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16 Sep 05:30

How to suppress women's writing in the age of social media

Courtney shared this story from Super Opinionated.

hollyblack:

cassandraclare:

Inspired of course by  by Joanna Russ. And not set off by anything in particular, just an aggregate of comments and a good friend being treated terribly for posting some of her fiction for free online.

She tweets and tumblrs so she must not be working.
She never tweets and tumblrs so she must she think she is too good for her fans.
Her books don’t sell so she must be a failure.
Her books do sell so she must write for the money.
She writes too much of one series. A good writer would write books set in lots of different universes. 
She should write more of the same series because that is what I like. Hope she doesn’t think I will buy her new stuff.
She talks about and answers questions about her books, why won’t she leave her fandom alone? Why is she trying to impose her views on them?
She doesn’t answer questions from her fans or listen to what they say. She must not care about them.
She sells her work for money so she must just want money.
She posted her work for free so it doesn’t really belong to her.
I like her main female character so she must be a Mary Sue that the author based on herself.
I hate her main female character so she needs to learn how to write women.
I wrote her a nasty message and she didn’t answer so she is a coward.
I wrote her a nasty message and she did answer so she is a bully.
She contradicted me when I accused her of something so I know she did it, otherwise she wouldn’t be so defensive.
She didn’t contradict me when I accused her of something so I know she did it, otherwise she would have defended herself.
She wrote it but she tried too hard to be literary so I couldn’t get into it.
She wrote it and I really enjoyed it but because of the subject matter I know it’s trash, really.

This is so, so, so true. Unconscious bias bubbles up over and over, poisoning discourse. It’s enraging and it’s also really boring after a while. 

16 Sep 05:25

behindbobsburgers: It’s Monday, but it’s not all bad.  We’ve...



behindbobsburgers:

It’s Monday, but it’s not all bad. 

We’ve got your first look at Bob’s Burgers #4, featuring 5 stand-alone stories from the creators of the show in glorious comic book form.  

(via dynamitecomics)

16 Sep 05:25

Adrian Peterson Being Investigated For Abuse Accusations Involving Another Son

The four-year-old is by a different mother than the alleged victim in the Montgomery County case, in which Peterson is charged with felony injury to a child.
16 Sep 05:25

Photo



16 Sep 05:25

tastefullyoffensive: [klown13]

16 Sep 05:22

First Sears

by Brandon Bird




Well, here it is: the first of what will be many paintings of Sears. Read the full story on the Kickstarter progress page.

16 Sep 05:22

Photo



16 Sep 05:22

Photo



16 Sep 05:18

Tim Cook doesn't want Apple to be a 'treasure trove' of user data for the NSA

by Josh Lowensohn

Apple's privacy and security measures have been under a microscope for the past month, first with a targeted attack on celebrities that led to leaked nude photos, and now on Apple's own systems as the company gears up to handle people's credit cards as part of Apple Pay. Talking to journalist Charlie Rose in the second half of a two-part interview that concludes tonight, Apple CEO Tim Cook says that the company has no interest in accumulating information about its customers, while urging caution about any companies that do:


Our business is not based on having information about you. You're not our product. Our product are these, and this watch, and Macs, and so forth. And so we run a very different company. I think everyone has to ask, how do companies make their money? Follow the money. And if they're making money mainly by collecting gobs of personal data, I think you have a right to be worried. And you should really understand what's happening to that data, and the companies — I think — should be very transparent.

Cook adds that the company does not read user emails or iMessages, and that its goal is to avoid being "the treasure trove of places to come to," when it gets requests from the National Security Agency for any user data. "We have hundreds and millions of customers. So it's a very rare instance that there's been any data asked," Cook told Rose. "And one of the reasons is, we don't keep a lot. We're not the treasure trove of places to come to."

"I think they erred too much on the collect everything side."

A larger problem, Cook says, is that the government's approach to data collection.

"I don't think that the country, or the government's found the right balance," Cook says. "I think they erred too much on the collect everything side. And I think the president and the administration is commited to kind of moving that pendulum back."

The first part of the interview aired last Friday, and had Cook discussing iPhone sizes, competitors like Google and Amazon, iCloud security, the company's social networking ambitions (or a lack thereof), and the promise of products still in the works that we haven't even heard of yet. The second half, which airs tonight on PBS focused primarily on Apple's ideology, with Cook discussing privacy, human rights, and the environment.

16 Sep 05:17

Jury finds CBS infringes podcasting patent, awards $1.3 million

by Joe Mullin
The popular show NCIS is one of several shows that CBS was sued over.
CBS

A jury in Marshall, Texas, found the infamous "podcasting patent" was infringed by CBS's website today and said that the TV network should pay $1.3 million to patent holder Personal Audio LLC.

The verdict form shows the jury found all four claims of the patent infringed, rejecting CBS' defense that the patent was invalid. The document was submitted today at 1:45pm Central Time.

That's substantially less than Personal Audio was asking for, which was reportedly $7.8 million. That figure was given to Ars by a source that observed the relevant parts of the court proceedings.

Read 9 remaining paragraphs | Comments

15 Sep 23:57

The most disappointing part of Destiny is its boring story

by Colin Campbell
firehose

'Destiny's writing is really not very good. In one scene, a feeble attempt is made to impose some mystery on the orb's destruction. "There are many tales told throughout the city to frighten children," explains a glum priest-type, wearing standard science fiction robes. "Lately those tales have stopped. Now, the children are frightened anyway." Dreary stuff.

This piss-weak dialogue is a shame, because there were a lot of talented people working on this production, and no shortage of funds. It smacks of long meetings and management types fiddling with every last comma.'

Almost from the start, Destiny signals its desire to conform to sci-fi's conventions, to pay homage to the works that all-too obviously inspired its makers, rather than attempt to subvert or try anything original.

Note: This article contains very mild spoilers about Destiny's early scenes.

The opening scene shows astronauts landing on Mars, leaving the obligatory footprint-in-the-dust, faithfully reproducing a routine we have all seen many times before. Anyone waiting for a fresh take on this ponderous image is left disappointed.

Eventually the astronauts are confronted with a mysterious orb, itself something of cliche. Despite a gargantuan budget, this opportunity to imprint the viewer with a sense of wonder and curiosity slips away. The scene is so humdrum, it is really quite forgettable.

