Tag Archives: games

Things August 2017: Archive Adventures – part 2

Last time I shared the first half of the exciting archive of historic unused Things. In this second half, I’ll cover music, games, writing, and some data visualisation. Enjoy!

Video/Audio

I was collecting examples of music where I felt the production process was the main contributor to the quality of the song (rather than the songwriting or performance), examples being Britney Spears – Toxic, Mark Ronson – God Put a Smile on Your Face, and the Space Channel 5 theme tune. Then I wondered if actually I just like crisp brass and distorted orchestral sounds, and have no ear for production at all, so wasn’t sure whether I could meaningfully comment. But listen to those songs as a set and see what you think!

Putting a record of important sounds from earth in a spacecraft and shooting it out of the solar system is pretty speculative (although I’d argue we don’t know enough about the parameters in the Drake equation or the full potential of technology in this universe to know just how speculative) – but is also a profoundly optimistic and beautiful act, so I’m really glad we did it.

Some trivia that hilariously undermines the beauty of the gesture: EMI refused permission for The Beatles’ “Here Comes the Sun” to be included; and the engravings showing what humans look like (naked) were actually censored and therefore inaccurate.

Copyright issues have always made it challenging to listen to the full Voyager track listing on earth, but the copyright-subverting hydra that is YouTube solves this problem, and I highly recommend making time to appreciate the playlist.

And this just in, with a title that sets expectations perfectly, another candidate for music-to-share-with-the-galaxy: Duel of the Fates on Trombones

Games

I previously wrote about game-maker Jason Rohrer in Things 121 (specifically on Chain World, a game intended to become a religion). In 2014 he released The Castle Doctrine, a game about gun-ownership through the medium of PvP house-security design and burglary. Players design a secure ‘house’, with the restriction that it must be possible to break into without tools; they then try to break into other player’s houses to steal loot, and then store that loot in their own house and hope their design keeps other thieves out. Total loot owned is public, so a nice feedback loop emerges where a more successful player will attract more burglary attempts.

The challenge for such a game design is you need to come up with creative opportunities and restrictions that will emergently lead to players creating a huge range of fascinating house-designs. I particularly enjoyed the systems-design reasoning at work in Rohrer’s post on some of the design changes he had to make in response to players converging on clever (but boring) solutions.

In mobile games, the mind-bogglingly successful Clash of Clans (and its many clones) operates on a similar basis with (very) light real-time-strategy gameplay, but the strategic variety seems ultimately quite weak. I’m more impressed by King of Thieves, also operating on the same idea but with single-screen platformer gameplay. It’s free, so if that sounds at all interesting you should check it out (on iOS and Android). Unfortunately the late-game becomes about pixel-perfect jump timing which is a bit less fun.

Self-improvement

I can’t remember what I was thinking when I added this link, but perhaps that in itself is telling: Kottke’s extract from an Adam Phillips interview, “The need not to know yourself“.

I suspect that procrastination is a challenge for a large number of people, and found that Quora has a collection of highly upvoted answers. I personally found the best approach is a mixed strategy: trying lots of things in sequence. So this is a good place to go to find lots of ideas.

Writing, Data Visualisation, Everything Else

A good long read is, these days, the closest I get to the escapism of a good novel: a chance to inhabit and explore another world-view. If you’re the same, you’ll probably enjoy this long article on novels, tragedy, comedy, and religion on two levels. Sample quotes:

“the invention of the novel privatised myth, because the novel, invented after Aristotle, did not have a holy book. The novelist was on his own. Sometimes he’s even a she. There were no rules.”

“As they became professional, writers began to write about writers. As they became academicised, writers began to write about writing.”

“You may think that to praise The Simpsons at the expense of Henry James makes me a barbarian. Well, it does, but I’m a very cultured barbarian. The literary novel has gone late Roman. It needs the barbarians.”

There was an article about a trend online to use “?” where formal writing used a hyphen, for example:

“The greatest pleasure of all – the categorisation of minutiae.”
“The greatest pleasure of all? The categorisation of minutiae.”

I felt that captured something I’d seen and been annoyed by, and figured I would collect some examples. I guess shortly after that I just started to accept it and didn’t collect anything, and then couldn’t find the original link, leaving this a bit of a non-thing. Although I think the fact I abandoned it is at least somewhat interesting.

