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    <id>tag:www.websnark.com,2010-01-06://1</id>
    <updated>2011-06-20T15:40:50Z</updated>
    <subtitle>I do not balk at the Manchego&apos;s rustic, woven rind</subtitle>
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<entry>
    <title>I hate filling out change of address forms....</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2011/06/i-hate-filling.html" />
    <id>tag:www.websnark.com,2011://1.3786</id>

    <published>2011-06-20T15:05:39Z</published>
    <updated>2011-06-20T15:40:50Z</updated>

    <summary>Hey everybody! I know, I know. It&apos;s been... (checks watch) sixteen months. But you have to understand -- traffic was a bear.Truth be told, this post is to point you to our new home. We&apos;ve pushed Movable Type and pushed...</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Administrative Snarking" scheme="http://www.sixapart.com/ns/types#category" />
    
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        <![CDATA[<p>Hey everybody! I know, I know. It's been... (checks watch) sixteen months. But you have to understand -- traffic was a <em>bear.</em></p><p>Truth be told, this post is to point you to our new home. We've pushed Movable Type and pushed it and pushed it until it could be shoved no longer. It's no longer 2004 and we need to act our age.</p><p>So, for <em>all new</em> Websnark goodness, please head over to <a href="http://new.websnark.com/">http://new.websnark.com</a> -- it's a Tumblr driven engine, so you should have plenty of ways to reach it. You can also update your RSS feeds to <a href="http://new.websnark.com/rss">http://new.websnark.com/rss</a> and everything should work... well, exactly the same as it did before.</p><p>If anyone is still out there? Thanks. And I hope to see you soon. Regardless, thanks for <em>everything</em>. The Balcony... she is Closed.</p>
]]>
        
    </content>
</entry>

<entry>
    <title>By the way? The Soonr™ web services ending in &apos;r&apos; stop dropping the &apos;e&apos; before that r, the Bettr™.</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/02/by-the-way-the.html" />
    <id>tag:www.websnark.com,2010://1.3785</id>

    <published>2010-02-10T23:33:01Z</published>
    <updated>2010-02-10T23:28:55Z</updated>

    <summary> The people who brought us Pirate Bay -- the very best in organized intellectual property theft -- have launched a new venture. And oddly enough, this one seems... legitimate, and potentially useful. Well, that&apos;s not fair. Pirate Bay was...</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Philosophical Snarks" scheme="http://www.sixapart.com/ns/types#category" />
    
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        <category term="Webcomics" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="dumbasscompanynames" label="Dumbass Company Names" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="flattr" label="Flattr" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="micropayments" label="micropayments" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="microtransactions" label="microtransactions" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="pennyarcade" label="Penny Arcade" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="piratebay" label="Pirate Bay" scheme="http://www.sixapart.com/ns/types#tag" />
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        <![CDATA[<p>
<img src="http://www.websnark.com/images/flattr.png" height="98" width="300" border="0" align="left" hspace="4" vspace="4" alt="Flattr" />
</p><p>
The people who brought us Pirate Bay -- the very best in organized intellectual property theft -- have launched a new venture. And oddly enough, this one seems... legitimate, and potentially useful.
</p><p>
Well, that's not fair. Pirate Bay was useful. Man, was it useful. It's just, it was useful for stealing other people's shit. So, you know. Its usefulness was counterbalanced by its venality. But I digress.
</p><p>
Anyway, Flattr is a new and exciting way to show your appreciation to the creators and website types who you most like. Well, it will be, when it becomes available for you to try it. Or if you're on the beta list. Of course, until you're on the beta list, you can't either use Flattr to show your appreciation or set things up so Flattr users can show their appreciation to you, but again I digress. Let me start over in a new paragraph.
</p><p>
Flattr is a way to show your appreciation when you like something. You see, it lets you "flatter" the users. See? It's funny! But it also stands for 'Flat Rate,' which is the key to how it works. I know this because I watched a <a href="http://vimeo.com/9352664">video explaining it.</a> (If that link doesn't work for you -- Vimeo has trouble sometimes -- you can <a href="http://www.youtube.com/watch?v=kwvExIWf_Uc">get it on Youtube as well</a>.) This video compares it to birthday cake. So, I'm going to reiterate everything they said here, using their own metaphor, with my own bonus snark.
</p><p>
It's not my fault. It was a long day and I'm sober.
</p><p>
Each month, you "pay a small fee," which is to say you subscribe to Flattr. That gives you access to the magic, and gives you a base pool of cash -- in their metaphor, this fee makes up your birthday cake. Mmmmm... monthly subscription birthday cake.
</p><p>
Then, you go out into the wide world. But you don't bring your cake with you. You leave your cake back in the display case at Flattr headquarters. However, you are given a book of coupons, each <em>representing</em> that cake. Those coupons are infinite in number -- I told you it was magic -- so there's no reason not to hand them out to whoever you want to. You and your coupons go about your website business, going to webcomics, blogs, movie sites, porn sites -- you name it.
</p><p>
Now, let's say you visit a webcomic you like. We'll call it Anime Treacle. And you enjoy Anime Treacle greatly. And you notice that there's a Flattr logo sitting on their site with a number inside it. That is a magical box provided by the Flattr people to creators and website owners on the web. The box lets people slip coupons from their magical infinite coupon book into it, and it keeps track of how many it's gotten (that's the counter). If you like what you see on the website -- let's say Anime Treacle's delighted you with their happy romp through 2004 memes today -- you tear off a coupon and slip it into the box. And you skip along your merry way.
</p><p>
Now, at the end of each month, the Flattr Cake Van is loaded with all the birthday cakes that people bought with their subscription fees at the top of the month. And they drive out to all the creators who have one of the little boxes sitting on their website. They empty out the boxes, count up the coupons, figure out which ones go to what cakes, slice up the cakes -- dividing each cake into the same number of pieces as there are coupons given out against that cake -- and hand the resulting slices of cake to the creators in question.
</p><p>
Now, you have an infinite number of coupons, so you can divide your cake up just as much as you want. If you give out ten coupons -- I'm using their examples again -- then your cake is divided up into ten slices, and the ten sites you 'flattr' will each get one tenth of the cake. Not bad! If you give out just two coupons in a month, then your cake is cut in half and each of your favorites get half a freaking cake! That's awesome! And if you give out 100 coupons, your cake is divided into 100 razor thin slices of cake, each one nearly transparent, and your lucky recipients get... paper thin wafers of cake.
</p><p>
Remember, the cake is money. Your subscription fee, in other words, is divided up equally by the number of 'flattrs' you give out over the course of the month. If your subscription fee is a dollar (not counting whatever Flattr takes for themselves as part of the bargain, just to make things easy), and you give out one flattr in a month, that guy gets the whole dollar. Two flattrs means 50 cents each. Ten flattrs means each person gets a dime. One hundred flattrs means each person gets a penny.
</p><p>
The system works -- they say -- because of an old Swedish truism, which they tell us translates into <em>"many small streams will form a large river."</em> The tiny slivers of cake, when all mashed together into a single amalgam of cake, will add up into a decent slab of cake -- albeit one that's mushy and compressed because of all the different frostings mixing together. Really, it'll look more like candy lasagna. If someone makes something popular, there will be thousands of tiny bits of cake, and that person gets a windfall.
</p><p>
They're calling it "social micropayments," which has people mentioning Scott McCloud and Penny Arcade and old arguments long since passed by. I think this is unfortunate, because not only isn't this a micropayment system, it does the concept of micropayments a disservice.
</p><p>
You see, the core idea behind micropayments is you cut out all the middlemen. Instead of charging $3.95 for your comic book, you charge people a quarter because you don't have to pay a distributor, an editor, marketers et al. (This is an idealized example -- I know I'm oversimplifying.) People get the same content for a quarter that they once paid four bucks for, so they're getting a tremendous deal. At the same time, the creator's getting as much or more money per transaction, and because the transactions are so cheap, lots more people buy in and you get <em>more</em> money! Huzzah! Cake for everyone.
</p><p>
It was a really neat idea, and its only real failing was it didn't work. No true system emerged that would let people easily <em>pay</em> micropayments, and for the most part people weren't <em>willing</em> to pay micropayments in the first place. Even today, they <em>enrage</em> some people. Trust me. I play MMOs. If you have a microtransactions store that lets people, oh, unlock a Playable Klingon on the Federation Side, that <em>infuriates</em> some people, because they're already paying a subscription fee, damn it! If you want to charge for new things, make the game free to play! And then there are eighty forum posts arguing both sides of the issue and calling each other unoriginal names and finally someone locks the thread.
</p><p>
The key to the micropayment process is simple: the creator is setting a value for his content. The consumer then plunks their quarter down and gets the content. Values are clear and set.
</p><p>
Flattr doesn't do this. In fact, Flattr does the opposite. With Flattr, the creator has no say in what his content is worth -- and certainly can't lock it away unless someone clicks the Flattr button. An individual flattr is given when someone actively <em>likes</em> what they see.
</p><p>
This isn't a micropayment. This is busking, pure and simple. This is a street musician sitting out on a sidewalk playing his music for free, and people toss whatever change they feel like tossing into their instrument case.
</p><p>
But even <em>that</em> breaks down, because people aren't tossing in their spare change -- they're tossing in promissary notes for indeteriminate amounts. In fact, the people tossing flattrs into the instrument case <em>don't even know</em> how much they're giving. They have no idea how many of these they're going to give out before the month is up. They don't <em>have</em> to keep track. I'm sure they're not even <em>encouraged</em> to keep track. And whether they give 1 flattr out a month, or 100,000, the counters on the creator's website will go up the same amount.
</p><p>
To complicate things more, we don't know how much a subscription is right now. (The video says it will be "a small fee.") I rather suspect we will all be able to set our own rates -- we'll make as large or small a cake as we feel comfortable doing. Some people -- richer than I -- will stick a hundred bucks into Flattr each month. Others will put a buck or two in. I'm sure there will be more of the latter than the former.
</p><p>
So. Some people will be stingy with their flattrs, no matter how little or much they're paying in. They're going to wait for the truly <em>exceptional</em> things, and then give it out. That way, at the end of the month there will be more for the really good folks. Other people will give them out absolutely willy nilly. If they have a favorite webcomic, they'll give it a flattr every day without fail, even if it's kind of weak one day. It doesn't cost anything, and the ego boost of having that counter go up will be nice, right? Others will fall in-between.
</p><p>
And the creator will have no idea which is which. He'll know how many people in a month liked his website enough to click the button, but he won't know how much it's worth until the Cake Van drives by at the start of the next month. Will it buy them groceries? Maybe. Maybe not.
</p><p>
Flattr, in other words, will take the nasty business of thinking about how much you <em>want</em> to donate to a site you like, and just let you donate. It will give you that warm feeling of having contributed, but there won't be any accounting (even to yourself) of just what that donation <em>is</em>.
</p><p>
That's not a revolution. And it's not "micropayments done right." It's not micropayments at all. It's the equivalent of those little doodad presents you can 'buy' and 'give' on Facebook, without even the doodads. It is bulk good will.
</p><p>
Will I put a Flattr icon on the site? Probably. There's no good reason not to. Will that Flattr icon take in more money than Project Wonderful ads? Probably not. Will it bother me when it doesn't go up? Yes. Will it be meaningful when it does? Maybe, and maybe not.
</p><p>
I suspect this will be a fad for a little while, and then it will all but die out except for hardcore users. In the end, Flattry will get creators exactly nowhere.
</p><p>
Okay, that pun was beneath me. Look, you try ending one of these things.
</p>]]>
        
    </content>
</entry>

<entry>
    <title>Charting a Course: Star Trek Online moving forward</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/02/charting-a-cour.html" />
    <id>tag:www.websnark.com,2010://1.3784</id>

    <published>2010-02-08T21:32:40Z</published>
    <updated>2010-02-08T21:38:42Z</updated>

    <summary> It&apos;s been a while, yet again, and this time I have no good reason for it. It&apos;s not illness or complications. It is one thing. Star Trek Online. The Open Beta consumed me, which gave way to the Headstart...</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Popular Culture" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="Role Playing Games" scheme="http://www.sixapart.com/ns/types#category" />
    
