't agree with you.)
In any event, I loved Season 3, and recommend, if you watched it at the time and were disappointed, that you watch it again when you can binge on multiple episodes at once. Because I think the story will seem much more tighter and focused and suspenseful if you do. And if you've actually read this far, and are as big a fan as I am, than I know you will at least agree that Season 4 can't start soon enough.
Wednesday, May 25, 2011
Lament of a formerly skinny guy.
I spent the first 20 years of my life being rail thin. If you can, in general, divide your geek stereotype into two broad categories--overly fat dudes and rail-thin string beans--I was firmly in the latter camp. ( I also had bright red hair, and glasses, and braces, which put me on the fast track towards Never Having a Date and Listening to Lots of Dr. Demento--but that's a subject for another post.) And while I think it's definitely harder, in terms of social acceptance, to be fat than it is to be skinny, when you are an adolescent the skinniness is still a form of "otherness," of not being "regular"---which is all that most of us ever want at that age. I know I did. I hated being that skinny, and tried everything I could, at certain points, to gain weight. My metabolism just didn't allow for it, nor did my DNA.
Oh, to suffer from that problem now.
I remember at the time lots of older people telling me, "yeah, you just wait," but I never could believe them because I was so skinny for so long that I couldn't possibly see how my body would ever change. But holy double-double with extra cheese were they right. Now I got my "normalcy," all right, and boy do I wish I could get that old metabolism back. Because I've got about 15 pounds of blubber, minimum, that need to be sliced off my body so that I can look in the mirror and not want to point and laugh, or cry.
It totally crept up on me, too. My wife was the first to notice, of course, because that's what spouses do. "Maybe you really don't need to eat that whole pint of New York Super Fudge Chunk tonight, Jeff. I'm just saying." Not the kind of thing a guy really wants to hear, especially when you feel your day was so damn lame that you deserve the full pint of ice cream, and especially when you spent decades of your life being able to eat whatever you damn well pleased and couldn't gain weight even when you tried.
So I was blind to it, at first. It's what we do. I'd look in the mirror and not really see the current reality, but instead the me I was used to seeing, that I'd built my identity around. In junior high, one asshole kid who used to be my friend said I was a "tomato on a stick," the tomato being a reference to my red hair. And that's what I've been in my head for forever. Now I'm kind of more just like a tomato. Or perhaps a cantaloupe. In any case, it's clear, once I take a good look, or stand on a scale, that I can retire that moniker, at least for the near future.
So, yeah. I have to watch my weight, just like everyone else now. In February, PopCap sponsored an internal contest called "Play2Lose", in which participants signed up for a specific amount of weight to lose, and would receive a $50 Amazon gift certificate if they reached their goal. I signed up to lose 10. By the end of the contest period, I had gained 8. I guess the whole "drinking more beer while I'm in Seattle and also see how many cheeseburgers I can eat each week" was not the best possible strategy for this particular competition.
It really sucks. Now I know just how spoiled and easy I had it for so long. And, far, far worse than just feelings of vanity over appearance, of course, is the actual health and fitness aspect to this. Because in addition to eating more, I compounded the problem by exercising less (something also I never needed to do to keep the flubber off). I've made a serious, concerted effort to get on a regular exercise regime now (elliptical/bike/yoga/weights), but good lord do I feel like a fat, sweaty tub of lard every time I do it now, huffing and puffing over an exercise that I used to be able to do with half the effort or exhaustion. It's embarrassing to myself. But it's also good motivation for me to keep at it. There's no way I'll ever be a skinny rail of a guy again. But maybe I can somehow work my way back to feeling "normal" again. Or maybe I'll figure out, after all these decades on the planet, that such a thing might not actually exist.
I'll settle for healthy and happy.
Oh, to suffer from that problem now.
I remember at the time lots of older people telling me, "yeah, you just wait," but I never could believe them because I was so skinny for so long that I couldn't possibly see how my body would ever change. But holy double-double with extra cheese were they right. Now I got my "normalcy," all right, and boy do I wish I could get that old metabolism back. Because I've got about 15 pounds of blubber, minimum, that need to be sliced off my body so that I can look in the mirror and not want to point and laugh, or cry.
