Category Archives: money

Shame Day: Video Game Companies

eaeaI am a dude who loves video games. I’ve played so much Team Fortress 2 in the past few weeks that it’s essentially become a ritual for me, something to do while and after I eat dinner. What I don’t always love are the business practices these  companies  engage in.

The image I Photoshop’d together depicts the EA [Electronic Arts] logo because they’re a company that I’m positive some of the blame lies with when it comes to generally being horrible to its employees.

I was turned onto this flagrant abuse of humanity through a webcomic Scott Kurtz [of PvP] and Mike Krahulik and Jerry Holkins [of Penny Arcade] put together. The comic, titled The Trenches, follows the life of a QA [quality assurance] guy whose name escapes me at the moment. The important part is that below the comic is a feature called Tales From The Trenches, which catalogues nightmare stories from those who toil within in the industry.

Below is one of my favourites, entitled “Weekend Funtimes.” My favourite not in that I enjoy reading it, but in that it encapsulates some of the horror of working  for large corporations:

We were about two months into “crunch” when they decided to up our hours AGAIN, taking us to over 80/week. The only available day to squeeze these extra hours in? Sunday!

I arrive at the building Sunday morning, only to find it locked—no other businesses had Sunday hours. I call my supervisor, who proceeds to fuss at me about interrupting his “family” time. My team had all arrived for work by that point, which just seemed to make him angrier. He tells me he is on his way and hangs up.

Flash forward ten minutes. We’re all still freezing (it was winter and -10 windchill) when we see his car come around the corner at the end of the block. He drives up the road, rolls his window down, and THROWS the office key at me—all without ever slowing down.

He calls me twenty minutes later to make sure we had gotten in, then informed me we would have to make up the time we had “wasted” waiting on him. He ended the call telling me to never interrupt his family time again.

That’s fairly despicable, and definitely up there among the worst of them. It was posted last month, and while it’s unknown when the event actually happened there is a date we can pinpoint: November 10th, 2004. The date that “EA: The Human Story” was posted to LiveJournal by user “EA Spouse.”

The post is a thorough examination of EA’s policies, especially regarding the infamous “crunch time” that its employees have to go through as the game nears its impending launch. She writes with a genuine, heartfelt voice that stems from being the wife of an EA employee. This is definitely present in the penultimate paragraph of her piece:

If I could get EA CEO Larry Probst on the phone, there are a few things I would ask him. “What’s your salary?” would be merely a point of curiosity. The main thing I want to know is, Larry: you do realize what you’re doing to your people, right? And you do realize that they ARE people, with physical limits, emotional lives, and families, right? Voices and talents and senses of humor and all that? That when you keep our husbands and wives and children in the office for ninety hours a week, sending them home exhausted and numb and frustrated with their lives, it’s not just them you’re hurting, but everyone around them, everyone who loves them? When you make your profit calculations and your cost analyses, you know that a great measure of that cost is being paid in raw human dignity, right?

Better known by her blogging handle, little did Erin Hoffman know what sort of action her post would lead to. In part it resulted in the filing of three class action lawsuits against EA and the beginning of many changes within the industry. Her post inspired another entitled “Why Crunch Modes Doesn’t Work: Six Lessons” which garnered a fair amount of attention within the online community.

That being said, Tales From The Trenches continues on into 2013, and it’s undeniable that many are slaving away in gaming companies because they love the final product. Their devotion to video games means that they’re stuck in jobs where they’re treated poorly by anyone and everyone a rung above them on the corporate ladder. Yes, this can be said of many work environments, but few have the same number of young, eager individuals so passionate to take part in what they’ve enjoyed their entire lives.

So shame on EA, and shame on any and all video game companies that treat their employees like dirt. No one said starting a career was easy, but no one should have to toil away thanklessly for an abusive system, either.

Shame Day: Glee

shame gleeTo begin with, I’m not a huge fan of Glee. I am a man who can say with confidence how much he loves musicals and acapella arrangements, but the show’s claim to be a melting pot of diversity [a place where Black people, Asians, homosexuals, and the disabled can belt it out to their hearts’ content] is not one I find myself agreeing with. But that’s the topic of another post.

