People are bitching about Tennant’s age.

  • Reading time:4 mins read

So. Age range. Most Doctors began in their early-to-mid forties: Troughton, both Bakers, McCoy, Eccleston.

Two began in their early-to-mid fifties: Hartnell and Pertwee. (Hartnell sure seems a lot older, doesn’t he.)

Davison and McGann were in their thirties; early and late, respectively. Tennant turns thirty-four in two days.

In order:

55->44->51->41->31->41->44->37->41->34

There’s a certain regularity here, although the trend has been toward younger Doctors. Davison was the watershed; where before forty-one was a “young” Doctor, now it was comparably old. And that’s the pattern we’ve had since.

It’s a little odd how often the actors are exactly forty-one, or something-one. It’s either that or something-four, the only exceptions being Hartnell and McGann.

So it’s true that Tennant is the second-youngest Doctor; the transition is a lot like the one from Tom Baker to Davison or McCoy to McGann, except that both Baker and McCoy had aged by the trade-off and were then closer to the range of Hartnell or Pertwee. So the trade-off was to an appreciably younger man, much as it has usually been. There’s a certain significance to that concept: age trading itself in for youth. Now, we’re going from a Doctor who is still pretty young to a Doctor who is even younger. That’s a first. And that’s probably where the noise is coming from.

If Tennant sticks around for seven years — as long as Tom Baker, and as long as anyone’s held onto the role — he’ll only be as old as Eccleston is now. This means we’re not going to see a “mature”, paternal Doctor any time soon. At least, not unless McCoy comes back for a visit. Although Davison’s Doctor was younger, he had a short life before regenerating into older men. Although McGann was around the same age, he only ever appeared the once. In contrast, the idea here is that Tennant is supposed to persist for a whilie. He’s the Doctor we’ve really been waiting for; Eccleston was just setup.*

I guess this brings up the question of why he diidn’t just bring back McGann for the first season, if that was his plan all along. The only answer I have there is that McGann’s been done. He wanted a new start with the audience; a Doctor without a history to him, that we could get to know from the start. Rose is the audience; if we already know the Doctor, we’re too far ahead of her. He wanted the audience to feel ownership over this Doctor — like he was new out of the wrapping instead of a hand-me-down. Then when Davies kills him off, it will have more weight.

I guess it also brings up the question of why Davies didn’t choose an older Ninth Doctor, to provide contrast. I assume it’s because he wanted this Doctor to be new, and it makes little sense to regenerate into a geezer. The only time the Doctor has regenerated into a substantially older man was in the case of Pertwee, and that was imposed on the character by the Time Lords. So it seems like there aren’t too many options here; to get the effect Davies seems after, you need a youngish man for the Ninth Doctor, and you need an even younger man for the Tenth.

How, then, does this clash with public expectations? It’s because we’re used to the idea of a paternal Doctor — even if the only one we’ve had since Pertwee is McCoy. We have this image in our minds of an elderly chap. After all, he’s been alive for so long! That’s a little odd when you think that we also most associate Tom Baker with the role — a weird-o beatnick cross between Harpo Marx and Dracula. Maybe it makes some sense if you consider how short-lived the following four Doctors were, and how many problems the show had through the ’80s. We tend to forget about everyone after Tom Baker, leaving us with some kind of a cross between Baker and Pertwee and some idle memory of Hartnell and Troughton. And where does Tennant fit into that!

Well, he doesn’t. What he does fit into is the established mythology and overall pattern of the series. The trend has always been toward a younger Doctor; now we’ve got another. And furthermore, the mythology is still growing. The pattern is no longer static. The show is alive again, and Davies has his own ideas. So really, everything is about as well as it might be.

She says I am the one

  • Reading time:1 mins read

Just now, for the first time ever, I heard the hard “K” in “kid”. And by extension, I was able to pretend I heard a “D”.

All my life, I’ve heard the line as “but the chair is not my son”.

You’re the man, Zarak!

  • Reading time:1 mins read

The Doors’ three middle albums each exemplify one aspect of the band, to the detriment of the other two; it’s not until LA Woman that they explore everything and arrive where they started, more mature for the meandering.

  • Waiting For the Sun is their “pop” album. Listenable, polished radio stuff. Vapid.
  • Soft Parade is their “progressive” album, where they try to make something more than mere pop music. Pretentious.
  • Morrison Hotel is their “blues” album, where they dig for “roots” that aren’t really theirs. Embarrassing.

When the Doors are at their best, they are bluesy, poppy, and progressive without thinking about any of it. Their sound comes from who they are: a classical pianist, a jazz drummer, a flamenco guitarst, and a poet.

Of the three middle albums, I find Waiting for the Sun most tolerable. Although it’s shallow, it’s shallow in an organic way; they just were lazy. They fell into a pattern. The next two albums, they consciously tried to react against that and be more “real”. Which meant they were kind of fake.