Destiny was pitched to the world as a sci-fi epic, interactive fiction on a grand scale. Yet while it does many things very well, such as combat mechanics and lovely playable environments, its narrative, its plot and its characters have been lifted from the shelves of the Sci-fi Fiction Dollar Store.

A lot of this game's story feels like fan fiction.

destiny

destiny

After the Mars scene, Bill Nighy voice-overs a thick slab of exposition about the orb, that carries all the thrills of a school-house educational film. It's dull and amateurish. I don't think it would pass muster from a movie studio or even TV production house.

All this raises interesting questions about the function of story in video games. Does it exist merely to enable the forthcoming action, to provide a vaguely convincing stage-set for the shooting fun? Or, with a vast budget at its disposal and pretensions of artistic validity, ought it try to do something vital and new in the realm of sci-fi as a whole?

To be clear, there are lots of things in this game to admire. Its in-level artistic fiction is often amazing, carrying gorgeous details. But for me, the story is slapdash and lazy. Perhaps it's a function of Bungie's desire to make the game wholly about the player and your relationship with other players. But this is still a fictional world, and what cut-scenes there are (about 30 minutes worth), lack that most crucial element of all good fiction: originality.

It feels like a cobbling-together of favorite scenes from Star Wars, Star Trek, Independence Day, 2001: A Space Odyssey; a jumble-sale of Top 100 Sci-Fi scenes. This would be fine, if only it had something new and interesting to say.

Early in the game we see the aliens clambering across rusting automobiles on broken freeways, human skeletons still inside the cars. Has there ever been a more hackneyed portrayal of civilizational catastrophe?

Obviously, different forms of fiction serve different functions. Games are (generally) not as good at exploring big themes or intimate character development as novels. But comparisons are instructive, particularly if games are going to seek to cross old barriers.


Recently, I've been reading Brandon Sanderson's Words of Radiance. It manages to take many of the tired elements of fantasy and make them feel fresh and provocative. Like Destiny, this is a story about heroes, magical weapons, a coming darkness, agents of evil, a lost golden age. But Sanderson has taken every one of those narrative fibers and tugged and reshaped them into something unfamiliar, something that creates a sense of mystery and curiosity.

The TV adaptation of Game of Thrones is so compelling, I think, because George RR Martin's originals did such a great job of turning the ideas of heroism, villainy, nobility and evil on its head. Destiny does none of these things. It serves up a generic combat fantasy, and expects the player to graft their own individuality onto the story.

Unfortunately, although we were promised a world in which we are able to become legend, the reality is rather more prosaic. This game is largely a journey from A to B (albeit with choices along the way) but the story offers too little in the way of amusements and diversions.

The most obvious potential source of humor is the little Rubik's Cube robot character called Ghost, but it splits its time between delivering quest blah-blah, inter-galactic profundities about the end of the world and dismal attempts at cutesy Cringer-style humor. Even while the gadget whirs and spins, nothing it says actually clicks.

Destiny's writing is really not very good. In one scene, a feeble attempt is made to impose some mystery on the orb's destruction. "There are many tales told throughout the city to frighten children," explains a glum priest-type, wearing standard science fiction robes. "Lately those tales have stopped. Now, the children are frightened anyway." Dreary stuff.

This piss-weak dialogue is a shame, because there were a lot of talented people working on this production, and no shortage of funds. It smacks of long meetings and management types fiddling with every last comma.

Many great stories spring from the mind of a single creator, and are then expanded by others. Destiny's story looks like it was concocted by committee, according to a formula we have all seen too many times before. It's a wasted opportunity to show that big games can tell truly great stories.

The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, Polygon as an organization.

15 Sep 23:42

Alison Lundergan Grimes Goes Skeet-Shooting To Prove She's 'Not Barack ... - Huffington Post


The River City News

Alison Lundergan Grimes Goes Skeet-Shooting To Prove She's 'Not Barack ...
Huffington Post
U.S. Senate candidate and Kentucky Secretary of State Alison Lundergan Grimes (D) goes skeet-shooting in her campaign's latest television ad in an attempt to make it clear that she's "not Barack Obama." The ad, released Monday, has Grimes firing critiques ...
Alison Lundergan Grimes goes shooting in new adPolitico
Mitch McConnell's Dem Senate Challenger Teaches Him How to Hold a GunMediaite
Alison Lundergan Grimes Is Shooting Guns Again [VIDEO]Daily Caller
WPTZ The Champlain Valley
all 45 news articles »
15 Sep 23:41

Rejected sketch for a book cover. 2014

by skinnygirlscomic
firehose

scott no, stop



Rejected sketch for a book cover. 2014

15 Sep 23:36

Fans want to bring mask that inspired Seahawks logo to Seattle museum

by Bill Hanstock
firehose

temporarily

"We posted a blog with the photograph online where it was shared by thousands of curious Seahawks fans, Native artists, and others and within a week the photo made its way to the director of the Hudson Museum at the University of Maine. It turns out that they had known that the mask had been the source of the logo, but were unaware of the published photo. After they read our blog they put the mask on exhibit."

How long until someone tries to cram a "12th Fan" flag in its beak?

The 19th century mask believed to have inspired the original #Seahawks logo coming to Seattle's @burkemuseum. pic.twitter.com/oDc4rSRo1T

— Meg Coyle (@MegCoyleKING) September 15, 2014

A Kickstarter campaign has just been launched that will try to bring the Kwakwaka'wakw transformation mask -- supposedly the inspiration for the iconic Seahawks logo -- to Seattle's Burke Museum.

Very cool.

15 Sep 23:34

Mark Ingram expected to miss 'about a month,' fantasy owners will need to explore other options

by James Brady
firehose

LITERALLY EVERYBODY IS INJURED

Mark Ingram's hand injury is expected to keep him out for "about a month." We break down the fantasy implications.

New Orleans Saints running back Mark Ingram will miss "about a month" due to the hand injury he sustained in Sunday's loss to the Cleveland Brownsaccording to Adam Schefter of ESPN. Ingram was having a big game when he sustained the injury, and has been one of the bright spots of New Orleans' offense through two games.

Ingram carried the ball 13 times for 60 yards and two touchdowns in Week 1 against the Atlanta Falcons, and had 11 carries for 83 yards and a touchdown against the Browns. He also caught three passes for 21 yards against the Browns. Ingram looked to be turning a corner after early struggles throughout his career.