Last week internet sweetheart Jonathan Coulton, known first and foremost for being the composer of “Still Alive”, the song that plays at the end of the game Portal, wrote a blog post in response to last Thursday’s episode of Glee. Specifically, the post was in response to their cover of “Baby Got Back” by Sir-Mix-A-Lot, which you can listen to here:


The issue being that Coulton released his own version of the song in 2006, which you can check out [and should, for comparison’s sake] here:


If you really want to scrutinize the two side by side, there’s a track on Soundcloud that simply places both tracks on top of one another [and an in-depth audio analysis, for those of you into that]. Coulton’s issue isn’t simply that Glee seems to have stolen his arrangement, but did so to the point where unique elements he added were copied as well. A duck quack is used to censor an expletive, and [this is practically impossible to ignore] the lyric “Mix-a-Lot’s in trouble” is replaced with “Johnny C’s in trouble” in both versions.

As he has kept the blog post constantly updated, four days ago he announced that having gotten in touch with the people at Glee, the following information was relayed to him:

They also got in touch with my peeps to basically say that they’re within their legal rights to do this, and that I should be happy for the exposure (even though they do not credit me, and have not even publicly acknowledged that it’s my version – so you know, it’s kind of SECRET exposure). While they appear not to be legally obligated to do any of these things, they did not apologize, offer to credit me, or offer to pay me, and indicated that this was their general policy in regards to covers of covers.

While Coulton is unsure of his exact copyright claim to the track, he had obtained a Harry Fox license to release it on an album alongside his own original music. His response is, refreshingly, a mature one in response to this whole ordeal.

He has re-released his track on iTunes under the new title “Baby Got Back (In the Style of Glee). “ Thanks to using the same license as before, Sir Mix-a-Lot will collect royalties, and all proceeds from the following month will go to charities The VH1 Save the Music Foundation and The It Gets Better Project.

This has, of course gotten its fair share of media attention. From a Facebook status by webcomic artist Rob DenBleyker to posts by Kotaku and The A.V. Club,  the internet appears to have rallied behind one of its own.

In his interview with Wired magazine Coulton shared a very simple solution for the show that spends millions per episode. He suggests that “they could offer to pay artists whose arrangements they use the same amount of money they would otherwise pay a musical arranger,” and that “if they opened with that, I’m sure a lot of artists would jump at the chance.”

Somehow, this isn’t the first time this has happened. Singer-songwriter Greg Laswell’s cover of a song made famous by Cyndi Lauper, “Girls Just Wanna Have Fun”, was also seemingly ripped off for an episode in November 2011. I’ve embedded the two songs for you to compare once again [and because I’ve gotta break up this wall of text somehow]:


Unfortunately, Laswell did not quite have the fan following that Jonathan Coulton does, and as a result this happened more or less without incident. The Hollywood Reporter did a short piece on it the month following, but from what I can tell it didn’t generate much controversy. Similarly, Petra Haden’s arrangement of “Don’t Stop Believin'” may have been appropriated without permission [i.e. stolen] by Glee as well.

It remains to be seen whether or not Coulton’s lawyers will be able to take legal recourse, but for the time being I’m happy that the show is finally being taken to task by those who believe that creativity should be rewarded and acknowledged, not plundered.

Shame Day: The British Monarchy

That’s right: the British Monarchy. I’m taking them down.

Again.

Being a radical lefty, there’s no one easier out there for me to bash than a woman making a speech about austerity measures while wearing a golden crown encrusted with diamonds pillaged from war-torn Africa and impoverished India.I have, in fact, done so before on another blog, and got chewed out by a Brit for daring to disrespect “my queen.” I responded to the (presumably) pasty twit that I’m not actually British and therefore am not a subject of an inbred German family.

I have never felt more American

So if I’ve touched on the subject before, why do it again?

Because this is something that really is a shame.

Let’s talk about money.

You can’t really argue with the fact that the money- tax money- used to prop up this family could be put to better use, “better use” being pretty much anything else- from reducing education costs to building new roads. Heck, even studying the mating habits of the sea otter would have more pay-off.