It totally crept up on me, too. My wife was the first to notice, of course, because that's what spouses do. "Maybe you really don't need to eat that whole pint of New York Super Fudge Chunk tonight, Jeff. I'm just saying." Not the kind of thing a guy really wants to hear, especially when you feel your day was so damn lame that you deserve the full pint of ice cream, and especially when you spent decades of your life being able to eat whatever you damn well pleased and couldn't gain weight even when you tried.
So I was blind to it, at first. It's what we do. I'd look in the mirror and not really see the current reality, but instead the me I was used to seeing, that I'd built my identity around. In junior high, one asshole kid who used to be my friend said I was a "tomato on a stick," the tomato being a reference to my red hair. And that's what I've been in my head for forever. Now I'm kind of more just like a tomato. Or perhaps a cantaloupe. In any case, it's clear, once I take a good look, or stand on a scale, that I can retire that moniker, at least for the near future.
So, yeah. I have to watch my weight, just like everyone else now. In February, PopCap sponsored an internal contest called "Play2Lose", in which participants signed up for a specific amount of weight to lose, and would receive a $50 Amazon gift certificate if they reached their goal. I signed up to lose 10. By the end of the contest period, I had gained 8. I guess the whole "drinking more beer while I'm in Seattle and also see how many cheeseburgers I can eat each week" was not the best possible strategy for this particular competition.
It really sucks. Now I know just how spoiled and easy I had it for so long. And, far, far worse than just feelings of vanity over appearance, of course, is the actual health and fitness aspect to this. Because in addition to eating more, I compounded the problem by exercising less (something also I never needed to do to keep the flubber off). I've made a serious, concerted effort to get on a regular exercise regime now (elliptical/bike/yoga/weights), but good lord do I feel like a fat, sweaty tub of lard every time I do it now, huffing and puffing over an exercise that I used to be able to do with half the effort or exhaustion. It's embarrassing to myself. But it's also good motivation for me to keep at it. There's no way I'll ever be a skinny rail of a guy again. But maybe I can somehow work my way back to feeling "normal" again. Or maybe I'll figure out, after all these decades on the planet, that such a thing might not actually exist.
I'll settle for healthy and happy.
Sunday, May 22, 2011
Why I resent The Wise Man's Fear
I am 750 pages into Patrick Rothfuss' The Wise Man's Fear--over 200 pages to go still--and I can't recall the last time a book has made me more resentful. Why resentful? Because, I am sorry to say, it is boring the crap out of me, and has been doing so for nearly all its 750 pages so far, and yet I can't not finish now. And so it is the obligation that I resent. The obligation to finish a book I am thoroughly not enjoying, and yet have committed so much time to already (in addition to the outstanding first book in the series before this, The Name of the Wind), that to put it down now without finishing would just feel like even more of a waste of my time than its been already. If I'm going to waste my time, in other words, I at least want to be a completist about it.
My reaction to this book is bumming me out. And if it wasn't for reading like-minded reviews elsewhere, I'd wonder if maybe something was wrong with me. Because the first book, The Name of the Wind, was just so damn good--one of the best fantasy books I've read in a long, long time. It was just the story he told, and the way he told it, but the writing itself, which was just so clearly a cut above the standard stuff of this genre. (Though there are some amazing fantasy writers out there---my favorite, which is a cheat, because he's as much a comic writer and satirist as "fantasy writer," is Terry Pratchett, but that's a topic for another post.)
Rothfuss just has a great way with words, and when you marry it, as in the first book, to a great story with great momentum and suspense and mystery, it makes for marvelous entertainment. The saving grace in The Wise Man's Fear is that Rothfuss still writes great sentences. He has a poet's ear for description and cadence, which, when everything else is going wrong, still helps carry me along without wanting to blow my brains out.