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    <category term="startrekonline" label="Star Trek Online" scheme="http://www.sixapart.com/ns/types#tag" />
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        <![CDATA[<p>
<img src="http://www.websnark.com/images/ship.png" height="191" width="567" border="0" align="right" hspace="4" vspace="4" alt="Ship" />
<br />It's been a while, yet again, and this time I have no good reason for it. It's not illness or complications. It is one thing. <em>Star Trek Online</em>. The Open Beta consumed me, which gave way to the Headstart consuming me, and then Launch, and here we are now. If I have had a computer open, it is to play this game. I am obsessed, and I am not only not ashamed but proud of it.
</p><p>
How obsessed?
</p><p>
I took <em>vacation</em> so that I could bury myself in the game. And, admittedly, in various car repairs. So I am both poor and obsessed, but rich in spirit.
</p><p>
Needless to say, I like the game. I like it a lot. And I'm not alone. One report Atari has issued indicated one <em>million</em> active accounts after Launch. That's pretty freakin' huge. And the game has had congestion issues which have led to Queues to get in, because the concurrent users continues to be monumental -- which means a much larger than expected percentage of the total player base is actually in the game playing -- or trying to be -- at any one time. People are trying to play, and after they play they're coming back for more.
</p><p>
Naturally, this has led inexorably to claims the game is doomed. DOOOOOOOMED! After all, if people are having to wait in queues to play, they'll be turned off by Cryptic's unprofessionalism and leave.
</p><p>
That's right. This game is doomed because it's too crowded.
</p><p>
<em>This</em> is the kind of problem developers <em>dream</em> of having.
</p><p>
This is not to say, however, that the game doesn't have problems that need resolving. It has them, all right, and it does indeed need to fix them and build upon them. In a lot of cases they're stuff that another six months in development would have helped -- content issues, some gameplay bugs and the like. But, for various reasons that was not to be (most of them spelled A-T-A-R-I and M-O-N-E-Y if some of the interim shareholder reports are to be believed), so the question becomes simple:
</p><p>
What next?
</p><p>
Look, this is a hit. You don't get to a million users, all trying desperately to play, and call it anything but a hit. But as others smarter than I have said, MMOs aren't a sprint -- they're a marathon. In six months or a year you're still going to want to have hundreds of thousands of players. What's worse, a good number of the most dedicated players aren't going to be contributing to the bottom line any more. See, there was a 'Lifetime Subscription Deal' which mean that for two hundred and fifty bucks you got to have extra character slots, plus the ability to have your Captain be a 'Liberated Borg,' <em>plus</em> you'd never have to pay the monthly fee. The true believers, the hungry gameplayers and the far game thinkers grabbed that deal. Hell, <em>I</em> grabbed that deal, representing most of my personal 'fun' money for the next half year, honestly speaking.
</p><p>
And that's fine and dandy, but that means at least tens of thousands of players -- maybe more -- who are both going to be demanding and who aren't going to contribute fifteen bucks a month to the game. That means Cryptic needs needs needs needs <em>needs</em> to hold on to the teeming masses who <em>aren't </em>hardcore believers and fans of <em>Star Trek Online</em> to keep paying the bills. And that means the next 12 months are <em>crucial</em> to the success of this game.
</p><p>
These are the same issues plaguing unqualified hit games like <em>Warhammer Online</em> and <em>Age of Conan</em>, it's worth noting -- <em>huge</em> initial sales, followed by steep dropoffs in subscriptions moving forward. And it's very unlikely that <em>Star Trek Online</em> will <em>grow</em> in subscriptions past the six month mark right now. In order to gain the kind of forward momentum and actual subscriber growth that something like <em>World of Warcraft</em> enjoys, <em>Star Trek Online</em> is going to need to do more development moving forward than it did previous to release. It needs <em>more</em> people working on the game, in other words. Not only can't they rest on their laurels, they need to start cultivating fields and planting more laurel trees <em>stat</em>. 
</p><p>
To their credit, they seem to know this. Right as we opened Headstart, they began <a href="http://www.startrekonline.com/node/957">to tease the first free content update</a>. High end/endgame content. "Raidisodes" which will require teams to complete, with the depth of the full "episode" style mission-arcs. The Borg. More playable species. Klingon PvE content (exploration style, which means they can explore strange, new worlds... seek out new life forms and new civilizations... and conquer them for the honor and glory of the empire! <em>Kai kassai!</em>), et cetera et cetera. That's good. It's a start -- a palpable start.
</p><p>
But it's not enough. It can't <em>begin</em> to be enough. They need <em>way</em> more than they're even implying.
</p><p>
Here then is my humble offering: a course they could set through the choppy postlaunch waters, if you will. There are many like it, but these are mine.
</p><p>
<strong>1. Hire at least two more full content development teams.</strong> Look, the head writer of <em>Star Trek Online</em> -- Christine "Kestrel" Thompson -- is fantastic. She really is. If you haven't yet gotten out of the Sirius Sector Block, and are convinced the game is nothing more than "destroy six Orion ships," you haven't begun to understand where this game is going. About the time you step through the Guardian of Forever or find yourself staring down the hungry maw of one of the most iconic and horrible threats to come out of <em>Star Trek</em> you realize the game's got depth. When you actually get a <em>reasonable explanation</em> for the horrific 'physics' behind the destruction of Romulus in last summer's <em>Star Trek</em> movie, you're into full-on thrilled territory.
</p><p>
However, Thompson is just one person, and the content development team she works with is already maxxed out trying to keep ahead of her vision. No matter how good the rapid development tools they have are, a <em>lot</em> needs to happen to turn an outline into a coherent and engaging story.
</p><p>
So. Priority number one for Cryptic needs to be hiring more content-specific development teams. Not add more developers to the existing teams, but whole new teams. Give Thompson a well-deserved raise and make her both Head Writer and Editor, while Craig Zinkovich stays the Executive Producer. In effect, make Zinkovich into Rick Berman (or Gene Roddenberry if you can't stand to consider Rick Berman, ignoring for a moment that he was responsible for some of the most critically acclaimed <em>Trek</em> as well as some of the most panned stuff) and make Thompson into Brannon Braga or Ronald D. Moore, with multiple dedicated writing/art teams doing <em>nothing</em> but content development underneath them. This leads us to point two....
</p><p>
<strong>2. Create multiple 'sequel series' in </strong><strong><em>Star Trek Online</em></strong><strong>. </strong> One of the cool dimensions of <em>Star Trek Online</em> is the "Episode" Structure. See, an Episode, in game terms, is a multiple-mission arc, usually with both space and ground components, wherein you work your way through a story -- the idea being this is a one or two-part episode of a television series. These episodes are interrelated, and connect together to form 'seasons' that correspond with the level requirements of the missions. Season 1, for example, is a Klingon-heavy season (with bonus Gorn, Orions and Nausicaans). Season two brings us into Romulan territory with the Romulans, Remans and-- well, but that would be telling. Season three heads out to Cardassian space and Deep Space Nine. And so on, and so forth.
</p><p>
This is smart. Brilliant even. Kudos to the whole team for the concept. Well done.
</p><p>
So what happens when you get to the last episode of the last season?
</p><p>
It's not enough to have 'endgame' episodes, now with bonus team requirements. Up until that day you hit maximum level in your stunningly powerful starship, you are the star of your own <em>Star Trek</em> series. You have seen your Bridge Officers develop. You have your logs. But where do you go from there?
</p><p>
Well, the current development team is working on that -- working on ways to push beyond that maximum level. Working on ways to give you more late game and endgame content. But the other option in an MMO has always -- <em>always</em> -- been to roll a new character and try something different with them. You've had your Dwarf Rogue? Try a Human Priest or an Elf Hunter instead -- or jump the fence and go with a Troll or Orc. Here's all new places, quests, stuff to do, things to see. You can do this many, many times before you run out.
</p><p>
In <em>Star Trek Online</em>, on the Federation side, you can roll your new Captain -- go with a different race and specialty maybe. Replace your human tactical officer with a new Vulcan science officer, say....
</p><p>
...and proceed to do the exact same episodes in the exact same order you did the first time.
</p><p>
Oh, there's other stuff to do. You can run exploration content and get perks and advancement, or Deep Space Encounters -- little mini fleet actions -- or PvP PvP PvP.  But if you're looking for the game you just played from Ensign to Rear Admiral, there are no more surprises left.
</p><p>
And if you want to be a Klingon? Well, like I said in my last post on the subject -- they're in the game, and that's all they are. You can do some cursory PvE content (with exploration 'on the way), and you can fight other Klingon players or Federation players in a variety of scenarios. In fact, they'd like it very much if you'd do just that, because without you all those Feds who want to try out PvP have very little to do.
</p><p>
So. The solution is this. Sequel 'series.'
</p><p>
Remember point one? Hire at least two more full content development teams? This is why. One team should do nothing but Klingon development. <em>PvE</em> development, mind. Their task is to create a full story of all the necessary 'seasons' of episodes from Level 1 (not 5, as it currently stands) to Endgame, all for Klingons. Period. The second team does the same thing on the Federation side. Have them create a new starting area -- say in a spacedock on Vulcan instead of a spacedock over Earth -- with all the episodes to make up all the seasons to go from 1 to endgame on the other side. Focus on the Gorn to start with -- go in depth on what's going on in their subjugated state. Or focus on the Orions. Or heck -- do lower level Romulan content for a much lower Klingonesque storyline.
</p><p>
And then -- and this is key -- don't let people who haven't played through the PvE content in the 'main' storyline <em>touch</em> the new content. In fact, when a player plays the last episode of the last season in the current content, automatically unlock a new character slot for him and unlock the ability to play through the new series. If someone wants a single character to play through both, he'll need to team with someone who has the other series. (In effect, 'guest starring' in their series.)
</p><p>
When these are done, do them again. And again. Do a Cardassian-focused series based out of Andor. Do an Orion-based series based out of Risa. On the Klingon side, do a series based out of Rura Penthe.
</p><p>
And don't <em>charge extra</em> for these series. These are being developed purely as new and fresh content for existing players. Don't create new Sectors or environments -- use the vaunted Genesis engine and build these out of the current stuff you have. Yes, there will need to be ongoing art and other assets created for the new episodes. There's no getting around that. That's why you need new, dedicated teams that do nothing but develop them.
</p><p>
In the meantime, the <em>original</em> team(s) develop content just as they are now -- new high level/endgame content. And of course, new expansions - the kind of expansions that give us entirely new factions to play. <em>Those</em> can be for pay. If you let me not only play as a Cardassian but play as a Cardassian in the Obsidian Order serving the True Way and the fragmented Alpha Quadrant castoffs of the Dominion War (with bonus Breen!), I will happily give you another fifty dollars for the privilege.
</p><p>
But right now, work on ways to let players go from Ensign to Admiral in entirely different series, each new old unlocking the new. If someone <em>wants</em> to play through the old content of a given series again, let them. Some people love to do that kind of thing. But for someone who wants something new around every corner, there should be a chance for them to have it.
</p><p>
<strong>3. Develop new stuff for the Cryptic Store, and release it on a set and regular schedule.</strong> Right at the beginning, as we were all trying to unlock our preorder content so we could take our new Constitution Class ships and Joined Trill out for a spin (for the record? Both rock.) we discovered that someone had been added to the Cryptic Store. This made sense, since a number of the 'preorder' packages put out by different vendors included Cryptic Points that could be spent in the store -- I remember Cryptic not having anything in the Cryptic Store on day one of <em>Champions Online</em>, and wondering what good the free points I had for it would do me.
</p><p>
Well, the stuff in the store now? Are unlocks that let Federation players make Klingon and Ferengi Starfleet Officers.
</p><p>
For my lights, this is a perfect use of the Cryptic Store. You don't <em>need</em> a Klingon Starfleet Captain (you can get Klingon Bridge Officers without buying them from the Cryptic Store) to enjoy the rich taste of <em>Star Trek Online</em>, but it's worth the less than three bucks it costs if you <em>want</em> it. I have never been anti-microtransaction. So long as the game can be played without the purchases, then go for it, I say.
</p><p>
Well, the Cryptic Store needs to have regular infusions of new <em>stuff</em> -- stuff that costs just a little bit of cash mangled through Cryptic's own currency -- to keep our interest. And that stuff should be <em>cool</em> while being moderately resource-light to create. New playable species are -- like I said -- perfect. We can easily see Orions joining Starfleet. That should be in there. Humans and Andorians should be in the store as well -- purchasable for the Klingon Defense Force.
</p><p>
Or, take the very popular (and cool) preorder original Constitution Class ship. I have that from my own preorder bonuses, and it's great. It takes the place of my Tier 1 Miranda, and it's <em>neat</em>. I have blue phasers and nostalgia wrapped up in an off-white hull, and at the same time with the exception of an engineering console slot, I have no real advantage over other players. A well kitted out Miranda is just as effective in combat as a well kitted out original Constitution class ship.
</p><p>
So, extend that. For example -- a <em>lot</em> of people have asked for an Excelsior class ship. The Vesper looks a bit like a squashed Excelsior, but it's <em>not</em> an Excelsior (as flown by Sulu, not to mention the <em>Enterprise-B</em> that Kirk died on or half the non-<em>Enterprise</em> ships on <em>Star Trek: The Next Generation</em>). Fine. Put an Excelsior in the store for, say, 340 points. For a few dollars, someone could buy one. Have it as a 'replacement ship' for Tier 3 -- don't let someone climb into their Excelsior until they make Captain. Give it an extra console slot. Now here you are, with a replacement starship that's iconic and fun, yet inexpensive. It might not be the four-nacelled <em>Constellation </em>class knockoffs currently at Tier 2, but it would be distinctive enough to make recognizing it simple.
</p><p>
Do that same thing elsewhere. Want to fly a Nebula? Make it a Tier 5 replacement for the Luna. Want an original D-7 Battlecruiser from the original series in place of your initial Bird of Prey? Just a couple bucks.
</p><p>
Add in distinctive ship paint patterns in the store, distinctive costume sets for your characters, additional character slots, additional costume slots <em>for</em> your characters (and for your <em>bridge crew</em> -- more expensive to pay for the additional database space), and designate a specific day of the week new C-Store content drops, and you have a never-ending cycle of enthusiasm. And bitching, from the anti-microtransaction crowd, but trust me you're going to have that no matter what. And that trickle of cash will naturally help pay for point 2's additional development teams and give Jack Emmert a bigger money bin to swim in, and both of those are fine by me.
</p><p>
Also, Wednesday would very very <em>very</em> much like it if there could be <em>Star Trek: The Motion Picture</em> pajama-style uniforms and Deltans in that store. I'd like them too, mind.
</p><p>
(Other things that could go in? <em>Enterprise </em>era jumpsuits, the suede 'Captain's Jacket' Picard wore for the last few years of <em>TNG</em>, the Captain's Vest that Kirk and Scotty wore near the end of the original cast's movie era, the white 'plug suit' radiation suits from the movie era, the variation Captain's Vest Picard wore in <em>Insurrection</em> and Sisko wore the last couple of years of <em>Deep Space 9</em>, a specific 'lightning bolt' ship paint design a la the <em>I.S.S. Enterprise</em> from the two part "In a Mirror Darkly" episodes of <em>Enterprise</em>, Porthos the beagle or Spot the cat who can follow you around a Starbase....)
</p><p>
<strong>4. Communicate each of these well in advance, and improve communication in general.</strong> Right now, communication is Cryptic's kryptonite. They're just plain not <em>good</em> at announcing new products. Over on the <em>Champions</em> side, this has become a comedy of errors that has led -- possibly -- to at least one good community representative being fired for -- possibly -- saying too <em>much</em>.
</p><p>
And when there's a real problem -- say, the servers going down because eight hundred thousand people worldwide all try to play at once, and man isn't that the kind of problem a developer loves to fix? -- there is no easy or focused means by which that problem is acknowledged and information is spread. Right now, eventually a notice goes up on the Support page and someone posts a notice (eventually) on the forums -- but part of the problem is all of Cryptic's communications equipment is interconnected. The same authentication servers that log someone into the game also log them into the website or forum, and account information is bound up in there. So, when the server goes down, things like the forum search function die a horrible relooping death -- and right now the <em>only</em> official way to filter out Developer comments from a thousand angry forumites shouting at once that they can't log in is the "Dev Tracker," which needs that search function to work in the first place. So, when the server dies the Dev Tracker goes with it, <em>right</em> when the users most need a single place to go for updates on these issues.
</p><p>
(The Support page doesn't count for this -- once a notice goes up on the page, it rarely changes. It's nice to have the acknowledgement, but it's not enough.)
</p><p>
So, the already frustrating situation of the servers being down becomes <em>infuriating</em> for the average user when all Cryptic's pages take forever to load because they're sending calls to a broken server as part of the process and they can't filter out other other infuriated users from the decent updates on the situation.
</p><p>
That has to stop. Cryptic needs to fix that across the board, and they need to do it <em>today</em>.
</p><p>
One advantage they have is a gregarious and engaged developer community. Folks like Coderanger and Gozer (not, I'm given to understand, their real names) love to interact with the forum community one on one. But developers answering questions (and community managers managing that connection and passing info back and forth) are <em>not</em> a real communication strategy. Communication is as much marketing and perception as it is information, and that's problematic right now.
</p><p>
Finally, in addition to gameplay and expansion information and emergency information needed during outages, there also needs to be 'in-game' information updates on a smooth and regular process. Things like the old "Path to 2409" which stopped updating right when they went into Beta, stunningly enough, or ship class information pages, or details about who some of the movers and shakers in the 25th century <em>Star Trek Online</em> universe are. Right now, we get little bits here and there, but not nearly enough.
</p><p>
So, this point has three subpoints. We'll call them 4a, 4b and 4c.
</p><p>
<em>4a. Create a 'clearinghouse page' for server status and regular updates during outages, completely independent from all other Cryptic webpages and their interdependencies, and have a designated person who updates it during downtimes regardless of the time of day.</em> Really, this is basic. Take a basic, straight XHTML page with absolutely no database or other calls to the Cryptic servers, whether we're discussing the game server controller or the authentication server or streaming ads or anything else. Make it rock solid and loadable using techniques proved to work since, oh, 1997 with tens of thousands of hits per second hitting it. And have someone on duty in the customer service department 24 hours a day 7 days a week whose first priority whenever there is an outage to <em>immediately</em> update that server acknowledging the issue. Then, whenever an update comes out of netops or whoever else needs to be involved, that person posts it to that site immediately. It should have estimated downtime (expressed as times, not "two hours" or other things that are meaningless without referents" and should reassure the customer that Cryptic is both aware of the problem and working on it.
</p><p>
Hand in hand with that should be an official twitter account -- say, @startrekonlinestatus or the like -- that repeats the basics.
</p><p>
(As a side note, in the absence of either of these tools all STO players should know about <a href="http://twitter.com/sto_devtrack">@sto_devtrack</a> -- this is a third party unofficial twitter replicator of the dev tracker posted over twitter that doesn't need the Dev Tracker working to keep churning stuff out. So for right now, if there's an outage and you want the latest words from the developers about it, this twitter account is your best friend.)
</p><p>
All this does, in the end, is give everyone a place to go that calmly acknowledges issues and makes it clear someone's working on them. There should be no comment fields or anything like them. People who want to vent about how the evil developers and their crappy servers are viciously keeping them from their game can go to the forums to do that, just like they do right now. For a huge number of players, just having some sense of what's going on and knowing someone knows about it and is trying to fix it is huge, and making and updating a page like this is <em>trivial</em>. And it will resolve one of the worst 'immediate' communication issues almost completely.
</p><p>
Which brings us to the non-immediate communication issues -- less emergency, more marketing. And that brings us to:
</p><p>
<em>4b. There should be weekly updates on future development for Star Trek Online, right on the front page</em>. Right now, PR is very haphazard. We don't know when we're going to get an update and when we do it's often stuff we've already heard. (For about a month before launch, 95% of the PR posts on the <em>Star Trek Online</em> website amounted to a post pointing out where other people had written about STO -- and 99% of that was information anyone interested in <em>Star Trek Online</em> already knew. The eighteenth time you read that tired joke of Craig Zinkovich's about how they considered having a guy level up by pushing a button in Transporter Room 3 every twenty minutes for twelve hours -- insert <em>EvE Online</em> subjoke B-9-Alpha here -- you were ready to spork your own eyes out.
</p><p>
At this point, the game is live. There are paying customers. And right now job number one of the public relations department isn't getting new subscribers. It's <em>keeping the old ones</em>. Those folks who weren't passionate or certain enough to fork out $250 for a Lifetime or even $100 for a yearly subscription, but are deciding with each monthly credit card bill to stay or leave. That's the folks they need right now, and those folks need <em>something to look forward to</em>. It isn't enough to give them a good game experience today. You have to convince them they'll have nothing but fun in six months, too.
</p><p>
So, alongside the above-mentioned regular influx of new content into the Cryptic store for people to spend points on, you need to have a <em>weekly</em> update on <em>future projects</em>. Things that do nothing but tease stuff that's going to be coming out, with everything from specific release dates for stuff coming out in the month (and pimping the new C-Store stuff that came out that week) to vague "look for this -- we hope -- in the Fall of 2011" mentions. Give people the sense that you've got a ton of content coming out, and that ton of content is <em>progressing</em>. Make the game <em>eternally</em> in a state of continued development and be <em>proud</em> of that fact. Give everything fun codenames like "Project: Targ Bait" or "Let This Be Your Next Battlefield." Have a weekly interview with someone on what's around the corner, and touch on things in the far pipeline. Most of all, give people a reason to keep coming back to your website <em>often</em>. When they've burned through all the pregenerated content on the site, are sick of Exploration and Deep Space Encounters and can't imagine going back to that freakin' "Ghost Ship" PvP map, give them hope for the future.
</p><p>
Of course, for this to work there needs to <em>be</em> new content coming out on a regular basis in a regular stream. See Points 1-3 above once more. Develop develop <em>develop</em>. There is no ending, there is only Zuul.
</p><p>
<em>4c. Every week should also add in-game information and content to the main website. </em>Do you see a trend here?
</p><p>
Look closely.
</p><p>
That's right. <em>Weekly content, updated without fail</em>. Right now, I'm proposing at least one new thing in the C-Store <em>every week</em>, a full update from the PR guys on what's coming up <em>every week</em>, and now something updating the Lore of the game <em>every week</em>. This goes all the way back to the core Webcomics truism: consistent updates are the key to audience retention.
</p><p>
In fact, let's make this a little plan. On <em>wednesdays</em> of each week, there should be a new piece of Lore. A "Path to 2409" update, say, whether a main year or supplemental. A new starship writeup for "Ships of the Line." A brief essay on Sela, or the new Klingon Chancellor, or Admiral Quinn. A report on the weird variety of new tribbles that a somewhat shady breeder has found in his travels. Science officer reports on the odd gravimetric forces that are shattering so many freakin' planets. All kinds of potential stuff.
</p><p>
Then on <em>thursdays</em> put something new in the C-Store. Big or small almost doesn't matter. It's just a quick thing so people have a reason to come back and see what it is.
</p><p>
Then on <em>fridays</em> we have the PR update, which makes mention of both the wednesday and thursday updates (hey, stuff to talk about automatically) plus appropriate tidbits about what's coming up -- what new wednesday content might be seen, what c-store stuff is close to release, and most of all what new free (and paid) expansions are coming with vague-to-specific timeframes for them. This gives people the weekend to discuss everything and a chance for the forums to declare it A) wonderful, B) the final doom of <em>Star Trek Online, </em>or C) both. And then we start over.
</p><p>
This is a lot of work. A <em>lot</em> of work. But that's what Cryptic signed on for. Right now, they have a million mouths to feed, and that means doing tons of cooking, right from the start.
</p><p>
Let me reiterate something I said up top. I love this game. I really do. It ate my brain and now I serve it as its host body, and I'm okay with that. This is not an angry, frothing letter about how Cryptic is doooooomed. But because I love this game -- and because I have a lifetime subscription -- I want to be playing it five years from now with great prospects for five more. That doesn't just mean the game today needs to be good. It means the game needs to keep getting better, keep upping replay value, keep increasing endgame talent, and keep adding <em>stuff</em>. And being much, much better about <em>telling</em> us about that stuff than they have been. They have the perfect chance to get started on this -- the game has outperformed expectations, which means they have money in the bank. That has to go into the long term health of the game.
</p><p>
Whether or not it does we just won't know yet. If they don't take this course through the post-launch waters, I hope the one they do take will be a good one -- because those seas are rough, and lots of big boats have gone down in them.
</p><p>
Are these nautical terms doing anything for you? Anything? Ah well. See you you at Spacedock.
</p>]]>
        
    </content>
</entry>

<entry>
    <title>I suppose this means the U.S.S. Fort Kent needs to have natural lighting in the light panels</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/01/-all-pictures-a.html" />
    <id>tag:www.websnark.com,2010://1.3783</id>

    <published>2010-01-15T03:37:00Z</published>
    <updated>2010-01-15T17:12:43Z</updated>

