Girl power

Late last year, like many others, I watched the trailer for David Fincher's 'The Social Network'. It had quite an effect on me. Visually it was a little underwhelming. It consisted of a mash up of shots of Facebook pages, seemingly random profile photo's of people fading in and out, relationship status' being updated, and words like 'where are you?' and 'this day sucks!' filling the screen with the ominous text cursor blinking next to them. All this was obviously there to show how personalized and integrated the social networking phenomenon of 'Facebook' has become in how people interact. However, the thing that made this trailer so effective to me was the haunting cover of Radiohead's 'Creep', which sounded to me like it had been performed by a women's choir with a simple, understated piano accompaniment. Thom Yorke's beautifully angst filled lyricism, combined with this angelic performance, really fit and catapulted the bittersweet mood that the trailer was obviously trying to invoke.

I liked the cover so much that I did a little looking about on google and found that it had been arranged and performed by two brothers, the Kolcancy Brothers, and a Belgian girls choir, known collectively as 'Scala'. To quote Scala's website; "Scala is a youth choir from Aarschot, Belgium, roughly sixty teenage girls, directed by two talented brothers, receiving international recognition." And much deserved recognition, in my opinion. After listening to a few more Scala tracks I was very impressed with what I heard. Scala has made five studio albums, along with a collection of live recordings. They do alot of covers of well known acts. Some that jumped out at me as being particularly good were 'Underneath it All' by Nine Inch Nails, Nirvana's 'Smells Like Teen Spirit', Rammstein's 'Engel' and 'I Touch Myself' by The Divynils. The group tackles all kinds of genres, and manage to make everything they do sound delicate, precise and, above all, hauntingly beautiful. The instrumentals in Scala's music are always understated, typically nothing more than some sombre, simple piano. The vocalisation by the sixty or so teenage choir singers are amazing; beautifully harmonized and directed.

If you look at the impressive list of well known songs that Scala has tackled, it's easy to recommend the group to anyone that loves covers. They've done songs by Garabge, The Chilli Peppers, The Verve, Sinead O'Connor, Muse, The Police, Depeche Mode; the list goes on and on. It's also easy to recommend Scala to anyone that loves beautiful music. Scala is amazing. In fact, the group is fast becoming my current musical obsession.

You can find Scala's website here.

Funny robots

I've played alot of really great games since I first gripped an Atari 2600 joystick back when I was a nipper. I've had alot of amazing gaming experiences over the years. Finishing my first Sierra adventure game. Playing SNES fighting games long into the night with my mates. The Goldeneye years. The first time I polished off Ocarina of Time. The first time I sat down and played the original Half-Life. Taking down Diablo. Taking him down again. The infamous World of Warcraft addiction that twelve million other players around the world can relate to. There are some gaming moments that are so memorable that they cling so vividly in your mind.

It is, however, rare that I would call any game 'perfect'. Not matter how amazing a game is there are always flaws. No matter how slight, there are always those niggles that you wish you could change. I don't think I could name more than about three games that I would truly call 'ten out of ten' games. Valves latest release, Portal 2, is one game that I could, without a doubt in my mind, give a perfect ten. This game is pretty remarkable.

I played the original Portal, and of course loved it, but I was skeptical about the sequel. The word 'sequel' can leave a bad taste in your mouth with alot of games series. I guess I always just expect a sequel to not to live up to it's predecessor when the original game was so damn good. Portal 2 comes through in spades. I would seriously doubt that you could even find a bad review for this game online. Without going into specifics all you need to know about Portal 2 is that it's a first person puzzle game, it's has amazing physics and level/puzzle design and it's totally engrossing from start to finish. This is a game that you will find hard to stop playing until you see those end credits roll. And if the words 'puzzle game' turn you off, you need to think of Portal 2 in a different way. It's unlike anything else out there. The description of 'puzzle game' doesn't even really do the game justice. It needs it's own genre classification. Something like mind-f#cking, hilarious, sci-fi action adventure. In any case, if you're a gamer and you are reading this you need to go to the Steam store now and buy Portal 2, because it's made for you. No if's, what's or buts.

