Okay. So, big empty planet, with like four landmarks on it; the rest is empty desert with nothing but the same fucking three enemy groups, one of which you will run into every five seconds.

To get to where you need to go, you must:

  1. Talk to a guy.
  2. Talk to the same guy, a second time.
  3. Wander through the aforementioned big empty desert of constant annoying monster encounters until you find a cave.
  4. Go through the cave until you come up in a town.
  5. Talk to another guy.
  6. Talk to him a second time, too.
  7. Go back to the first town.
  8. Talk to a lady.
  9. Go back and talk to the first fucking guy again.
  10. Go back into the cave.
  11. If, and only if, you have talked to all those people all those times in that order, you will find a dragon hanging out at one of the dozen or so dead-ends in the cave.

So why does the fucking dragon not show up until you've done all that shit? Does he have, like, some kind of agreement with the village chief? Does he hide until the village chief calls him up and tells him "Hey, dragon, I sent some adventurers to go fight you"?

I haven't gotten that far into the original Sega Master System Phantasy Star. This is the PS2 remake I'm playing. But I assume -- hope -- this is merely a faithful translation of a profoundly stupid set of goals from the original 8-bit version.

But hey, memo to people making remakes? Automaps and item descriptions are awesome, but it's also okay to simplify down stupid, nonsensical bullshit so I don't wind up wandering the goddamn desert until I finally get pissed off and just look up a walkthrough.

I've always loved the nuance, the sort of duality, to Zappa's philosophy on music: he's certainly got strong opinions on what he likes and what he doesn't and that the industry is a bottomless cesspit, but he also believes the bottom line is that people like what they like and that's okay. He writes deep, complex music and lyrics -- but sometimes he writes silly stuff like Dancin' Fool, and he thinks people who overanalyze Jim Morrison's lyrics are missing the forest for the trees.

Ultimately, he's a Serious Musician who has the good damn sense to understand you shouldn't always take music so seriously.

Two weeks ago I talked about how now is the greatest time in history to be a comics fan. Among other things, I mentioned Comixology. I've got concerns about Comixology -- it uses a proprietary, DRM-encumbered format, meaning there's a risk of a monopoly, same as any time a single major provider uses a proprietary, DRM-encumbered format -- but ultimately, I think that shit will work itself out. That doesn't mean we shouldn't be concerned, shouldn't complain, shouldn't put pressure on Comixology and the publishers who use it to find another way -- but the music industry ultimately realized that a standards-compliant, DRM-free format was in its best interest, and the book publishers are beginning to get the message too; I think it's only a matter of time for comics. (TV and movies will be dead fucking last to get the message and will, like the music industry, wait until their bottom line has seriously suffered for their foot-dragging, knuckle-dragging stupidity, but they'll come around too.)

At any rate, those caveats in mind, I think that the recent announcement that Comixology is the third-highest earning iPad app of 2012 is a fucking good sign for the comics industry. It shows there's a big demand and it's getting bigger.

Moreover, while I've heard people express concern for years that digital comics will spell the end of print comics, they sure don't seem to be posing a threat -- which makes sense. The way I see it, people who get their comics through Comixology aren't any less likely to buy comics in print; if you've never bought a comic before, then you're not a lost sale, and if you have bought comics from bookstores or especially from specialty shops, you're not going to stop doing that just because you can get them on your iPad or what-have-you now.

For my part, I'm about to get a Nexus 7. For starters, the thing looks pretty small and I'm skeptical that it will even be satisfactory for reading comics on. Even if it is, I am confident it will not compare to the experience of reading a full-size comic.

That said, as I mentioned in that other post, there are a shitload of comics that are not currently in print, and if I find that it is comfortable to read comics on the Nexus 7, I will certainly start reading comics on it that are not available in my local comic shop.

That doesn't mean I'll stop shopping at my local comic shop. It doesn't even mean that I'll spend less money there. It just means I'll have one more way to experience comics (whether they're ones I've bought or acquired for free).

And while I love my local comic shop, it also means that people can make money selling comics to a niche audience without having to worry about print costs or Diamond minimum distribution numbers.

Ultimately, it's not a zero-sum game (except insofar as every consumer's entertainment budget is a zero-sum game). Digital comics doesn't mean the same audience gets the same comics from a different distributor, it means the potential for a new audience and different comics. And those are good things that make the medium richer for all of us.

