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WIL WHEATON dot NET
WIL WHEATON dot NET

50,000 Monkeys at 50,000 Typewriters Can't Be Wrong

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blog

that kinda lux just ain’t for us

Posted on 13 October, 2015 By Wil

Anne and I went to Las Vegas on Sunday for our friends Matt and Doree’s wedding. We got dressed up like fancy adults, spent an evening with people we love, and got the hell out of there before Vegas could take any of our money away from us.

I had a stupidly good time playing a silly Star Trek penny slot machine for a quarter a pull, and somehow managed to turn my twenty dollars into one hundred while I was at it. My friend Matt and I found a stupid penny poker machine that let you play one hundred hands at a time, and spent about three dollars to have hundreds of dollars worth of fun for close to an hour.

We almost didn’t go, because I just don’t enjoy being in Las Vegas, but we had a great time, and I’m really glad that we went.

On the plane home, I was reflecting on how much fun we had, and I remembered this story, from a very different time.

For a lot of us who grew up in Los Angeles, a big part of being in your early twenties involves something like this:

  • The phone rings.
  • It’s one of your friends.
  • Your friend says, “Vegas?”
  • Before you can pull another breath of life out of the air around you, you reply, “VEGAS!”
  • One drive across the desert a few hours later, you’re in some casino on the strip, losing whatever money you budgeted for the trip, while trying and occasionally succeeding to find the energy that began your journey there, three or four hours ago.
  • The drive back home lasts for three or four hours, but feels much longer.
  • You swear you’ll never do this again.
  • Months go by.
  • You pick up the phone and dial your friend.
  • When the call connects, you say, “Vegas?”

When Anne and I were dating, we did one of these trips. We stayed at the Imperial Palace, which is just an appallingly outdated and rundown pile of regret in the middle of the Strip. Over the course of a few hours, we walked around it and its adjacent casinos, wagering twenty or so dollars at a time in various places, and never winning a single thing. At the time, we didn’t have a lot of money and had to stay on a tight budget, so the $200 I lost really hurt, to say nothing of the unshakable feeling of just being A Total Loser that clung to me like that cloud of dust around Pig Pen.

I remember, as our night was winding down, we walked into the Flamingo Hilton. We found a $5 blackjack table, and I bought in for my last $40. As the first hand came out, a pit boss came over to us, and asked to see my ID. I showed it to him, and he said, “I thought that was you. I love your work.”

At this time in my life, I hadn’t done any acting work that was worth a goddamn in what felt like an eternity, but was probably close to five years on the calendar(which is an eternity in the entertainment industry). “Thanks,” I said, trying to put on my best happy face, and hoping that the stinky cloud of Loser wasn’t as clear to him as it was to me.

“How’s your night going?” He asked.

“Not good,” I said. “I have literally lost every dollar I’ve bet.”

Because the universe has a good sense of humor, and because the person who is writing my life is lazy, I lost the hand in front of me. I don’t recall what it was, specifically, but if I were writing this, it would have been something like standing on a 13 with the dealer showing a 6, only to draw to 18. It had been that kind of night.

“Well,” he said, “I’m rating you right now, so we can get you some drinks or some breakfast.”  He paused, then added, meaningfully, “at the very least.”

I looked at the last $35 dollars I had in front of me, and hoped against hope that somehow my luck would turn around. I knew we wouldn’t get a comped room, or show tickets, or anything like that, but there was something in his voice that told me that if I could just sit there and play for a little while, we’d get something that would make me feel like less of a total loser than I did. Hey, people got lucky in Vegas all the time, right? People sat down with two bucks, and became millionaires with one pull of the handle. Guys turned five bucks into a thousand in mere minutes, getting lucky at a craps table or hitting a longshot in roulette. Hell, people even won on Keno from time to time. Maybe it was time for my luck to turn around.

So I got ready to defy the odds and become a winner.

Five bucks at a time, I proceeded to lose seven hands in a row, and was broke. I stood up from the table, gathered what I could of my pride, told the dealer to have a good night. The pit boss came over to us (Anne had been standing supportively next to me the whole time, as I could not win a single thing, which was a perfect metaphor for our lives back then). “You sure you have to go?” He said.