Fantasy Impact: This is a definite setback for Ingram, the Saints and fantasy owners. After two games he was looking like a fantasy steal, but if he's set to miss a month he stands to return right around the team's Week 7 game against the Detroit Lions, thanks to a bye week in Week 6. After Ingram, the Saints have Khiry Robinson and Pierre Thomas, though neither inspire a ton of confidence for fantasy owners. Thomas is probably the safest handcuff at this point.

15 Sep 23:33

MMQB: Should We Still Like Football?

by Vincent Verhei
firehose

sure, like football

NFL can take a long walk off a short pier and into the gaping maw of hell

Peter King discusses all the horrible news of the past week and wonders if there's a tipping point for the NFL.

15 Sep 23:33

Adrian Peterson apologizes, says he's 'not a child abuser'

by Jeff Gray
firehose

he's not a child abuser, he's just a guy who abuses his child

"I am someone that disciplined his child and did not intend to cause him any injury."

"No one can understand the hurt that I feel for my son and for the harm I caused him", except for my wife, my son's mother, to whom I texted that my tearing of his leg and scrotum would make her "mad at me about his leg. I got kinda good wit the tail end of the switch.”

The running back has released public comments for the first time since his arrest.

Minnesota Vikings running back Adrian Peterson, who was activated by the team on Monday, has released a statement in the wake of his arrest for charges of injury to a child last week, according to Adam Schefter of ESPN.

My attorney has asked me not to discuss the facts of my pending case. I hope you can respect that request and help me honor it. I very much want the public to hear from me but I understand that it is not appropriate to talk about the facts in detail at this time. Nevertheless, I want everyone to understand how sorry I feel about the hurt I have brought to my child.

I never wanted to be a distraction to the Vikings organization, the Minnesota community or to my teammates. I never imagined being in a position where the world is judging my parenting skills or calling me a child abuser because of the discipline I administered to my son.

I voluntarily appeared before the grand jury several weeks ago to answer any and all questions they had. Before my grand jury appearance, I was interviewed by two different police agencies without an attorney. In each of these interviews I have said the same thing, and that is that I never ever intended to harm my son. I will say the same thing once I have my day in court.

I have to live with the fact that when I disciplined my son the way I was disciplined as a child, I caused an injury that I never intended or thought would happen. I know that many people disagree with the way I disciplined my child. I also understand after meeting with a psychologist that there are other alternative ways of disciplining a child that may be more appropriate.

I have learned a lot and have had to reevaluate how I discipline my son going forward. But deep in my heart I have always believed I could have been one of those kids that was lost in the streets without the discipline instilled in me by my parents and other relatives. I have always believed that the way my parents disciplined me has a great deal to do with the success I have enjoyed as a man. I love my son and I will continue to become a better parent and learn from any mistakes I ever make.

I am not a perfect son. I am not a perfect husband. I am not a perfect parent, but I am, without a doubt, not a child abuser. I am someone that disciplined his child and did not intend to cause him any injury. No one can understand the hurt that I feel for my son and for the harm I caused him. My goal is always to teach my son right from wrong and that's what I tried to do that day.

I accept the fact that people feel very strongly about this issue and what they think about my conduct. Regardless of what others think, however, I love my son very much and I will continue to try to become a better father and person.

15 Sep 23:30

NFL injury report: Everyone is injured

by Matt Ufford

Robert Griffin III, Jamaal Charles, A.J. Green, and several other stars all left their teams' Week 2 games with injuries. Knock it off, NFL.

15 Sep 23:30

Mike Ditka is the only 'expert' who believed in the Bears

by Bill Hanstock
firehose

'Roger Goodell was scheduled to be in the house to celebrate the $1.2 billion facility. The commissioner has had a pretty bad week, dancing around some fishy handling of the Ray Rice situation that blew up last week, so he couldn't make it.'

'The first half of the game took close to two hours, thanks to 17 first-half penalties. 17! By the time it was all said and done, both teams combined for 26 penalties.'

15 Sep 23:28

Senate GOP blocks Paycheck Fairness Act for the second time - The Hill (blog)


Senate GOP blocks Paycheck Fairness Act for the second time
The Hill (blog)
Senate Republicans on Monday blocked the Paycheck Fairness Act, a bill that Democrats are pushing as part of their message to women in the midterm elections. Democrats needed 60 votes to advance the legislation but fell short in a 52-40 vote. Sen.

and more »
15 Sep 23:26

The X-Men Episode Guide 5×05: Longshot

by Chris Sims
firehose

'Wolverine’s “adamantium bones can’t protect him… from a broken heart!” which may actually be the first genuine laugh-out-loud moment since Gambit tried to get a discount on a hotel room by telling people he was an X-Man on an undercover mission.'

'Jubilee leads Longshot out to the woods and informs him that she’s tired of being a kid because she’s “fifteen– er, seventeen years old!” Like, for real. I did not make that up. There is a scene in this show where Jubilee follows up a conversation about crushing on Longshot by lying to him about her age.'

The X-Men Episode Guide 5x05: Longshot

The early ’90s were spoiled for choice when it came to comic book adaptations. Not only was Batman: The Animated Series on the air, but X-Men led Marvel’s push to get on the small screen, diving right into the often convoluted continuity of everyone’s favorite mutants, luring in a generation of fans, and paving the way for cartoons to follow. That’s why we’ve set out to review every single episode of the ’90s X-Men animated series.

This week, Mojo and Longshot are back for the sequel, and it’s actually kind of great?!

Previously, on X-Men:

In our last episode, Cyclops was moping around because Jean Grey died two years ago and decided to leave the X-Men and go hang out at an orphanage, because that is definitely something adult men should be doing with their time. In the process, he stumbled across a plot to turn wayward youths into successful career politicians, which is kind of the “plot” of literally every educational system in the country, but whatever. It turned out to all be the Purple Man’s doing, but we narrowly avoided the rise of a viable third party when he was caught on camera trying to bow Cyclops up with an assault helicopter, an attempt that was sadly unsuccessful.