    <summary> (All pictures are screenshots taken by me while in Star Trek Online. Click on the thumbnails to get full sized easily looked at pictures and junk.) So here we are. It&apos;s January. Earlier this week, Star Trek Online went...</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Popular Culture" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="Role Playing Games" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="Star Trek Online" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="Video Games" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="mmorpg" label="mmorpg" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="startrekonline" label="Star Trek Online" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="videogames" label="videogames" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.websnark.com/">
        <![CDATA[<p>
<a href="http://www.websnark.com/images/screenshot_2010-01-14-10-37-22-1.png" onclick="window.open('http://www.websnark.com/images/screenshot_2010-01-14-10-37-22-1.png','popup','width=892,height=637,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2010-01-14-10-37-22-1-tm.png" height="249" width="350" border="0" align="left" hspace="4" vspace="4" alt="Captain Teegan of the U.S.S. Fort Kent" /></a>(All pictures are screenshots taken by me while in <a href="http://www.startrekonline.com/">Star Trek Online</a>. Click on the thumbnails to get full sized easily looked at pictures and junk.)
</p><p>So here we are. It's January. Earlier this week, Star Trek Online went into Open Beta after being in Closed Beta since October.
</p><p>
And, unlike many or even most folks, I've actually been <em>in</em> that Closed Beta <em>almost</em> from the beginning. My invite came in early October, which isn't quite the beginning but is near enough as no-nevermind. Certainly, I feel fortunate in that regard.
</p><p>
And so, I've seen a lot of changes and evolution, I've written forum posts and bug reports. I've tried my best to make it a better game. And now here I am and I can finally talk about it publicly.
</p><p>
Do you want the 'in a nutshell?' Okay. This is a good game. It's a lot of fun. It's pretty darn <em>Star Trekish</em>. I'm glad to have been a tester, I am preordered for the game, and I expect to be playing it for years to come.
</p><p>
Not everyone will agree with me on these facts -- which is understandable. The game <em>isn't</em> what I would have created if I were capable of creating a game. Neither is it the game you would have created. In the back of every gamer's head, every Star Trek fan's head, and every game-playing star trek fan's head is a nebulous half-formed idea of <em>what a Star Trek Game should be. </em>It's impossible for any of us to articulate what that is, because it's just a half-formed notion. However, you will know it when you see it. And when you look at <em>Star Trek Online </em>or any other game, you're going to have to leven your "this is so cool!" or "this sucks!" reaction with the sure knowledge that <em>this game isn't that game in the back of your head</em>. It can't be.
</p><p>
So. I'm going to go through some of my impressions of the game, and some of my beta experiences, and there will be lots of screenshots. Not screenshots generated by the press kits or PR folks at Cryptic, mind. These are the screen shots <em>I</em> took as I went along in the game. The ships you see in these shots are ones I created and piloted. The characters you see are either my Captains or their trusty Bridge Officers. That initial picture up in the corner? That's a perky red haired Trill Captain, crouching next to her Captain's chair on the bridge of the U.S.S. Fort Kent.
</p><p>
And at least one of those bridge officers? Is a tree. <em>I totally made a Tree bridge officer</em>. I am weirdly proud of this fact.
</p><p>
And, as this is going to be long and there will be many pictures, I am going to put it behind a 'click here to continue' wall. And I'm going to try and avoid just going over all the stuff that press previews and beta reviews and the like have done. This is "what Eric Burns-White liked as he went through the game." Sure, I like the whole "fight in space and then down on the ground in an episode" thing, but that didn't excite me nearly as much as "oh my God did that tribble reproduce?" and "Holy crap, I made a Tree bridge officer!"
</p><p>
Click on, if you dare. Or, you know, feel like it.
</p>]]>
        <![CDATA[<p>
<a href="http://www.websnark.com/images/screenshot_2009-11-12-21-13-36-1.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-11-12-21-13-36-1.png','popup','width=891,height=603,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-11-12-21-13-36-1-tm.png" height="203" width="300" border="0" align="right" hspace="4" vspace="4" alt="U.S.S. John Stark" title="U.S.S. John Stark" /></a><strong>The Tutorial and the Very Beginning</strong>
</p><p>
To the right, you see the <em>U.S.S. John Stark</em>, the very first ship one of my characters commanded in <em>Star Trek Online.</em> This was a heady time and exciting. It was a largely unmodified <em>Miranda</em> class light cruiser -- otherwise known as 'that kind of ship the <em>U.S.S. Reliant </em>was -- you know, the one Khan commanded in <em>Star Trek II: The Wrath of Khan</em>." It's a largely unmodifed Miranda, except I replaced the nacelles with something a little more rugged and modernish looking.
</p><p>
But you'll notice the <em>profile</em> is very, very right. I have another picture of the <em>John Stark</em> flying through the nebula (this, by the by, is the Paulson Nebula, from "The Best of Both Worlds" episode of <em>Star Trek: The Next Generation</em>) head on -- it's not as good a shot, so I didn't include it here, but looking at it I have a weird feeling of deja vu... and then I realized why. It was a shot that belonged on the viewscreen of the <em>U.S.S. Enterprise</em> in <em>Star Trek II: The Wrath of Khan</em> just before Kirk shouts "evade to Starboard!" and the two cannons on the outer struts start to fire. As a side note, if you have a single phaser bank it fires from specific ports on the front dish. If you have a 'dual' phaser it fires from those two cannons, just like in <em>Wrath of Khan</em>. The art department clearly worked hard on this.
</p><p>
And that's one thing to point out. This was the first ship I ever commanded in the game -- the first ship any of the spaceborne stuff was presented to me, and I was amazed at how <em>right</em> it felt. It's a "light cruiser," a Tier 1 ship out of five possible tiers, and the least powerful ship in the game... but going to full warp, flying at impulse, banking into a turn to present a fresh shield towards an enemy and firing a barrage of phasers and photon torpedoes this <em>felt</em> like a <em>Star Trek</em> starship. Not a 'starter ship,' but a multi-tonned ship nearly three hundred meters long (almost twice as long as the <em>Pennsylvania</em> class battleships of World War II, I would point out) crewed by 200 souls. This wasn't a chintzy "play this for four hours and then get a real ship" toy, this was a <em>United Federation of Planets Starship</em>, and it <em>felt</em> like it.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2010-01-12-20-51-54.png" onclick="window.open('http://www.websnark.com/images/screenshot_2010-01-12-20-51-54.png','popup','width=1265,height=724,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2010-01-12-20-51-54-tm.png" height="171" width="300" border="0" align="left" hspace="4" vspace="4" alt="U.S.S. Fort Kent" title="U.S.S. Fort Kent" /></a>But we should talk the tutorial.
</p><p>
The tutorial changed many times in the beta, and honestly they blur together, so let me just say "it was okay, then it got better and Cryptic actually listened to us about it. Go us." And I'll hit the high points of the <em>current</em> tutorial as of Open Beta:
</p><p>
You are a young officer serving aboard the Starship [whatever you named your starship]. It is a time of war, and so there is an influx of new faces and new blood. Your ship is called to Vega after a general alert -- the Borg, missing since the end of <em>Voyager</em> -- have made their first incursion, and Starfleet has to try and stop them.
</p><p>
You're guided through your initial steps -- you first appear in a mess hall -- by the disembodied voice of Zachary Quinto, who does a reasonable if somewhat generic job. They give a reason for his voice being your guide, but it only comes later on in the tutorial, which seems a touch... odd. Still, it's nice enough. Movement is easy enough to master, and then you're summoned to the bridge. The flagship -- the <em>U.S.S. Khitomer</em> -- has been attacked and boarded and the Emergency Medical Hologram (again voiced by Quinto) has called for help, as he is overwhelmed by patients and doesn't have any means of contacting the senior staff. Your captain sends you to help the EMH.
</p><p>
And here I have to pause. Zachary Quinto does a perfectly passable EMH voice, and he offers to keep a combadge-connection with you after you meet him, but honestly, it would have been 7.4 thousand times cooler to hear Robert Picardo's voice instead of Quinto's. Right now, the only Trek voice actors in the game are Quinto and Leonard Nimoy -- both cool, and a nice tie between the Abrams <em>Star Trek</em> and the original <em>Star Trek</em>, but this is a video game essentially set in the post-Next Generation, with way more callbacks to the TNG-through-Voyager era than anything else, and they have <em>absolutely no voice actors from any of that time period</em>. At least, not yet. This is a glaring omission and I hope it gets rectified very early in <em>STO's</em> life. Sure, getting Patrick Stewart would rock (and it's not like he's <em>adverse</em> to voicing video games) and I will always want to hear Avery Brooks, but heck -- Jonathan Frakes, Wil Wheaton, LeVar Burton, Gates McFadden, Marina Sirtis, Nana Visitor, Alexander Siddig, Jeri Ryan, Colm Meaney, John Billingsley, Dominic Keating -- I could go on, but it comes down to <em>there's a billion guys with voices that will help immerse us in your game, and not all of them will want a billion dollars to do it</em>. They don't have to voice their iconic characters, but they should be in there voicing <em>stuff</em>.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-16-15-57-06.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-16-15-57-06.png','popup','width=1463,height=768,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-16-15-57-06-tm.png" height="157" width="300" border="0" align="right" hspace="4" vspace="4" alt="Screenshot 2009-12-16-15-57-06" /></a>Anyway -- the tutorial is a great time. In it, you help with patients, beam Borg into space, find out these borg are somehow faulty and disconnected and therefore are vulnerable (with an easter egg for the type of Borg we'll be dealing with at the Admiral level), discover a subsequent attack wiped out the bridge and left you in temporary command, pilot your ship, rescue injured personnel off of several ships, blow up some faulty Borg spheres, beam down to a planet, learn some more things, save some colonists, deactivate some Borg macguffins, go back and fight the Borg off alongside a few dozen of your closest friends (since it's a multiplayer/raid style ending, which <em>feels</em> right. You're suddenly in a pitched battle with ships everywhere firing phasers -- it's very, very cool). And then you're commissioned as commanding officer of your ship (it is, as we said, a time of war and right now there is a shortage of commanders. You seem to have what it takes, so... there is some Trek precedent for this, even if it's a bit stretched here). And you level up.
</p><p>
By  the by, going up in levels is twofold -- one, you rise in levels like normal, as you accrue Skill Points. (You also accrue Bridge Officer Points for your bridge officers to improve.) Two, when you spend enough Skill Points you rise in rank -- to, say, Lieutenant. Or Lieutenant Commander. Et cetera. At the same time, when you go up in 'grade' (normal levelling, from L2 to 3, for example), you're surrounded by a DS9 transporter effect for a second and then Leonard Nimoy says "congratulations, Lieutenant!" (or whatever rank you are).
</p><p>
That's right. <em>Spock gratzes you</em>. This became a <em>thing</em> in closed beta, because a bug meant everyone around you heard Nimoy say it, so at places where levelling was common his voice became overwhelming.
</p><p>
Once you've gotten through this, you go on missions (patrol missions for short skirmishes, exploration missions for a variety of content, and 'episodes' where you go through five or six interconnected missions that tell a story.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-11-14-15-20-59.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-11-14-15-20-59.png','popup','width=978,height=533,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-11-14-15-20-59-tm.png" height="163" width="300" border="0" align="left" hspace="4" vspace="4" alt="The Crew of the John Stark" title="The Crew of the John Stark" /></a><strong>The First Crew</strong>
</p><p>
Over to the left, you see (and as with all these pictures you can click to enlarge) the crew of the <em>U.S.S. John Stark</em>. The art is significantly rougher than it would later become (the disadvantage of screenshots in closed beta), and they're carrying enough monumentally oversized ironmongery to make the Ghostbusters and the guy from Doom shake their heads and mutter about compensation, but even in this early build you can see how well the system worked even back then. The center woman -- the blond -- is a Bajoran captain modeled after Trudy Glick from <em>Gossamer Commons. </em>(I should point out that my lead characters tend to be female, after the <a href="http://www.pvponline.com/2004/06/01/tue-jun-01/">Francis Ottoman defense</a>: if I'm going to be staring at an ass in tight clothes all day, it better be a <em>nice ass</em>.)
</p><p>
At this point, it was all purely random, and the pool was limited. Today things are much broader, and we're millimeters away from that increasing, but back then what you got is what you got. So my Bajoran captain got a male Bajoran engineer, a female Bajoran tactical officer, a female Andorian tactical officer, and an 'unknown' male officer. You can then go to the tailor and remake them however you like within the confines of your race. I did my best to make the Unknown officer a Xolchipalian from my old <em>Superguy</em> series, and I think I managed it pretty well.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-11-21-13-54-39.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-11-21-13-54-39.png','popup','width=1486,height=946,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-11-21-13-54-39-tm.png" height="190" width="300" border="0" align="right" hspace="4" vspace="4" alt="The John Stark Crew at the beach!" title="The John Stark Crew at the beach!" /></a>I didn't really get a sense of 'person' from these characters -- I put way more emphasis on actually trying to push to my first 'Tier 2' ship. Still, even at this early stage the characters were cool. This group shot of them on the beach of a colony world is really very nice. At the same time, take another look at that picture up at the top, of a current character crouching on her bridge. The art has jumped forward a quantum leap as you can see. And with it, a sense of embodiment in the characters.
</p><p>
On the other hand, there were ships to earn. <em>A</em> ship, in particular. You see, I loved my Miranda. It was really amazing. But when you are promoted to Lieutenant Commander, you get to select a Tier 2 ship. Some of these are Escorts - fast, small ships with a lot of punch, culminating in ships like the <em>U.S.S. Defiant </em>from <em>DS9</em>, some are Science Vessels (ships like the <em>U.S.S. Equinox</em> from <em>Voyager, </em>and culminating in ships like the <em>U.S.S. Voyager</em> and beyond itself). But the other choice are the tanklike cruisers.
</p><p>
In this case... the Constitution Class. The very epitome of Star Trek itself. This is your first chance to <em>really</em> put your hands on the <em>Enterprise</em>. Or at least a ship that looks like it.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-04-23-03-34.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-04-23-03-34.png','popup','width=702,height=561,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-04-23-03-34-tm.png" height="239" width="300" border="0" align="left" hspace="4" vspace="4" alt="Screenshot 2009-12-04-23-03-34" /></a>Now, in this case it is not really the Constitution Class I picked. You see, each new ship tier has three different classes of ship in it -- they have identical stats, but look somewhat different. And then you can mix and match parts between them if you want, until you have a unique looking ship (with perhaps some paint on the hull) that doesn't really match up to any of the classes. At Tier 2, the cruisers you can pick are the classic Constitution class (a movie-era <em>Enterprise</em> clone -- really remarkable how close it is, too), the <em>Vesper</em> -- which has a guppy-like secondary hull and looks somewhat like someone took the <em>U.S.S. Excelsior</em> and crushed it down into the size of a Constitution class ship, and the 'modern' Excalibur class -- updated versions of all the parts. I took an Excalibur under the name the <em>U.S.S. Bennington</em>, and you can see it's a pretty exciting ship (it's over on the left). It looks and feels right, in every way.
</p><p>
<strong>Starships and You</strong>
</p><p>
<a href="http://www.websnark.com/images/screenshot_2010-01-02-15-19-28.png" onclick="window.open('http://www.websnark.com/images/screenshot_2010-01-02-15-19-28.png','popup','width=892,height=777,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2010-01-02-15-19-28-tm.png" height="217" width="250" border="0" align="right" hspace="4" vspace="4" alt="USS Maine" title="USS Maine" /></a>Flying an Excalibur is like flying a Miranda, but moreso. I've actually flown a lot of ships now -- a <em>Rapier</em>, an <em>Akira</em>, a <em>Gallant</em> (think <em>Defiant</em>), a <em>Galaxy</em>, a <em>Nova</em>, an <em>Intrepid</em>, and a <em>Dakota</em>, at different times during the beta. In each case, I felt like I could make it my own, and in each case it felt like a natural evolution of my character and his (well, her) command and responsibility. At the same time, different ships fly <em>differently</em>. The Galaxy class (represented over on the right by the <em>U.S.S. Maine</em>) is a stately and powerful ship, but it takes <em>forever</em> to turn or even to stop. Which makes eminent sense. It is not nimble, it is powerful and strong, capable of taking many barrages but not of outmaneuvering Klingon Birds of Prey. 
</p><p>
<a href="http://www.websnark.com/images/screenshot_2010-01-02-01-10-23.png" onclick="window.open('http://www.websnark.com/images/screenshot_2010-01-02-01-10-23.png','popup','width=775,height=675,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2010-01-02-01-10-23-tm.png" height="217" width="250" border="0" align="left" hspace="4" vspace="4" alt="U.S.S. New Hampshire" title="U.S.S. New Hampshire" /></a>
</p><p>
By contrast, the <em>U.S.S. New Hampshire</em> is a Gallant class ship (variation of the Defiant), which is in the same tier as the <em>Maine</em> but is an Escort instead of a Cruiser. it is tiny (with a crew of 50 compared to the <em>Maine's</em> 1000) but amazingly dextrous, able to bank and turn and run rings around her larger sister ship. And while the <em>Maine</em> can take amazing punishment while wearing its opposition down, the <em>New Hampshire</em> has the raw punch to turn her enemies into pudding -- which is good because her shields are made out of meringue and her hull is made out of tinfoil.
</p><p>
The key point here is <em>distinction</em>. There's no real reason to upgrade ships if the new ships don't A) have marked advantages over the lower tiers and B) the new ships don't <em>feel</em> different. Flying escorts feels somewhat the same from ship to ship, but flying a <em>Rapier</em> class ship, versus an <em>Akira, </em>and then a <em>Defiant</em> all yield different experiences and even if their practical effects are similar, through it all you get a different feel for what you're doing.
</p><p>
<strong>Playing the Game</strong><strong><em>
</p><p>
</em></strong>
<br /><a href="http://www.websnark.com/images/screenshot_2009-12-29-01-36-39.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-29-01-36-39.png','popup','width=689,height=741,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-29-01-36-39-tm.png" height="268" width="250" border="0" align="right" hspace="4" vspace="4" alt="Screenshot 2009-12-29-01-36-39" /></a>So we've talking a lot about the trappings of the game, but how does the game <em>play?</em> We know it's a space game where you fire at ships, and it's a ground game where you're mixing it up like Kirk and Riker on Crystal Meth -- what does the <em>actual gameplay</em> feel like and does it <em>actually work</em>, mister <em>Writer-Man.</em>
</p><p>
In short, the game plays very well -- <em>very </em>well -- but has room to improve over time.
</p><p>
Of the two halves of <em>Star Trek Online</em>, the Space Game is by far the more polished. This is the franchise, and they've committed to it. Great care and attention has been taken to making the ship combat feel like <em>Star Trek</em> ship combat -- from <em>Star Trek II: The Wrath of Khan</em> all the way up to <em>Star Trek Nemesis</em> with lots of side-roads into the Dominion War for good measure. (Note that I didn't put the Abrahms <em>Star Trek</em> in that list -- the feel of <em>that</em> movie is very, very different than what we've seen before, and it is quite literally a different license. They are in the 'Prime' universe, not the alternate one. And there is absolutely no true crossing over). Ships turn and bank and broadside one another with much of the feel of the tall ships of the 19th century wet navy, with <em>some</em> third dimension added in. I say some because you're pretty much limited to ascending or descending at 45 degrees maximum (slightly more for the very maneuverable ships like the <em>Defiant</em>) which means you have to spiral and tack your way up or down. The justification is simple -- on <em>Star Trek</em> ships stay level to one another and generally on the same plane, but I think the effect of that could have been achieved by limiting ships to 85 degree vertical pitch and no capacity to tip over or turn upside down.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-29-15-27-06.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-29-15-27-06.png','popup','width=855,height=622,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-29-15-27-06-tm.png" height="218" width="300" border="0" align="left" hspace="4" vspace="4" alt="Akira backlit" title="Akira backlit" /></a>
</p><p>
In combat, you have your shields, you have beam weapons (phasers and disruptors, plus a plethora of other beams as you move up in level), cannons (the same energy types as beams, but in much harder hitting pulses -- think of the <em>Defiant's</em> phaser pulse cannons), torpedoes (photon, plasma, quantum, etc.) and mines (same types as torpedos). What you have determines your style -- if you're all beams with torpedoes mounted forward, you do a lot of turning profile and broadsiding your enemy with as much beam energy as you can (so long as your weapon power holds out), then swerving to bring torpedoes to bear after his shields are weak enough. If you have cannons and torpedoes, you're more likely to go head-on, reinforcing your forward shields over and over again while you hammer your enemies with your powerful front arsenal. 'Consoles' can be slotted into your ship to modify their abilities, which means two different ships may play very differently.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-15-22-16-57.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-15-22-16-57.png','popup','width=806,height=552,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-15-22-16-57-tm.png" height="205" width="300" border="0" align="right" hspace="4" vspace="4" alt="A ship over Deep Space 9" title="A ship over Deep Space 9" /></a>You also have your bridge crew's 'bridge powers.' Depending on what station you put them at, they can bring tactical powers (loading more than one torpedo, targeting the enemy's shield emitter, overloading the phasers and the like), engineering powers (emergency power boosts to shields or weapons, 'reversing shield polarity' to absorb some of the incoming energy to reinforce the shields, emergency repairs to the hull and the like) and science powers (using tachyons to degrade shields, using tractor beam energy to knock aside enemies or hold them in place, finding cloaked ships).  In addition, you have some powers of your own, depending on your own speciality. For example, Captains who were Engineers before they transferred to Command can eventually rotate shield frequencies to get a boost to their defenses. Scientists can develop scanning sweeps that find weaknesses in your enemy ships. Tactical captains can mess their enemies up. Stuff like that. As a result, the combinations mean two ostensibly identical ships can have entirely different weapon loads, installed equipment and upgrades, Bridge and Captain based powers and fight entirely differently. It's hard to get too bored.
</p><p>