“Yeah,” I said, unable to mask the totality of the defeat I was feeling, “I’m all out of money. My luck is just …” I didn’t need to finish that thought. At this time in my life, when I was probably around 24 or 25, My luck is just … was how I felt about pretty much everything.

“Well, here,” he said, not unkindly, “let me at least get you some food and a couple of drinks.” He gave me some vouchers, and Anne and I each had a martini, plus steak and eggs, on the house. We made our way back to our hotel room, fell asleep on a really uncomfortable bed, and slept for a few hours until someone woke us up, screaming in our hallway because she’d hit a jackpot on a slot machine.

blog

Hello, world.

Posted on 30 September, 2015 By Wil

When I was a kid, I had an Atari 400. I spent hours sitting in front of that thing, copying programs from magazines and running the games I’d made from them. When I wasn’t writing my own (even though I was copying things from Atari Age or whatever, I was slowly learning how BASIC worked and felt like they were “my” programs), I played the hell out of Star Raiders and Pac-Man, and States & Capitals (which was loaded from a cassette, because that’s how we did things back then).

After the Atari 400, I got a Texas Instruments TI-99/4a. I loved that computer so much, and it was in that machine’s TI-BASIC environment that I truly grokked BASIC programming. I wrote text adventures, a rudimentary database to store news events I made up for a UFO research project that I also made up, and when I wasn’t doing that, I played the hell out of the weird and wonderful video games that machine offered.

Around 1984, I got my first Macintosh, and the first thing I bought for it was whatever BASIC ran on the 128K OG Macintosh back then. I was so excited to get into that language, and start doing things that took advantage of the GUI and this thing called a mouse, but 12 year-old me just couldn’t wrap his head around the language. I don’t know if it actually, objectively sucked, but in my memory, it really sucked. Nothing made sense, nothing followed the conventions I had grown used to, and just getting programs to respond to the mouse was beyond me.

So it was, in 1984, that I gave up trying to open BASIC to write computer programs, and instead opened MacWrite, where I began to write stories. I also played the everlivinghell out of every Mindscape game I could get my hands on.

Fast forward to a a few weeks ago. I was looking through my Humble Bundle library, and noticed that I had a book in there that teaches Python. I flipped through it, and the curiosity that I had as a kid bubbled up to the surface of my mind. I went back to the beginning of the book, and began reading. I downloaded Python for my Mac, and I started copying down the examples, starting to figure my way around the most basic aspects of the language. I’m a few chapters into it, now, and bits of it are beginning to stick. I’m having a lot of fun breaking things and then putting them back together, and just remembering the joy of turning a set of instructions into something useful and fun, like I did when I was a kid.

I have no idea if I’ll see this through to the end, and I have no idea what I’d actually use the skills (if I can even master them) for, but I really need a hobby that isn’t also part of my job, and this seems as good as anything.

Who knows? Maybe I can finally finish that dungeon adventure I started when I was 10.

blog

got a photograph, picture of

Posted on 27 September, 2015 By Wil

I have a Canon 70D, and I love it. I’ve invested in some great lenses, including a 16-35 and 17-55 at 2.8, an 8mm fisheye, and a 60mm macro. It shoots beautiful video and stills, and I can get into the settings of this magnificent beast to take lots of beautiful pictures.

The thing is, I don’t carry it around with me as much as I would if it were smaller. It’s perfect for days when I get it into my head that I’m going to go and take lots of pictures of things, and pretend that I’m a Real Photographer™, but carrying it around is a commitment.

Enter this little, waterproof, Olympus point-and-shoot thing that I picked up recently. It shoots video, has a decent lens for its size, and fits entirely in my pocket.

I’ve been carrying it around with me this weekend, and here are some pictures I took using its black and white “art photo” setting.