One thing that does need a special mention in Portal 2 is the writing and voice work. Stephen Merchant's performance as 'Wheatley', your soccer ball shaped, robotic guide has to be heard to be truly appreciated. He is bloody hilarious. It's such a genius piece of casting that I just had to throw something about it into this post. And, of course Glados' passive aggressive musings are even more entertaining than the first game. Portal 2. Go play the damn thing. You won't forget it.

Vegemite Western

There have been many funny, touching and cool Australian made films over the history of Aussie cinema. There was the man from out of the wastes, clad in leather, ready to put post-apocalyptic marauders to the gun - Mad Max, the ever iconic working class antics of 'The Castle', and the three drag queens and a bus that took the world by storm in Priscilla. I don't think any serious film lover could deny that there have been some diverse, original and brilliant Aussie films that have left their mark on cinema as a whole.

But as I pulled one of my favourite Aussie movies from my DVD collection and gave it a spin, I realized that there was one facet of Australia and Australian history that was being very under-used. The movie I watched was 'The Proposition'. This is an amazing film in alot of ways.

First of all, it brought the director, John Hillcoat, to the attention of the film industry at large. Hillcoat, after turning out The Proposition, went on to direct 'The Road', a movie based on the coveted Cormack McCarthy novel. Both of these films have left me eager to see what Hillcoat does next. I think he is one of the most talented Aussie directors working today.

Secondly, this film was the product of a script written by none other than the dark force of alternative Oz rock, Nick Cave. The script speaks in Caves artistic language. It's dark, disturbing and it's full of devoid and isolated characters, like much of Caves music. The script and story for The Proposition feels totally original, and uses a period of Australian history in a way that not many other films do.

The third aspect of the Proposition that is exemplary is the cinematography. The sparse, central Australian landscape was captured vividly by French cinematographer, Benoit Delhomme. This film looks epic, and the settings are represented on film so naturally. Delhomme puts you into colonial, rural Australia; blow fly's and all. This film looks and feels so sparse and dry, you could almost be fooled into thinking that it was set in a post-apocalyptic wasteland.

It's clear that there is alot to love about The Proposition. The performances from Ray Winstone, Danny Huston, Emily Watson and John Hurt are amazing, and Guy Pearce as the stoic, barely speaking lead is done perfectly. He is dark, dirty and almost like some sociopathic prophet, riding across the desert, dispensing violence.

The thing that struck me the most during my most recent watch of this flick, is that the Australian western is a very under-used genre. I would go so far as to suggest that most foreign film goers, and probably some local ones, are unaware that the Aussie western genre even exists. This is, perhaps, because it barely does. The only true Aussie westerns that I can think of off the top of my head are The Proposition, Ned Kelly and it's remakes, The Man from Snowy River and Quigley Down Under (if you're being generous). This seems like a crime to me. Australia has this incredible landscape that translates so beautifully to film. We have a turbulent, violent history. It really was like the wild west during the early days of European colonization. We have folk lore and stories to draw on such as bush rangers and aboriginal Australian history. We have some of the most talented actors and film makers working today. Why on earth is the Aussie western or 'vegemite western' not a flourishing genre? It seems a crime to me. We have the landscape and history to tell some great stories right in our backyard. Why aren't we playing with them?

Gamespotting

Professional game journalism is an industry that has grown, like the gaming industry itself, by leaps and bounds over the past few decades. These days gamers demand up to the minute reviews and information on the in's and out's of gaming. One of the largest and most respected gaming sites is Gamespot. The core of Gamespot is gaming news, in depth reviews, detailed previews and interesting articles and opinions. Gamespot is also a space that has attracted a large and vocal community, ever eager to disucuss, comment and speculate on their gaming obsessions. Tom Mc Shea is one Gamespoter that takes on the coveted role of a professional game reviewer. As cool as it sounds to critique games for a living, any good reviewer must try and stay unbiased despite their personal passion for games, write a review that encapsulates the essence of what a game is about at its core, and at the same time be an entertaining read. Tom was kind enough to take some time away from the controller/keyboard to answer some questions about modern game journalism.


Me: How did you get your start in games journalism?

Tom: Halfway through college, I realized that I wanted to write professionally in some capacity. I wasn't sure exactly what that entailed, but I took journalism and fiction writing courses to get my writing skills up to a respectable level. At the same time, I started a blog with a friend of mine, and after a few years of putting time and energy into updating that, I decided that game journalism would be the best way to earn a living. I bounced around a little after college, but landed the GameSpot gig after a couple years. Good luck and good timing.