Because they are freaking adorable…

Now I can hear all you romantics and loyalists shriek out:

“BUT GORDON! IT’S NOT THAT MUCH! VERY LITTLE CASH ACTUALLY GOES INTO SUPPORTING THE MONARCHY!”

“Very little cash”? The queen- the queen alone- gets an allowance of a little more than a million dollars a year. Is that a lot of money?

Yeah, it is.

It’s a million dollars per year for having been born into one family and not another. It’s a million dollars that could be spent relieving poverty. And of course, it’s not just a million dollars. Not when you take into account everything else done for her. The security, the transportation, the servants- heck, the freaking A/C for any one of her royal residences probably costs more than I’d make in three years.

“BUT GORDON! WHAT OF THE TOURISM?”

Ah yes, the tourism.

Who could live without this stuff?

Because if the queen went away, the castles, the diamonds, the viking graves, the monuments- those would all just vanish as well. Tourists do not go to Britain expecting to have a face-to-face conversation with the queen. Tourism is not going to die with the Mountbatten-Windsors. Besides, if your entire economy is built on the frail shoulders of an octogenarian, you really don’t deserve to have a civilization to start with.

“IT’S DIFFERENT! THEY’VE GOT A CELEBRITY FOLLOWING!”

So does Honey Boo Boo. So does Justin Bieber.

“THIS OBSESSION CREATES JOBS!”

You think these people’s undeserved fame and fortune winds up creating jobs? Heck, war creates jobs, that doesn’t make it something worth pursuing. Greed, gluttony, envy and cowardice have given us thousands of jobs- some causes aren’t worth the effects.

“DIPLO-“

Don’t you dare say diplomacy. Don’t you dare.

An elderly woman with a funny hat isn’t going to do anything a bunch of children holding hands can’t- heck, Severn Suzuki did more in her five minute speech at the UN at the age of 13 than the Queen has done in her entire reign.

Let’s grow up, people.

Princesses are not from Disney. Princes do not sprout from frogs [I don’t think Gordon understands how fairy tales work. -Evan]. Royalty are inbred leeches draining funds from society that could be used help people who are actually productive. 1 million dollars isn’t much? Tell that to a bum begging for change. Tell that to a ghetto kid trying to get into college. Tell that to a war widow. This drooling over the royal family isn’t simply childish, it’s barbaric. There’s nothing quaint and charming about a handful of human beings enjoying fame and fortune simply for having been born.

No, that’s just a shame.

Shame Day: Oh Sit!

Nowhere in this post do I shame them for the title of their show.The television industry has a lot to be ashamed of. Keeping us from watching Community and Young Justice for one, airing Here Comes Honey Boo Boo for another. Every now and then, however, they do something truly inexplicable.

For those of you who don’t watch a lot of American TV, The CW is a television network that hosts a lot of show featuring attractive young people, like The Vampire DiariesGossip GirlAmerica’s Next Top Model, et cetera. Last fall they decided that what they didn’t have enough of was game shows, and thus the idea of Oh Sit! was born. Watch this:


Oh Sit!
is essentially a combination of two things that I quite enjoy: musical chairs and the gameshow Wipeout. Knowing that, it should have been nothing but pure, unadulterated entertainment. Unfortunately, much like shrimp and pumpkin pie, not everything you love should be mixed together.

The network described the show in its announcement as:

“…a fun, high-stakes, high-octane musical chairs competition, in which 20 thrill-seeking daredevils race head to head through five physically demanding, obstacle course-style eliminations as they each compete to claim a chair, to the sounds of a live band.”

In their review of the pilot episode, the A.V. Club’s TV Club

“…a show about musical f-cking chairs.”

I am not going to pretend I have watched even a full episode of the show. Thoroughly reading the above review has convinced me that it is not worth my time, and that I would probably not enjoy it. Gordon also said, in coming up with the Shame Day/Fame Day feature, that these would be short posts, so I strongly recommend just reading what they wrote.

The main reason I write this is because a little bit of browsing on Wikipedia has revealed that Oh Sit! was actually renewed for a second season. That’s at least ten more episodes of a show Variety‘s Brian Lowry described as feeling “like more of an ordeal than fun.” A second season of what the A.V. Club calls “yet another reality show that’s so depressingly static, so devoid of imagination, interest, or anything redeeming beyond a slightly promotable logline and a punny title.”