P9260063 P9270076  P9270080 P9270081

Not bad for a little point-and-shoot thing, right? I could do the post-processing in gimp or whatever, but there’s something fun about seeing these shots like this on the camera’s little screen.

a family photo, of sorts

Posted on 26 September, 2015 By Wil

When I bought my first house, I wasn’t entirely sure how to decorate it. I’d lived in apartments for years, and didn’t have much experience beyond posters from movies and bands, and I certainly didn’t put photographs into frames, because that was what adults did.

When I bought my first house, I was not ready to be an adult (that’s a whole other story), but I did my best to decorate it the way I thought adults did.

So, in the second of my two bedroom house (the bedroom I didn’t sleep in), I put up my version of a family photograph, in an actual frame, on the night stand.

The Love Boat Family Picture

For those of you born after 1980, or who have been painfully deprived of classic(?) American television, that is the cast of The Love Boat.

Also, I wasn’t particularly good at dusting, apparently. (Again: not good at adulting.)

This was so amusing to me, I bought pictures of the cast of Diff’rent Strokes, Three’s Company, and CHiPs. I put those pictures in frames, and even hung some of them on the walls.

Come to think of it, maybe I was doing a decent job of adulting, because being an adult means that we get to decide what that means.

 

blog

This is why I support a SAG-AFTRA strike authorization for video games — and it isn’t about money.

Posted on 23 September, 201522 October, 2016 By Wil

wheaton-voice-actingI’m getting yelled at by people on Twitter because I support my union (SAG-AFTRA)’s efforts to negotiate a better contract for voice performers like myself who perform in video games.

The most frequent complaint goes something like this: “actors work for maybe a few days at most on a game, and they want residual payments?! Programmers and others who work on those same games spend literally years of their lives on them, and they don’t get residuals! Actors are greedy jerks!”

I can’t speak to the fairness or unfairness of residuals or lack of residuals for programmers, artists, composers, and others who game developers and publishers, because that’s not my job, and I don’t know what, precisely, their contracts are. I certainly don’t believe that there is some sort of feud or lack of shared interest between us (the actors) and them, and I fully support all the people who work on games — especially the huge blockbuster games that pull in profits that are in line with the biggest blockbuster movies — getting the very best contract, with the best compensation and best working conditions that they possibly can.

But I did not give my union authorization to call a strike on my behalf because of this issue. I voted to authorize a strike because our employers in the games industry refuse to negotiate with us at all about some very, very important issues surrounding our working conditions.

Let me share some excerpts from an email I got from SAG-AFTRA recently (emphasis mine):

You may have heard that billion-dollar companies like Activision, Warner Bros., Disney and Rockstar Games are against sharing any of their record-setting profits with the performers who help make their games awesome. But…

DID YOU KNOW…
Our employers have rejected every proposal that we’ve put on the table? That includes the community’s proposals to reduce vocally stressful sessions to two hours, […]

This, right here, is reason enough to strike, as far as I am concerned. I fully realize that for anyone who doesn’t work as a voice actor it sounds insane to care about vocally stressful sessions. I realize that when you hear that actors want to reduce those sessions to two hours or less, it can easily create an impression that actors are lazy and entitled, and don’t want to work as hard as other people do.

(Edit to clarify: Some folks seem to think I’m arguing that voice actors should never have to work more than two hours a day. That’s not what I’m arguing for, at all. I’m arguing that sessions which are vocally stressful should be limited to two hours. Other sessions, with regular dialog and scenes, are typically six to eight hours, and I’m not arguing to change that.)

Listen, if you truly feel that way, I hope you’ll do something to give you some perspective on what this actually means. I really want to help everyone understand what we do when we use our voices to bring video game characters to life, and why the expectations (I believe they are demands) from our employers are unreasonable.

Okay? Let’s get started. Since you probably don’t have a video game script at hand, we’re going to simulate it. I want you to grab your favorite book, and I want you to read, out loud, twenty pages from it. Really put your heart and soul into the dialog, and bring it to life. I need to feel emotion, and I need to be invested in the characters. Now, go do it again, but just slightly different this time, because we’re going to need options. Okay, you’re doing great. You’ve been at it for about two hours now (if you average around six minutes a page, like I do), so take a ten minute break. Drink some hot tea with lemon and honey in it, and then go read it one last time.