What was your first review as a professional journalist?

Katamari Damacy. While I was writing for my blog, Brendan Sinclair was running the entertainment section of a small town newspaper in Oklahoma. His current video game reviewer was quite lame, so he hired my buddy and I to contribute a weekly column. It was a very different take on gaming from what you'd typically get from a mainstream publication. We covered the games we were interested in, so Katamari, Alien Hominid, Battalion Wars got the big stories while lame games like Call of Duty were left in the cold.


What is the biggest change in games journalism you've noticed since the start of your career?

It's self aware. It seems as though everyone is intimately aware of what the general public is saying about their site and every rival publication. It's strange having immediate feedback forced your way even if you don't care to know, and that instant reaction to every piece of content ultimately shapes what people produce. I'm not sure I agree with that, but it make sense that the audience is the guiding hand since they're the ones devouring all this information. It was nice living in a bubble and just witting whatever came to mind without any fear or knowledge of how it would be received.


If you met someone who had never played a video game in their life, that didn't even know what a game was, which game would you show them as a definitive example of modern gaming?

Modern gaming is Call of Duty. The trend in the last few yeas has been to simplify everything so you get a streamlined experience that is nearly identical to every player's. Events happen all around that seem exciting, but they mirror a movie more than a typical interactive experience. It's about the sizzle now, what can draw your eyes to the screen and capture your attention. It's about eliminating any ounce of frustration so players can turn off their brains and take in the show. And it's about constant rewards that don't mean anything, but serve as treats to keep people engaged for just one more hour.


Do you have any little rituals or self imposed rules for when you are playing a game for review?

I'm in constant media blackout. I avoid pre-release coverage as much as possible because I don't want it to tamper with my expectations. I don't want to know what promises Peter Molyneux made or the development problems of Duke Nukem Forever. I want to just rip off the shrink wrap of whatever game I'm reviewing at my desk, and start with as clean of a slate as possible. Obviously, I can't avoid all information, but the less I know going in, the better.


Which of your reviews has created the most controversial or divided response?

Transformers: War for Cybertron, by quite a wide margin. This was an interesting review for me because I have no connection to the source material. I had a Transformer growing up (Bumblebee?), but I rarely watched the shows and don't really care about the lore. So I judged the game entirely on what it was, rather than what well-known characters were slapped on top. It's arguable if I should have been the person to review it, since Transformer fans obviously want to know if it makes good use of the source material, but I think I did a good job. It's important to have someone just break down what the game is and is not doing right, and it's easier to do that if you aren't distracted by a beloved license.


What kind of game do you dread writing a review for?

Completely average games. This often happens in the third or fourth iteration of a long-running franchise, when new ideas have dissipated and you're left with the same ol' gameplay as before. There aren't any interesting angles or insights because everything has been said already, there aren't major flaws because everything has been polished through the years, and there aren't spectacular moments because the creativity has been sucked dry. So boring!


How is the relationship between reviewers and game developers these days? Can you get honest information easily or is it a battle with developer PR?

I live in a bubble. I never talk to developers and I'd like to keep it that way.


Is there a shady side to game journalism? Bribe offers? Back alley deals? General skulduggery?

Ha! I honestly don't know. I avoid talking to developers because I don't want there to be any chance I could be influenced. For instance, I know someone who worked on BioShock 2, so I made sure to stay far away from that review when it came into the office. As far as bribes go, I think that idea is vastly overstated. It's easy to assume journalists are underhanded sleazes when they deliver a score you disagree with, but it's ultimately just a difference of opinion. It's not worth the hit in credibility to receive bribes, so I really doubt anyone in the industry is so underhanded.

I have been called hopelessly naive, though, so who knows?

What do you love about games in 2011? What pisses you off?

I love the indie scene. Some of my favorite games come from small developers -- Meat Boy, SpaceChem, Comet Crash -- and I think it's incredible that such talented individuals are given a chance to let their abilities speak for themselves. Digital distribution has made it possible for anyone to make games (As long as they're good enough), and that means more choice for consumers.