C’mon, CW. You’re better than this.

A Brief Argument Against Anti-Piracy

Over the past couple years, the issue of regulating the internet has repeatedly arisen, and while there have been many issues contributing to this, there is perhaps none more well known than the contention over copyright infringement and piracy.

Now for  a brief disclaimer.

I am a Marxist. I do not believe in “property” as the word would be recognized today. Every written work, every film, every piece of art belongs to every human being living. The Godfather series is just as much a part of our legacy and inheritance as the Mona Lisa, and as such, access to it should be enjoyed by all.

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This is all to say that I don’t view “copyright infringement” as constituting any true offense. On the contrary, it’s simply the people taking back what was rightfully meant for them to begin with- but I’m not here to talk about that.

No, I’m here to talk about how the music and film industries’ witchhunt for media pirates is doing them (and everyone else) far more harm than good. Let me break it down for you.

I. Some People Will Never Buy

It’s a strange statement, but a true one. There may be a slim minority of people who pirates actually are keeping from the major industries through their cheaper/free service, however it ought to be fairly safe to say that there are plenty of people out there who would not otherwise listen to certain artists or watch certain shows. We’re living in tough times, and with your average movie ticket running at about twenty bucks (to say nothing of the gas getting to the theater and back), for many of us piracy is the only way we’ll see new movies and shows. Assuming there’s a segment of the population who will never, ever pay to see The Godfather, stamping out free avenues- namely piracy- doesn’t save the industry any cash. On the contrary, it just means that those people who don’t get to see the movie because they won’t pay for it aren’t talking about it, and generating buzz that might well attract people who will pay to see the movie. And speaking of them…

II. Some People Will Always Buy

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Just as some people simply can not or will not pay (such outrageous prices) for entertainment, you will find people who will spare no expense when it comes to it. There are plenty of people who want to see movies on the big screen. There are plenty of people who want to see their band live in concert.The Mona Lisa is a perfect example of this.

No ownership claimed...

You can see pictures of Mona Lisa anywhere; it’s one the most widely recognized images in human history. Because it’s available for free most anywhere, no one will actually go see it, right? After all, it’s been “pirated” to death. Yet that room in the Louvre is packed wall to wall with people who want to see the thing for themselves. Why? Because it’s the original. Doesn’t matter that it’s roped off, or behind glass, or barely visible, or that the guards usher you along after thirty seconds- it’s still wildly popular. The same is true of all media. Some people- plenty of people- will part with their cash to see Avatar in 3D, rather than watching some grainy, laggy version taken on a hand-held video camera in Thailand.

III. Anti-Piracy Hurts the Audience

You may not have experienced this in the states, but there was once a time when DVDs were listed by region codes, and could only be played on players that recognized that region. In other words, a DVD from America couldn’t be played on a DVD player from Europe and vice versa. You were granted a limited number of “switches,” but seeing as how you typically only got seven, it just put off the problem, rather than solving it. The goal (one of ’em, at least) was to prevent international piracy of DVDs through cracking down on how far away they came from, but all that just came down to it being a huge hassle for everyone, regardless whether or not their purchase was legitimate. Imagine all the time, money, and manpower that was invested in that venture that wound up solving nothing and quite possibly leading the industries involved to lose more money over that debacle than they would’ve lost to actual piracy. The same could be said for those hyperbolic ad campaigns comparing piracy to car theft

IV. Anti-Piracy Hurts the Industry

And while we’re talking about the industry shooting itself in the foot, let’s not forget the fact that preventing access to one film will very often lead to prevention of access to another. Quite simply, a person who doesn’t see The Godfather is not likely to go see the sequel, whereas someone who has seen The Godfather has a far better probability of winding up trying to see the sequel, either legitimately or through piracy. Is it a guarantee? No, but it’s still a better chance for the industry to make some cash than by preventing the person from seeing the first film at all.

V. Anti-Piracy Hurts the Environment

Lastly, I have to point out that we have free access to most films, music, and TV shows anyways- down at the local library. Only problem with that is when I drive to the library, I’m spending gas money, creating traffic, and spitting out exhaust fumes. Now I can get most anything down there for absolutely free, and no one complains. But imagine instead that I save on gas money, I keep the streets clear, and I reduce my carbon footprint by staying inside and watching the same movie I would’ve gotten free at the library. Suddenly, I’m a soulless criminal. Does that make sense to you?