On the ground, it's entirely a different game. In any situation where there's any chance of combat, you are an Away Team of 5. If you're teamed with other players, you beam down with them. If not, you're with four of your bridge officers. (You choose which ones.) In one nice touch they could do more with, the appropriate bridge officers on the ground and on the ship report to you. So, your tactical officer on the ground may mention if there's a group of Gorn approaching. Your engineer will comment on the machine you're examining. Your science officer will report on the weird radiation the crystals are giving off. Stuff like that. Meanwhile, when someone shows up in orbit, one of your officers still on the ship will call you. Combat is paced well, with lots of forward flips, good tactics, kneeling to aim, and powers powers powers. Your Engineer might reinforce your personal shields, for example (you have a personal shield now -- a derivation from Borg technology) or set up a series of Chroniton mines or a phaser turret. Your science officer might break out the medical tricorder and heal everyone or might create a 'gravimetric' snare that holds your enemies in place. Tactical officers might... look, they're tactical officers. They shoot things and they sweep their legs so they can shoot them again, okay?
</p><p>
Okay then. So let's talk... personality.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-29-16-06-06.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-29-16-06-06.png','popup','width=1481,height=799,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-29-16-06-06-tm.png" height="188" width="350" border="0" align="left" hspace="4" vspace="4" alt="A classic shot" title="A classic shot" /></a><strong>Personality: bringing your Bridge Officers to life</strong>
</p><p>
Most of your time -- all your solo time, really -- it's just your captain and the bridge officers, and together they form the core of your <em>Star Trek </em>experience. (well, that and your ship). At the same time, the tools to really embody your crew with personality aren't great right now. Really, this should be a <em>series</em> -- rather than your character being 'Captain Zyzla,' your character should be <em>Star Trek Online: Bennington</em> about the voyages of the <em>U.S.S. Bennington</em>. Your whole crew should be a part of your 'character,' and the tools should support you using them that way.
</p><p>
Unfortunately, they don't. You have a Captain's log (which thankfully gives you real world dates <em>and</em> consistent Stardates) that lets you both make unique entries and add 'supplemental' entries to the official log entries made by the game when you accept a mission or the like. And you can set both your Captain's description and your officers' descriptions. But, you can't make Log entries on behalf of your bridge officers. They are forever mute.
</p><p>
However, what you <em>can</em> do is <em>customize</em> them. Every time you receive a new bridge officer, they come with a free pass to the tailor. So, you can change everything about them except their race and their gender. (A sticking point with some, to be sure). You can greatly alter them physically, and you can go kind of wild with their uniforms, which among other things lets you create a crew that looks good standing next to each other.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-22-07-59-26.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-22-07-59-26.png','popup','width=662,height=423,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-22-07-59-26-tm.png" height="223" width="350" border="0" align="right" hspace="4" vspace="4" alt="Screenshot 2009-12-22-07-59-26" /></a>So, this is where you can add personality -- everything from their clothes to their face to their stance can be changed. Take as an example a Bajoran science officer I received with one of my characters. I've had several male Bajoran officers, and the prospect of another just bored me. However, I decided to make his complexion 'aged,' make his hair white and his eyebrows a bit bushy, gave him the 'gruff' stance, and voila -- an older Bajoran 'country doctor,' best known for his wisdom and his curmudgeonly behavior. I put him in the STO equivalent of a cardigan and gave him the nickname 'Doc,' and there you go -- a character who actually feels like he <em>has</em> character. If nothing else, I could assign him characteristics in my mind. I include a screenshot of one of his dialogue pieces, and hopefully you can see a little bit of what made Doc Doc. (And yes, he has the wrinkled Bajoran nose and the earring). 
</p><p>
The crew I developed the most was the one who served aboard my Escorts -- as well as the <em>New Hampshire</em> and the <em>Maine</em> above. Let me go through them to give you some idea of what can be done with even just the basics -- and can be done to keep your crew from looking very default. Bear in mind, most of these officers were given to me automatically as rewards, not selected by me. I customized them from there, however, so the results are pretty much all me. These days, I'd hit the requisition desk at Starbase and pick my own genders and races (though the system's not yet fully functional) so I could tailor my crew as I see fit. Still, there is some pleasantness to doing it the random way.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-29-15-58-53.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-29-15-58-53.png','popup','width=542,height=700,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-29-15-58-53-tm.png" height="322" width="250" border="0" align="left" hspace="4" vspace="4" alt="Screenshot 2009-12-29-15-58-53" /></a><strong>Captain ZyzlaBeh zh'Ovlem</strong>, or Zyzla (her use-name among aliens) is an Andorian Zhen (Andorians have four sexes -- feminine, androgynous female, androgenous male, masculine. The Zhen is the feminine gender) who trained as Starfleet security and special forces as a Tactical Officer, having become the captain of her own ship, her philosophy is one of discipline and austerity. She requested postings to escorts in part because they do not have 'fripperies' but concentrate instead on their work. Her bridge is similarly austere, and tends to be kept at a chilly 10 degrees C (rather than the standard 20 degrees C)  because she feels it keeps the crew on their toes (and besides, Andor <em>is</em> a cold planet). As a tactical officer, Zyzla specialized in sniper operations, and even as a Captain she focuses on such things. As of the point where the Character Wipe before Open Beta wiped her and her crew into history, Zyzla had a tetryon based sniper rifle that could kill a Gorn half a kilometer away.
</p><p>
A small Gorn, anyway.
</p><p>
Design wise, I wanted to go with a classic Andorian look. The uniform involves a uniform coat with a pleather panel that moves in to the pants. The brighter red pleather shoulders represents her command level stuff, while the darker red means she's a tactical officer (for the most part, engineers wear gold, scientists wear blue, tactical officers wear red and Captains/command wear whatever they like, with their specialty-color worked in there somewhere). The metal on her is her 'kit,' which gives her certain tactical powers on the ground (in her case, the capacity to focus fire on her enemies, interfere with their returning fire, and a series of plasma grenades that hideously burn her enemies to death. The <em>Starfleet</em> way!)
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-30-12-41-31.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-30-12-41-31.png','popup','width=515,height=704,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-30-12-41-31-tm.png" height="341" width="250" border="0" align="right" hspace="4" vspace="4" alt="Lorin" title="Lorin" /></a><strong>Commander Lorin</strong> is Zyzla's first officer and chief science officer. He was the first officer selected to work alongside the Andorian when she first returned to her ship, and is well regarded among his peers. Obviously, he is a Vulcan.
</p><p>
However, in my case I wanted to make him more distinctive than yet another bowl-cut black haired white Vulcan science officer. Skin tone and some judicious adjustment of the face helped there, as well as giving his hair a chestnut undertone. I like the idea of racial diversity in <em>Star Trek</em>, in more senses than one.
</p><p>
Beyond that, there are certain requirements to make a character seem Vulcan. He shouldn't be overweight, he shouldn't be slovenly. He doesn't have to be thoughtful but he should be stoic. I think I conveyed a good sense of that here. I also like the shine off the black pleather of his uniform, but that's not really got anything to do with me, now does it?
</p><p>
The other sense I'm going for is competence -- Lorin is Zyzla's first officer, in part because he was the first officer she got, and in part because I like the sense of dichotomy. In the days of <em>Star Trek: Enterprise</em> the Andorians and the Vulcans were in cold-to-hot war with one another, and tensions were high. By making this Vulcan my Andorian captain's confident, I could convey a sense of how far the universe had come with the Federation. I threw in a point in his backstory that Lorin had been offered a command of his own, but declined. Logically, he can recognize he can do more with Zyzla than either could do alone.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-29-15-57-37.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-29-15-57-37.png','popup','width=762,height=747,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-29-15-57-37-tm.png" height="245" width="250" border="0" align="left" hspace="4" vspace="4" alt="Adlar" title="Adlar" /></a><strong>Lieutenant Commander Adlar</strong> was a poser. I mean, he's a Bolian. I don't really know much about Bolians and I don't much care to. They're cool to look at but otherwise... um... okay, they're corrosive fish. Double thumbs up! So I decided to give him a connection to Zyzla's career and to the game. One of the ships you rescue people from in the tutorial is the U.S.S. Montreal. Fine! I decided that Adlar was on board the Montreal and Zyzla led the rescue mission that saved him. After his recovery, he joined Zyzla's ship.
</p><p>
To reflect that, I gave Adlar a prominent facial scar and gave him a very atypical red discoloration of his forehead color pattern (which sadly we have lost the ability to do in more recent builds).  He's clearly gone through some violence and survived and even thrived.
</p><p>
Then... completely randomly, I got <em>two more</em> Bolian bridge officers. Both females this time. And I decided to have fun with it. Because what better way to build a sense of personality in a character than to completely screw with him?
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-31-22-27-19.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-31-22-27-19.png','popup','width=452,height=742,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-31-22-27-19-tm.png" height="410" width="250" border="0" align="right" hspace="4" vspace="4" alt="Screenshot 2009-12-31-22-27-19" /></a><strong>Ensign Eldar</strong> is Adlar's little sister. Like Adlar, Eldar was aboard the USS Montreal -- taking passage between assignments after graduating the academy -- when it was nearly destroyed by the Borg. Like Adlar, Eldar was injured and was rescued by Zyzla and her crew. And so ultimately like Adlar she requested to be posted to Zyzla's command. After some time, she succeeded, taking up a junior science post under Commander Lorin.
</p><p>
Now, in my brain there had been some good natured ribbing between the straight laced Vulcan and the gregarious Bolian. But now, things were different. Adlar's little sister -- who he had decided was never going to grow up in the first place -- was now posted to his own ship, under the direct command of a Vulcan! This was a new level of stress for Adlar, and a source of amusement for Eldar.
</p><p>
To convey the family connection, I gave her the same sort of reddish cast to her stripes. She too bears a scar from the Montreal. She is considerably thinner than Adlar, especially in the shoulders, to give her a sense of youth. And her pose ('cute') is meant to do the same. She is generally posted aboard the ship (which means she's most likely to be the one to call down when there's trouble up above).
</p><p>
So. How to take a situation (and a second female Bolian) and ramp it up to eleven? Simple. Add in a mother.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-31-22-26-24.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-31-22-26-24.png','popup','width=392,height=555,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-31-22-26-24-tm.png" height="353" width="250" border="0" align="left" hspace="4" vspace="4" alt="Bolian Mother!" title="Bolian Mother!" /></a><strong>Lieutenant Eshar</strong> was a retired Starfleet engineer who had been traveling with her daughter on board her son's ship when the Borg attacked. After recovering, she realized that with the war in the state it was, the Romulans acting up and the Borg returning, Starfleet would need all the able hands it could get. She reactivated her commission and underwent re-acclimation training. Passing with flying colors (but for some of the physical tests, which she is still working on), she reentered Starfleet.
</p><p>
Whereupon she discovered herself assigned to her son's ship. Specifically to her Son's <em>command</em>, since he's Chief Engineer.
</p><p>
So, not only is Adlar trying to deal with his little sister serving aboard his ship and not even in a capacity where he can look out for her... now he's trying to deal with his <em>mother</em> as one of his subordinates. In this case, he's not worried about looking out for her. He just has some difficulty convincing her that just because she wiped his ooze-glands down when he was a podling doesn't mean he can't order her around now.
</p><p>
Eshar was actually interesting to build. I broadened her shoulders and added significant stomach and hips, as well as giving her an aged complexion. She too bears a scar from the USS Montreal, but she lacks the reddish cast of her children. Must have been something their father gave them. Though I'd gone with 'tight/reinforced' on the pants of the basic uniform, I decided that would make a mockery of Eshar instead of simply making her older with some of the changes that come with bearing young and aging, and so I gave her loose trousers instead. I like that as you increase something like the stomach, the jacket's model gets a few folds in the fabric to represent drape and oddities of fit and cut.
</p><p>
So, there you have it. Three Bolians, all interconnected, all entirely different from one another. Given the limited palette of Bolian skin tones, I still think that's cool.
</p><p>
Finally, we have the Tactical department.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-29-15-57-59.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-29-15-57-59.png','popup','width=632,height=607,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-29-15-57-59-tm.png" height="240" width="250" border="0" align="right" hspace="4" vspace="4" alt="Screenshot 2009-12-29-15-57-59" /></a><strong>Lieutenant Ko Sura </strong>is one of Zyzla's oldest friends from the Academy. She was the first officer that Zyzla actually requested (Lorin was assigned to her, after all). However, she was disturbed to learn that she wasn't in contention to be First Officer under Zyzla. This manifested as more attitude than might be expected. This was all compounded by the arrival of Lieutenant Cassidy after a few missions. Suddenly, Ko wasn't competing (in her mind) with Lorin for the executive spot, she was competing with Cassidy for <em>Chief Tactical Officer</em>. The results have put the young tactical officer under a lot of stress. Her superior hand-combat skills have led Zyzla to assign her as chief of security while Cassidy is currently Chief Tactical Officer on the bridge, but with recent developments that may change -- Zyzla is a master torpedo officer, Cassidy is a sharpshooter with beam attacks... but the <em>New Hampshire's </em>primary armaments are <em>cannons</em>, and both officers are new to that.
</p><p>
To make Ko a bit more stressed, I lowered and adjusted the bridge of her nose, furrowing her brow. I also raised her nostrils, which seems like the silliest slider in the character creator, but look at the effect. She's <em>sneering at the camera</em>. Otherwise, you will note that I darkened her skin somewhat. I figure the Bajorans have regional melanin variations too, and it let me set something else up, which I'll mention below.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2009-12-29-15-58-13.png" onclick="window.open('http://www.websnark.com/images/screenshot_2009-12-29-15-58-13.png','popup','width=784,height=782,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2009-12-29-15-58-13-tm.png" height="249" width="250" border="0" align="left" hspace="4" vspace="4" alt="Screenshot 2009-12-29-15-58-13" /></a>
</p><p>
Finally, we have <strong>Lieutenant Diana Cassidy</strong>. One of the rising stars of Starfleet, the human Cassidy is well known to be ambitious and confident in herself and her abilities. While she's content enough to serve under Captain Zyzla and she can't complain about the results, Cassidy intends to be a Captain herself within three years and preferably an Admiral within six. Outrageous? Maybe -- but it is a time of war, and things happen quickly. She is the kind of officer that inspires those under her command, she is quick and she is very often right when she takes risks. It is perhaps understandable that she threatens Ko by existing.
</p><p>
At the same time, Cassidy lacks the cool head that experience will bring, and she has a tendency to run off half-cocked unless she's reined in. While there is something to be said for initiative, she has to both survive its use and convince her Captain she was right. Neither of those things are particular easy.
</p><p>
And it disturbs Cassidy that she's gone from being a virtuoso with a phaser bank to being someone who lets the computer lock on so she can fire cannons. Interestingly, this is one of those areas where she and Ko understand one another, and both are training together and separately to improve their overall skills in the <em>New Hampshire's</em> primary weapons.
</p><p>
Cassidy is designed as the ideal 'standard Human Federation Officer.' She is clearly attractive, has 'swagger' as her stance, and though she wears the same basic color scheme as Ko it is just <em>slightly</em> brighter red, to emphasize the sense of a 'brighter future.'
</p><p>
So, are these overly belabored points? Perhaps so -- but still. There are seven officers above, and those seven officers all have distinctions that underscrore personality traits. None of them are just cookie-cutter starfleet officers. Since that's the only personality we can give our Bridge Officers, I'm glad we can give it to them in spades.
</p><p>
And... I'll admit one thing. I'm kind of glad that in a bridge crew of a Captain and six Bridge Officers... four were female, one was black, one was essentially Hispanic, and only <em>one</em> was human. This is not <em>Star Trek</em> the television show with a makeup and effects budget to worry about, this is <em>Star Trek Online</em>, and by Crikey multiculturalism should be a given.
</p><p>(It is worth noting that if you pick all random crew, you will in fact get mostly aliens and an even blend of men and women. Of course, it seems like all those with 'human' skin tones are Caucasian, but that is hopefully scheduled to change.)
</p><p> 
Of course, it was Closed Beta, so of course they were all wiped out of existence by Character Wipe. Oh Q, what <em>won't</em> you kill for your amusement?
</p><p>
<strong>In Conclusion</strong>
</p><p>
<em>Star Trek Online</em> is a huge amount of fun. When the game is fini--
</p><p>
What's that? I forgot something?
</p><p>
Oh right. Sorry.
</p><p>
<strong>Klingons</strong>
</p><p>
There are Klingons in <em>Star Trek Online</em>.
</p><p>
<strong>In Conclusion</strong>
</p><p>
<em>Star Trek Online</em> is a huge amou--oh what is it <em>now</em>?
</p><p>
Seriously -- there are Klingons in <em>Star Trek Online</em>. They have bat'leths and really cool ships that can cloak. And they lie in wait in PvP areas hoping Starfleet Officers come to fight them.
</p><p>
And... that's about it.
</p><p>
I'm not much for PvP. I enjoy it in <em>Champions Online </em>every now and again, but it isn't something I go in for. And right now, the Klingon 'faction' is 99% PvP. What PvE elements it has are designed purely so you can farm them and get stuff for PvP. It <em>bored</em> me. I don't expect to do much with Klingons (except occasionally fight them when I'm in the mood) until a content release sometime in the future gives them real honest to God story content.
</p><p>
<strong>In Conclusion</strong>
</p><p>
<em>Star Trek Online</em> is a huge amount of fun. When the game is finished (which won't be until after launch, truthfully) it will be one of the greats. Even as it is it is enthralling. I will discuss some other points, like Exploration and Crafting, in other posts.
</p><p>
There is one thing I will mention, however.
</p><p>
While most of the people who have played the beta have enjoyed themselves, liked the game, or even loved it, there are a loud minority who don't. Generally, it is because some Pet Peeve has been tromped on. They hate microtransactions, say (there will likely be some). Or they hate how PvP was done or the lack of Klingon content. Or -- and this is surprisingly popular -- they hate that there's so much emphasis on <em>shooting</em> things. <em>Star Trek</em> wasn't about <em>shooting things</em>. It was about our bright, idealistic future!
</p><p>
Except it wasn't.
</p><p>
It was <em>set</em> in our bright, idealistic future -- and DS9, for all I loved it, bothered me when they tried to handwave it away -- but it was <em>about</em> the commonality of sentient experience, and the way that commonality was shown was through conflict. In every episode of Star Trek there was conflict. In most of them, someone died and shields were raised. Certainly, once we got to the Dominion War one expects there to be shooting.
</p><p>
And at the end of the day... <em>this is a video game</em>. Not a point and click adventure, either. There needs to be activity to be engaging. There needs to be conflict.
</p><p>
It is a time of war, and while the Federation strives to live up to its ideals, there are dark days ahead they have to survive.
</p><p>
And for all those who say it's "not like <em>Star Trek</em>," generally with no play or less than a few hours?
</p><p>
I say this to them: I have stood on a hundred alien shores, with no two alike. I have pushed forward against incredible odds and come up victorious. I have saved the lives of injured people not because I got cool bonus points for doing so but because it's what you do when you're a starfleet officer. I have learned the truth behind the Hobus Supernova and fought alongside the Enterprise under Captain James T. Kirk. I have preserved the past, and saved the future, and when a common enemy rose up I have joined together with the Klingons to strike back at it. I have fixed weather machines, charted gaseous anomolies, been in at least one bar brawl, and used the power of legalisms and violated ordinances to get what I want. I have stored a tribble in the same inventory as a small thermos of Raktajino, and when I went back the Raktajino was gone but now I had two Tribbles. 
</p><p>
I have shown my enemies my strength... and I have shown my enemies my mercy.
</p><p>
It's not the <em>Star Trek</em> game <em>I</em> would have written... it's <em>better</em>.
</p><p>
<a href="http://www.websnark.com/images/screenshot_2010-01-13-13-27-16.png" onclick="window.open('http://www.websnark.com/images/screenshot_2010-01-13-13-27-16.png','popup','width=1380,height=818,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2010-01-13-13-27-16-tm.png" height="207" width="350" border="0" align="right" hspace="4" vspace="4" alt="Screenshot 2010-01-13-13-27-16" /></a><strong>Open Beta and the U.S.S. Fort Kent</strong>
Finally, I give you the hopes of my Open Beta ship and crew -- the <em>U.S.S. Fort Kent</em> flies the spaceways, under the Captain Teegan, an unjoined Trill space scientist. You can see that the art assets are greatly, greatly improved from the first cast group shot I did at the top of the page. I also haven't done a <em>lot</em> of customizing just yet. The graphics are just gorgeous here. You will also notice that the ironmongery is far less... <em>less</em>. They're armed for a war, but it looks more like what you would expect from Starfleet.
</p><p>
And on her crew, there is Ensign Mosxby.
</p><p>
I give you... the Tree Bridge Officer:
</p><p>
<a href="http://www.websnark.com/images/screenshot_2010-01-12-09-53-40.png" onclick="window.open('http://www.websnark.com/images/screenshot_2010-01-12-09-53-40.png','popup','width=267,height=652,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2010-01-12-09-53-40-tm.png" height="297" width="122" border="0" hspace="4" vspace="4" alt="Screenshot 2010-01-12-09-53-40" /></a><a href="http://www.websnark.com/images/screenshot_2010-01-12-20-00-32.png" onclick="window.open('http://www.websnark.com/images/screenshot_2010-01-12-20-00-32.png','popup','width=504,height=900,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=yes,left=0,top=0');return false"><img src="http://www.websnark.com/images/screenshot_2010-01-12-20-00-32-tm.png" height="300" width="168" border="0" hspace="4" vspace="4" alt="Screenshot 2010-01-12-20-00-32" /></a>
</p><p>
Infinite Diversity in Infinite Combination, bitches.
</p>]]>
    </content>
</entry>