I hate that development costs have spiraled out of control. Last generation, there were all sorts of crazy retail games for PlayStation 2, hidden treasures that made it worth owning that system in the first place. Games like R.A.D., Graffiti Kingdom, and War of the Monsters were some of my favorite games, but it's just so rare to get (relatively) big budget games that are so quirky anymore. Games cost so much that companies are scared to veer slightly away from the norm, so you end up with a lot of very similar games with no personality.

What's your most anticipated game for the near future?

Right now, Mortal Kombat by a wide margin. I loved the first three MKs, and this seems to be returning to the old-school roots, so I think it's going to be amazing. For the rest of the year, Shadow of the Damned, Earth Defense Force, Skyrim, and Dark Souls are my most wanted. I'm crossing my fingers they turn out to be special.


What do you have the most hope for in the long run; the large corporate companies or independent developers?

Independent developers. They continue to innovate while the big guys are reluctant to try something new. But then I see something like the EA-funded Shadow of the Damned, and I have hope that creativity will find a way.


What is the greatest game of all time?

Super Mario World! My favorite game is still Super Mario Kart, though, and my desert island game is Perfect Dark. That still has more content than just about any modern shooter!


You can find Tom's blog here, or many of his in depth written and video reviews at Gamespot.

Burn my bra (with dragon's fire)

Dragon Age II. The big sequel. I won't get into too much of a review. You know what's what. Awesome Bioware single player RPG, complex characters, cool story, nice combat, sweet eye candy. Pretty par for the course for 'ol Bioware.

I will just take a few sentences to say what I think is improved over the original. They have 'awesomed' up combat. I feel like I'm alot more mobile during battles, particularly boss battles, than I was before. You have to physically get out of the way of some enemies when it becomes clear they are going to unleash a huge blast of magic or trample over the top of you. It's cool. It feels almost like an MMO boss encounter. There are also ability synergies between your characters that you can set up to make your party more effective. Touches like this are cool. It just adds a little more depth to the combat. I've seen plenty of comments on various sites about how the combat in Dragon Age II had been 'babied up' for consoles. I find this perplexing. To me it feels challenging, looks outstanding and theres plenty of strategic depth there.

Aside from combat, the game is great, just like the first. I really like some of the characters, I'm luke warm to others and some just annoy me (I'm looking at you Carver). I love that your character actually has a voice now. You're not just clicking lines of text for your responses. There is a dialogue wheel that will be familiar to anyone that has played Bioware's other epic RPG series, Mass Effect.

As for my character type, I picked a staff wielding female mage. I don't usually like to gender-bend, but it feels right in Bioware games. The actresses that did the voice work for both female Shepard in Mass Effect and Hawke (mine is called Tessa) in Dragon Age II did a fantastic job. They really bring the dialogue to life. I almost always find myself picking the 'lighthearted/comedic' response icon with my Hawke. It just feel right with my sassy, fireball flinging, red-headed mage. Girl power. Medieval fantasy girl power. I'm not done yet but it can be assured I'll be playing this game to completion. Baldur's Gate (one of my top five games of all time) lives on in Dragon Age. It's a great time to be an RPG player.

Wow factor

I've been getting back into comics lately. I've been reading some of the classics. The Dark Knight Returns, Sandman, 1602, Arkham Asylum. All amazing stuff.

Then I decided to try the World of Warcraft comic series. I know that Blizzard's Warcraft lore isn't exactly Tolkein, but they have managed to create an interesting world and some cool characters, even if it is borrowing heavily from things like classic fantasy and Warhammer. Never the less I was interested in seeing what they had come up with storyline wise for the comic. Having read half a dozen issues all I can say is that it's pretty underwhelming. The dialogue is very 'Saturday morning cartoon', and the plot line is so rudimentary that it's inches away from being completely boring. I hate to say it but I've had quest lines in World of Warcraft itself that have been able to hold my interest better than the comic book series.

It isn't a total loss, however. It's got some really nice art. The main penciller, Ludo Lulaby, has an interesting look to his art. It's very stylized and borders the line into 'manga' territory but never crosses it completely. Jim Lee does the odd cover here and there, which is a thrill to see, being a huge fan of his run on the X-Men back in the early nineties. And, of course, Blizzard stalwart Samwize does some covers too, in his hand painted style, which is awesome.