In our discussion of other powers that Cyclops’s eye-beams might possess now that we know they can be used to put out fires, the Commenteers provided some pretty fantastic suggestions:

“Whenever Cyclops’s's’s's eyepunchlaser hits someone, it leaves a permanent mark in the shape of a grumpy face to forever brand the victim with his stern disapproval of everything and everyone. Kinda like the Phantom, only sterner and more disapproving ya know?” — Aexl Larsson

“If it is trained on a pile of receipts long enough, Cyclops’ optic blast can file somebody’s tax returns. But it has to be before February.” — Tom Chung

“If Cyclops were attached to Wolverine via an elastic and unbreakable tether, he could shoot his invulnerable friend in the face to launch him into the air and subsequently be dragged along with him. This could be continued ad infinitum as a method of travel. It’d be a like a combination of Speedball Special and a hammer thow gone awry to make it possible for Cylcops and Wolverine to get just about anywhere by blowing their own sail.” — Emma Blass

I’m not sure that last one would work out so well for anyone involved, but it definitely gets points for finding a renewable energy source for air travel.

X-Men 5x05: Longshot

This week’s episode is “Longshot,” written by Steven Melching and David McDermott and produced and directed by Larry Houston and Frank Squillace, and like last week’s installment, it’s another leftover from Season 3 that was banked for whatever reason. Unlike last week’s episode, though, this one works a lot better. “No Mutant Is An Island” was inextricably tied to Season 3 as a bridge between the Phoenix and Dark Phoenix Sagas (sagae?), but all this one needs is to be aired after the team runs into Mojo the first time back in Season 2.

Of course, that doesn’t mean it’s not a little weird right off the bat. This episode has a new and different opening sequence, pairing a bunch of clips from the show with a slightly different, more guitar-squealy version of the theme song, although before anyone starts worrying, I can assure you that the churchbells made it through intact. I actually did go back to check since I usually skip over the opening, and from what I can tell, this is the first time it’s shown up, and, maybe even weirder, it’ll be gone next week. It makes sense that it wouldn’t stick, too; it’s done well enough, but compared to the original opening, it feels cheap and the song definitely suffers. But that raises the question of why they’d bother using it on this one at all. I thought it might’ve been a rough cut that was used for the pilot or something, but even the footage that’s cut in is mostly from seasons 2 and 3, so as with so many things about this show, your guess is as good as mine.

As for the actual episode, it’s pretty great. I mentioned last time we saw Mojo that he’s quite possibly the only villain that works better on a TV show than he does in the comics (since that’s the medium he’s already built to parody), and that actually holds up here. Even the animation is a little better than what we’ve been seeing lately, with some genuine comedy from our opening sequence, where Wolverine is attempting to teach Jubilee how to drive.

Needless to say, the X-Men can’t do anything without cracking open a portal between dimensions and running into some dope with hollow bones, and driver’s ed is no exception:

X-Men 5x05: Longshot

Yes, it’s Longshot, the #1 rated TV star of the Mojoverse, having escaped from that dimension. He’s not alone, either, and while Wolverine’s puking his adamantium guts out in a 7-11, another portal opens and we find out that he’s being pursued by what appears to be Lord of the Rings filtered through Jack Kirby, also known as the only thing that could make Lord of the Rings interesting:

X-Men 5x05: Longshot

Spiral, Mojo’s six-armed producer, is also in hot pursuit, and while they’re set on dragging him back on set, Longshot escapes with the aid of a distraction from Jubilee, who boldly announces herself as “JUBILEE, PRINCESS OF PYROTECHNICS!” Spiral and Boromir send a bucnh of what appear to be dog-aardvark hybrids made of the liquid metal from Terminator 2 after them, which again leads to some really cool effects, but Wolverine’s presence is enough to make Team Mojoverse scatter back home.

Already we’re off to a nice, brisk start, but there’s also a nice touch added into this scene in particular. I’ve talked before about how Broadcast Standards and Practices forbade the show from ever using the words “kill” or “die,” so when the Riders of Rohan finally have Longshot cornered in the alley, Spiral gives them the order to “Cancel them!” Getting around BS&P and being thematically appropriate? Good job, X-Men.

Meanwhile, in the Mojoverse…

X-Men 5x05: Longshot

Mojo, who, as you may recall, is hella frigging gross, is very upset about Longshot’s escape, and when Spiral tells him to go get Longshot himself if he wants him so badly, he flips out and grabs her, sucking out her energy and leaving a withered husk, as one is wont to do in superhero comics where you can’t actually kill anyone. However, Mojo’s majordomo, Major Domo, seems to think that this would actually be a pretty good idea, since Mojo vs. the X-Men would be sure to get some pretty good ratings. Mojo agrees, to the point of saying “The X-Men are a proven ratings hit!”

It’s a very subtle bit of commentary, in case you missed it.

As Mojo restores Spiral, we cut to the -Mansion, where one Jubilation Lee is hella crushing on Longshot and his beautiful, feathery mullet.

X-Men 5x05: Longshot

It’s at this point that things start to get basically super creepy, as Jubilee leads Longshot out to the woods and informs him that she’s tired of being a kid because she’s “fifteen– er, seventeen years old!” Like, for real. I did not make that up. There is a scene in this show where Jubilee follows up a conversation about crushing on Longshot by lying to him about her age. What is happening.

Fortunately, the creepiness goes back to a normal level of spooky horror when Jubilee continues wandering around the woods alone, only to discover that it’s been altered by Mojo, who has disguised himself as a morbidly obese scarecrow in order to terrify children:

X-Men 5x05: Longshot

The rest of the X-Men head out to find her, and, in a deft bit of plot shorthand, Wolverine announces that he can smell Mojo and we get to skip over any scenes about wondering just what sinister mastermind could be behind this. I mean, that doesn’t stop them from doing some flashbacks about how Longshot got here, but still, it’s appreciated.

It’s at this point, though, that something weird happens.

X-Men 5x05: Longshot

When the X-Men find Jubilee’s coat, Longshot holds it up, makes his eye glow for a bit, and then announces that he can’t see a future for Jubilee. So… Longshot can… see the future? Of people who own jackets? That’s kind of a new one for me.

Admittedly, I know next to nothing about Longshot — I’ll cop to not exactly being a Rachel or Miles — but I always thought his powers were just the whole luck/hollow bones/three fingers thing, and not outerwear-based psychometry. A quick check on Twitter, however, revealed that this may be some strange and forgotten bit of business from the original Ann Nocenti/Art Adams story, so Twitter, I will take your word for it. Still kind of weird.

But that doesn’t mean this show’s not still great. The next scene finds the X-Men wandering through the woods, following actual signs that Mojo has left, and the background paintings are actually pretty beautiful and very moody. They look like something out of Scooby-Doo or Masters of the Universe, and while those shows weren’t all that hot on the actual animation most of the time, those backgrounds are great.