So you’re about three hours into it — that’s it! Just three hours! Five hours less than an average (union-negotiated) workday! Your sinuses are feeling a little raw, because you’ve pushed a lot of sound and moisture out of your body. You probably feel some emotional fatigue, because you’ve been putting a lot of emotion into your work. But you’re a professional, so you don’t complain. In fact, you’re grateful for the job, because if you’re lucky you’ll get to do this maybe twice a month. And, honestly, this is still better than coal mining, right? Right.

Okay. Still with me? Good. You can eat lunch now, if you want. You probably go for something with a lot of salt in it, because it soothes your vocal chords. I’m a big fan of the chicken soup, though sometimes I’ll have a burrito, because #burritowatch.

Lunch is over. You’ve been at work for about 4 and a half or five hours at this point. You’re going to go read another ten pages from your book, but I’m only going to ask you to do it once, because you’re probably in the zone by now and you are nailing most things on the first take.

It’s time for the call outs, and then you’re done for the day. Maybe you’re done for the whole job! Awesome. Here’s what you’re going to do: you’re going to make a spreadsheet, with 40 rows on it. In each row, you’re going to put a line of dialog that you’re going to do three times in a row before you move on to the next line. This spreadsheet will have a few columns, with the dialog in the first column, and some direction in the second column. There’s a third column, usually, but that’s got information in it that’s not relevant to our job as actors, so ignore it.

I’ve made you a sample of a few lines from a military game I made up, to help you get started:

Assault on DickButt Island Call Outs

You’re going to do each of those three times, sometimes four times. You’re also going to do this for three more hours. Don’t worry, you can take a couple of short breaks — and you’ll need them — to drink some more of that tea you’re getting sick of.

If you’ve done this as I asked, it’s now six or seven hours after you started. Don’t talk at all for the rest of the day, and don’t make any plans to go audition for any other voice work for the rest of the week, because your voice is wrecked. Don’t go to any kind of day job that requires you to talk with anyone, either, because you’re not going to be able to do that. Oh, and over years and years of this, it’s going to build up into serious and permanent damage … and then you’re not going to be able to work with your voice anymore.

The fact that our employers won’t even talk with us about this growing problem, that affects the ability of all voice performers to take care of themselves, is reason enough to go on strike until they will.

But there’s more. Our employers also refuse:

[…] to hire stunt safety coordinators to protect actors’ well-being in the PCap volume, to share with us and/or our representatives the actual name of the games we work on, and to outline the nature of the work we’ll be doing?

Working in Motion Capture is amazing, and that technology has allowed some of the most incredible works of videogame art in history to be created. The Last of Us, Grand Theft Auto V, Heavy Rain, Uncharted 4, are just a few of the titles that have been brought to life by talented performers using their voices and their movements to create a realism that was unheard of fifteen years ago. It can be dangerous work, especially when there are fights involved, so when we work in live action film or television, there is always a trained, qualified, professional stunt coordinator on set to ensure that nothing goes wrong and nobody gets hurt. The performers who work in those scenes should be afforded the same protection we get when we’re on a traditional film or television set.

And I totally get the desire for studios to protect their upcoming releases by using codenames for various projects when we audition, but asking — in this case expecting — us to go into something with absolutely zero knowledge about the project, or what we’ll be expected to do if we are cast, is completely unreasonable. Maybe someone has a moral objection to the content of a game, and they’d like to know what it is before they commit to it. Maybe they get to see three pages of the script (usually just single lines with no context) and they wouldn’t take the job if they found out the part was just one scene, followed by sixty pages of call outs, being delivered by several different characters. Or maybe they just aren’t into the project when they find out what it is. The point is, expecting actors — or anyone — to commit to a job without knowing exactly what it entails just defies common sense. We have got to be able to figure out a compromise that fairly and equitably addresses everyone’s concerns. You know, a negotiation.