Not much of a recommendation, I know. The problem with this book is everything but the individual sentences. I don't even know where to start. Well, okay we can start at the beginning, or more specifically, the book's first 300 pages, which feels to me like nothing but a total, unnecessary rehash of the first book. ( I'm trying to avoid specifics, because I don't want to give away any spoilers, not that I think you need to bother.) It's one thing, in a trilogy, to start off where the previous book concluded. It's another to go on for hundreds of pages without doing anything to advance the plot beyond where we were a few years ago. Yes, we know Kvothe is poor, and brilliant, and in love with Denna, and is awesome at the lute, and is the greatest student at the University in a billion years, but, good god, man, we knew that already and have been waiting for years now for you to tell us something we didn't know.
Once Kvothe does finally move on--which, if I had edited the book, would have happened about 250 pages earlier--it hardly gets better. While the Name of the Wind drives along on the strength of a gripping storyline, Wise Man's Fear feels episodic, and disjointed, with "set pieces" stuck together with masking tape. First he goes here, then he goes here, then he has amazing sex because he's so good at having sex even immortal faerie queens can't believe it, then he goes here, and then he goes here, without ever seeming to get one step closer to the essential mystery that opens the first book: The murder of his parents, for one, and how he becomes the guy we know he is to become in the book's present-time sequences. And when every episodic, barely interesting event seems to have "look how awesome I was!" as its point, it just makes it that much more intolerable. When I finished Name of the Wind, I felt like I could have listened to Kvothe's stories for a number of books. Now I just kinda want to kick his ass.
But, who knows. It's the middle book. The story is not done yet. Maybe, in retrospect, all this rambling braggadocio will mean something in the context of the larger work. Maybe the third book will be so satisfying it will help this book seem better. And, hey, I'm not even done with this yet. Maybe, in the 200 pages I still have to go, Rothfuss will tie all the pieces together in a way that will make me feel ashamed and embarrassed that I ranted here prematurely. (In which case I'll have to post again to apologize.)
And I am ranting because I've so rarely been this disappointed by the followup to a book that I loved. Because I'm a slow reader, I almost never read books twice, but I loved The Name of the Wind so much that this one I did read twice--and enjoyed it even more the second time. But now, I'm counting the pages for every chapter. It feels like being back in college. "Okay, if I just read 10 more pages, then I can reward myself with something fun." And this is why I'm so resentful. This is supposed to be my leisure reading. This is supposed to be fun. But it feels like a slog. I'm looking at the stack of books sitting by my nightstand, waiting to be read, and I am resentful that I can't get to them yet, because of this interminably boring book.
Most of all, I'm resentful because I want to believe. I want to love it. I still think he is fantastic writer for the most part. And I know I'll still be buying the third book on Day One. But, for the love of Gandalf, please let that third book be a better read than this one. I need my entertainment to entertain me, not make me a bitter, ranty blogger.
My reaction to this book is bumming me out. And if it wasn't for reading like-minded reviews elsewhere, I'd wonder if maybe something was wrong with me. Because the first book, The Name of the Wind, was just so damn good--one of the best fantasy books I've read in a long, long time. It was just the story he told, and the way he told it, but the writing itself, which was just so clearly a cut above the standard stuff of this genre. (Though there are some amazing fantasy writers out there---my favorite, which is a cheat, because he's as much a comic writer and satirist as "fantasy writer," is Terry Pratchett, but that's a topic for another post.)
Rothfuss just has a great way with words, and when you marry it, as in the first book, to a great story with great momentum and suspense and mystery, it makes for marvelous entertainment. The saving grace in The Wise Man's Fear is that Rothfuss still writes great sentences. He has a poet's ear for description and cadence, which, when everything else is going wrong, still helps carry me along without wanting to blow my brains out.