And then a flying pirate ship shows up.

X-Men 5x05: Longshot

Say what you will about Mojo, but he has a sense of style, and from his floating galleon, he announces the competitors on his latest show, mentioning that Rogue has “luscious lips that no man may kiss” and that Wolverine’s “adamantium bones can’t protect him… from a broken heart!” which may actually be the first genuine laugh-out-loud moment since Gambit tried to get a discount on a hotel room by telling people he was an X-Man on an undercover mission. Once the introductions are done, he announces that they have to rescue Jubilee by fighting their way through “Terrorworld,” which is his name for Earth. Which, if you’ve been reading the news, is kind of increasingly accurate.

At this point, the games begin and there’s another bit of wry commentary when Mojo unleashes a giant purple dinosaur, mugging to the camera and announcing that “Kids love it!” And then Rogue uproots a tree and uses it as a giant club to smash a robot dinosaur, officially making this the best episode of the entire series, bar none.

X-Men 5x05: Longshot

Eventually, they beat up enough of Mojo’s robots that they get to the level boss, Spiral, but finally, finally this show remebers that Rogue has super-powers and she bypasses all the opponents and just smashes her way into Mojo’s elaborate outer-space quonset hut in order to rescue Jubilee. Oh, and Longshot also destroys Mojo’s remote control with a thrown dagger, which actually looks really awesome. And then Jubilee sets Mojo on fire. It is all of my wishes coming true at once!

And with that, Mojo & Co. return to their home dimension, including Longshot, who leaves to lead a rebellion.

Discussion Question: Spiral says that she wants a rematch with Wolverine on Pay-Per-View. Channel your inner McMahon and tell me: What would that event be called? Enhanced Mutant Sense Of Smell In The Cell?

15 Sep 23:25

'The Devastator' #11 Goes Otaku With Felipe Smith, KC Green And Joe Lo Truglio

by Chris Sims
firehose

KAYCEE GRAIN

The Devastator #11

The change of seasons has brought a chill to the air and widely available apple cider once again, but those are merely a prelude to something better: The new issue of The Devastator, our favorite comedy magazine. In previous issues, Devastator‘s mix of comics, text pieces, graphs and the occasional board game has taken on topics like hipsters, spies, crossovers and even the apocalypse, but this time, the quarterly mag is taking on anime, manga, and even a few video games in the newest Otaku-themed edition. And yes: The graphs are back, in the form of a pretty amazing flow chart helping you to answer the question of “Is This Hentai?”

Contributions to The Devastator: Otaku include a cover by All New Ghost Rider writer and Peepo Choo creator Felipe Smith, a new installment of The Anime Club by Gunshow and Back creator  K.C. Green, and a series of ads for an anime sex pillow dating service featuring Brooklyn Nine Nine‘s Joe Lo Truglio. Seriously. Check out a preview below!

The Devastator #11: Otaku

The Devastator #11: Otaku

The Devastator #11: Otaku

The Devastator #11: Otaku

The Devastator #11: Otaku

Told you I was serious.

Incidentally, that Phoenix Wright parody, by Patrick Baker and Erin Nagy, actually goes on for a few more pages, and it’s definitely the highlight of the book. It’s clearly made by people who are very familiar with Phoenix Wright and its truly bizarre interpretation of how the law works, and it’s genuinely hilarious.

More information (including subscriptions) can be found at DevastatorPress.com. The Devastator #11: Otaku is currently available digitally for three bucks, with the print version going up later this week.

15 Sep 23:23

Saints Row creative director Jaros leaving Volition for Valve

by Sinan Kubba
firehose

hmm

After ten years at Volition, creative director Steve Jaros announced he's leaving the Saints Row studio to join the team at Valve Software. Jaros, who was at PAX Prime showcasing upcoming Saints Row 4 standalone expansion Gat out of Hell, enthused on...
15 Sep 23:22

Editorial: Some Subjective Thoughts On Objectivity

by John Walker
firehose

"We believe objectivity to be antithetical to good games coverage, and instead focus on honesty, both factual and personal."

By John Walker on September 15th, 2014 at 1:00 pm.

A topic of conversation that is frequently revisited in discussion of gaming and games criticism is that of “objectivity”. It’s an important topic, and it seems worth exploring the subject a little, and in doing so we’ll try to outline RPS’s position on the matter.

First: Rock, Paper, Shotgun, has no desire or aim for objectivity.

If this sounds surprising, then please do read on. We want to explain why our our driving goal is not objectivity, but honesty. Here’s why.

Here’s the main issue with the argument that objectivity should be a goal for games criticism: Objectivity isn’t possible. It is, at best, an ideal – an unreachable target, toward which some attempt to strive, believing the closer one is to it, the better a job one is doing. However, this is a position RPS rejects, as we believe such a goal is antithetical to useful, accurate reporting on games. It’s our belief that any who claim to be objective are actually failing to understand the implications of that claim, and ultimately undermining themselves when it’s shown that they are not, actually, objective at all.

Objectivity in writing is, generally speaking, an attempt to detach oneself from a topic, to report simply the verifiable facts of a matter, without any personal input or editorial angle whatsoever. When it comes to reporting news – a part of what RPS does on a daily basis – this may immediately sound like a positive thing. However, upon any scrutiny, this logic falls very quickly apart.

We asked part-time philosopher and linguist Nicholas Mailer to expand on the philosophical myth of objectivity – you can read that here.

First of all, to report “the facts of a matter”, the reporter is burdened with looking through all the available information, and making decisions on what is considered to be a “fact”. Then, this (unavoidably subjectively) decided, it falls upon the author to decide which “facts” to report, how to present them, what weighting to give to apparently opposing information, and indeed in which order to present contradictory opinion from others. This all instantly remove any hope of “objectivity”, because a human reporter is required to parse the information before passing it on. Subjectivity reveals itself from every angle, no matter how stringently fought against. Personal bias goes right down into the individual’s use of language, which is why articles which claim to be objective are often so robotic and tedious to read.

Alongside the immediate difficulty of an objective reporting of news, comes perhaps the even more important (my subjection) realisation that so-called “objective reporting” often leads to something far more inaccurate.