<entry>
    <title>It&apos;s a night! A palpable night!</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/01/its-a-night-a-p.html" />
    <id>tag:www.websnark.com,2010://1.3782</id>

    <published>2010-01-13T01:39:08Z</published>
    <updated>2010-01-13T01:43:38Z</updated>

    <summary>This is not a good night for me to actually post a post of substance, but I want to keep my weekday posting moving, so here I am. So feel free to comment with random comments! In the background --...</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Administrative Snarking" scheme="http://www.sixapart.com/ns/types#category" />
    
    
    <content type="html" xml:lang="en" xml:base="http://www.websnark.com/">
        <![CDATA[<p>This is not a good night for me to actually post a post of substance, but I want to keep my weekday posting moving, so here I am.</p>

<p>So feel free to comment with random comments!</p>

<p>In the background -- I'm doing the Star Trek Online Open Beta. For the record, and I'm glad to finally be able to say this... I've been in Closed Beta for Star Trek Online since early October.</p>

<p>Oh my God I love this game. I have been <em>obsessed</em> with this game for <em>months</em> and I haven't been able to say a damn thing about it.</p>

<p>Expect burbling.</p>]]>
        
    </content>
</entry>

<entry>
    <title>Doctor Who handled this by not doing a damn thing except selling videos. Honestly, I&apos;m okay with that.</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/01/-from-least-i-c.html" />
    <id>tag:www.websnark.com,2010://1.3781</id>

    <published>2010-01-11T17:51:13Z</published>
    <updated>2010-01-11T17:56:30Z</updated>

    <summary> (From Least I Could Do! Used by permission.) We have mentioned, long ago in a distant past that perhaps you may not remember, and perhaps you do, assuming I haven&apos;t made it up myself in my delerious Monday Morning...</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Philosophical Snarks" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="Webcomics" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="bluray" label="Blu-Ray" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="dvd" label="DVD" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="leasticando" label="Least I Can Do" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="publishing" label="Publishing" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="revision" label="Revision" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="startrek" label="Star Trek" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="starwars" label="Star Wars" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="thepast" label="The Past" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.websnark.com/">
        <![CDATA[<p>
<a href="http://forums.leasticoulddo.com/index.php?showtopic=31218" target="_blank"><img src="http://www.websnark.com/images/compare-20.png" height="329" width="500" border="0" hspace="4" vspace="4" alt="Compare-20" /><a>
</p><p>
(From <a href="<a href="http://.leasticoulddo.com/">Least I Could Do!</a> Used by permission.)
</p><p>
We have mentioned, long ago in a distant past that perhaps you may not remember, and perhaps you do, assuming I haven't made it up myself in my delerious Monday Morning Haze, that one of the downsides of Webcomics as they're generally implemented is the inability to revise.
</p><p>
Wow, does that sentence look ugly. Let me try it again.
</p><p>
As we've said before, Webcomics -- unlike most traditional publishing -- can't easily be revised as you go along. If you're writing a story or drawing a comic book, and you get three quarters into it and realize that you really should have had one less character and done things differently and maybe made the wisecracking sidekick a girl and perhaps set your tale in Hoboken instead of Mordor, you can always go back and do just that. In webcomics, however, you're essentially posting your rough draft as you go along, and that's it. It's released. Major revisions aren't in the cards, unless you do significant surgery.
</p><p>
This is especially true when you have a shift in style or tone. It's one of the things that leads to the Cerebus Syndrome attempt, and it's one of the leading causes of First and Ten: you get several months (or years) into your comic and you realize this isn't what you wanted to do at all -- less light gag-a-day, more deep storylines and character development.
</p><p>
Or... and this is actually really common... your style may simply change over time.
</p><p>
We've seen this a lot. If you look at the early days of almost any long running webcomic, the early days will have a much different, often rougher style. This makes sense. If a person draws a strip day after day, week after week, month after month, and year after year they eventually find better ways to do things. Their renders get tighter. Their techniques get broader. They get more <em>stuff</em> in their toolbox.
</p><p>
Or, in the case of a strip like <em>Least I Could Do</em>, they just hire another artist.
</p><p>
So, you can have someone who is proud of his webcomic throughout -- he loves it, he thinks it's wonderful, he's excited every time he posts... and then one day he looks back to the beginning of his strip and he suddenly becomes <em>horrified</em> at what he sees. "Oh my God," he says. "I was such crap! If only I could go back and revise all that!"
</p><p>
And that's problematic, because people don't like change.
</p><p>
It's a truth in life. People like the past to stay the past. They want the strip to match up with their half-forgotten memories. If they need to go back and look at it, and it's not the same... well, they get uncomfortable. They <em>want</em> to see the old strips. They <em>liked</em> the old strips. And why would you ever <em>change</em> the old strips?
</p><p>
Some artists go ahead and do it anyway -- I know that David Willis has revised a bunch of his old stuff to bring a consistency of style, for example. Others just sort of shrug and laugh about it. After all, it's no big deal, right?
</p><p>
Until it is. And that brings us back to <em>Least I Could Do</em>.
</p><p>
There have been three different artists on <em>Least I Could Do</em>. The strip was started by Ryan Sohmer as the writer -- of course -- and a man name of Trevor Adams. Then Trevor Adams left and Chad Wm. (For William, I assume) Porter came in. Then Porter left and Lar de Souza came in, and here we are today.
</p><p>
Now, Sohmer has gone on the record that he wasn't proud of the writing in those early strips -- fair enough. It's not just art style that evolves over time, after all. But what's unspoken is... well....
</p><p>
Look, I'm a terrible artist. I'm the worst artist in the world. I'm Antidextrous -- I can't write (or especially draw) with <em>either</em> hand. I have no basis to cast aspersions on another person's art. And Trevor Adams is a significantly better artist than I am.
</p><p>
But being significantly better than <em>me</em> isn't anywhere near enough to be <em>good</em>. And Trevor Adams just wasn't very good.
</p><p>
I mean, it's not <em>horrible</em> art by any stretch. It's kind of a fun anarchic style. And there are those who like it quite a bit -- and, like many webcartoonists, Adams improved by leaps and bounds. By the time color came into the strip, he was solid and getting moreso. But when Trevor Adams left and Chad Porter came in, the strip improved by an order of magnitude, and it all came back to art.
</p><p>
<em>But</em>, this was part of the history of the strip. This was part of the past. Events in those early strips still have impact today. And people <em>like</em> the past.
</p><p>
The problem is, Sohmer and Blind Ferret wanted to do a print collection. And regardless of one's opinions of the art as art, as graphics files they were simply unprintable. We're talking low resolution gifs in black and white here. Sohmer's print collections are top notch in quality, on good paper and with great production values. Putting a 72 d.p.i. GIF in that... would not be a kindness to the strip, the consumers, or Ryan Sohmer.
</p><p>
It is, in one real sense, the same issue that the owners of the original <em>Star Trek</em> had to deal with when Blu-Ray came out.... and the same issue that George Lucas had to confront when <em>DVD</em> came out before that. In both cases, <em>Star Wars </em>and <em>Star Trek: The Original Series</em>, the writing was excellent but the state of special effects had advanced so much both projects looked cheesy, dated and fake.
</p><p>
Lucas chose a broad revisionist course. The <em>Special Editions</em>, he announced, would be what he had always envisioned <em>Star Wars</em> to be, now that special effects had improved to the point that "his vision" could be created. The problem is, he didn't simply revise the <em>look</em> of things, he revised the <em>substance</em>. He made editorial decisions. He added whole sections. He changed sequences to match what he thought was appropriate in the 90's, even when they conflicted with what he decided in the 70's.
</p><p>
It was a monumental success, but it also made a lot of people angry. Han <em>did </em>shoot first, damn it. Just because Lucas decided that Han as a bastard who became a lovable rogue didn't match up with his current vision of Han as a lovable rogue who just became <em>more</em> lovable didn't take away peoples' memories, and the change meant they focused less on the movie as an improvement and more on how it "desecrated" the movie.
</p><p>
Never mess with a geek's childhood, man. He will <em>cut</em> you.
</p><p>
<em>Star Trek</em>, on the other hand, tried very hard when they did all-new special effects to seat those effects <em>into</em> the original story, rather than <em>revising</em> the original story. Sure, the grey backdrops became digital matte paintings and the Gorn blinked -- but the Gorn did the same stuff he did before and the backdrops did nothing more than add more eye candy. <em>Kirk</em> stayed the same. Sure, they put in new music, but the new music was based on the original compositions, so the musical cues remained the same. It was far less an attempt to <em>update</em> the original series of <em>Star Trek</em>, and more an attempt to <em>make the original series look acceptable in Blu-Ray.
</p><p>
</em>And it was the right choice to make. To be honest, if I look at the originals of <em>Star Wars</em> and the Special Editions of <em>Star Wars</em> today, they both look pretty cheesy. We've come so far since the Special Editions came out that now they look just as bad and dated as they did before, which means all that's left is comparing the two cuts of the movie -- and the 70's version of <em>Star Wars</em> is a better cut than the 90's version. (<em>Return of the Jedi's </em>90's version is, admittedly, a better cut than the 80's version, but that may have to do with Ewoks singing). And <em>Family Guy's</em> shot-by-shot parodies are fantastic, but I digress.
</p><p>
So, enter Lar de Souza, and <em>LICD: Black and White</em>. This is a new print collection of strips, all of which are being redrawn by current artist de Souza, in the current style of the strip, but working hard to reflect the characters as they were then. And the question is, did they go with <em>Star Wars</em> and George Lucas, or did they go with <em>Star Trek</em> and the remasters.
</p><p>
Sort of neither, sort of both.
</p><p>
The strips -- as you can see by the comparison above (you can't click to a larger version because that's the size of the original -- M. Sohmer was kind enough to let me reproduce it full size for these purposes) -- are radically different. They are not higher resolution retraces of Adams's version of the characters. They are not the old strips with increased details. They are <em>Lar de Souza drawing these strips</em>, using his interpretation of the characters, albeit with echoes of the original hairstyles and other things.
</p><p>
At the same time, the <em>writing</em> is (apparently) not changing. The same things are happening. The same choices are being made. Even where the characters don't ring necessarily true to who they become (Rayne, for example, failed sometimes. And didn't know everything. Or is that catty of me?) they're not changing them.
</p><p>
<em>And</em>, more to the point, the original Trevor Adams versions are staying up on the web. Right now, they haven't decided whether or not to put de Souza's art up alongside it, but I suspect this will be a print-only thing for at least a good long while. Which makes good economic sense... and even better sense in terms of keeping people happy by not radically changing the past.
</p><p>
It's an exciting way to do things, and I hope it is successful for them. I'm curious enough that I plan to buy a copy, and I suspect I'm not the only one.
</p><p>
Now, if I could just talk Wednesday into redrawing <em>Unfettered By Talent</em> for me...
</p>]]>
        
    </content>
</entry>

<entry>
    <title>Commenting and your options for authentication</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/01/commenting-openid.html" />
    <id>tag:www.websnark.com,2010://1.3780</id>

    <published>2010-01-09T00:08:04Z</published>
    <updated>2010-01-09T00:42:44Z</updated>

    <summary>On commenting via OpenID, and why you may not have to run out and get a new account to do it.</summary>
    <author>
        <name>Wednesday</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Administrative Snarking" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="maintenance" label="maintenance" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.websnark.com/">
        <![CDATA[<p>Many of you may have noticed that commenting is back, and now supports multiple options for your signin convenience. </p>

<p>(I didn't want to say anything the other night. If I become openly positive about something, there is usually a disaster. Usually, positivity just causes RSS to break, but it had already broken that day.)</p>

<p>Your options are based on <a href="http://openid.net/get-an-openid/what-is-openid/">OpenID</a>, a decentralized system supported by <a href="http://openid.net/get-an-openid/">many services you might already use every day</a>.  Check to see if you already have some form of social networking account which supports OpenID, and if it'd be a good fit for you. You might not need to create a new account anywhere just to comment here!</p>

<p>Movable Type makes some shortcuts available when prompting you to sign in; I chose a few likely to apply to the people who comment here, and which I had the means to test at that moment. I'll increase those shortcuts as best I can over time.</p>