The final album, they didn’t give a shit anymore. They just went about making something good. So that’s what they got.

Regarding “The End of the World”:

  • Reading time:4 mins read

Holy shit. The new series is going somewhere.

EDIT:

Okay. About the Eccleston thing. Now that the shock is past, and now that it’s clear the season was scripted with this probability in mind, and now that we’ve seen episode two and what it suggests about how the new series will treat its characters, and now that we’ve gone back and read Davies’s comments about his ideas for the show — now where do we sit?

As uncomfortable as it might seem at face value, this could come off as an organic development. Consider the following:

  • that the reason Davies “never even considered” bringing back McGann for a regeneration was that he didn’t want to confuse a new audience; he wanted a fresh start
  • that the new series is about wonder and horror, and about the relationship between the Doctor and his companion
  • that unlike the original Doctor Who, the new series is organized around long-term character arcs

So the question to ask is, what do we get if we kill off the Ninth Doctor and keep Rose on, after the first season? What do we establish by doing this? The answer: a hell of a lot.

It establishes the concept of regeneration right off — or, rather, once the Doctor and Rose have had time to bond, and she’s gotten to think she knows him and become comfortable with who she thinks he is. This allows the show to go into his backstory, and explain that he’s had eight other lives before the one she (and by extension the new audience) knew. And maybe even to visit or flash back to a couple of them, eventually. When the notion has settled in well enough.

This whole concept ties into the innate wonder and horror of the new series. The horror that the Doctor is dead; the wonder that he’s not, and that there’s this whole extra dimension to him that he never mentioned; the horror of realizing even more than before just how alien he is and wondering what else that might imply; the horror of the very nature of the Doctor’s relationship with Rose, of everything she knows about him, coming into question as a result of it; the wonder that even with a new face and personality this can still be the same person; the wonder at all of the centuries and lives of experience and knowledge and pain that Rose had never even had a hint of before.

All of this feeds right into the concept of a character arc. It’s the juiciest kind of meat. This is a cornucopia of material for the Doctor, for Rose, and for their relationship. This is the kind of stuff that the series can work off of for years; that, once it’s established, can carry the series to its eventual end. And until the Doctor regenerates, it ain’t going to get established. All we’ve got is a kind of superficial setup.

Recall that the old series didn’t really get started until Hartnell regenerated into Troughton. Then, suddenly, we had something more to work with. So Hartnell stayed for three seasons, while Eccleston is leaving after one. Eccleston’s episodes are also paced more quickly. We have a lot to establish and we know the rules by now. As Davies said, today all you need to show is the cause and the effect; you don’t need to go through all the motions in between, because we get it already.

Of course it would sort of spoil things if the Doctor were to regenerate after every season. He only has a few lives left, and if the series is to work, he should only lose them when there’s a dramatic purpose to it. So whoever the Tenth Doctor is, he should expect to stick around for a while: Eccleston is a sacrifice to him, after all. He will be what we’ve really been waiting for.

EDIT AGAIN:

And hell. Seems this was all planned after all, and the BBC are just idiots for ruining the surprise.

Times Past

  • Reading time:4 mins read

I’m watching a documentary on the new Doctor Who; in it is a retrospective of all the previous Doctors, and in that is enough footage to remind me why I like McGann’s. It’s a shame he never got more time; with some refinement he could have been close to the best. Almost ideal.

McGann’s was the emotional Doctor. It seems, after seven lives and a terrifying regeneration, something finally hit him. He becomes wistful, pensive, idealistic. At one point, he actually kisses his companion. It feels like he’s started to grasp the value of this life, of his whole situation. Of what it all means. He is sad, and fragile — and appreciative of everything. I guess he realizes that he might not have as much time as he’s always thought. Which must be weird, for a time lord.

All of the pieces are there. A roundness, a sense of dimension and balance. He gives the impression he’s looked through his past and decided who he is, and what matters to him. McGann brings a certain poignance to the whole arc of the series; he seems to imply that it’s going somewhere, that it has some internal structure, that there is some real evolution going on in the character. That we’ve been building to this moment. He makes it easier to go back and extrapolate, to get a piece of the Doctor’s mind. Just enough to understand him as a person, without robbing him of his mystery.

I say all this as I learn that Eccleston has ditched the role after a single season. After he leapfrogged all of the other actors in line to ask for the role, after he decided past Doctors were too foppish and that he wanted to modernize the character, and after exactly one episode has aired (to ten million viewers), away he goes. That’s… I mean. Hell. If you’re not up for commitment, then why bother with Doctor Who? Of all series? I taste lemons. There’s something weird when a companion hangs around longer than the Doctor himself.