Unremembered by present me, and unexplained by past me, the Things archive includes a link to the Tableau product support page.

Here are some fascinating maps on the distribution of blood types.

And finally, a superb example of giving insight into long-term trends using well-designed data visualisation: The Great Prosperity (1947-79) and The Great Regression (1980-2009)


(Click for full version)

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Things July 2017: Archive Adventures – part 1

In November, Things will be 10 years old. Since the beginning, I’ve collected an archive of interesting things, and at various intervals then created Things out of that archive. I tend to collect slightly more things than I publish, so the archive has grown. Rather than cull it, I’m going to just put them all out in two big catch-up editions. In this edition: Stories, Technology, Imagery, and all the Puzzles. This is going to be intense!

This Just In

Before I get to the archive, a couple of recent things.

Damien Henry’s video for Steve Reich’s “Music for 18 Musicians” makes excellent use of machine learning for art. Using video shot from a moving train, an algorithm learns how to predict what the next frame will look like. Every 20s into the video the amount of learning used increases. The result is fascinating, and perfectly complements the music. You can skip through the video to get an idea of the effect, but it’s best played in full!

There is an awkward vein of humour in which comedians interview (often) unsuspecting subject-matter experts in a non-serious manner (Philomena Cunk interviewing Brian Cox is one I don’t mind so much). Superficially, Werner Herzog sometimes takes a similar approach in his documentaries (noted in Things 118 in 2012, “Please describe an encounter with a squirrel”), but there is a hidden earnestness behind his questions. If you’ve never seen any of his documentaries, this excellent short clip on penguins shows you what you’re missing.

Stories

I think via Richard L, here’s an interesting piece on Plots not involving conflict.

In some stories/fables/myths the inciting incident or key point of drama is a character attempting to do something different to normal. In old stories, the character often fails and is punished, the moral being “know your place” (for example, the crow that tries to sing and in so doing drops a piece of cheese). In more modern stories, the character often succeeds and is rewarded. Is that generalisation true though? And what does it mean? I was going to collect examples of each and try to see a pattern, but never ended up doing that, so I’ll just leave it here as an unfinished thought.

The Cosmology of Serialised Television is an essay by David Auerbach which categorises long-running TV fiction by cosmological universe types: Steady State, Expansionary, Big Crunch. I didn’t find it particularly useful in terms of identifying solutions to the intrinsic storytelling problems of the medium, or even uncovering hidden gems (just the expected “Everything is terrible except for The Wire and Babylon 5“).

Still, it’s a lot of fun to read and nod along to, with some great terse summaries along the way, for example:

“So comics evolved by directing creative effort away from any moments of quality and toward large-scale creative bankruptcy”

See Maris Wicks’ 16-panel summary of Kitty Pride’s relationship with Colossus (penultimate comic in this post) for a great example of this.

Choose Your Own Adventure

One of my favourite kind of stories is any subversion of the “Choose your own adventure” format. Previously on Things I’ve linked to Luke Surl’s perfectly terse ‘Free Will‘ page. As an implied CYOA, this previously-linked Beaver and Steve comic also remains a classic.

The “Prog 2012″ issue of 2000AD featured a story called “Choose your own Xmas”, and subverts the format while also shattering the 4th wall. It’s completely brilliant but isn’t online so you’ll just have to trust me and buy or borrow it.

Viviane Schwarz also subverted the format beautifully to convey what it’s like to suffer from anxiety.

Working within the extraordinarily tight constraints of having a fixed panel and art layout, Ryan North still found a way to make a CYOA version of Dinosaur Comics.

Save The Date (recommended to me by Tarim and Richard L, available for free on Windows, Mac or Linux) leverages the Ren’Py ‘visual novel’ engine in a rather clever way, and if you’re interested in games and storytelling, have 30-60 minutes to spare, and can tolerate an apparently high rate of failure, you should give it a go. It could perhaps have delivered its message more elegantly at the “end”.

Also via Richard L, Trapped In Time (pdf) is a nice twist on the traditional choose-your-own-adventure format that leverages the format in a few interesting ways I’ve not seen before, and actually works very well as a pdf!

And I should mention this just in – browser-based interactive time travel fiction, One Night in Skegness, by Matheson Marcault (Holly Gramazio and Sophie Sampson). More time travel, but in a more relaxed way.