Take, for example, the anti-vaccination movement, originating in wholly false claims that the MMR vaccine was causing autism. There is absolutely no good science behind the anti-vaxxers’ claims. However, in attempts to bring objectivity to reports, many news outlets covered the topic by attempting to give equal weight to both “sides” of the discussion. They presented the opinions and claims made by those who believed there were dangers in equal measure to those who had science and evidence to demonstrate none of their claims were accurate. It gave the impression to the reader, through an ‘objective’ approach, that there were two equally weighted sides in the debate, when of course there was no such thing. The same goes for reporting on climate change, or even complaints made by a very few against a television programme watched by millions. An attempt to offer objective, balanced reporting leads to a deceptive, imbalanced understanding for the receiver of that news. Immediately, then, objectivity is compromised.

Let’s bring that home to gaming. A couple of years ago, Fox News reported that the game Bulletstorm was going to cause players to commit rapes. They based these claims on the words of a self-styled expert, and then backed this up with quotes from other experts in the field. Were RPS to have approached this story with an aim of being “objective”, we’d have reported what was being claimed, and perhaps presented the view of someone else who believed otherwise, giving equal weighting to each. Which would have been preposterous. On investigation of the claims, it quickly became apparent to us that not only was the assertion being made by this “expert” entirely unevidenced, but the other quoted experts had been wildly misquoted in an attempt to flesh out the story. We approached the topic entirely subjectively, with an aim to uncovering what was really going on here, exploring agendas, and challenging claims, and with a personal belief that Bulletstorm was unlikely to cause rapes. We wanted to find what we, subjectively, understood to be the nature of Bulletstorm’s influence on the people who played it. The ‘objective’ version of events would have seen our reporting the claims, giving them equal weight to a contradictory response.

All this, and we’ve not even mentioned the rather overwhelming fact that at RPS, we’re critics. A vast proportion of our job is to critically appraise gaming, and report our personal views.

RPS has a lot of running jokes, and titling our reviews “Wot I Think” may look like one of them. But we did it for a really good reason. Too many gaming sites at the time of our launching had become incredibly po-faced about their reviews. There was a spreading culture of reviews being “definitive”, and presenting not a person’s opinion of a game, but a “site’s expert analysis”. Recognising the entire concept as completely daft, and indeed believing such a thing utterly undesirable, we chose to ensure it was abundantly clear that our reviews of games were – of course – just the opinions of one person. One person who is, hopefully, well-equipped to create interesting, informed and entertaining words about that game, that offers useful information for someone considering buying it, while providing a clearly subjective view. That’s what reviews are! Film reviews, book reviews, car reviews, hot air balloon helium pump reviews… (Then the embarrassing arrogance of declaring “WHAT I THINK!” is played upon by the misspelling of “Wot”.)

(A corollary of this is that we welcome disagreement! Of course we do: it’s right there in the title. We make no claim to any review on RPS being the literal objective truth. In fact, we refute that such a thing is even possible. Please do assert that we are wrong, that’s the whole point.)

That’s reviews, but the same applies to previews. It’s true that traditionally, gaming magazines and websites have tended to keep previews less personal, more factual, for the simple reason that the game’s not finished yet, and making judgements on them can be simply unfair. However, at RPS we’ve believed it often to be more useful, and honest, to be clear when we’ve had genuine worries, or abject excitement, about what we’ve seen in a preview. Yes, we could more easily aim toward something considered more “objective” at this point, simply listing the facts as presented by the developer/publisher. But oh my goodness, what now? See – see where this notion of objectivity has so quickly taken us? Objectivity is now demanding that we parrot information given to us by the creator/publisher of the game, and not apply our own critical faculties – our own subjective expertise – to this. At this point, isn’t objectivity demanding that we simply become mouthpieces for the publishers? And isn’t that joint-first in the list of things that makes the suspicious so furious with the games press? Again, it would pull us away from the thing which is far more important: honesty.

Honesty: we’re open about our politics, our bias, our opinions. We aren’t trying to hide them. And whether or not you agree with them, that surely makes RPS more useful to you than if we were trying to sweep all that under the carpet? We certainly like to see people wear their heart on their sleeve.

Okay, that’s reviews and previews, and presumably we can skip over editorial as widely acceptable as subjective, but what about news? Surely, even accepting the earlier arguments that the simple presentation of news makes objectivity an impossibility, we should be striving for something as close to it as possible?

Well, we’re going to upset a good few by saying, no, we really don’t accept this is the case. Because once again, we value honesty far more highly than we do an attempt to scramble up the impossibly steep slope of objectivity.

There are an awful lot of gaming sites, and there are an awful lot of them reporting gaming news, as presented to them by PRs, publishers and developers. Because let’s be clear: the vast majority of what is presented as “news” in the world of gaming is, “This game has been announced,” or, “Here is a new trailer for this game.” Simply reporting this news may be desired by some, and there are an awful lot of places people can visit for such straight delivery of a publishers’ facts. Which is why we think RPS offers far, far more to our readers by doing something different: To report the announcement of a game, or the arrival of a new trailer, and then to give our subjective opinion of that news. Be it, “Oh boy, we’re so excited that this game exists, because the previous ones have been tippety-top!” or, “Wow, this game looks gross,” our opinion infects our coverage because it’s written by us, on our website. We know, absolutely, that our opinion can be rejected by those reading the news, and indeed we most frequently offer space below the post for people to voice their disagreement. “No, the previous games were terrible, and this one’s going to be worse!” “How can you say it looks gross, you sillies – it looks flipping amazing.”

Okay, the elephant in the room after all of this is obviously when it comes to something like our reporting on those topics that seem to cause the most trouble: sexism, misogyny, marginalisation of any perceived minority, and similar. Let’s discuss those from this perspective of objectivity vs subjectivity.

First of all, it’s absolutely crucial to bring in a wholly objective, verified fact. Morgan Ramsay, the man behind The Ramsay Interviews, has been keeping a text archive of major gaming sites over the last several years, containing every word they’ve published. He went through those words for each site over the year 2013, and found that 99.55% of the articles published across ten of the larger gaming sites (including RPS) made no mention of subjects regarding sexism or misogyny. So less than half a percent of gaming coverage even mentions these subjects, let alone is singularly about them. In fact, of the ten sites studied, RPS was the 7th least likely to mention the subjects, with less than one percent of our articles alluding to the topic. So, objectively, RPS dedicates the tiniest fraction of its content to a topic many are claiming obsesses us. We can, with this in mind, abandon the vast majority of the fears and claims being made about the topic taking over our coverage, or colouring our games journalism. If anything, it makes us wonder if we’re falling short on covering such a significant topic in modern gaming.

