Star Trek alumni support the WGA

“Logic clearly dictates that the needs of the many outweigh the needs of the few . . . or the one.”

– Spock.

When I was a little kid, I loved this show you may have heard of called Star Trek. When I was a teenager, I worked on a show called Star Trek: The Next Generation. It was like Star Trek, but with jumpsuits and snazzier special effects.

They were both popular programs, inspiring and bringing joy to generations of viewers, while putting loads of cash into the pockets of Paramount and its shareholders.

Today, the WGA is having a Star Trek picket at Paramount to honor the people — like Harlan Ellison, John D. F. Black and Ron Moore — whose stories over the years made Star Trek such an important part of our culture, and inspired writers, actors, engineers, and others to reach out for the stars.

The picket is scheduled from 11-3 at Paramount’s Windsor gate. I’ll be there, and I hope you’ll all join me, at least in spirit, as we thank the people who made Star Trek possible, and fight for the rights of the next generation of writers.

Quote of the Day

"I realised I don’t play games for the challenge. I
don’t need or want to be punished by a game for making mistakes. I play
games for what Ron Gilbert calls "new art". I play to see the next
level or cool animation. I don’t play games to beat them I play games
to see them. Coming to that realisation was actually sort of important
for me."
    – Gabe, at Penny Arcade

(Quoted
because this is exactly why I play games, too. This is similar to why I
love Rock Band so much: it lets me immerse myself in the fantasy that
I’m a rocker the same way sandbox games let me immerse myself in the
fantasy of the game’s world. It also explains why I vehemently hate
fighting games.)

DRM and the DMCA: so stupid it makes me want to punch babies

I hate DRM. I hate it so much, I want to punch babies. DRM’s mere existence infuriates me, because it’s anti-consumer, turns honest customers into criminals, and does nothing to stop dedicated pirates.

You’ve read my blog before, so this is nothing new. DRM is in my mind today, however, because of two links I read at boingboing.

Link the first:

Wellington Grey has a great little slideshow about the idiocy of the DMCA’s “anti-circumvention” measures, which prohibit breaking the digital locks off the stuff you own. In it, Grey recounts how offended he was when he bought a TomTom GPS that came with a CD in a sealed envelope, the seal on which read, “By breaking this seal, you agree to our contract,” but the contract itself was on the CD, behind the seal. In other words, the CD said, “By breaking this seal, you agree to a bunch of secret stuff.”

I saw this on Reddit last week, and meant to link it then. Whoops. Anyway, I love how this guy explains just how fucking stupid and pointless DRM is, and that he shows us what would happen if DRM and the DMCA were applied to real world objects. It’s good perspective that’s useful for explaining to technophobes (and congress critters) why these things need to go away. Now.

Link the second:

Techdirt reports that Steve Jobs has been pitching studio execs on a scheme whereby DVD owners can pay extra for the “privilege” of ripping their DVDs — but only for playback on iPods and iPhones. The thing is, Jobs fought the music industry back in the early iTunes day, arguing that people who buy CDs should have the right to rip them without paying anything extra.

So what’s the difference? DRM — Digital Rights Management. This is the anti-copying software that studios put on DVDs, allegedly to “stop piracy.” But DRM isn’t doing anything to stop piracy (people who want to pirate DVDs just break the DRM, because it’s impossible to stop determined attackers from copying bits on their own computers). It seems like the primary use for DRM is to sell you back the rights you used to get for free, so that the studios can pick your pocket every time you find a new way to use the media you buy from them.

That second link reminds me of the first time I encountered some sort of restrictive, proprietary “software”: when I was 9, my mom let me buy this really cool cap gun. It was so awesome! It looked just like a real gun (this was in 1979, when things like this were harmless fun for a suburban 9 year-old) and you could load this strip of plastic caps into a clip that went into the handle. When you fired it, it went off with a satisfying bang, and ejected one spent cap like it was a shell.

I didn’t want to ever shoot someone for real, and as an adult I don’t have any interest in owning a gun, but when I was 9, this thing was the coolest toy, ever, and it was the perfect addition to my James Bond superspy roleplaying adventures with the other kids in my neighborhood.

The thing was, I could only load the gun with a particular type of refill, and if the store was out of those refills — but flush with all of the “standard” strips and rings of caps — my really cool gun instantly became a useless piece of plastic and metal that only made whatever “bang bang” noise I could create myself . . . just like the kids up the block who used Legos to make guns that didn’t make an awesome “BANG” but more of a 9 year-old vocalized “bang”.

Of course, the proprietary caps were more expensive than the standard caps, and after a few months they went off the shelf, never to return. The cap gun became a paperweight, and was sold at a garage sale.

It’s not exactly a 1:1 on DRM, but I believe the fundamental concept is the same: a manufacturer uses some restrictive bit of technology to lock consumers into one format and one device. It’s stupid, it’s anti-consumer, and it makes me stabby.

Super last minute Child’s Play Dinner Auction

I was AFK for two days while visiting family, so I didn’t have time to post about this until right now. In a moment, you’ll see why I’m apologizing in advance.

The winner of the Child’s Play dinner seats with me, Robert Khoo, and some Bungie folks had a family commitment and couldn’t come to Seattle on Tuesday. He’d already paid for the auction, so he told Child’s Play to keep his winning bid as a donation and asked them to relist the auction.

The auction’s been relisted, but it ends in 4 hours. At the moment, the highest bid is $1000.

Geek in Review: For those about to Rock

For this week’s Geek in Review, I played a whole lot of Guitar Hero III and Rock Band, so I could review and compare them both. For you, dear readers, I made this terrible sacrifice. Indeed, I did it for those about to rock:

With the holidays fast approaching, the question facing wannabe rockers
and those who would buy gifts for them is clear: Rock Band, or Guitar
Hero III?

It’s not as simple as it may seem. Both games have strong and weak
points, and while they both have The Rock in common, they are
distinctly different games, and choosing which one is right for you or
your favorite lil’rocker can be a difficult proposition. Since we’re
talking about a substantial amount of money here – though the GH 3 360
bundle has an MSRP of $89 and the Rock Band Special Edition has an MSRP
of $160, both are in limited supply and are going for Tickle Me Elmo
prices online – I thought I’d use this week’s Geek in Review to review
both games, highlight their differences, and justify to my wife why
I’ve played both of them so much in the last two weeks, I have a
serious RSI in my right forearm and wrist.

I encourage you to read the entire review, but if you can’t, here’s the comparative bottom line:

These are very different games, and I like them both for very different
reasons. If you have friends who can consistently get together with you
to play, Rock Band destroys Guitar Hero. If you’re going to be playing
alone, or if you’re buying for a teenager who thinks the greatest
achievement in life is getting 5 stars on Buckethead in Expert mode,
mashing guitar buttons like we used to mash Street Fighter buttons,
then Guitar Hero III is a clear winner.

My personal bottom line? Guitar Hero III is awesome, but Rock Band pwns, and I have the RSI to prove it.