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What’s to be gained from all of this? Despite the doom-and-gloom prophecies of the industries, piracy continues on its merry path and yet we haven’t seen a decrease in the quality or production values of our movies.

Though "quality" is such a tricky word...We have more music artists now than we did a decade ago (at least, more access to them), in spite of piracy, and two of the most popular genres of our generation, techno and dub-step (I will never stop being ashamed of that) is heavily based on remixing and sampling other people’s work, i.e., piracy.

Look- I’m not asking the media giants to be happy about piracy, but at the same time, I have to question whether it’s really even worth it. All that cash being poured into anti-piracy gambits isn’t workingif it doesn’t already outweigh the revenue lost, wouldn’t all that time and effort be better spent elsewhere? Wouldn’t it be more profitable elsewhere?

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Just sayin’.

Old James Bond Vs New James Bond

I have not seen Skyfall– I’m gonna kick things off by stating that right here and now. Nevertheless, I have been following the movie’s development for a while, and the apparent consensus from both the critics and the fans is that “at long last” Daniel Craig’s Bond actually gets back to the spirit of the rest of the series.

Let me break that down a bit.

See, the issue voiced by many Bond fans regarding Craig’s version is that the gritty realism often feels too much like something from the Jason Bourne universe. Many argue that Craig’s Bond lacks the feeling of the older movies, which were (comparatively) more lighthearted and glamorous than the darker and harsher installments we’ve seen over the past few years. This complaint, I’ve noticed, seems to come a lot more from older generations, usually from the 80s backwards, while my own generation seems much more comfortable with Craig’s version. It’s not that it’s about familiarity- after all, there were Bond films while we were growing up, however, I think the whole “New JB VS Old JB” contention really comes down to a shift in values.

I mean, let’s take a look at some of the old James Bonds.

They were off sipping Martinis, flirting with enemy spies, and driving classic cars that turned into planes or submarines or shot lasers and rockets. And all of that was a reflection of the time. The Space Age, where new and innovative technology was bringing us ever closer to a Jetson family standard of living. Those Bond movies were simply a reflection of that era. The same goes for the hedonistic Brosnan Bond of the 90s. The crazy (nearly to the level of cartoonish) villains and schemes, the deus-ex-machina technology (I’m looking at you remote-controlled muscle car) all reflected the materialistic culture that dominated the time.

In the same way, the new James Bond films are a reflection of our own age. The glamorization that marked earlier films would, if applied now, just look condescending. As the economic crisis drags on and as we become more and more acclimated to the issues of unemployment, poverty, and constant warfare, sympathizing with slick government agents in tuxedos driving luxury cars and infiltrating Mediterranean cruises gets pretty dang tough. The bloodied and battered, and ultimately more realistic, Bond that Craig gives us simply appeals more to us. He’s not so much a tour guide for us into the wild and fascinating world of espionage as he a full, tragic character struggling in a lousy situation. The whole divide is demonstrated beautiful in this clip from Casino Royale.

Even the Bond villains are demonstrative in a shift in values. Back in the 70s and 80s, the audience lived with the idea that all life on earth could be ended by a nuclear war. Madmen with doomsday devices simply made sense as the natural Bond enemy. Despite the hype over Iran and, a while back, North Korea, today the idea of a nuclear holocaust is relegated more to survivalist compounds. What are we worried about today? Shadowy cabals of wealthy warmongers manipulating our lives from inside our own governments. Even though Quantum of Solace was less popular as a Bond movie, it’s a perfect example of this similar shift in worldview. What were they bad guys after? A military coup in Bolivia in order to secure the rights to 90% of the country’s water. Even if it’s not too exciting, it’s still believable.

Now none of this is to knock any of the movies (barring A View to Kill, which was freaking awful), it’s simply to explain why there’s been a bit of contention over Craig’s incarnation. The simple fact of the matter is, Bond is going to evolve with time. Surely that’s something to be admired, not complained about…