But what about the subjectivity that remains in those 0.93% of posts (fewer than one in every hundred articles we publish)? Our response can only be: well, yes. Yes, we are subjective about this matter. We believe it matters. We believe it’s important to so incredibly infrequently raise this topic, because it affects so many in our audience. It’s well worth noting that when we do cover such topics, the feedback we receive is overwhelmingly in favour of its appearing on our site, and that positive feedback is invariably spontaneous and individual, rather than organised and coordinated.

Outside that, well, our attitudes and opinions persist. And they do so differently from writer to writer. Again, that’s key to what we’re doing: RPS is personality driven. It was conceived that way – four strong personalities in the British gaming press got together, to create a site that would put personal writing at the forefront, in the way we most enjoyed reading from others. In the way classic 1980s and 1990s gaming magazines had – something we saw as missing from the contemporary press. Over the seven years, a lot of sites have followed, and personality-driven reporting is far more commonplace now than it was last decade. We can understand how those who do not enjoy this sort of writing might feel less represented by the gaming press at this point, and while we don’t empathise, we can sympathise. However, RPS will remain personality-driven, striving for honesty with subjectivity over objectivity, as has always been our goal.

Because that’s what we’re here for. That’s why we started the site, why we keep writing the site, and we’re pretty certain it’s a lot to do with why we’re such a popular site. (Despite the fondness for some to accuse us of “clickbait”, a good proportion of our traffic comes from regular, dedicated readers, rather than SEO-driven influxes of one-offs.) And that means we will fail to serve the desires of some, and we’re okay with that. We hope that people will see the merits of what we do, of our desire to be as honest as is possible, but we wholly accept that some simply do not want this. We hope those people will find a site that meets their needs.

To summarise: We believe objectivity to be antithetical to good games coverage, and instead focus on honesty, both factual and personal.

15 Sep 23:21

Skywind’s Slough Trailer Shows Bitter Coast, Not Slough

by Graham Smith
firehose

never soon enough

By Graham Smith on September 15th, 2014 at 3:00 pm.

Skywind‘s latest trailer is titled ‘Slough’, but it does not, as every British reader just hoped, mark the inclusion of Berkshire’s much maligned city in the game. Instead it’s the first look at the remake of Morrowind‘s Bitter Coast inside the Skyrim engine, and it’s as pretty as every other chunk we’ve seen of the ambitious mod project so far.

(Slough is also a word for soft, muddy ground, you see. The more you know.)

Attempts to re-make one game from a series in a later game from that series almost never work out, but Skywind’s team have been putting out videos like the one above regularly for the past year. They’ve also shown off little bits of questing (in a video since made private), and thirteen minutes of first-person exploration and combat. It of course remains to be seen whether they can port over every mechanic from Bethesda’s most beloved Elder Scrolls game, but it’s at least clear that the team know what they’re doing.

When can you play it? There’s an alpha release available now, but only to those pitching in on the development side of the project. The rest of us will have to wait until it’s ready for public consumption, and there’s no estimate on that for now.

__________________

« TheirCraft: Microsoft Buying Mojang, Notch Leaving |

Bethesda, morrowind, Skyrim, Skywind, TES Renewal Project, The Elder Scrolls III: Morrowind, The Elder Scrolls V: Skyrim.

15 Sep 23:20

Photo

firehose

sext



15 Sep 23:18

eggsquad: Literally my math teacher abandoned today’s lesson...







eggsquad:

Literally my math teacher abandoned today’s lesson because some kid brought his kitten to school i don’t even know

same

15 Sep 23:04

Here's the video that made Notch question his connection to Minecraft's fans

by Owen S. Good
firehose

Owen S. Good, master of filling his article quota by finding the link to a youtube video mentioned in other stories he also posted, making an entirely new article by copypasting chunks of the old one, and cracking open a beer

Markus "Notch" Persson, the creator of Minecraft, said today that he was selling that powerhouse property, and the studio he co-founded, because the game had made him into "a symbol," something he never wanted to be. He came to that realization after watching this video about the indie games developer Phil Fish.

The video, by Innuendo Studios, was released to YouTube on June 16. Four days earlier, Persson became enmeshed in a controversy over users hosting Minecraft on private servers and selling access and items in them. A change to the game's end-user license agreement now prohibited that. Persson said he had nothing to do with the change, but as the public face of Minecraft he faced a storm of anger, much of it coming over social media.

Then Persson watched "This is Phil Fish." He came to the realization that "I didn't have the connection to my fans I thought I had. I've become a symbol.

"I don't want to be a symbol, responsible for something huge that I don't understand, that I don't want to work on, that keeps coming back to me," he said. "I'm not an entrepreneur. I'm not a CEO. I'm a nerdy computer programmer who likes to have opinions on Twitter."

Taken one way, Persson was driven if not out of games development, then into seclusion, by the kind of social media outrage that Fish frequently faced (and ultimately led to him saying he was finished with games development back in August, this time for good.)

Taken another way, though, it seems like Persson had been uneasy for a long time with the public figure status that comes from developing the best-selling PC game of all time, and enormously popular versions on just about every gaming device available.

Microsoft today said the acquisition of Mojang began when the two sides partnered to bring Minecraft to the Xbox 360 in 2012. For Persson, it looks like it ended with a 20-minute video on the price of fame.

15 Sep 23:02

Gauntlet invents new and exciting ways to make your friends hate you so much

by Griffin McElroy
firehose

"the upcoming remake from the team of renowned griefing-genre innovators at Arrowhead Game Studios"

Admit it: The reason you play Gauntlet isn't to take down dungeons with an adventuring party. It's because you want to deprive your friends of meat, right when they need it the most.

The good news is that Gauntlet, the upcoming remake from the team of renowned griefing-genre innovators at Arrowhead Game Studios, allows you to do just that in all kinds of new and exciting ways. There's more strategy to playing the game's four classes, which makes big fights more thoughtful, and makes food-obliterating more enjoyable. You haven't lived until you've thrown your mighty shield, Cap'n A-style, into a leg of mutton that your Elf teammate had just finished seasoning. It is a delight, every time — as evidenced by the Overview video above.