<p>(I deliberately left Google Accounts out of the list of shortcut choices. On testing, the identifying information in my reply was, at best, opaque. If that improves, I'll turn the shortcut on.) </p>

<p>Maintenance will continue as time and circumstances permit. I'm hoping to tackle the archives this weekend.</p>]]>
        
    </content>
</entry>

<entry>
    <title>It goes without saying that most users on xkcdsucks will despise this one....</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/01/it-goes-without.html" />
    <id>tag:www.websnark.com,2010://1.3779</id>

    <published>2010-01-08T15:51:20Z</published>
    <updated>2010-01-08T15:51:37Z</updated>

    <summary> (From xkcd. Click on the thumbnail for full sized digital footprints in the sand.) Every so often -- every so often -- a pun doesn&apos;t make me groan. Every so often, a pun is an accent to a mood....</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Webcomics" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="biscuit" label="biscuit" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="melancholy" label="melancholy" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="xkcd" label="xkcd" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.websnark.com/">
        <![CDATA[<p>
<a href="http://xkcd.com/686/" target="_blank"><img src="http://www.websnark.com/images/Admin%20Mourning.png" height="106" width="398" border="0" hspace="4" vspace="4" alt="Admin Mourning" /><a>
</p><p>
(From <a href="http://xkcd.com/">xkcd</a>. Click on the thumbnail for full sized digital footprints in the sand.)
</p><p>
Every so often -- every so <em>often</em> -- a pun doesn't make me groan. Every so often, a pun is an accent to a mood. A clever note on a feeling. And every so often, <em>xkcd </em>manages to touch on a universal behavior through an incredibly idiosyncratic method.
</p><p>
Comparatively speaking, very few people run servers -- and even fewer run servers with other users on them. The behavior that Munroe is describing is unique to a specific profession and a specific type of user. I occasionally administer boxes where I have folks running screen sessions, because that's part of what I do for a living. Most people -- even most readers of <em>xkcd</em> -- don't.
</p><p>
And yet, in one sense we've all been there. Or at least we all can see where this is coming from. If nothing else, keeping the last voicemail you received from someone who died, because you can't bear to erase it, even if you also can't bear to listen to it... that's something that's very human, very part of the grieving process. So long as you have that 1 next to the total messages, then you still have an active connection to someone the rest of the world can only remember.
</p><p>
Or take the last post someone makes to Livejournal or the like. That post, no matter what it's about, becomes a de facto memorial post -- comments fill up as people express condolences to the family... but just as often they send last message they ever can to the person who's died. This is their post, so when you send a comment you're sending it to that person, right? Right? That's how Livejournal works. So if this is your last chance to say how special they were, how much a part of your life they were... then thank God you have it. So you have someone who posts something... well, utterly <em>banal</em> like "Well, time to go grab lunch. I hope the tuna doesn't smell like ass today," and underneath it you have 600 comments from people saying how much they loved the poster, and how they miss them, and how they think of them <em>every day</em>... there's a disconnect there. The mundane touches the spiritual. The everyday touches the eternal. And it feels <em>active</em>. It feels <em>real</em>.
</p><p>
On the other hand, I have to wonder how much <em>more</em>  a user's eternal screen session evokes this feeling -- because this was more than a message left or a post made. This was something <em>ongoing</em>. You see, screen sessions allow you to disconnect from a server while leaving a... well, ghost of that connection active, so that when you reconnect the screen looks exactly like it did when you left, and any projects you were doing are sitting right there, waiting for you to pick them up. This is the digital equivalent of a half-written poem, the paper still sitting on the desk, the pen still uncapped on top of it.
</p><p>
And then there's the alt-text, and that's universal too. In a sense, it's even a part of that same grieving process -- because hey, they'd love the joke, right?
</p><p>
Some folks will be upset that this one isn't funny -- or think that the pun at the end means it's <em>trying</em> to be funny -- but really, this strip's a lot closer to the <a href="http://xkcd.com/162/">angular momentum strip</a> -- one of those brief moments that are a touch sappy and a touch wistful and still a touch geeky. Less about the funny, more about life, as seen through the eyes of a math, physics or computer geek. It's been part of <em>xkcd</em> from the beginning, and it's often done ham-handedly, but when it's done well it has tremendous effect, and today's was done well.
</p><p>
This one just nailed me. I'm not sure anyone would still care, but Randall Munroe gets himself a biscuit for this one.
</p><p>
A tasty, tasty biscuit.
</p>]]>
        
    </content>
</entry>

<entry>
    <title>Am I the last video game aficionado who doesn&apos;t own any music games at all? No Guitar Hero, no Rock Band -- hell, I don&apos;t even have Parrapa the Rappa.</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/01/am-i-the-last-v.html" />
    <id>tag:www.websnark.com,2010://1.3778</id>

    <published>2010-01-08T05:00:16Z</published>
    <updated>2010-01-08T05:20:16Z</updated>

    <summary> (From Real Life Comics! Click on the thumbnail for full sized block-shattering fun!) I realize I&apos;m very new to being back at this -- way too new to be touching on a strip two days in a row. And...</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Webcomics" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="lexicon" label="lexicon" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="maryrichards" label="Mary Richards" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="reallifecomics" label="Real Life Comics" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.websnark.com/">
        <![CDATA[<p><a href="http://www.reallifecomics.com/archive/100107.html" target="_blank"><img src="http://www.websnark.com/images/20100107_2370.png" height="283" width="250" border="0" align="left" hspace="4" vspace="4" alt="Real Life Comics!" /></a><br />
(From <a href="http://www.reallifecomics.com/">Real Life Comics!</a> Click on the thumbnail for full sized block-shattering fun!)</p>

<p>I realize I'm very new to being back at this -- way too new to be touching on a strip two days in a row. And yet, I think I can get away with it for two reasons:</p>

<p>1. Yesterday's 'critiques' weren't exactly... critiques (hey, I thought they were funny. That counts for something. Right? Right?).<br />
2. I wanted to do it.</p>

<p>Anyway, there were two things I wanted to touch on here. The first is Liz herself.</p>

<p>No, I am not implying I am touching Liz. Yeesh, people. Clean that cesspit you call a mind up. I mean I'm touching on her <em>characterization</em>. I've really enjoyed the last few days of <em>Real Life Comics</em>, because it's allowed for Liz -- often the Mary Richards of RLC -- to be the one who's gone nuts, while Greg has been the voice of... I'm gonna go with reason. I know it's an odd thing to type, but let's call it like we see it, okay?</p>

<p>Excuse me? Oh, you're not sure what I mean by the 'Mary Richards?' I guess it's been a while since we've touched on the Websnark Lexicon, hasn't it? Right -- let me recoin the phrase for you.</p>

<p>One of the most groundbreaking television shows of the 70's -- and indeed, one of the most important television shows in the history of the medium -- was <em>The Mary Tyler Moore Show</em>. Mary Tyler Moore had spent the 60's as a traditional Sitcommish wife in <em>The Dick Van Dyke</em> show, but in the 70's she went 'on her own' as a single woman making her way in a city without the comforts of traditional sitcom marriage. She had a career (as a television producer, no less), friends and travails. And the writing was among the best television has ever had.</p>

<p>What was interesting, however, was the role the character "Mary Richards" played on the show. In effect, Mary Richards was the sane character. The <em>only</em> sane character, surrounded by nutjobs ranging from her boss Lou Grant straight past cheerfully evil Sue Ann Nivens straight through to egotistical moron Anchorman Ted Baxter. Where in earlier sitcoms she might have been the straight man, feeding setups while the comedians went nuts, on "The Mary Tyler Moore Show" Mary Richards wasn't a straight man -- she was <em>sane</em>, reacting to the insanity around her with her own comedic timing. As a result, she became the anchor the show revolved around -- the character that viewers identified with and empathized with. She made everything around her not only work but feel <em>realistic</em>.</p>

<p>Liz normally has that role in <em>Real Life Comics</em>, so every so often having her switch off with Greg is a fun thing. Dean did a good job in these strips by fully switching the roles off. Greg is actually sane during Liz's descent into video game mania, and it works across the board.</p>

<p>The second thing I wanted to touch on -- and honestly the real reason I'm writing this -- is right in the first panel. Liz doesn't say the lack of <em>Rock Band 2</em> is bad or even uncool. She says it is un<em>dude</em>.</p>

<p><em>Undude.</em> "This is very undude."</p>

<p><em>Wow</em> do I like that. I know I abuse the word 'dude' both in my writing and in everyday speech as it is, but I had never considered what might something <em>un</em>dude before. It's like a whole new world is opening up -- a whole new perspective is dawning. Perspective is no longer limited to "dude" or even "duuuuuuude." Now things can be <em>un</em>dude.</p>

<p>And that, my friends, is worthy of mentioning <em>Real Life Comics</em> two days in a row.</p>]]>
        
    </content>
</entry>

<entry>
    <title>The Action Reggie Mantle Blues</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/01/the-action-regg.html" />
    <id>tag:www.websnark.com,2010://1.3770</id>

    <published>2010-01-07T05:00:01Z</published>
    <updated>2010-01-07T16:51:02Z</updated>

    <summary> (From Fans! Click on the thumbnail for full sized Action Hero Move!) When T &quot;T&quot; Campbell and Jason Waltrip returned to the world of Fans after several years away, I was excited but -- I&apos;ll admit -- cautious. The...</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Webcomics" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="fans" label="fans" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.websnark.com/">
        <![CDATA[<p>
<a href="http://www.faans.com/index.php?p=1989" target="_blank"><img src="http://www.websnark.com/images/Fans.png" height="350" width="279" border="0" align="right" hspace="4" vspace="4" alt="Fans" /></a>
</p><p>
(From <a href="http://www.faans.com/">Fans!</a> Click on the thumbnail for full sized Action Hero Move!)
</p><p>
When T "T" Campbell and Jason Waltrip returned to the world of <em>Fans</em> after several years away, I was excited but -- I'll admit -- cautious. The end of the original run of <em>Fans</em> was such a complete... well, <em>ending</em> that it seemed perhaps ill-advised to try and recapture the magic. As much as I loved the original run, I had to wonder three things:
</p><ol>
<li>Where could a story like this go?</li>
<li>Could the <em>Fans</em>-based magic of flaws and consequences making our heroes endure Hell they couldn't entirely blame on outside forces persist?</li>
<li>Did Campbell and Waltrip continue to understand not just how science fiction and fantasy have changed but how <em>fandom</em> has changed, and push their comic into a similar evolution as a result?</li>
</ol><p>
I think it's safe to say I'm not wondering any more.
</p><p>
The first two questions are somewhat nebulous to answer, and they're really not the point of the essay you're reading right now. Suffice it to say, they hit upon the magic formula: having had the Science Fiction Club break up and key components join the government instead of fighting it, the conditions of the new series are different enough to allow for something new instead of just rehashes of the old -- and both the old and new heroes of our story continue to have flaws and issues that lead to mistakes and consequences, both from the old days and wholly new ones. And that is awesome.
</p><p>
But it's the third point I want to discuss in depth, especially since the current installment (as of this writing) touches on it conveniently.
</p><p>
In our world -- the mundane world outside our window -- the popular view of geeks, nerds, fans and fandom have changed. Geekdom has gone mainstream in a big way -- to the point where a television show like <em>Chuck</em> lets the main character have geek qualities, <em>Star Trek, Iron Man</em> and <em>Transformers</em> make unimaginable amounts of money at the box office, the biggest movie not only of the year but the third biggest grossing movie of <em>all time</em> is a 3-d computer animated film featuring hot blue alien chicks and allegory (seriously -- <em>Avatar</em> has grossed over a <em>billion dollars</em> worldwide in under <em>three weeks</em>), and lead characters can reasonably be expected to talk up comic book minutia and still come across as 'everyman' figures. Thanks to the iPhone and Android, our cell phones have pushed beyond flip-open <em>Star Trek</em> communicators headlong into <em>Star Trek</em> tricorders. We live in the world of <em>Mythbusters</em> as cultural figures and Olivia Munn as Playboy Cover Model, and when a big SF, comic book or fantasy adaptation hits the big screen, the Hollywood A-Listers behind it automatically say "hey, I've been a huge fan of [Geek Cultural Touchstone] my whole life. When this opportunity came along, I grabbed it." 
</p><p>
How much more would all this be true in a world where magic and aliens weren't only real but were widely and publicly known? Where the <em>Fans-</em>verse version of the High-School-Popularity dramady <em>Peggy and Aggie</em> involves <a href="http://www.faans.com/index.php?p=1821">a hot chick concealing herself in zero prescription glasses and a fake Librarian look</a> to be cool?
</p><p>
(Yeah, let's reduce an alternate Penny Levac to 'hot chick.' This is a <em>good plan.</em>)
</p><p>
<em>Fans</em> has nailed this new zeitgeist, while still reflecting our own world's evolution, with the 'new breed' of Fan they've introduced, and Action Reggie Mantle from today's strip (okay, his name is Marc, but still. He's <em>totally</em> Action Reggie Mantle) is the best of breed.
</p><p>
Action Reggie Mantle is a gamer. In fact, he's one of the top gamers on the pro circuit -- a G4ish breed of attitude and skill, camera friendly and yet the kind of guy you want to wipe the smug expression off of. Which makes his inevitable victory all the sweeter for him -- he knows you want to take him down. You just <em>can't</em>.
</p><p>
And now here he is, trying to be a hero outside of virtuality and XBox Live. Yearning for that sense of accomplishment. Yearning to prove to all the people who dismiss him as an overgrown kid playing games that he's real. He's <em>for</em> real. And along the way he wants to indulge himself. Indulge himself with hero worship, with women, with whatever he wants.
</p><p>
Action Reggie Mantle isn't a classic geek -- he's too close to the kind of hero geeks traditionally fantasized about being. He's Chris Hardwick with a blaster and skills, funny and quick and sarcastic but always a crowd pleaser. He has every reason in the world for his brash overconfidence, because he really is that good. And if that overconfidence was born of self esteem issues or a yearning for legitimacy... well, that fits geekiness as well.
</p><p>
It's nice that several of the other Fans -- including team leader (and old school leader) Rikk -- are cowed by this new breed of Fan. Sure, Rikk may have saved the world a bunch of times and may be the charismatic and inspirational leader the others all follow, but this new guy sure is confident, and did you see what he did to that statue? Man... I wish <em>I</em> could do that....
</p><p>
There will be consequences. There are always consequences in <em>Fans</em>, but I am comfortable that Campbell and Waltrip understand how to present a <em>Fans</em> for this new decade.
</p><p>
As a side note, I have to wonder if one of the threats Team Alpha's forced to confront will be old guard Fandom -- that breed of fan who loses interest in fantasy or science fiction but loves the Fandom Subculture, conventions and the like. Between those guys and the sort of geek who resents when something they love is embraced by the mainstream, it seems to me there would be a solid Team Omega out there, just ready to inform the world that these stuff isn't <em>for</em> them....
</p><p>
But, as always, I digress.
</p>]]>
        
    </content>
</entry>

<entry>
    <title>Administrivia: Updates and Upgrades and Technology -- oh mercy! Wait, I always get that part wrong....</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/01/administrivia-u.html" />
    <id>tag:www.websnark.com,2010://1.3769</id>

    <published>2010-01-06T15:07:18Z</published>
    <updated>2010-01-06T15:05:35Z</updated>

    <summary> This is just a note to indicate that with the new year comes new underbody enhancements that will lead to more extensive upgrades and enhancements for this, our Websnarkian home. Now, I&apos;d go into some depth about it all......</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Administrative Snarking" scheme="http://www.sixapart.com/ns/types#category" />
    
    
    <content type="html" xml:lang="en" xml:base="http://www.websnark.com/">
        <![CDATA[<p>
This is just a note to indicate that with the new year comes new underbody enhancements that will lead to more extensive upgrades and enhancements for this, our Websnarkian home. Now, I'd go into some depth about it all... but I haven't really got a clue about it.
</p><p>
There are advantages to marrying a woman who's more technically savvy and far better versed in both website development and content management systems than you are. My wife, for those who I haven't said it to recently, is awesome in every conceivable way.
</p><p>
There is... <em>change</em> on the horizon, but that's still where it is for the moment. In the meantime, you might run into some interesting issues along the way. Please have patience. Were this 1997, we would put up an animated gif of a road sign where stick figures were digging a trench. As it is not, we have spared you this. Progress, bitches.
</p>]]>
        
    </content>
</entry>

<entry>
    <title>Eric Quickly Interprets Webcomics: 1st Week of the Year Edition</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/01/eric-quickly-in.html" />
    <id>tag:www.websnark.com,2010://1.3768</id>

    <published>2010-01-06T05:01:57Z</published>
    <updated>2010-01-07T15:26:12Z</updated>