I don't know if I will keep on with the series or move on to something else. If this is the quality of writing Blizzard is giving the green light then I'm glad I didn't waste the hours it would take to read one of their Warcraft novel series, and it makes me mighty worried about the forthcoming WoW movie.

Who wears the frogpants?

These days podcasts are a dime a dozen in my experience. For every well produced, entertaining cast there are a bunch that sound unprofessional, do a bad job of holding listener interest, or are released too sporadically, leaving listeners never knowing when they're going to be able to download a new episode.

There is, however, a name in podcasting that has become synonymous with quality audio shows. That name is Scott Johnson. Scott got in on the podcasting game very early on, before the word 'podcast' even exhisted, with his first cast 'Extra Life Radio', which hit the web in 2005. The cast, taking its name from Scott's webcomic, Extra Life, featured Johnosn and fellow webcomic creators Brian Dunaway and Obsidian. ELR embraced all things geeky in a very funny, entertaining way. ELR was one of the first podcasts I ever listened too, and it was clear from the start the Scott was a charismatic, relatable host.

Scott has never looked back since his first foray into audio casts. In 2009 he launched his 'Frogpants' network, with a selection of different podcasts under the network banner, most of which he hosts and produces himself. Scott has attracted an army of fans over the years. It's hard not to like the guy. He is always very open, funny and relatable. You can't help but want to join in some of the conversations as you listen along. Scott even hosts a convention called 'Nerdtacular' once a year in his home town of Salt Lake City, Utah, celebrating all things Frogpants.

I recently did an interview with Scott via email. Here's what the elder statesman of podcasting and webcomics had to say...

Me: You were creating audio content very early on, before the term
'podcast' had even been coined. Was that just an experiment or did you
predict the popularity of podcasting before it hit?

Scott: Honestly, I had little idea of what it would become one day, but I was
certain that audio and video would be important technologies in the
near future, and I just knew I wanted to be a part of it. I have a
long time love of radio, and the internet suddenly provided a way for
me to experiment without having to own my own station. :)

Podcasting is still in it's relative infancy. Do you think it's going
to change or evolve in any way down the track, or is the format now
set in stone?

I think the method of delivery methods will continue to change and
evolve, but people will always enjoy audio content. We need to have
something in our heads when we jog and commute.

You've spent countless hours producing podcasts with a host of
internet personalities. Whats you're favourite or most memorable
recording moment?

I think it was my interview with Todd McFarlaine, of Marvel / Image /
comic book fame. He was a really cool dude, and I really loved
chatting with him. He's a bit of a legend in his own time.

You have always been very open with your listeners and readers in
terms of your views, opinions and your family life. Has there ever
been instances that made you regret being so forthcoming, or people
that have crossed a line?

Never. I think the key to building a strong mature community is being
open and honest about everything. Honestly, it's just the way I go
naturally, so it just happens that it worked out great, and now I'm a
big believer in it. Be who you are, and people will come. :)

Anyone that, like yourself, produces web content must inevitably
receive some criticism, sometimes in a 'not so friendly' way. Do the
demanding or 'trollish' critiques of your work ever bother you, or do
you just ignore them?

I was REALLY sensitive to this sort of thing in the early days. But
these days, I am sort of numb to it. I just ignore it, even though I
rarely remove stuff like that. If someone goes off on a blog comment
or on facebook or something, I typically let it stay and let it be
what it is. People can make up their own minds. But I don't really
have much of a problem with this. A pretty respectful bunch as it
turns out.

Do you think you will ever resurrect Extra Life Radio, or have casts
like The Morning Stream filled ELR's role on your network?

I think TMS has taken up the reigns from ELR in a very real way, and
probably better represents what I wanted ELR to be in the first place.
Will ELR ever come back? I never say never. :)

Your web comic is nearing it's ten year anniversary. Do you
still have the same passion you had for creating comics you had a
decade ago?

Actually, the 10 year mark is this coming June. And yeah, 10
years...holy crap. That time flew by. I had a baby that year, and
he's 10 now, so that shows you how crazy time passes. I LOVE comics,
and I love where my style has taken me over the years. Regret
nothing! And can't wait to create the next one!

Is there a possibility of a ten year Extra Life compilation book?

I have been meaning to do this forever. Thanks or the reminder!