15 Sep 22:41

Microsoft's checkered history of gaming acquisitions, from Bungie to Minecraft

by Justin McElroy
firehose

YASSS START WITH FASA YASSSSSSS

Microsoft has just generated the biggest gaming story of the year, buying indie behemoth Minecraft (and its accompanying developer Mojang) for $2.5 billion. To try to put this purchase in perspective, we took a look at Microsoft's 15-year history of picking up developers to see how previous acquisitions have fared.

fasamech

fasamech

FASA Studio (1999)

In 1999, Microsoft bought FASA Interactive, a company spun off from board game creator FASA Corporation. The developer was converted to a component of Microsoft Game Studios called FASA Studio.

FASA focused predominantly on mech games, creating MechCommander 1 and 2, MechWarrior 4, Mechassault 1 and 2. It briefly broke free from walking armor in 2003 to create action arcade flight game Crimson Skies.

In 2007, Microsoft released what was to be FASA's swan song: A first-person shooter reimagining of RPG Shadowrun. FASA was shuttered three-and-a-half months after its release.

Microsoft later licensed the rights to the FASA-owned IPs to original company founder Jordan Weisman, who has since re-rebooted Shadowrun with his new studio Harebrained Schemes.

Halo Reach

Halo Reach

Bungie (2000)

Bungie is perhaps best known for first-person shooter franchise Marathon, the Myth strategy series and a one-off actioner called Oni.

Oh, yes, and Halo.

Microsoft swooped on Bungie just before the release of Halo: Combat Evolved, keeping that landmark game — and its follow ups — as Xbox and Windows PC exclusives. After the sales of more than 46 million Halo games (good for $3 billion in revenue) Bungie regained its independence in 2007, though the rights to its seminal series were retained by Microsoft.

After creating two more Halo adventures, Bungie moved on and entered into an exclusive relationship with Activision, the fruits of which have just begun to bloom with the recent release of Destiny.

ensemblestudios

ensemblestudios

Ensemble Studios (2001)

Founded in 1995, strategy was the bread and butter of Ensemble, the studio behind Age of Empires, Age of Mythology and Star Wars: Galactic Battlegrounds. Ensemble was purchased by Microsoft in 2001 and brought into the Microsoft Game Studios fold.

Microsoft announced the closure of Ensemble in September of 2008, but its final project, real-time strategy spinoff Halo Wars, wasn't released until March of the following year.

Speaking at GDC in 2010, 12-year Ensemble employee Paul Bettner wouldn't blame Microsoft for the wheels falling off. "The reality is that every single game we shipped took twice as long as we said it was going to take, and cost twice as much to make," Eurogamer quoted Bettner as saying. "Microsoft is a public company, they answer to their shareholders, and we were simply too expensive."

tennis_large

tennis_large

Rare Ltd. (2002)

Rare has a long, staggeringly diverse history in gaming that includes Battletoads and Wizards & Warriors on the NES, Killer Instinct and the Donkey Kong Country series on the SNES, GoldenEye 007, Perfect Dark and, yes, even Conker's Bad Fur Day on the Nintendo 64.

The studio was bought outright by Microsoft in 2002 for $375 million. (Adjusting for inflation, that figure is one fifth the amount Microsoft just paid for Mojang.) After the acquisition, Rare released two Xbox games (Grabbed by the Ghoulies and a remake of Conker subtitled Live and Reloaded), two Xbox 360 launch games (Kameo: Elements of Power and Perfect Dark Zero) and the Viva Piñata series. Despite being wholly owned by Microsoft, Rare continued to publish games on Nintendo's handhelds, as Microsoft isn't a player in that space.

Despite being critically well-received, Rare's Microsoft games weren't the runaway sales successes of its Nintendo years. The company was restructured in 2009 as a Kinect-focused studio, two years after the departure of founders Tim and Chris Stamper.

Rare had another hit with 2010's three-million-selling Kinect Sports, but a poor showing from follow up Kinect Sports Rivals (and a reduced emphasis on Kinect from Microsoft) led to layoffs at the company, as reported by Eurogamer.

Its next project (which would presumably be its first non-Kinect Sports title since 2008) has not yet been announced.

Fable Legends screenshot 1920

Fable Legends screenshot 1920

Lionhead Studios (2006)

Lionhead Studios was founded in 1996 by Peter Molyneux, breaking away from Molyneux's previous studio, Bullfrog, after it was purchased by Electronic Arts.

The studio is responsible for cinematic business sim The Movies, god sim series Black & White and, most notably, the Fable franchise. In fact, since it was purchased by Microsoft in 2006, Lionhead has exclusively made games in that action RPG series.

The only non-Fable work Lionhead has made public since its acquisition is  that helped to sell Kinect, even though it never came to market.

Molyeux left Lionhead in early 2012, saying he wanted to attempt the sort of experiments that were difficult inside a large company (read: "make something that isn't Fable").

Eurogamer reported earlier this year that Lionhead may soon get the opportunity to do just that, as it is currently working on an unannounced project outside the Fable brand.

bigpark

bigpark

BigPark (2009)

Founded in 2007, BigPark was acquired two years later before the release of its first game, which was intended be a free casual racing game called "Joy Ride."

"We are delighted by the opportunity to welcome the BigPark team into Microsoft Game Studios," said general manager Phil Spencer at the time. "The team is composed of some of the most experienced and creative minds working in the industry today. The combination of the BigPark and Microsoft Game Studios talent pools will be an accelerant for growth and innovation. We believe BigPark has tremendous potential to create new properties and innovative gaming experiences for our platforms."

After the announcement of the Kinect, the debut BigPark game was rebranded as Kinect Joy Ride, and was released in 2010 as a launch title for Microsoft's motion sensor. BigPark followed that up with work on Kinect Sports: Season Two and Joy Ride Turbo, a 2012 sequel that stripped its predecessor's motion control.

Since the release of Joy Ride Turbo, BigPark appears to have been refocused on Xbox One apps like NFL on Xbox and a Bonnaroo companion.

minecraft mining diamonds

minecraft mining diamonds

Mojang (2014)

What the future holds for the Minecraft developer under the Microsoft banner remains to be seen. The company is losing its founders, but those are waters Microsoft has navigated before. The real question would appear to be how Microsoft can capitalize off a game that appears to have already hit its stride in terms of penetration. Is it time for Minecraft 2? Minecraft Gold subcriptions? A more aggressive release schedule and pricing model for DLC?

Whatever Microsoft decides, it's now in sole control of the most powerful gaming franchise of the 2010s, and the how it decides to steer that ship will leave a wake that impacts the entire industry.