    <summary> Have you found yourself incapable of understanding the delicate subtext that transforms a sequence of illustrations into a comic strip? Do you wish that someone with a degree and a beard could tell you what was going on in...</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Webcomics" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="dieselsweeties" label="Diesel Sweeties" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="girlswithslingshots" label="Girls With Slingshots" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="leasticando" label="Least I Can Do" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="pvp" label="PvP" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="reallifecomics" label="Real Life Comics" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="shortpacked" label="Shortpacked" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="superosity" label="Superosity" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.websnark.com/">
        <![CDATA[<p>
Have you found yourself incapable of understanding the delicate subtext that transforms a sequence of illustrations into a comic strip? Do you wish that someone with a degree and a beard could tell you what was going on in these strips? Have you suffered some form of head trauma that makes basic concepts difficult? Are you now or have you ever been pretentious?
</p><p>
Then my friends, today's post is for you. Rather than go into depth on underlying meaning and technique in a given comic strip, today we are going to look at a plethora of recent strips found 'online' or on the 'world wide web,' accessed by a 'computer' by someone 'with too much free time.' And, as an introduction to analysis for a new generation, these strips are going to be explained -- or 'interpreted,' in the parlance of the professional literary critic -- in such a way as to be accessible to those for whom comic strips are opaque but dense literary references are clear.
</p><p>
Please feel free to engage in your own interpretations of these strips. Literary criticism, in the end, is a subjective and discursive discipline, and there are no wrong answers. Except, of course, for those answers that are clearly wrong.
</p><p>
As always, if you cannot make out the fine details in the graphics, please click on the thumbnails and be delivered to the original in its native habitat. For more information on Webcomics and their Habitat, why not contact the Canadian Wildlife Service, in Ottawa?
</p><p>
Let us begin.
</p><p>
<strong><a href="http://www.leasticoulddo.com/comic/20100105">Least I Could Do:</strong>
</p><p>
<img src="http://www.websnark.com/images/LICD-1.png" height="201" width="598" border="0" hspace="4" vspace="4" alt="Licd-1" /></a>
</p><p>
The doctor lacks empathy and professional ethics due to narcissism. The doctor's brother enables these behaviors.
</p><p>
<strong><a href="http://www.reallifecomics.com/archive/100105.html">Real Life Comics:</strong><strong>
</p><p>
</strong><img src="http://www.websnark.com/images/real-life-comics.png" height="345" width="300" border="0" hspace="4" vspace="4" alt="Real-Life-Comics" /><strong></a>
</p><p>
</strong>
</p><p>
Video Game enthusiasts often make impulsive and imprudent purchases, which can quickly spiral out of control.
</p><p>
<a href="http://www.pvponline.com/2010/01/04/my-buddy-and-me/"><strong>PvP:</strong>
</p><p>
<img src="http://www.websnark.com/images/PvP.png" height="199" width="597" border="0" hspace="4" vspace="4" alt="Pvp" /></a>
</p><p>
The cat's sociopathic disorder and atypical intelligence allows for both an inversion and dark subversion of a beloved classic American comic strip.
</p><p>
<a href="http://www.daniellecorsetto.com/archive.php?comic=850"><strong>Girls with Slingshots:</strong>
</p><p>
<img src="http://www.websnark.com/images/GirlsWithSlingshots.png" height="183" width="600" border="0" hspace="4" vspace="4" alt="Girlswithslingshots" /></a>
</p><p>
The tall woman is a hopeless alcoholic capable of tragic self-delusion.
</p><p>
<a href="http://www.shortpacked.com/d/20100105.html"><strong>Shortpacked:</strong>
</p><p>
<img src="http://www.websnark.com/images/Shortpacked.png" height="449" width="300" border="0" hspace="4" vspace="4" alt="Shortpacked" /></a>
</p><p>
The lighter skinned male -- having suffered similar abuse in the past -- takes cathartic pleasure in the misfortunes and pain of his coworker.
</p><p>
<a href=http://www.webcomicsnation.com/shaenongarrity/skinhorse/series.php?view=archive&chapter=42599&name=skinhorse"><strong>Skin-Horse:</strong>
</p><p>
<img src="http://www.websnark.com/images/Skin-Horse.png" height="228" width="600" border="0" hspace="4" vspace="4" alt="Skin-Horse" /></a>
</p><p>
The helicopter is incapable of self-governing his use of profanity.
</p><p>
<a href="http://superosity.keenspot.com/d/20100105.html"><strong>Superosity:</strong>
</p><p>
<img src="http://www.websnark.com/images/superosity.png" height="208" width="597" border="0" hspace="4" vspace="4" alt="Superosity" /></a>
</p><p>
The genius living board is incapable of refusing the child-like human's irresponsible whims.
</p><p>
<a href="http://www.dieselsweeties.com/archive/2451"><strong>Diesel Sweeties</strong>
</p><p>
<img src="http://www.websnark.com/images/diesel-sweeties.png" height="280" width="600" border="0" hspace="4" vspace="4" alt="Diesel-Sweeties" /></a>
</p><p>
The woman is obsessed with mocking the man's masturbation. Also, she is a bitch.
</p><p>
I hope this brief foray into literary analysis has been educational and fun. Perhaps one or two of you may choose to become critics as well, after seeing these examples of the form. Tune in next time for more "Eric Interprets Webcomics Quickly!"
</p>]]>
        
    </content>
</entry>

<entry>
    <title>The Curse of Webcomics.com</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/01/the-curse-of-we.html" />
    <id>tag:www.websnark.com,2010://1.3767</id>

    <published>2010-01-05T05:02:21Z</published>
    <updated>2010-01-05T05:53:21Z</updated>

    <summary> You would think the name alone would have made it a slam dunk. Seriously. &quot;Webcomics.com.&quot; If there is such a thing as webcomics, surely webcomics.com would be the immediate one-stop location of choice for them. It would by definition...</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Philosophical Snarks" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="Webcartoonists" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="Webcomics" scheme="http://www.sixapart.com/ns/types#category" />
    
    
    <content type="html" xml:lang="en" xml:base="http://www.websnark.com/">
        <![CDATA[<p>
<img src="http://www.websnark.com/webcomics-logo.gif" height="80" width="252" border="0" align="right" hspace="4" vspace="4" alt="Webcomics.com" />You would think the name alone would have made it a slam dunk.
</p><p>
Seriously. "<a href="http://www.webcomics.com/">Webcomics.com</a>." If there is such a thing as <em>web</em>comics, surely <em>webcomics.com</em> would be the immediate one-stop location of choice for them. It would by definition be one of the top sites on webcomics or one of the top sites <em>of</em> webcomics or <em>both</em>.
</p><p>
And yet... it's never really been successful. Not really. Not outside of a niche.
</p><p>
It has been, in its time, a webcomics host, a webcomics collective, a webcomics portal, a webcomics commentary site, and a 'how to make comics for the web' site. It experimented with push technology and with podcast technology when they were hot. <em>Doctor Fun</em> had a home there. T Campbell and Alexander Danner had a home there. Most recently, Brad Guigar and the Halfpixel fighting force four had a home there.
</p><p>
Through it all -- through every iteration -- even if the content was good, it just never really broke out into the mainstream. It never became self-sustaining. It never became a must-go site. And that just seems weird to me.
</p><p>
The latest iteration of the site has now had the latest iteration of the curse hit it. Brad Guigar, the Editor in Chief of Webcomics.com (currently a site supporting the Halfpixel model of webcomics creation as popularized in their book <em>How to Make Webcomics</em>) has announced that effective immediately the site is going behind a paywall.
</p><p>
A paywall.
</p><p>
In a startling move from 2004, Guigar has locked his content behind a login you have to shell out thirty bucks a year to unlock, in an effort to make the site profitable -- or at least profitable enough to justify the time and energy Guigar's putting into it.
</p><p>
Now, all by itself this would not be a major deal. Websites do this sort of thing all the time. Admittedly, after they do this sort of thing their readerships drop precipitously, but still. It's a common enough reaction. However, this is <em>Halfpixel</em> -- the home not only of Guigar but the familiar names Straub and Kurtz. (And Dave Kellett, but he's not specifically a part of this comment.) And two of the loudest voices decrying the very existence of paywalls and subscription models and pay-to-view on the web have been Straub and Kurtz.
</p><p>
Do I think they're hypocrites? No. They see a distinction and they're pretty firm about it. But a lot of people are reacting as though they were -- and fair or not, the whole thing puts the very model that they espouse in their book and on webcomics.com itself -- the idea that free content can pay rich dividends -- into doubt. "If these guys know what they're talking about," goes the thinking, "why do I have to pay to get on their website?"
</p><p>
Now, Guigar has been quick to point out an essential difference between putting a webcomic like Evil Inc. behind a paywall versus a site like webcomics.com: the former is <em>entertainment</em>. The latter is <em>reference</em>. It's the difference between a momentary distraction on the way to the grave and information. People who are <em>serious</em> about becoming webcartoonists will shell the money out because of all the valuable information the site has to give (or so they hope). And someone who won't spend thirty dollars -- just <em>thirty dollars </em>-- to get solid advice and have a place to turn as they try to build their business clearly isn't serious about being a professional.
</p><p>
It is a compelling argument.
</p><p>
It's also wrong.
</p><p>
To be blunt -- if a website isn't a store or providing a service, it's entertainment. People went back to webcomics.com day after day because they wanted the information that was there, yes, but mostly because they were entertained by the articles. People listen to NPR to be informed, but also because they find it entertaining. People read CNN to be informed but also because they find it entertaining. All of these things fall into the "momentary distraction" category. The exceptions, like I said, are sites like Amazon.com where you buy shit, or sites like eBay or eTrade or your bank, where you perform services. Even a site like WebMD -- which built its reputation on pure information -- has "health news and features" to bring people back and add new vectors for Google to come in. Certainly, a site like Webcomics.com -- which is, after all, a <em>daily blog</em> at its heart -- is running as much on its style as on its substance. Brad Guigar doesn't just provide how-tos, he does it in a well written and concise style, and people come back day after day for the community that forms as a result.
</p><p>
And at its core, that means Webcomics.com is not a service. Not in its current iteration, anyway. You don't go there to upload your comic and have it publish. You go there to get information from knowledgeable people whose writing is fun and engaging. Is it a much, much smaller niche audience than, say, Evil Inc. or PvP? Absolutely. But it is an <em>audience</em> all the same, and so the distinction between it and a webcomic isn't nearly as clear cut as they're claiming.
</p><p>
Further, in what seems just the tiniest bit skeevy, a good amount of the content on the site (especially recently) came from third party writers. Long time friend of Websnark <a href="http://www.green-avenger.com/">Abby L.</a> was one of them. They apparently got no warning this was happening. There is no word on whether or not they will be compensated for their work. I do know that Abby was absolutely thrilled to have been published there, was shocked that suddenly her work would be locked behind a paywall (making it significantly harder to use either for her resume or to point people to it in general), and disheartened at what felt like a a slight. She posted comments in the announcement to that effect. Guigar, to his credit, was willing to take her content off the site, and since has marked all the third party essays as hidden until the individual writers can decide if they want them to remain, but that's something that should have been dealt with well in advance of making this move.
</p><p>
But then, part of what's upset folks is the utter lack of notice given for this move. Now, Guigar and Kurtz have explained their thinking on this -- they made their decision, they knew people were going to react this way regardless, and in Guigar's own words:
</p><blockquote>
[It's] the difference between pulling a Band-Aid off slowly or quickly. This decision was made with the respect for my readers at the front of my mind.
</blockquote><p>
However, shocking people who've grown accustomed to visiting your site isn't a good way to foster goodwill for a new project that opens with a thirty dollar payout -- especially on a site like this, whose bread and butter is information. At least one person (who called himself "Guy") had this reaction:
</p><blockquote>
Um. I literally just stumbled on this website yesterday. There was a tutorial on setting up Wordpress.
<br><br>
Came back today to check it again only there was this login... only I couldn't log in.
And there was a threat saying that if I continued to try and log in, I'd be locked out forever.
<br><br>
I checked the front page only to find that it was a subscription site now. Ok. Well thank god Google saves the entire internet and I could get the tutorial anyway.
</blockquote><p>
Remember the Google thing. It'll come up again momentarily.
</p><p>
Further <em>again, </em> the potential influence this site can have on the industry has just dropped precipitously. When major posts went up, they could be linked to easily on everything from blogs to Facebook to Twitter. Now, those links will lead to a request for $30 -- and no one who follows the link is going to think "hey, $30 for a year of webcomics.com seems fair! That's just two-fifty a month! I spend more than that on lattes!" They're going to think "oh the <em>Hell</em> I'm going to pay thirty bucks to read some essay on <em>distribution</em>" and close the site.
</p><p>
Or, someone who is deeply inspired by something he reads on Webcomics.com will take it and copy/paste it onto his own blog (or some anonymous blogger site he makes for the purpose) so he can point people to it <em>there</em>. And other folks will copy/paste articles sheerly because they find paywalls offensive and figure Guigar won't have the money to sue over it. Or they will do it because they've always thought Scott Kurtz was a blowhard and now that he's not "practicing what he preaches" he's fair game. Or they will do it because they're dicks.
</p><p>
Am I exaggerating? Hey, we've already had one example (quoted above) of someone who hit the Google cache to get the information he wanted rather than pay the entrance fee. This is how this stuff works sometimes. Please note, however: I am <em>not</em> advocating piracy here. If Guigar and the gang want to put their content behind a paywall, that is their right and I support their decision even if I do not agree with it. I just think that stuff's going to get out, either innocently or maliciously.
</p><p>
Since I'm making predictions, here's another one. Inside of two weeks, someone will have put up a site that breaks down all the steps one needs to take to put their webcomic online, under cheerful banners like "the best FREE resource for the aspiring webcartoonist" and "common sense doesn't have a subscription fee."
</p><p>
So, the question becomes -- what will webcomics.com need to be <em>successful</em> at this? Especially since very few content based websites that use subscription models <em>have</em> been successful, and this is more of a niche market than most.
</p><p>
In a word? Testimonials.
</p><p>
Webcomics.com needs to start gathering the names of people who went from 0 to supporting themselves off their webcomic largely if not entirely using the advice from webcomics.com and <em>How to Make Webcomics</em>. Especially if they're going to go down the dubious route of equating paying for webcomics.com as the difference between the serious professional and the amateur hobbyist -- a claim that is ridiculous when one considers that most if not all of the webcartoonists who make their living off their work right now (and there are many) have done so without their book or website. Certainly, no one's going to claim Jeph Jacques, Randy Milholland, Ryan Sohmer, Gabe and Tycho (admittedly two of the money-men behind Webcomics.com in the first place) or all the rest needed the site to be professionals. If Guigar et al are going to convince people that they're a resource indispensable enough to justify dropping thirty bucks, all in one go, they're going to have to prove that what they're selling <em>works, </em>and the only proof can come from webcartoonists who <em>aren't</em> affiliated with Halfpixel saying "seriously, dude, these guys know their stuff. Drop the change in the till right now."
</p><p>
And... well, let's be honest. Positioning yourselves as the acid test for how 'serious' someone is about producing their webcomic and being successful has a chilling effect. Do I think Guigar meant to offend when he said:
</p><blockquote>
Why $30 per year? It's an inexpensive buy-in that almost any webcartoonist can afford. It has an added benefit of keeping out people who may not be as serious about webcomics. It naturally weeds out comments from people who may be passing through, and results in distilling comments to those from people who are committed to improving their comics.
</blockquote><p>
Absolutely not. Guigar doesn't have a mean bone in his body. But Scott Story of <a href="http://johnnysaturn.com/">Johnny Saturn</a> took it differently (from the comments):
</p><blockquote>
Well, it's interesting to find out I "may not be as serious about webcomics." After endless hours of producing my comic, after all the advertisement, after making it available on Wowio, Drivethru, ComicXP, iTunes, and in print from Amazon.com and Indyplanet/Comics Monkey, I'm stunned! I spent all those hours of my life working toward a goal that apparently I am not really committed to. Later this year, when my comic will also be available on numerous handheld devices besides the iPhone, I realize again that I've put all this work into something that I didn't care about.
<br><br>
I'm sure the above statement about the seriousness of webcartoonists based on their willingness to part with 30.00 was not intended to offend or alienate. But, this definitely bruises my feelings and makes me feel different about the whole thing.
</blockquote><p>
Is this a common reaction? Well, it's worth noting that when Wednesday -- a person who really likes Straub and Kurtz and respects Guigar and Kellett, though she hasn't had as much contact with them -- read the announcement and the comments and looked at the site, her immediate response was "oh great. A site on the internet where a bunch of bearded men give themselves the authority to declare an artist professional or amateur, with no possible alternatives. Because we've never seen <em>that</em>."
</p><p>
(Full disclosure. Scott Kurtz does not have a beard. Second full disclosure, I do. In fact, it's currently past "Grizzly Adams" and is threatening a move straight into "Ted Kaczynski." But I digress.)
</p><p>
Also, why are they charging $30 a year instead of $2.50 a month. $2.50 a month seems like nothing. $30 a year doesn't feel like a cheap yearly payment, it feels like <em>thirty freaking dollars to be allowed onto your damn website</em>. In fact, I'd think they'd want to do a "$3 a month recurring subscription, <em>or</em> you can get a year for $30 -- a savings of 17%!" kind of deal.
</p><p>
Look, does Brad Guigar deserve compensation for all his hard work? Abso-freaking-lutely. Is, in fact, webcomics.com worth $30 a year? Probably. Will they get enough subscribers to give Guigar the compensation he needs to continue? Maybe. Will Webcomics.com continue to grow and develop the cross-fertilization and dedicated audience a site like this needs to remain fresh and useful?
</p><p>
It seems doubtful.
</p><p>
Right now, if I were asked by aspiring webcartoonists as to the best way to get started in making and promoting their webcomic, I would suggest they buy <em>How to Make Webcomics</em>. It really is a good book, full of good information. But would I suggest they subscribe to webcomics.com? Probably not. I'd think <em>after</em> they read the book, if they still had questions or wanted advice, that would be one potential route. But it's hardly the only potential route -- ComicSpace is loaded with helpful folks with advice, for example. And successful webcartoonists like Howard Tayler are generally not stingy with advice for aspiring new blood. 
</p><p>
Regardless, I wish them well, and we will just have to see how well this works.
</p><p>
Still, given their respective histories and many, many hours of arguments behind them, I have to wonder just how long it will be before Joey Manley stops laughing about all this.
</p>]]>
        
    </content>
</entry>

<entry>
    <title>The Fall of the House of Keen</title>
    <link rel="alternate" type="text/html" href="http://www.websnark.com/archives/2010/01/the-fall-of-the.html" />
    <id>tag:www.websnark.com,2010://1.3766</id>

    <published>2010-01-04T16:54:26Z</published>
    <updated>2010-01-04T16:52:40Z</updated>

    <summary> If someone had walked up to me on January 1, 2005 and said &quot;hey, in five years Keenspot&apos;s going to stop accepting new submissions and start to effectively leave the webcomics collective business after firing one of their artists,&quot;...</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
        <category term="Philosophical Snarks" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="Webcomics" scheme="http://www.sixapart.com/ns/types#category" />
    