Which piece of unrealistic frogpants related merchandise would you
love to see one day?

A Frogpants branded Mini Cooper. :)

Are there any forms of media you want to explore in the future aside
from webcomics and podcasting?

I would like to get into more video content. It's a lot more time
consuming, and I don't really have the face for it, but I have some
ideas that need massaging.

If you had an offer to turn one of your casts into a television or
traditional radio show would that interest you, or do you like working
exclusively on your own terms?

TMS for sure. I think it fits, and would be a blast in that format. :)

Lastly, some random speculation. What will be the game that finally
'kills' World of Warcraft? Which comic book character will get the
next big screen adaptation? Which classic video game series will
receive a current gen remake? What will Nintendo call their next home
console? What will be the next podcast to come from Frogpants be
about?

RIFT. JLA. Jazz Jackrabbit. Wii2. RIFT...maybe. ;)

Thanks for your time.

Do you believe in Superman?

I've been looking out for news about the upcoming Superman movie lately. I've never been a huge Superman fan, but it's hard for any movie loving geek not to be interested in a film directed by Zack Snyder (300, Watchmen), and written and produced by Christopher Nolan (The Dark Knight, Inception).

It got me wondering why I've never really warmed to the 'man of steel'. The character is arguably the most definitive super hero of all time, DC Comics flagship icon and one of the most revered and beloved comic book characters ever. I remember news reports of people actually breaking down in tears when DC 'killed' Superman back in the nineties. I've just never felt a connection to the guy. To me his whole mythology is kind of unpalatable.

If I had to pin down why Superman is so uninteresting to me it would come down to a few things. Firstly, he is too powerful. There is no way around it. He is just way too powerful. That's why writers have had to spend years coming up with these ridiculous plot lines just so there is some kind of threat. If it's not 'magic' it's someone who somehow gets kryptonite bullets or something similar.

Secondly, the guy is totally unrelatable. Not just to me, but to just about anyone as far as I can tell. I don't know what kind of comic book reader can relate to an almost invulnerable, indestructible being of virtually limitless power. He is basically a God. I remember reading books like X-Men back in school and finding a connection to the characters and stories. These books were about people who, granted, had almost god like powers themselves, but they were outsiders, misunderstood. This spoke to a shy, introverted kid. But Superman? He has it so easy. Nothing can touch him, everyone loves and admires him. I can't imagine how the guy can stay grounded (no pun intended). He would have to see the human race as a bunch of petty, imperfect little insects, but he never does. Everyone has flaws. It's what makes us human. But Superman is flawless. With all our wars, racism, hate and self destruction, how could such a perfect, morally inflexible, super powered god find any way to understand, and more importantly, tolerate all the human race's bullshit? A character like that does not fit on planet earth. Maybe if writers gave the guy some flaws he would feel different. I'd love to see Superman get angry and pissed off. I'd love to see him lose it a little. I'd love to see him show any semblance of human emotion other than 'love' for Lois Lane and his unbending sense of moral duty. There needs to be more complexity there. I'd like to see Superman tempted to wipe humanity off the face of the earth, not being able to put up with the fact that we can't help but do horrible things to one another and ourselves. I'd love to see him wondering, after years of protecting us, wether we are worth saving or not.

The likely hood of DC allowing something like that onto a movie screen with one of their top shelf characters is pretty unlikely, but who knows what will happen. Snyder and Nolan are smart and talented enough to make something interesting.

Insult swordfighting with Ron Gilbert

If there is one man that's had the average adventure gamer wandering around, collecting weird items and solving obscure puzzles ever since he released his first game back in 1987, that man is Ron Gilbert. The 'Grumpy Gamer' himself is among the highly respected few that defined the graphic adventure game back in the golden era of adventures, the eighties. Ron is, of course, responsible for the most famous mighty pirate to ever grace an EGA monitor, Guybrush Threepwood of the Monkey Island series. Ron was a writer, programmer and director on The Secret of Monkey Island and Monkey Island 2: Le Chuck's Revenge. More recently Ron worked on the awesome Deathspank games, action RPG's flavoured with Ron's trademark sense of humor. Ron currently works over at Double Fine, Tim Schafer's development studio. It's still a mystery as to what these two adventure gaming legends are working on over there but my guess is that it's going to be awesome.