The comment that Moon is 12 years old places this in late '79 or '80, about where I figured between the fashions and the Jewish Princess controversy.

Another abrupt cut -- from the bad old days of YouTube limiting videos to 10 minutes. (As opposed to the bad new days, where YouTube automatically flags infringing videos based on pattern-matching algorithms, whether they're actually infringing or not.) To be concluded!

Originally posted brontoforum.us, 2008-12-28.


Inferno, it turns out, is another great Pertwee serial that is available through Netflix (disc only, no streaming).

Essentially, it's like Mirror, Mirror, except instead of Spock with a goatee, it has the Brigadier with an eyepatch.

It's a little long (could be one episode shorter -- he spends the entirety of the first episode in the parallel universe trying to explain to everyone that he's from a parallel universe), but really it runs at a great pace overall and has a whole lot more action than most Who from that period.

The parallel universe is used to good effect, emphasizing characters who are much different (the Brigade Leader is a coward hiding behind his gun and his rank) as well as characters who are more or less the same (the pompous Professor Stahlman, who would doom the world rather than take a blow to his ego, and the dashing Greg Sutton, who defies him), with companion Liz Shaw somewhere in-between.

The best device, IMO, is that in episode 4 or 5 the Doctor outright tells the parallel cast that they're screwed and past the point of no return and there's nothing he can do for their world, but that he can still save his own, leaving several episodes for the parallel cast to come to grips with their certain impending doom and react accordingly.

The "there are some things man wasn't meant to tamper with" premise is stale, but works well for an apocalyptic "Earth ends in fire" story -- the ending of the penultimate episode, with a wave of lava coming toward the cast, is cheesily green-screened but nonetheless makes a striking image.

The finale is another episode that could safely be chopped in half, but it mirrors the events of the parallel world, with slight changes, satisfyingly. The ending is vintage Third Doctor, with the Doctor and the Brigadier butting heads and then one of them forced to eat crow.

The transfer has all the usual flaws I've now come to associate with Pertwee-era serials, an often-grainy picture and occasional wavy lines. I watched one episode (3 or 4) on an SDTV and it was a lot less noticeable.

There's also a second disc with extras on it; I assume they're neat but I'm not going to bother.

All in all, classic Who; worth renting, worth buying. (It does help to have a cursory background knowledge of the Third Doctor's setup, that he's been exiled by the other Time Lords and trapped in 1970 London, and that at this point he's trying to fix his TARDIS so he can travel again. Probably good to check out Spearhead from Space first, and maybe The Silurians. The Ambassadors of Death, the serial immediately preceding this one, is out on DVD now too, but I haven't seen it yet.)

Zappa on Dick Cavett, part 1 -- pardon the rather abrupt cutoff; I'll get to part 2 tomorrow. Uploaded by buruglen. I didn't catch an exact year but it's clearly late '70's or early '80's.

Happy birthday today to my little brother, and also to my bachelor's degree in computer science.

Tonight I wanted to print something.

For some fucking reason, this required me to download a 140MB "driver file" that appears to be composed primarily of videos, one of which tells me how to use my printer and the other is just a fucking animated HP logo.

In my personal and professional opinion, shit like that is completely inexcusable. There is no fucking reason why I should have to download 138MB of crap just so I can get at the 2MB driver file.

At least there was a feedback form at the bottom of the page. I filled it out! It was a lot like this post but with less cursing. (Although I did tell them that I am offended "as a programmer, as a customer, and as a guy with SHIT TO DO.")

Increased processing power and widespread high-speed Internet has made programmers lazy. (Though in the programmers' defense, this particular little call has "marketing department" written all over it.) On the plus side, the increasing prevalence of smartphones is forcing developers to think about smaller footprints, both in system requirements and bandwidth consumption. But unfortunately that's probably not going to convince anybody to make Windows device drivers smaller.

By a jazz trio called organissimo. I'll admit I miss the horns, but it's a pretty cool rendition.

Uploaded by Jim Alfredson, who says this is at the Founders Brewing Co. He doesn't say what year the performance is, but he uploaded it in November of 2008 and I'm willing to guess it was a recent video then.

My dad told me he and my brother just named their new cat Big Swifty.

This is an audience recording from Passaic, '73, courtesy of YourArf.