Technology

Perhaps surprisingly, a link about technology that sat in my backlog for 5 years has become more interesting with age. John B recommended the article, in which Alexis Madrigal laments that (in 2012), internet startups are just retreading the same ground and no longer promise to revolutionise our lives. John also pointed out the comment below the article by Urgelt (comment link doesn’t seem to work, wait for comments to load, which they often don’t, then find ‘Urgelt’ in the page). Urgelt more precisely categorises startups into those that grow the economy vs those that just take market share from existing businesses, and the issue is that most startups are falling into the latter category.

Both make a very interesting read 5 years further on, leading one to ask: has anything changed since then? Two trends jump to mind.

The Gig-economy-style startups (Uber, Deliveroo, AirBnB) suggest major changes, but might not actually scale. Uber charges around half of the true cost, subsidising the rest in a bid to achieve market dominance when driverless cars arrive; Deliveroo similarly rides an unsustainable cost/charge balance for much the same reason; only AirBnB arguably doesn’t fit into this category as the market sets the price.

Crowdfunding seems to be a more impressive development. In 2012, Kickstarter was just turning the corner, and Patreon is now in the ascendancy. From artists/game-makers that I follow, these services genuinely seem to be creating viable revenue-streams that were not previously available, to the benefit of culture in general. For example, Captain Disillusion (referenced in Things March 2015 and Things 17) was never mass-market enough for ad-revenue to be viable, but now raises sufficient money from Patreon to work on his videos pretty much full time.

In more “modern life is terrible” news, here’s an article from Cracked in late 2013 that is really just an enjoyably angry and sarcastic rant about clickbait content-farming. I remember at the time thinking that, if nothing else, the clickbait headline style would have to change as humans will fall for anything once, or maybe a hundred times, but eventually will develop a sort of semiotic herd-immunity to these well-dressed empty promises. Four years on… have things changed? Well, if nothing else, Facebook is at least attempting to deprioritise these sorts of headlines; more specifically, headlines that withhold key information, and headlines that senselessly exaggerate the content.

Imagery and Comics

Wondermark on the thought-experiment of money having a continuity rather than just being an abstract quantity of value. Wet owlsInopportunely placed stickers. Bikes recreated (digitally) from drawings. The Door to Hell: “They set the hole on fire, expecting it to burn itself out of fuel in a few days. Now, some 42 years later, it is still burning”.

Puzzles/Questions

Collecting all unused puzzles here is probably too intense, but I quite like that about it, so I’m doing it anyway.

1) 2D News

Sci/tech news is often quite one-dimensional, revealing a single scientific discovery or technological advancement at a time. As a thought-experiment, try combining two or more such stories from the past year into something amazing. For example, advances in drone technology + advances in ‘invisibility cloaks’ = army of invisible drones. Finding loads of other planets + anything = awesome.

2) Put Put boat

A toy Put Put boat has an amazingly simple heat engine, which you may recognise from the film Ponyo. A candle heats a small boiler; some water in the boiler vaporises but cannot escape, generating pressure that pushes the remaining water out a pipe. The momentum of the water keeps it pushing out, leaving the inside of the boiler with low air pressure. As a result, water then rushes back in, and the process repeats. Water thus repeatedly enters and exits a pipe pointed out the back of the boat, which then travels forward in a halting manner. The puzzle is this: why does the boat actually move forward, instead of just moving back and forth, given water is just going in and out?

3) Bernoulli vs the Train Window

In a similar vein to the Put Put boat, we have the Bernoulli train window problem. Bernoulli’s principle roughly states that faster moving air acts as if it has lower pressure. The classic demonstration is to hold a piece of A4 paper by one end in front of your chin so it droops downwards away from you; by blowing over the top, the pressure is reduced, and the piece of paper rises up due to the higher pressure underneath it.

A similar effect could be seen in an old-fashioned push-to-close narrow train window. If such a window was open and the train entered a tunnel, the window would slam shut. Or, would a shut one blow open? Depending on whether you take the perspective of the tunnel or the train, the faster moving air is on one side of the window or it is on the other. So which way does the window go?

4) Catbird seat

The Catbird seat is one of those puzzles I like because you can solve it with drawings and trigonometry, and then you can solve it better with simpler drawings and simpler trigonometry, and then you wonder if you can solve it in some kind of purely intuitive manner.