But it gets worse, because these people, who have refused to address a single proposal from SAG-AFTRA, have some ideas of their own that they apparently expect us to just accept without question:

Our employers want to be able to fine you $2,500 if you show up late or are not “attentive to the services for which [you] have been engaged.” This means you could be fined for almost anything: checking an incoming text, posting to your Twitter feed, even zoning out for a second. If a producer feels you are being “inattentive,” they want the option to fine you $2,500.
Our employers want to be able to fine the union $50,000-$100,000 if your franchised agent doesn’t send you out on certain auditions (like Atmospheric Voices or One Hour One Voice sessions)?

I’m sorry. What? The studios want to fine SAG-AFTRA up to $100,000 if our agents don’t send us out on an audition? Because these same people who refuse to discuss any of our proposals for this upcoming contract believe … what, exactly? That they own us all and they can force our agents to do whatever they want them to do? This makes literally no sense at all.

If your agent chooses not to submit you for certain auditions, our employers want to put into our contract language forcing SAG-AFTRA to revoke your agent’s union franchise. This would mean that your agency would not be able to send you out on any union jobs, including those in animation, TV/film, commercials, etc.

So this is ludicrous. I can not think of a single instance in the history of the entertainment industry where a studio of any sort has asked for and gotten something like this. If my agent doesn’t submit me for something, for whatever reason, that’s between my agent and me. Maybe I don’t want to work for a certain studio, so my agent doesn’t submit me for their projects. Maybe I don’t want to work with a certain director, or another performer or whatever I feel like because I’m a sentient human being who makes his own decisions. These employers (at video game companies and video game studios) want to have the option of preventing our agents from submitting us for any work at all, and that’s outrageous. Our relationship with our agents is, frankly, none of any studio’s business. (Edit 9/24/15 5:54pm): I just remembered that SAG doesn’t have a franchise agreement with agents at the moment, and hasn’t for some time. So there is no franchise to revoke (as I understand it, now).

IT’S NOT JUST SECONDARY PAYMENTS WE’RE FIGHTING FOR. IT’S THE FUTURE OF THE WORK WE DO.

We are at a crossroads, and we have a choice to make.

This is the crux of it, really. It really, really, really and honestly and truly isn’t about money. Sure, payment and compensation is certainly part of it, but it’s not all of it, and it isn’t even the biggest part of it. We really are fighting for the future of our ability to work in this business.

If we stand united, we have a chance to make real gains in this contract and to avoid these onerous rules and fines. SAG-AFTRA is one union now. We have power we’ve never had before, and it needs to be deployed now.

If we don’t stand together, we won’t even be able to maintain the status quo.

That’s why your Negotiating Committee, Executive Committee and National Board have all voted unanimously to support this action. Now, it’s in your hands. We hope you’ll join us and vote YES for a strike authorization.

Voting YES for a strike authorization does NOT mean we are on strike, it does NOT mean that we have to strike or that we will strike. It simply means that you authorize your Negotiating Committee and elected representatives to call for a strike against video game companies as a last resort, in order to make sure that your safety and well-being are protected, and that your future is free from any unnecessary fines and penalties. A strike authorization gives your Negotiating Committee real power at the bargaining table.

I love the work that I do. I’m grateful for the work that I have, and I’ve been lucky to work with some incredibly talented people on both sides of the recording studio glass. This isn’t about making enemies of the other creative people in the business, be they directors, studio engineers, artists, programmers, sound designers, writers, etc. This is about a handful of extremely wealthy, extremely powerful people trying to take away our ability to make a living, to take care of our voices, and to be safe on the set.

We in the voice acting community — along with the programmers and engineers, of course — have helped video games grow into a multi-billion dollar industry. Video games rival movies not because we push buttons and get loot, but because video games tell amazing stories that touch our lives in ways that movies can not.

I sincerely hope that a strike won’t be necessary. I sincerely hope that our employers will come to the negotiating table and talk with us in good faith, to reach an agreement that’s fair.

But if they won’t, I’ll go on strike unless and until they will, because I believe that #PerformanceMatters.

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