This stunt puts Eccleston second to McGann in brevity, though McGann is to no blame for his part. Colin Baker was yanked out by the teeth, too. And McCoy just had the series cancelled on him. When Davison signed up, he only wanted to do three years; that was supposed to be a short run. And when his time was almost up, he regretted his earliier decision. So — yeah. Eccleston’s in a class of his own. Recall that the character is supposed to be running out of regenerations, and make of him what you will.

I still want to see McGann again. Surely there is some backstory to patch up here. We never did find out what happened to him — and there is plenty precedent for crossover.

EDIT: Or did we? I wasn’t aware that McGann had taped four full “seasons” of audio episodes. I knew he’d done some more work with the character; that these are actually considered seasons 27-30, however, is new to me. And this final episode was only released in December.

Well. Hell, then. I need to get ahold of these. I wonder how.

EDIT AGAIN: Jesus. It turns out that, after all of the novels and audio plays and junk, McGann is the second most well-recorded Doctor of all (following at 116 to McCoy’s 120). And a lot of stuff has happened during his era. And after the second episode of the new series, it seems that Davies considers it all canon. So maybe he hasn’t done that poorly after all. I still would like to see him in action again.

Shoulda used RenderWare

  • Reading time:1 mins read

You know how, at the start of Space Harrier, the announcer says “Welcome to the Fantasy Zone. Get ready!”?

In the Sega Ages remake, it’s a little different. He says, “GET BUSY, HARRIER! DRAGON LAND IS SCREAMING!!

That tells you most of what you need to know.

Sweat Meats

  • Reading time:2 mins read

Okay, so white chocolate is chocolate made without the cocoa solids. Because of the lack of cocoa powder, it’s not considered chocolate as-such by the FDA (and other such organizations). Because of this in turn, it can be made with other materials in place of (the relatively healthful) cocoa butter — like, say, hydrogenated vegetable oil — and still be labeled “white chocolate”.

This deal with cocoa butter is also a major differentiation between chocolate and fudge. Fudge is actually kind of a variant of caramel (the candy, not the burned sugar). To make caramel, you boil milk and sugar together — otherwise also important ingredients in milk chocolate — to what is known in confectionary circles as the “soft ball” stage. To make fudge, you then beat the mixture while it cools. So fudge is basically beaten caramel that tends to (though need not) be flavored with cocoa powder. In contrast, to call something “chocolate”, it needs to be based entirely on chocolate products — mainly, cocoa powder and cocoa butter.* Considering that fudge need not contain any chocolate product, this does not describe fudge. Actually they’re pretty far apart, as far as confections go.

While we’re here, the difference between toffee and taffy basically comes down to one minor detail of production; they tend to be made from the same recipe (basically a caramel one, with butter), and by the same process. The only thing is, taffy is pulled as it cools, aerating it and making it chewy. Salt water taffy was invented (or at least popularized) in Atlantic City. I guess that explains why it’s so much more common on the east coast than over here. And why it’s all over the place when you go to the Jersey boardwalks. It doesn’t really contain salt water. Or even any more salt than other candy contains.

*: Chocolate liquor is the natural result of grinding cocoa beans to a smooth state; it consists of what would otherwise be extracted separately as powder and butter.

SNK: The Future is… Coming

  • Reading time:7 mins read

by [name redacted]

I don’t know if this report even went live on the site. If so, it’s buried in the infrastructure. If not, well, that sort of thing happens at Insert Credit HQ. Either way, it’s here now.

Although my Wednesday plans called me to ask Akira Yamaoka stupid questions, on Wendesday Brandon called me to accompany him in asking SNK slightly less stupid questions.

We walked a dozen blocks, to a hotel decorated like a Roman bath. The door to the room was ajar; inside milled PR representative Michael Meyers, ensuring all was in place. On the enormous television to the right, the Xbox port of KOF: Maximum Impact; on the reasonable television head, the PS2 port of Metal Slug 4. On the coffee table to the left, a stack of DVD cases, the spine lettering on their temporary sleeves unified in all save size. Amongst these sleeves were The King of Fighters ’94 Re-Bout and Samurai Shodown V, and the new and unfortunate cover for Maximum Impact; to my recollection, all the sleeves were emblazoned with the Xbox logo.

While Brandon was drawn to Metal Slug, I asked of Michael Meyers questions that Brandon and I would again ask each subsequent person who entered the room.

What Makes Music for Games “Music for Games”?

  • Reading time:1 mins read

by [name redacted]

One of the final panels this year discussed the nature of game music; video games, being their own mode of expression with their own demands, require a different scoring approach from other forms. Over the years, this has resulted in game music becoming something of its own super genre; as different as one game score might be from the next, nearly all are linked by some quality that makes their sound and purpose unique to videogames. In this panel, a sequence of five game music professionals explores the nature of this distinction, each in their own way.