5) Shape of a Harp

When plucked, a longer taut string makes a deeper note. A harp has progressively longer strings to cover a range of notes. However, even though the interval between each note is the same, the length of the strings does not change linearly, or even following a simple curve, but rather an S-curve. Why is that? I thought this question might have a nice intuitive solution that could be reached by reason rather than by physics, but the answer is a bit more disatisfying, so this question remained in my backlog unasked. If you don’t want to figure it out (and my personal opinion is it’s not that interesting to do so), you can read about it here, although you’ll need the internet archive page for the harp citation.


Not a harp, but the principle is the same

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Things September 2015: The Sea, Song Covers, Weather Reporting, Alphabear

Comic – The Deep Ones

A few thematically related thoughts have been freaking me out quietly but insistently for many years: the idea that, when in the sea, you are in the same body of water as sharks and giant squid; the imagined sensation of floating somewhere in the sea and sensing something vast swimming just beneath your feet; the idea that the sea has not been thoroughly explored and that monsters may truly lurk in deep trenches. This short comic, “The Deep Ones” by Julia Gfrörer explores these ideas quite poetically and insightfully.

Sample:

 

Music – Covers that that Trump Originals

Logistics note: reading through old editions of Things, about 50% of all YouTube videos I link to disappear after a couple of years. So I’m now including a link to a generic YouTube search that should work even if the one I chose has gone away.

While fully recognising that everything is subjective, especially music,  I hold that these covers are particularly notable.

Jose Gonzalez does “Hand On Your Heart”, sounds like he means it:
(In case of removed video, try this search)

 

In case you need reminding, here’s Kylie with the original:
(In case of removed video, try this search)

 

Similarly, Iron & Wine sings ‘Love Vigilantes’, a lovely and quite moving ballad about returning to family from war:
(In case of removed video, try this search)

 

That was New Order’s idea originally, but I’m just not as convinced by their version:
(In case of removed video, try this search)

 

Just in case it looks like I’m only into gentle acoustic covers, here’s something going the other way!

In Scott Pilgrim vs The World (a movie I will tell anyone that will listen is underrated right after I’ve tried to convince them to appreciate Speed Racer), Scott (Michael Cera) tries to impress Ramona (Mary Elizabeth Winstead) with a 30 second song he wrote about her:
(In case of removed video, try this search)

She tells him she can’t wait to hear it when it’s finished. That’s the joke.

The things is, this song is actually by Beck, which explains why it’s a surprisingly assured and satisfying chord progression – Beck contributed most of the original songs for the film. I like to imagine Beck saw this bit and thought “You know what, I will finish it” and came out with this:
(In case of removed video, try this search)

 

Weather-related newspaper headlines

(via Iain) I had wondered if there was a corollary to Betteridge’s law of headlines relating to the weather. I hadn’t noticed that the Daily Express was particularly fond of weather-related headlines, but quite brilliantly Scott Bryan compared a year of headlines against what actually transpired back in 2012. The post is no longer up but you can find it on the internet archive.

 

Libraries caught up with the future when I wasn’t looking

Back when people were getting excited about the advent of ebooks and digital audio books, I remember a lot of intense discussion about what this might mean for libraries.

Turns out that all the pieces came together, and you can now digitally borrow these things from your local library directly from your device, for free. (Perhaps more accurately, you’ve already paid for it with your taxes). I’ve been using the Overdrive app to do it and it’s really quite brilliant.

Two caveats. First, you very reasonably do have to join your local library in the first place to get an ID and PIN. Second, don’t be tempted to create an Overdrive account using Facebook, because if you later want to borrow an eBook and put it on a device that doesn’t run Overdrive, you’ll need to go through some icky business with ‘Adobe Digital Editions’ (because DRM), and that doesn’t work if you used Facebook.

On the topic of DRM, I’m still convinced it’s a terrible idea for digital purchases, but I think it’s pretty much essential to make this whole borrowing idea work, so I’m happy to accept it there.

 

Mobile games to try

Free-to-play mobile games are trying all sorts of strategies these days to find a business model that works (because straight paid on mobile sadly doesn’t). One model is to create a game that never really ends, is completely enjoyable without spending anything, and in which spending gains you a small advantage of some sort. These games don’t make a huge amount of money for the people that make them, and the flip side of that is that they can give you a lot of fun for very little money.