Not much of a recommendation, I know. The problem with this book is everything but the individual sentences. I don't even know where to start. Well, okay we can start at the beginning, or more specifically, the book's first 300 pages, which feels to me like nothing but a total, unnecessary rehash of the first book. ( I'm trying to avoid specifics, because I don't want to give away any spoilers, not that I think you need to bother.) It's one thing, in a trilogy, to start off where the previous book concluded. It's another to go on for hundreds of pages without doing anything to advance the plot beyond where we were a few years ago. Yes, we know Kvothe is poor, and brilliant, and in love with Denna, and is awesome at the lute, and is the greatest student at the University in a billion years, but, good god, man, we knew that already and have been waiting for years now for you to tell us something we didn't know.
Once Kvothe does finally move on--which, if I had edited the book, would have happened about 250 pages earlier--it hardly gets better. While the Name of the Wind drives along on the strength of a gripping storyline, Wise Man's Fear feels episodic, and disjointed, with "set pieces" stuck together with masking tape. First he goes here, then he goes here, then he has amazing sex because he's so good at having sex even immortal faerie queens can't believe it, then he goes here, and then he goes here, without ever seeming to get one step closer to the essential mystery that opens the first book: The murder of his parents, for one, and how he becomes the guy we know he is to become in the book's present-time sequences. And when every episodic, barely interesting event seems to have "look how awesome I was!" as its point, it just makes it that much more intolerable. When I finished Name of the Wind, I felt like I could have listened to Kvothe's stories for a number of books. Now I just kinda want to kick his ass.
But, who knows. It's the middle book. The story is not done yet. Maybe, in retrospect, all this rambling braggadocio will mean something in the context of the larger work. Maybe the third book will be so satisfying it will help this book seem better. And, hey, I'm not even done with this yet. Maybe, in the 200 pages I still have to go, Rothfuss will tie all the pieces together in a way that will make me feel ashamed and embarrassed that I ranted here prematurely. (In which case I'll have to post again to apologize.)
And I am ranting because I've so rarely been this disappointed by the followup to a book that I loved. Because I'm a slow reader, I almost never read books twice, but I loved The Name of the Wind so much that this one I did read twice--and enjoyed it even more the second time. But now, I'm counting the pages for every chapter. It feels like being back in college. "Okay, if I just read 10 more pages, then I can reward myself with something fun." And this is why I'm so resentful. This is supposed to be my leisure reading. This is supposed to be fun. But it feels like a slog. I'm looking at the stack of books sitting by my nightstand, waiting to be read, and I am resentful that I can't get to them yet, because of this interminably boring book.
Most of all, I'm resentful because I want to believe. I want to love it. I still think he is fantastic writer for the most part. And I know I'll still be buying the third book on Day One. But, for the love of Gandalf, please let that third book be a better read than this one. I need my entertainment to entertain me, not make me a bitter, ranty blogger.
Tuesday, May 17, 2011
LA Noire and the "DAY 1!" problem.
When you are in the videogame press, as I was for about 400 years, you get kinda spoiled. I'm not even talking about the ridiculous wining and dining such as is happening with the "E3 Judges" this week, but really just the day-to-day mundane aspect of getting every single game free. I used to always remind myself, and other editors, to keep in mind that most people actually had to pay, and pay a LOT, for the games we were reviewing, and to never take that for granted--both when writing, and also just in appreciation for how good we had it.
Now that I'm a "civilian, " I'm like everyone I used to talk about. I have to pay for my games. This means I have to pick and choose what I'm going to buy, and when I'm going to buy it. Most of my press friends already have LA Noire, released to the public today, and have played a bunch of it, because they got it for free. Me? I don't have it yet, and I have to decide, like you, whether it's worth spending $60 for, or not.
The old me--and the part that still likes to stay current with everything--wanted to rush out and get it ASAP this morning. It's today's big deal, after all, and I want to chime in with my know-it-all perspective, dammit! But the old me didn't have to think about where this factored in with, ya know, every other fiscal commitment I have. Sixty dollars is a lot of freakin' money. iPhone games or Amazon MP3 deals are one thing. I can justify those impulse buys all the time. A full-price brand new console game is something else entirely.