    
    <content type="html" xml:lang="en" xml:base="http://www.websnark.com/">
        <![CDATA[<p>
<img src="http://www.websnark.com/images/www.keenspot.png" height="173" width="135" border="0" align="left" hspace="4" vspace="4" alt="Keenspot!" title="Keenspot!" />If someone had walked up to me on January 1, 2005 and said "hey, in five years Keenspot's going to stop accepting new submissions and start to effectively leave the webcomics collective business after firing one of their artists," I would have stared at him for a long moment. "Do I know you?" I'd ask, at that point. He would not answer, but would instead say "yeah, and they'll have fired John Troutman too, a few months before." "Seriously," I'd say. "You need to leave my apartment before I call the police."
</p><p>
And yet, here we are, just five years later, and things have officially gone crazy at the Crosby compound. Keenspot -- a site originally founded by a small cabal of like minded folks to replace Big Panda while simultaneously reforming the 'webcomics collective' concept of its sins -- has begun the inexorable process of getting out of general webcomics.
</p><p>
Most of the foofarah over these developments has already been hashed out. The action news team at Fleen both had some of the <a href="http://www.fleen.com/archives/2009/12/22/some-days-i-feel-like-a-real-goddamn-journalist/">biggest story-breaks involved in the process</a>. They also had a comments-wide flamewar largely between Bobby Crosby and Scott Kurtz, which honestly I <em>could</em> have predicted back in 2005, but I digress.
</p><p>
In short, however: a Keenspot cartoonist was let go. I will not make comment on her situation, as I honestly don't know enough about it to comment. I will <a href="http://sorcery101.net/">link to her comic</a> because that seems like the right thing to do -- not that I expect she'll get much of a rise in traffic from me, but it still seems like the appropriate thing to do. In the wake of this, Keenspot made an official announcement that t<a href="http://superosity.keenspot.com/keenspotblog/archive/2009_12_01_newsarc.html">hey were closed to new submissions, and did not plan to add any new members going forward</a>. Then, an internal e-mail was leaked and published by Fleen, detailing a new contract that current Keenspotters would have to sign that would radically restructure the rules under which they operated. This was confirmed by Chris Crosby. Further, it made it clear that Crosby didn't expect many if any Keenspotters to accept the terms -- and that they really shouldn't. In his own words:
</p><blockquote>
The facts are, you do not need Keenspot. For members on the "New System" contract, everything you're doing on Keenspot can be done on your own. You should go independent.
<br><br>
For those still on the original contract, you should strongly consider leaving Keenspot if you are not extremely happy with it. If we aren't doing something for you that you can't do on your own, there is no reason for you to stay.
</blockquote><p>
What Keenspot is doing, it seems, is reworking themselves into a traditional publisher. They're trying to prune a decade's worth of old growth, deadwood and errant branches which may be healthy but don't fit, take what's left, and then heavily focus on that remaining content not only in terms of webcomics but in merchandising, branding and revenue-generating. And most of the projects they're going to be focusing on are going to be 'Crosby' projects -- comics from Chris and/or Bobby Crosby, flash animation gigs like their <a href="http://www.crashthesuperbowl.com/#/video/3661">Doritos contest submission</a> (itself one of the better things they've done of late -- if they don't win a Superbowl spot, I still hope it turns into some television ad work for them), and pushing stuff towards Hollywood.
</p><p>
On the whole, I think this is a good move for Keenspot, handled absolutely terribly. For years now, I've maintained that what Keenspot needs more than anything else is a solid business manager -- someone to be the bad guy in their operation, who makes firm decisions based on the bottom line, and who brings a financial acumen to the proceedings that the Crosbys -- and I love Chris Crosby -- simply don't have. While this isn't that step (and they should still be doing it), it is a step towards reworking what they do with an eye to generating revenue and growing, and that's all to the good. Further, the conditions that created Keenspot and made it such a seminal part of the evolution of webcomics simply don't exist any longer. Bandwidth is no longer crushingly expensive. The technology to make a site with archives and content navigation is largely standardized. Someone who wants a turnkey for webcomics can have it easily enough. Someone who wants revenue generation tools like advertisements can grab them easily. And the unifying factors of successful collectives like Dumbrella, Dayfree, Blank Label or Half-Pixel (to name just a few) doesn't exist at Keenspot -- when Keenspot was founded, the unifying factor was "we have comics on the web," and that was enough, because it was still such a new and novel concept. Today, collectives unite around shared goals, or shared aesthetics, or shared sense of humor, or shared business models, or shared <em>whatever</em>. Keenspot hasn't had that for a long time.
</p><p>
However, the problem with implementing their plan remains the same problem they've had all along: they desperately need a business manager. <em>Desperately</em>. In this case, they need someone willing to generate that same internal e-mail Chris Crosby did, only instead of giving the Keenspotters the opportunity to sign onto a contract that's designed to weed 95% of them out, they should have sent the following:
</p><blockquote>
Friends, Keenspotters and Creators -- for over ten years we have tried to make Keenspot the most artist friendly and exciting place for webcartoonists on the internet. Sometimes we've succeeded, and sometimes we've failed, but through it all it's been a grand and exciting adventure.
<br><br>
However, economic realities and the changing face of internet publishing means that the company we have always been needs to change, and that means taking some radical steps. As of July 1, 2010, Keenspot will no longer be a webcomics collective. Instead of being a large conglomerate of webcomics new and old, updating and archived, we are going to be a content developer and publisher. Where in the past we have largely remained passive in regards to the creation and updating process, in the future we are going to work actively with the writers, artists and animators of Keenspot, aggressively developing and promoting properties for both the web and beyond. Many of these properties are going to be things we own outright, like <em>Last Blood</em>. When working with others, we will be increasing the stake -- and control -- we have over those properties, and will be negotiating with those creators directly.
<br><br>
What this means for you, the incredibly talented creators who make up the current version of Keenspot, is simple: between now and July 1, you will need to make other arrangements for your webcomic.
<br><br>
Starting immediately, Keenspot will be moving into a transitional mode, helping current Keenspot members migrate their current and archived projects elsewhere on the web. We will be setting up special Keenspot-members-only forums where we will be giving technical support and giving you the opportunity to make plans. Over the past several years, many of you have naturally formed cliques, friendships and even informal partnerships -- part of our transition will be to help you formalize those partnerships so those of you who want to can make your own collectives, so that you can begin to support each other in ways Keenspot has supported you in the past. We will also be purchasing and sending every Keenspot member a copy of <a href="http://www.evil-comic.com/store/htmw/">How to Make Webcomics</a> by Guigar, Kellett, Kurtz and Straub. While we haven't always had the best relationship with some of those folks (and <em>have</em> had <em>excellent</em> relationships with some others), their book is one of the best primers on running your webcomic as a business, and while much of the information in the book is something you already know -- and you may not need anything at all from it -- it will be a resource you can use as you move your comic into the next stage of its life.
<br><br>
Any webcomic still hosted by Keenspot on July 1 will automatically be moved onto Comic Genesis, where you can continue to enjoy many of the same tools and hassle free operations you have come to expect. At that time, you will not be considered part of Keenspot, and all formal contracts between Keenspot and you will expire.
<br><br>
This may seem sudden and shocking, but I invite you to see this as an opportunity. For many of you, Keenspot has been a comfortable place to make comics -- and sometimes it's easy to stay where you are comfortable instead of taking the steps that are best for you and your comic. To be blunt, you don't need Keenspot. There is no reason you cannot be as or more successful on your own or in small collectives than you were with us. You have the talent to make great, engaging comics -- you wouldn't have been on Keenspot in the first place if you didn't -- and that means you have the potential to succeed brilliantly without us.
<br><br>
This is a hard day for us. We have loved being "the Spot for Comics," but we have to take the steps we thing will be best for ourselves and -- ultimately -- for all of you.
<br><br>
Thank you for everything you have done for the past decade. It has been an honor and a pleasure.
<br><br>
Sincerely,
<br><br>
Bob KeenManager
</blockquote><p>
Then, have anyone who will continue to work with Keenspot after July first sign an agreement stating that Keenspot's official designated representatives (designated as this manager, Chris Crosby and Teri Crosby, <em>period</em>) will be the only ones to discuss this or other Keenspot related issues publicly. This would obviously not bind the Keenspotters who themselves are being moved out of the company, but that's okay. However, any and all discussion of Keenspot's business decisions would be filtered through professionals who would have <em>professional</em> dealings, with Fleen, Scott Kurtz, ex- and soon-to-be-ex Keenspotters and all the rest. 
</p><p>
Why is this better than the<a href="http://www.fleen.com/archives/2009/12/22/some-days-i-feel-like-a-real-goddamn-journalist/#more-5887"> e-mail Chris Crosby actually sent</a>? Because it is active, instead of passive-aggressive. In trying to be a good guy -- and trying to be as fair as possible to the Keenspotters -- Crosby's equivocated far too much. He isn't telling them that it's time they leave, he's making it as uncomfortable as possible so they will <em>choose</em> to leave and spare him the pain of effectively firing everyone. The move is somewhere between a landlord who's turning off the heat and water to try and drive out rent-controlled renters so he can bulldoze the place and a boyfriend who figures if he makes his girlfriend uncomfortable enough, she'll dump <em>him</em> so he won't have to be the bad guy who's dumping <em>her</em>.
</p><p>
And, under this system, Bobby Crosby wouldn't be allowed to comment on the situation. In fact, said manager would have to make that a component of his contract -- <em>all</em> creators who will be working with the new Keenspot will have to agree <em>not to comment publicly about Keenspot while they are under contract, period</em>, and Bobby Crosby would have to be under that contract.
</p><p>
Look, I actually have a lot of respect for Bobby Crosby. I think he's an excellent writer. I read more than one of the comics he writes, and they're <em>good</em>. He has a lot of gifts and he has a lot of potential. But he is absolutely incapable of comporting himself well in public when it comes to these things, and -- for better or worse -- his last name is the same as the owners of the company. Even if he is purely an employee, when he sets fire to the surroundings, claims people all around him are "liars," and calls for the death of one of his company's critics publicly, <em>he is doing damage to the Keenspot brand</em>. It doesn't matter if he's in the right or not. Companies that Keenspot will want to work with in the future will be doing research on Keenspot, and they will see Bobby Crosby's vitriol and it will prejudice them against the company. Creators that Keenspot wants to recruit will think twice. <em>Keenspot's options will be reduced the more one of its public faces rails against his enemies in public</em>. And that's very bad for Keenspot, as they work to remake the kind of company they are.
</p><p>
But, things have unfolded the way they have unfolded, and so it's no longer a question of what they <em>should</em> have done but what they <em>will</em> do.
</p><p>
The Keenspotters who are leaving (most if not all of them) will be fine. Crosby was right about one thing -- there's nothing Keenspot has been doing for them recently that they can't do for themselves. I'm a little surprised someone like Joey Manley, Josh Roberts or Nate Piekos hasn't offered a ComicSpace/alternate home for Keenspotters who want to have as simple a transition as possible -- it would be great goodwill PR and help redefine the ComicSpace LLC Network as the natural successor (and winner) of the ancient Wars. Certainly, I have to imagine they or other folks will be making some kind of announcement giving ex-Spotters a place to go. Further, I fully expect to hear about some new collectives springing up made up of ex-Spotters in the wake of all this. All will be fine. This is just one last mighty gasp of KeenDrama.
</p><p>
However, at the end of the day I'll admit I'm wistful. Keenspot has been such a part of the Webcomics landscape for so long that seeing them relinquish that role so thoroughly (and so flame-warishly) is a sad day for me. I called this essay "The Fall of the House of Keen" and really that's what this is -- the Keenspot that rose up out of the Big Panda debacle, the Keenspot that helped redefine what it meant to be a comic on the web, the Keenspot that was for many years a great and accepting (if often dysfunctional) family is falling. The Spot for Comics is closing up shop. Something new will follow, with the Keenspot name and possibly the Keenspot logo, but it won't be <em>Keenspot</em> the way we have always known it. The once-home of many of the most successful comics on the web -- Schlock Mercenary, It's Walky, Bobbins, Sinfest, Nukees, Real Life Comics, Greystone Inn, Basil Flint, Avalon, Exploitation Now, Queen of Wands, Life in Greytown, Count Your Sheep, College Roomies from Hell, Bruno the Bandit, Candi, The Devil's Panties, Fans, Penny and Aggie, No Need for Bushido, Two Lumps, Road Waffles, Men in Hats, Ozy and Millie, Elf Life, Elf Only In, Alice! and many more I don't mention out of a need to wrap this up but which remain a huge part of the foundation of webcomics past, current and future -- is being imploded to make room for a new building. And that should be remarked upon.
</p><p>
Good luck, to everyone involved on all sides of the equation.
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<entry>
    <title>When confronted with these facts, the old guard almost always makes an &quot;ADHD culture&quot; crack. Because obviously the entire world must be disabled instead of Rupert Murdoch being wrong.</title>
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    <id>tag:www.websnark.com,2009://1.3765</id>

    <published>2009-11-30T20:40:57Z</published>
    <updated>2009-11-30T21:39:50Z</updated>

    <summary> One of the most cogent folks I know, particularly in discussions of publishing and the internet, is Adam Tinworth. I&apos;ve known Adam through a number of settings, but the one most germane to the discussion is as a business...</summary>
    <author>
        <name>Eric</name>
        <uri>http://www.websnark.com/</uri>
    </author>
    
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        <category term="Philosophical Snarks" scheme="http://www.sixapart.com/ns/types#category" />
    
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        <![CDATA[<p>
One of the most cogent folks I know, particularly in discussions of publishing and the internet, is Adam Tinworth. I've known Adam through a number of settings, but the one most germane to the discussion is as a business journalist. He's a very, very good one. He's also a fine hand with a fencing iron, I'm given to understand, and as someone who once upon a time stumbled through his share of sabre matches I can respect that, but it's not really a factor in the discussion at hand.
</p><p>
Well, Adam recently <a href="http://onemanandhisblog.com/archives/2009/11/the_content_paywall_ostriches.html">blogged about content and paywalls</a> -- touching on the current issues with his usual skill and wisdom. Certainly, the topics he addresses in terms of journalism will resonate with anyone following the somewhat tragic conflict between newspaper cartoonists and web cartoonists. It's a good read.
</p><p>
However, it's not Adam's post, but a comment someone made to him about it that really gets to the heart of the matter. He <a href="http://www.onemanandhisblog.com/archives/2009/11/what_publishers_need_to_understand.html">posted a followup that included that comment,</a> and I've never seen the core disconnect highlighted so well. With Adam's permission, I reproduce it here:
</p><blockquote>
The model you have of your consumer's behaviour is wrong, they aren't using the internet as a way of reading a newspaper, they are using the internet, some of which consists of newspaper content, its a different thing. It was bad enough having to explain this in 1999, I find it a bit surprising it still needs saying in 2009.
</blockquote><p>
That's it. That's the whole shooting match in a nutshell. That's why newspapers that are coming up with new paywall schemes will lose. That's why the internet will win. In the end, the process is inexorable, because the battle is not over content. It is over convenience.
</p><p>
Look at the Encyclopedia Britannica versus Wikipedia. I have had harsh words for Wikipedia in the past, and I stand by them, but I'll also be honest: I use Wikipedia every day. The Britannica, on the other hand, was the encyclopedia of record for much much longer than not only I've been alive but my father's been alive. When the Britannica went CD-ROM, I bought it, and bought a copy for my sister's children. It thrilled me that for a tiny amount of money I had access to this seminal resource.
</p><p>
I wouldn't dream of shelling that money out today, even though I (mostly) trust the Britannica's content above Wikipedia's. The Britannica isn't convenient. I can't just link to it when I'm making references to it. I can't just search it casually from any machine without having to fumble with passwords. It takes <em>effort</em>.
</p><p>
Wikipedia is <em>just there</em>. It is always at hand. It is always easy to reach. And it's far more comprehensive on the kinds of minutia and trivia I really need an encyclopedia for than the Britannica could ever be. Is it a trusted source? No, not really. But it's a great launching point for an investigation if I <em>need</em> a trusted source, and for quick "at-hand" information it's simply unparalleled.
</p><p>
And as a result, several orders of magnitude more people check Wikipedia every hour than check the Britannica website every <em>day.</em> It's not that it's better. It's that it's convenient, when all you want to do is look something up quickly and then get back to the websurfing you were already doing.
</p><p>
I don't know very many people who read a newspaper cover to cover, whether online or on paper. But a lot of people read articles that are germane to them <em>right at that moment</em>. Articles get linked on twitter or Livejournal. Google gathers these things together and points people at them when they're interested. And news sources that accept that they're a brief stopover on one's daily web journey get far more traffic than news sources that make a person jump through hoops to get the news. Bring money into the equation, and suddenly that readership drops by another order of magnitude or two. Robert Murdoch and those like him may assert the value of their goods, and equally assert that content must be paid for, but the only thing they can possibly do is make their content irrelevant to the broader world that's coming.
</p><p>
Let me repeat that.
</p><p>
<em>The only thing paywalls or other direct monetization can do for newspapers or any other topical content is make it irrelevant to the world of the internet age.</em>
</p><p>
Let us say that Murdoch succeeds at making his newspapers secure against Google aggregation and other such things. What happens in that scenario? What does <em>basic capitalism </em>tell us happens in a situation like that? Simply put, someone else develops a product that fills the niche no longer being filled. Some other journalistic organization will step up, develop a model around online advertising or some other thing we haven't even heard of yet, and happily reap the benefits. And let us be crystal clear: that organization might have demonstrably inferior news coverage, and it <em>will not matter</em>. Just like Wikipedia and the Britannica, the convenient Internet stop will trump the more prestigious but less convenient news source.
</p><p>
Let me repeat <em>that.</em>
</p><p>
<em>An inferior news source that is easy to reach and consume on the internet will trump superior news sources that are even slightly harder to reach. Every time</em>.
</p><p>
This is true whether we're talking about the <em>Wall Street Journal </em>or <em>Hi and Lois</em> comic strips -- people are going to gravitate to those things that fit the activities they're already doing. If two newspaper articles -- or comic strips -- are equally available to the online reading public, then the relative merits of one versus the other will determine ultimate popularity. If one article -- or comic -- is freely accessible and the other one requires cumbersome registration or, worse yet, a paid subscription, then the freely accessible one will have monumentally more readers than the other, regardless of their relative quality.
</p><p>
People don't go to the Internet to read <em>The New York Times</em> (with rare exceptions). People go to the Internet, see a reference to a breaking news story, and hit <em>The New York Times</em> for the straight story about it. If the <em>Times</em> isn't available to be read, they won't pay a subscription to read it -- they'll go to the <em>Washington Post</em>, or the <em>Chicago Tribune</em>, or the <em>Miami Herald</em>, or wherever is most convenient. And they will go to news.google.com to get the pointer in question. All that putting a given paper behind a paywall will accomplish is a rerouting of that traffic to the free content available.
</p><p>
Until the day Publishers understand this basic principle, said so well above and expanded upon so clumsily by me, we will continue to have ridiculous wars between print and Internet journalists, cartoonists and all the rest. Those institutions that can innovate, monetize and produce will do okay in the emerging era. Those who can't will become smaller, niche organizations that ultimately will disappear or be consumed by their more successful brethren. If you don't believe me, ask the folks at the <em>Britannica</em>, which has been sold, split apart, rebranded, and retooled any number of times in an increasingly desperate attempt to remain in profit.
</p><p>
Or, if that's not enough, ask the folks at <em>Microsoft Encarta</em>. If, that is, you can get anyone to answer the phone -- which is unlikely, since they closed down entirely in October of this year -- all except the Japanese version, which closes on the last day of December this year.
</p><p>
I know this, for the record, because I read it on Wikipedia.
</p>]]>
        
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