Alphabear is one such game. It’s a really lovely word-puzzle game with some nice strategy. There’s an ‘energy’ mechanic (you can only play a certain amount and need to wait for your ‘energy’ to come back), but you can buy ‘infinite honey’ which removes the energy thing entirely. So if you enjoy the game, you should definitely do that.

Breakneck is another, and takes the form of a twitchy high-speed sci-fi sort of endless runner, reminiscent of Wipeout. If your device is up to it, it’s a very polished experience at a ridiculously low price. (iOS only – sorry)

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Things 134: Overanalysis of popular media for Fun and Recreation

At school, I thought the purpose of English Literature was to argue about hidden meanings in books, meanings I believed were not remotely connected to the author’s original intent, and that I therefore considered worthless.

Since then, I’ve completely changed my mind. Intent is bunk, over-reading things is fun! Are the Star Wars prequels actually the purest embodiment of George Lucas’s original desire to recreate the adventure serials of his youth? Or is Lucas in fact the world’s greatest troll, deliberately irritating the original trilogy’s fans, perhaps because he resents the way they feel a kind of ownership of the material he originally created? I don’t know, but it’s a lot of fun to think and argue about both, preferably simultaneously!

“Any man who inflicts the human race with ideas must be prepared to see them misunderstood.” – H. L. Mencken

So, this edition of Things is dedicated to finding joy in metatextual resonances and overanalysis of popular media that I have particularly enjoyed.

 

Candy Crush / Addiction

Art Hawk is a video series that’s all about over-reading meaning in games, all delivered in a silly voice and with layered, weird and occasionally relevant imagery. Needless to say, I love it. Here, Art Hawk explains why Candy Crush is a wonderful piece of ARRRRTTTT:

 

Seinfeld / The Ballardian Infinite

Claire Evans writes about how the Seinfeld episode about a seemingly endless car park is part of a rich tradition going back to J. G. Ballard and J. L. Borges, and finds meaning in the fact that the traditional apartment set was physically replaced by the garage set. Were these layers of meaning intended? Probably not! And that’s fine.

 

Movies in general / The lives of the stars

I’m interested in movies and how they are made, but not in the personal lives of actors and actresses – what would usually be termed ‘gossip’. But I was fascinated by The Rules of The Game, an excellent long-form article on the relationship between celebrity, gossip and publicity in the movie industry over the past 100 years. In particular, I was interested by this core insight (emphasis mine):

… media outlets report that George Clooney, whose picture personality is that of a handsome, charismatic, yet hesitant to commit man-about-town, replicates those characteristics in his “real” life, gallivanting about Lake Como, switching beautiful girlfriends every few years. The extra-textual information ratifies and authenticates his overarching image; the “real” Clooney is in fact all of the things he is in, say, Ocean’s Eleven. Whether we’re conscious of it or not, that coherency is at once pleasurable and reassuring.

Yes! That’s exactly it. I suspect this is why the media frenzy about Clooney’s recent narrative-breaking engagement was so large that even I heard about it.

 

The LEGO Movie as message-bearing trojan horse

Film Critic Hulk wrote a lengthy, heartfelt piece on why The LEGO Movie really works. Hulk suggests that one of the key plot-points within the movie represents what the makers of the movie are actually attempting to achieve with the movie itself [Spoilers approaching]:

LORD AND MILLER ACTUALLY OUTLINE THEIR ENTIRE MODUS OPERANDI RIGHT THERE IN THE MOVIE ITSELF […] DISGUISE YOUR THING SO IT SEEMS LIKE A THING THEY’LL ACCEPT […] THEN WORK WITHIN THE CONFINES OF THOSE ACCEPTED WAYS IN ORDER TO DO WHAT YOU ACTUALLY WANT TO DO. IT’S A LITERAL HEIST, BUT IT’S A METAPHOR FOR A CREATIVE ONE TOO.

Specifically, they disguise the movie as a light and fluffy fun-for-all-the-family frolic, while delivering (a bit heavy-handedly in my opinion) a message about adult responsibility and what life is really all about.

 

Jennifer Lawrence’s rise to stardom and The Hunger Games

I first saw Jennifer Lawrence in Winter’s Bone, an independent movie she carried almost single-handedly. She plays a teenage girl with an absent father and an emotionally diminished mother, who supports her family in a harsh backwoods environment by, among other things, hunting squirrels.