And then when I really start thinking about it rationally, I remember the huge backlog of games I haven't finished yet--or even started. (Like Dead Space 2, still waiting for me, even though I "needed" that one Day 1 as well. ) My backlog, like many gamers, is ridiculous. I couldn't even tell you--especially because of all those free games the old me got--how many unfinished/unplayed games I have. 50? More? Plus, there's the fact that, at some point, there's going to be a price drop. Because there's always a price drop. I could easily, happily play all the games I haven't played yet (like "Bully," another Rockstar game!) for a long time and just wait for LA Noire to hit a more reasonable price point, at a time when I actually have the time to play it. Totally reasonable, right?
And yet--that DAY ONE impulse remains. You want to be part of the phenomenon, the zeitgeist. You think you have to play it because everyone else is. You get worked up and hyped up, and everyone who participates amps it up a little more, encouraging and validating your own "need" to have the game RIGHT NOW.
But time has told me that if I try to just resist that, I (and my bank account) won't regret it. That first wave of hype only lasts so long, and is usually followed either by an "err, wait, this isn't actually THAT great" buyer's remorse, or, more often, "this is pretty good but I have 1000 other things to do and games to play so maybe I'll put this down for awhile"--after which it gets neglected while the next bright new shiny DAY ONE game grabs everyone's attention, yet again.
That hype machine is, of course, what all the game companies want and need and count on. They NEED you to buy those DAY ONE games on DAY ONE. Their stockholders need you to, too. But, ya know, the games aren't going anywhere, and they'll just get cheaper. And now that I'm a civilian, this matters to me way more than the hype.
Now that I'm a "civilian, " I'm like everyone I used to talk about. I have to pay for my games. This means I have to pick and choose what I'm going to buy, and when I'm going to buy it. Most of my press friends already have LA Noire, released to the public today, and have played a bunch of it, because they got it for free. Me? I don't have it yet, and I have to decide, like you, whether it's worth spending $60 for, or not.
The old me--and the part that still likes to stay current with everything--wanted to rush out and get it ASAP this morning. It's today's big deal, after all, and I want to chime in with my know-it-all perspective, dammit! But the old me didn't have to think about where this factored in with, ya know, every other fiscal commitment I have. Sixty dollars is a lot of freakin' money. iPhone games or Amazon MP3 deals are one thing. I can justify those impulse buys all the time. A full-price brand new console game is something else entirely.
And then when I really start thinking about it rationally, I remember the huge backlog of games I haven't finished yet--or even started. (Like Dead Space 2, still waiting for me, even though I "needed" that one Day 1 as well. ) My backlog, like many gamers, is ridiculous. I couldn't even tell you--especially because of all those free games the old me got--how many unfinished/unplayed games I have. 50? More? Plus, there's the fact that, at some point, there's going to be a price drop. Because there's always a price drop. I could easily, happily play all the games I haven't played yet (like "Bully," another Rockstar game!) for a long time and just wait for LA Noire to hit a more reasonable price point, at a time when I actually have the time to play it. Totally reasonable, right?
And yet--that DAY ONE impulse remains. You want to be part of the phenomenon, the zeitgeist. You think you have to play it because everyone else is. You get worked up and hyped up, and everyone who participates amps it up a little more, encouraging and validating your own "need" to have the game RIGHT NOW.
But time has told me that if I try to just resist that, I (and my bank account) won't regret it. That first wave of hype only lasts so long, and is usually followed either by an "err, wait, this isn't actually THAT great" buyer's remorse, or, more often, "this is pretty good but I have 1000 other things to do and games to play so maybe I'll put this down for awhile"--after which it gets neglected while the next bright new shiny DAY ONE game grabs everyone's attention, yet again.
That hype machine is, of course, what all the game companies want and need and count on. They NEED you to buy those DAY ONE games on DAY ONE. Their stockholders need you to, too. But, ya know, the games aren't going anywhere, and they'll just get cheaper. And now that I'm a civilian, this matters to me way more than the hype.
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