Ron was kind enough to answer a few questions for me recently via email.

Me: Where did the concept for your original adventure game, Maniac Mansion, come from? Were you always interested in adventure games or were action/arcade genres discussed by Garry Winnick, yourself and Lucasarts?

Ron: Funny. I just gave an hour long talk in Germany last month on this very subject. I'll be giving the same talk at GDC this year and the video will be free online. The short answer is that Gary and I had a funny idea for a game about a bunch of kids that go into a creepy mansion and that was it. It wasn't until several months into the project that we figured out that it was going to be an adventure game.

Most of your games, classic and current, have a strong component of humor. Where do you think this stems from?

The humor in my games come from games being kind of ridiculous in the first place, so it's better to just have fun and not take yourself to seriously.

Of your classics, which are you most fond of?

Maniac Mansion. You never forget your first love.

What do you think of Telltales continuation of the Monkey Island series?

I think they did a good job. I'm glad Dave Grossman was there to watch after the project and make sure it was good.

You're somewhat of a legend of early adventure gaming among the classic gaming community. How do you feel about that?

It's a little mind boggling, but it's fun to have so many people love something you made.

Where did the concept for Deathspank come from? Is he a character you think you'll revisit after the first two games?

DeathSpank started out as a comic on my website that Clayton and I made (http://grumpygamer.com/comics). He was this over the top video game character and he was so fun to write for that we decided that he needed his own game.

You described Deathspank as "Monkey Island meets Diablo". Are there any other genres you'd like to bring your trademark humor to?

FPS really need to be funnied up!

If you had a free afternoon for pure, uninterrupted gaming, what would you play?

I do, everything Sat and Sun, and I play WoW.

Unlimited budget. Expert development team. Total creative control. What dream game would you make?

Monkey Island 3a. The true 3rd game.

If you could change one thing about the game industry today what would it be?

That developers were correctly compensated for the work they do, rather than asshole CEOs.

You probably have no favourites, but if you Guybrush Threepwood and Deathspank were marooned at sea, who would get eaten first?

Guybrush. No question. DeathSpank wouldn't even ask.

Thanks so much for you time Ron.

My pleasure!

Gaming anthropology

As the business of video games and gaming technology continually expands, as if an explosion of big bang proportions happened back in the late eighties in the gaming industry, pushing out an ever expanding universe of games, things have just gotten bigger, bolder and more expensive. It's sometimes easy to forget the gaming industry is in it's relative infancy. The industry as we know it is realistically only about twenty-five years old if you're being generous. Gaming development budgets are into the hundreds of millions and big name franchise launches attract millions of first day sales. Gaming is no longer the domain of the socially awkward, bespectacled nerd. It's mainstream whether the hardcore elite of gaming like it or not. But what happens next?

Fast forwards two-thousand years...

If the human race can keep it together and we aren't headed for some war or pollution induced dark age, or religious or political zealotry doesn't result in games being 'outlawed' and unceremoniously thrown to the bonfire and purged from the internet, and provided the world economy can keep things together so gaming can remain viable, imagine surfing the information mega-freeways of 4010. Imagine scouring an ancient archive of two-thousand years and change of historical gaming. I can imagine social anthropologists of the future studying gaming of the 20th/21st century, trying to gleam some understanding and insight about the people who made and played these games. In two-thousand years what is Super Mario Brothers going to say about gamers of the late eighties and early nineties? Maybe they will see the platforming exploits of the titular plumber, who was so inexplicably popular in his heyday, as some kind of folk hero of the late 20th century. When these anthropologists study the ancient interweb of our time and they find the countless sites dedicated to Blizzard's World of Warcraft, the fan fanaticism and worship, will they interpret this devotion, and in some cases addiction, as an actual religion? I shudder to think what Splatterhouse, Manhunt and Postal 2 will say about us down the line. Not to mention our current obsession with 1st person shooters. Maybe they will see us as a society of violence obsessed caffeine addicts.

Whatever the people of the far future think about us and our games, I am happy at least that so many talented designers and artists are creating a legacy and writing the first chapter of gaming history. We are living in the ancient Greece of video games. Gabe Newel is like our Hercules. Jeff Kaplan our Leonidas. This is the time when myths are made.