A couple of years later, she was cast as the lead in The Hunger Games, in which she plays a teenage girl with an absent father and an emotionally diminished mother, who supports her family in a harsh backwoods environment by, among other things, hunting squirrels. She puts herself forward to be thrust into the limelight of something called ‘The Hunger Games’, where she is a tremendous success thanks to her grit and skills. And of course, by being cast in The Hunger Games movie, Jennifer Lawrence herself was thrust into the real-world limelight, and is currently enjoying tremendous success thanks to her skills and, possibly, grit. I’ve got to admit, I do find that coherency strangely reassuring.

(Her intervening appearance in X-Men: First Class only breaks this narrative a little bit).

 

Baron Munchausen’s defeat(?) by bureaucrats

The Adventures of Baron Munchausen is one of the more extraordinary entries in Terry Gilliam’s canon, a wonderfully creative and madcap romp through various ridiculous scenarios which betrays none of the difficulties that beset its production. [Spoilers about to break down the gate.]

In the movie, bureaucrats, following entirely rational procedures, prolong the suffering of the people in a city under siege. The Baron defies them, and through sheer force of will, creativity, and with a few friends, defeats the attacking army. But the chief bureaucrat then has the last laugh, assassinating the Baron.

Similarly, despite bureaucrats at Colombia attempting to fatally restrict the movie’s budget, and in the face of all manner of other challenges, Terry Gilliam nevertheless created something wonderful – through sheer force of will, creativity, and with a few friends. But the bureaucrats got the last laugh, as a political change within Colombia resulted in the movie being given such a limited release it could not possibly succeed, effectively assassinating it.

In the film, with one final, surreally creative twist, the Baron nonetheless declares victory. In the documentary accompanying the movie on DVD, Gilliam feels that this resonates with real life still further: despite everything, the movie is everything he wanted it to be, and it lives on with home releases; this represents his final victory.

(On the subject of Terry Gilliam, the parallel between Doctor Parnassus peddling incredible things to an unengaged modern audience and Gilliam’s late career is almost too overt to mention here).

 

The Wachoswki’s Speed Racer as a triumph of Art over Commerce

Speed Racer is my favourite movie. It’s utterly ridiculous and visually stunning, which I find an irresistible combination. This quote from the Ain’t It Cool review explains that a little better:

You know how sometimes you see a trailer for a film like THE FIFTH ELEMENT, and they show you all this eye candy and it looks like the whole film is full of that? And then you see the film and it’s actually about 10% crazy eye candy and the rest looks like a regular movie? Well, that ain’t SPEED RACER. Every single image in this film is outrageous, hyperreal, and color-saturated, and at first, it’s sort of a shock to the system. But by about 15 minutes in, your eyes get used to it, and suddenly the entire palate becomes sort of beautiful.

But it’s more than that – in Adam Saltsman’s Vanquish retrospective he draws a parallel between that underrated video game and Speed Racer, and sums up this other brilliant property of the film:

In SPEED RACER, time is completely relative; a viscous fluid, the passage of which, like our place in the chronology and memories of the characters, is utterly dependent on the story, rather than linearity, or even cinematic tradition. Time and space shift according to the needs of the narrative and cinematography, but in a way that is intimidatingly holistic and with a degree of confidence that would be unnerving if it wasn’t so thoroughly saturated with real human love.

Anyway, to get back to the point, and what really cements the movie’s place at the top of my all-time-favourite list, is Chris Stangl’s observation that it is essentially a metaphor for its own creation:

Because Speed Racer is about something; about something moving and important […] Speed Racer is about art and commerce, though the stand-ins are racing-constantly-compared-to-art and patronage in the form of corporate driver sponsorship, with Speed Racer as a virtuoso whose work in content and form reduces crowds to tears of ecstacy. It’s about accepting that your art exists in a commercial sphere, that money and power are in the balance, from sponsor on down to spectator… but the artist needs to do what the artist does, and ignore all that. Listen to what the car needs. When you turn in something bizarre and startling, garish and strange — even when it gets upsetting and your mom has to look away — as long as you drove as hard as you could, you did your goddamn job […] The Wachowskis are encouraging artists who can’t help but make the weird new things they make, to be bold, proud. When it’s in your blood, you have no choice anyhow.

The fact that the film proved to be a financial disaster makes this message all the more poignant for me.

- Tim Mannveille tweets as @metatim and writes more about films on his personal blog