( Continue reading at GamaSutra )

Global Mobile Games: New Business Models, Hit Games, and Mobile People from Around the Planet

  • Reading time:2 mins read

by [name redacted]

Current rumbling in the design community suggests that mobile games have yet to find their real application, and most games for the platform are just ports of established console or handheld ideas; they aren’t really based on the intrinsic character of the mobile platform. Taking in mind the control problems, the group began to discuss new ways the platform provided to interface with a game. Perhaps the camera could be used to sense rotation, so the user could swing the phone like a golf club. Some phones have rotation, stroke, and squeeze sensors that could be put to use.

Someone then observed that a game that requires a camera would have trouble getting “live;” not all phones have cameras. The only way to get carriers to support a game is if you design it for the lowest common denominator, technologically. Bringing carriers into the conversation set off a chorus of groans. Someone noted that carriers do not, really, understand content, and wondered whether not going straight to a carrier – rather, developing for a publisher that was in a position to negotiate with carriers – would give developers more freedom to push the envelope; to develop less “safe” games.

( Continue reading at GamaSutra )

Audio Production for Halo 2

  • Reading time:1 mins read

by [name redacted]

“The main Bungie approach to games,” O’Donnell said, “is this is entertainment. When someone sits down, you want to keep him entertained the whole time.” This starts from the moment the console is powered up; over the corporate logos, a custom piece by Steve Vai leads into the game’s opening theme. “The music at the beginning of the game,” O’Donnell continued, “is the overture.” It establishes a theme, to be used throughout the game. From the title screen, O’Donnell pressed “start;” as the game loaded, a motivated piece of music began to play against the Halo 2 logo.

O’Donnell explained he never wants to see the word “Loading”: It’s not entertaining. You always want the player to feel like something exciting is about to happen. “I never want an excuse for someone to get up and leave the game, if possible.” The key to that is flow. O’Donnell prefers to think of audio as a cohesive whole; he would rather not have any one piece stand out.

( Continue reading at GamaSutra )

Real-time 3D Movies in Resident Evil 4

  • Reading time:1 mins read

by [name redacted]

One of the final lectures on Thursday was from Yoshiaki Hirabayashi, lead designer on Capcom’s Resident Evil 4. One of many distinctions in this game over previous entries in the series is an absence of prerendered cutscenes; any cutscenes present are rendered in-engine, and sometimes include QTE segments (as popularized in Shenmue ). At other times, the player must tap the Action button to make Leon run faster. Overall, the experience is a more dynamic one than in the past.

The reason for this, Hirabayashi said, speaking quickly through translation, is that he feels a videogame is a package as a whole; although pre-rendered movies are pretty, they passive, and pull the player out of the game. At least real-time movies are not as distracting, as the game remains consistent. Furthermore, when you change things during development, it often means you have to go back and re-render your cinematics to match again; this takes time and resources that could be better used elsewhere. Real-time cinematics remove that problem.

( Continue reading at GamaSutra )

Normal and Displacement Map, Sitting in a Tree

  • Reading time:1 mins read

by [name redacted]

Factor 5 designer Matthias Worch began Wednesday morning with a brief lecture on asset creation for next-generation games; his focus was on the distinctions between full-on digital and maquette models, as newer technology has come to make older techniques seem attractive. Before Worch began, however, he already had two problems. One was that, as his next-gen projects have yet to even be announced, he was unable to use his own material in the demonstration. The other problem was that his lecture began twenty-five minutes later than scheduled; to well use what time he had, Worch skipped straight to the demonstration.

( Continue reading at GamaSutra )

Labor Relations 101

  • Reading time:1 mins read

by [name redacted]

After the McConnell lecture on quality of life, Gina Neff, from UC San Diego, took the podium to address the audience on the growing question of unionization in the videogame industry. Rather than push any one answer, Neff’s goal was to clear some misconceptions about unions, and to offer a palette of options, to get the audience thinking about what the industry really needs, perhaps to craft its own solution.

( Continue reading at GamaSutra )

The Business Case for Improved Production Practices

  • Reading time:1 mins read

by [name redacted]

After lunch Tuesday, the Summit presented an hour-long lecture from Steve McConnell, Chief Engineer of Construx Software. McConnell’s goal was to illustrate the value of improved planning in software development, for development teams and management alike. Counter to intuition, McConnell explained, greater structure means greater morale, as the team members know what to expect. Greater morale means greater productivity. “Will a systematic approach hurt creativity?” McConnell posited. Not necessarily, he explained. It can, if you’re dumb and lazy about how you apply it. Otherwise, structure can be of benefit. It is orthogonal to creativity; there is no real connection between the two.

( Continue reading at GamaSutra )