Snow Crash

Oh. Yes. I am going to start off this post by talking about the absolutely brilliant book by Neal Stephenson (see Cryptonomicon), Snow Crash. The book that popularized the use of the word “avatar” as it applies to the Web and gaming. The book that inspired Google Earth. And despite being 20 years old, it is more relevant than ever and uses the cyberpunk theme to hilarious and thought-provoking extents. It paints the picture of an Internet/MMO mashup, sort of like Second Life, based in a franchised world. Governments have split up and been replaced in function by companies; competing highway companies set up snipers where their road systems cross, military companies bid for retired aircraft carriers, and inflation has caused trillion dollar bills to become nigh worthless.

In the book, a katana-wielding freelance hacker named Hiro Protagonist follows a trail of mysterious clues and eventually discovers a plot to infect people with an ancient Sumerian linguistic virus. The entire book is bizarre, but it has some great concepts and is absolutely entertaining. Stephenson never fails to tell a great story; his only problem is wrapping them up. Anyways, I highly suggest you read it.

Well, I’ve been thinking about games again. I have two great ideas in the works, and one of them is “hacking” game based roughly in the Snow Crash universe. It doesn’t really use any of the unique concepts from it besides the general post-fall world setting and things like the Central Intelligence Corporation. It probably won’t even use the Metaverse, although it depends how much I choose to expand the game from the core concept. The player does play, however, as a freelance hacker who may or may not wield swords (not that it matters, since you probably won’t be doing any running around).

I’m writing up a Project Design Document which will cover all the important points of the game:
Download the whole document

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A Problem with Films

The eponymous film industry has been approaching a point of conflict with technology. Especially in recent years, more films have started used framerates that are significantly greater than the traditional 24 fps. This is caused by the increasingly movement from film-based camera to tape (or digital) cameras. However beneficial this switch might be, the public hasn’t received it very well so far. For example, Peter Jackson decided to film The Hobbit at 48 fps, but so far people have found the screened clips unpleasant.



The problem is that faster frame rates tend to take away the “cinematic” aesthetic that separates feature films from home videos and cheap television. Unfortunately, there is no way to fix this; our minds and eyes associate 24 fps with movies. This is a stigma that won’t go away anytime soon as long as movie continue to use obtusely slow frame rates. There will, by necessity, be a period in which all movies look “cheap”. Once the transition is made, however,

The same thing occurred with 3D films. At first people were averse to the concept, because it violated their concept of what the “movie experience” was like. However, more and more films took to the technique, and eventually the majority of moviegoers became comfortable with the feeling. I experienced this recently, when I saw Prometheus and decided to watch it in 2D. Mere minutes in to the film, I already have a faint feeling in the back of my head that something wasn’t right; my eyes have become trained to expect 3D sensations when I sit down in a movie theater.

Historically, this trend of initial rejection has been true for all new advances in film. Color film, synced sound, computer generated graphics, etc. Take, for instance, this excerpt of an article I snagged from IGN. It voices the feelings that movie audiences will be experiencing at some point in the next 10 years. However, I think this is a positive switch.

“I didn’t go into CinemaCon expecting to write anything less than great things about The Hobbit, but the very aesthetic chosen by Peter Jackson has made me very nervous about this film. It just looked … cheap, like a videotaped or live TV version of Lord of the Rings and not the epic return to Tolkien that we have all so long been waiting for.”

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