Manchmal braucht es nicht
mehr als eine gute Geschichte – das beweist das Indiespiel Firewatch auf beeindruckende Weise: Auf der Flucht vor einem deprimierenden Leben mit einer schwer kranken Frau sucht Henry Halt in der totalen Isolation – als Ausgucker in der Wildnis Wyomings. Immer in Funkkontakt mit Kollegin Delilah sucht der Mitvierziger nach etwaigen
Feuerbedrohungen oder hindert pubertierende Teens an der Vermüllung der im malerischen Comiclook gehaltenen Waldlandschaft.
Als zwei Junge Mädchen vermisst werden und ein Schatten Henry aus der Ferne beobachtet, wird aus einem
meditativen Selbstfindungsdrama ein packender Videospiel-Thriller. Den erzählt Entwickler
Campo Santo Bioshock-ähnlich fast gänzlich via
Funkverkehr und integriert Multichoice-Dialoge, die die immer spannendere Story
dezent, vor allem aber die glaubwürdige Beziehung der Hauptfiguren formen. Fesselnd
bis zum etwas enttäuschenden Ende! 9/10
The early web aesthetic, best typified by Geocities and later by Myspace, prized owner customization over audience usability. The most important thing about your little corner of the web was that it satisfied you, rather than your visitors. People need to hear this MIDI version of Yellowcard’s “Ocean Avenue” when they visit my page — who cares if it makes for a terrible user experience?
The uniformity of Facebook profiles (and Twitter profiles, and those of most modern social networks) solved this problem by taking all that customization away. You couldn’t tweak your profile’s layout, or add auto-play music, or even add GIFs. Cover photos do a bit to spice things up, but not much. And, despite some growing pains, the homogeneity of Web 2.0 means web surfers rarely have to worry about loading a page and getting served bad fonts, low-res images, and tags. It’s a much cleaner experience for the user, especially on the smaller and slower mobile browsers that have become increasingly common — and it’s a much more profitable experience for the companies that own these social networks, which can segment audiences and sell ads much more easily.
But we’re entering an age that’s moving away from text and static images and toward multimedia — video specifically — that threatens to upend web aesthetics yet again. Unless they want to accept the substantial costs associated with processing video, platforms are powerless in compelling users to adhere to any sort of style guide or uniformity. Online video is the new Myspace, and it’s chaotic and cluttered and garish, and I love it.
Wonder Woman will be on the big screen for the first time in two months in Batman v Superman. And that’s great but what fans have waited a loooong time for is a Wonder Woman movie. That will be out next year but last night we got our first glimpse at live footage and it looks very promising. Hell it’s a Wonder Woman movie - I was shaking when I saw it. IT’S A WONDER WOMAN MOVIE.
The movie is set in the early part of the 20th century in WW I, a generation earlier than when the character debuted in comics. It will be interesting to see what the plot is there but I hope it at least touches on the suffragette movement and doesn’t use the time frame to avoid diversity in casting.
But let’s take a look at some of the footage first before we discuss any further.
Can I tell you how am happy the words “Feminist Cultural Icon” is stated in reference to the character given 1) the mealy mouth bullshit the current creative team used and 2) Given the perceived demographic for superhero movies I was actually surprised they went there.
The costumes look good, the action looks exciting (racing horses?!!) and while we have still yet to hear Gal Gadot say anything as Diana (beyond some yips and growls) so I still don’t know what kind of acting chops she brings but I thought the scene where she tries on the glasses was promising. It does seem that they are going toward the same dark color palette as the MOS and B v S, but it actually did seemed to work give the time period.
We won’t see the final version until June 23 of next year but right now I would say I am very optimistic. Thoughts?
Syd Mead concept art from the Blade Runner 30th Anniversary blu-ray still gallery, part two: interiors
Too often the public conversation about online vulnerability is about things like identity theft and credit card fraud,” Ben Wizner, director of the ACLU’s Speech, Privacy & Technology Project, told me. “For most people, though, credit card fraud actually has minimal impact. But what if there was a database that knew where your phone had been everyday between 3 a.m. and 5 a.m.? Functionally that database would be a proxy for who you were sleeping with. Well, there is that database, because you have a phone. There isn’t anybody out there who should feel smugly secure.