Australia Tech Post Mortem: What Worked and What Didn’t

Like a lot of geeks, I spend a lot more time planning which bits of techno-kit to bring with me on a trip than worrying whether I’ve actually remembered to pack clothes or not. I gave it a good shot with my family’s two-week trip to Australia, but had a few misfires along the way. Here’s a brief rundown on what gadgets proved worth their travel weight down under, and which weren’t up to the task:

Winner: Asus EeePC 900HA Netbook

A crazy-cheap computer that’s light, has great battery life, a built-in camera for Skyping to the folks back home, and weighs next to nothing. If it weren’t for the slightly undersized keyboard and problematic positioning of the up-arrow key (net to the right Shift key), it’d be the perfect on-the-go computer. If you got an email from me during the past two weeks, it was likely sent from this sand-covered little netbook. I was also able to video-chat with my folks back in the states from one of the two hotel rooms that featured workable internet.

Winner: Canon XTi

41RMGH3XG3L._SL160_

It’s been superseded the XSi (and higher-end models), but the shots from this 10.1 megapixel camera are light years ahead of the vacation snaps I took years ago–not to mention the pathetic camera phone shots we all sometimes have to make do with. It survived surf and sand with aplomb, and it’s the definitely my best tool to capture the beauty of a perfect beach or view.

Loser: the iPhone (AT&T plans/Vodafone internet in particular)

This was a shocker to me, since my iPhone has become such a daily part of my life. I even congratulated  myself on having the foresight to call ahead and set up a a global data roaming plan so that I’d get hit with a data charge of only $60 or so for the two weeks in Australia, vs. the several-hundred-dollar horror stories I’ve heard of from unwary travelers who dared to access the internet abroad without an international plan.

The truth is, I may as well have left it at home for all the good it did me. I burned through 1/3 of my allotted 50 MB of internet traffic within a day of arrival just trying to use it for basic hotel lookups and GPS navigation. Data speeds were almost useless even in the big cities (hosted by Vodafone locally), and GPS navigation was impossible due to slow response times and winding streets without turn-by-turn routing. Within a day, we’d made the decision to go back to the car rental place and pick up a ¨real¨ GPS (more on that in a moment).

Also, even with AT&T‘s pricey ¨Global Traveler¨ plan, we faced fees of well over a dollar a minute for calls, and more to pick up voice mails. And that was a discount from the regular roaming rates of over $3/minute(!). In the end, we wound up picking up a “burner” pre-paid phone in a mall for about $80 to give us the minimal mount of phone service we needed on the trip.

The truth is, without the internet and an affordable calling plan, the iPhone is hugely crippled. It was really a huge disappointment, although I did have one wonderful moment of joy with it at the end. I realized that you can actually type in non-map queries into Google Maps like “Comic Store, Brisbane, Australia” and have it instantly plot your location in the city next to every available comic store nearby–even with street view pictures of the shops. That was cool!

Winner: Tom Tom One GPS (Australian)

Thinking to save $59, I bowed out of simply buying the Australian maps for my own Tom Tom GPS, thinking I could just use the Google Maps on my iPhone. This was a disaster, and we quickly wound up heading around to the car hire place to pick up a rental Tom Tom for the duration of the trip.

Once it was up on our dash, it turned the trip instantly from a harried series of missed turns and frayed nerves into a relatively calm drive–albeit on what my American reflexes told me was the wrong side of the road. It also did a terrific job of pointing out gas, tourist attractions, and the numerous speed cameras that cover the Australian landscape.

If you’re planning to drive in Australia, do yourself a favor and bring this along–it would have been a far worse vacation without it.

Australia Blogging: Things to Know Before You Go

A brief, and very incomplete list of things I discovered (usually the hard way) are important for Geeky Americans to know before travelling to Australia:

  • Sunglasses are not optional. Neither is sunscreen, which must be applied several times a day to every square millimeter of your body unless you wish to look like an unholy cross between a Maine lobster and an extra from Day of the Dead.

    My best new idea for an invention: The Suncreen Shower Nozzle, which would mist you in a spray of SPF-30 right after you get done using the regular showerhead to wash the sand off from the day before. Expect to see me pitching it on a late night Aussie infomercial if this comic book thing doesn’t work out for me.

  • There’s that whole “driving on the left” thing, the gas prices are for liters instead of gallons, and there’s a baffling series of controls on many pumps to let you stop the flow at a specified dollar amount as the dollars spin by–essential as transactions involving odd pennies are simply rounded off . If you use this, pick a large number, as I’ve never figured out how to reset it afterward. God bless them, the Australians are also lovely, trusting folks who expect you to pay after you’ve pumped instead of prepaying.
  • Toll roads are now entirely electronic in Victoria and New South Wales, which means that Australians don’t even need to slow down for bridges and toll roads. Unfortunately, this also means that somewhere in the photo footage of the Australian equivalent of the Department of Transportation is a toll camera picture of Carolyn and me holding a five dollar bill up to our window and looking really confused as we searched in vain for the toll booths which were no longer there. A helpful sign informed us immediately afterward that there was a number we could call to give the folks at the traffic violations department our credit card within 72 hours before they hunted us down like rabid dingoes.
  • Don’t get too excited about those speed limit signs: they’re in Kilometers per hour, not miles per hour. Best case, a sign saying 110 means a rockin’ 68.3 miles per hour, but all too frequently, it’s 80, 70, or even 60 (37.5 miles per hour) on the highway. Adding insult to impediment, there are about a million billboards questioning the manhood of folks who want to go faster, and speed cameras to make sure you don’t.
    speedingfingers
  • Speaking of speed cameras: I counted 16 of the unholy things on the highway going from Newcastle to Sydney. Apparently, labor costs are so high that Australian traffic enforcement is done almost entirely by robots. Heaven help us all if they ever upgrade to the new ED-209 Enforcement droids.
  • That figure you see immortalized in bronzes everywhere in mall curio shops wearing the armor and bucket-mask and waving six-guns is called Ned Kelly.

    2086
    He’s sort of the Australian Billy the Kid, who did his own Maker Faire thing to create a bullet-proof outfit to do battle with the lawmen who were gunning for him. He’d make a great comic book character, and I love to think that if he lived today, he’d relax by paint-balling speed cameras.

  • Australia has amazing wildlife. You can actually walk amongst kangaroos and pet koalas in the zoos. Unfortunately, it’s not all cuddly bears and kangas: I also spotted the largest bug I’ve ever seen materializing out of nowhere and trotting across the floor of our Sydney hotel room. In many ways, Australia is so much like the sunnier parts of California that you forget you’ve left home…”But then sometimes” as Neil sagely put it as he watched me squish the aforementioned bug, “Australia reminds you.”
  • When you look for a place to stay, the magic search term is “motel”, not “hotel”. “Hotels” are often a sort of roadhouse (or casino), and may not offer lodging at all, although they are rumored to be required to give you a place to sleep off whatever you just drank there.
  • Internet can be really tricky to find in a hotel, err, motel room. Often, it’s not available at all, and when it is, the signal is often wireless, weak, and billed at outrageous (by US standards) rates. “Free Internet” advertised with a hotel room often turns out to mean “Free for the first 45 minutes”. If you’ve been Googling for “Hotels” instead of “Motels”, that’s just about long enough to find your next place to stay. In general, however, be prepared to pay an average of $20 for a night’s worth of access, and forget about downloading more than web pages and emails–you’re capped by total data transmitted as well in most places.
  • Go with the wine over the beer–speaking as a proud Californian, the Aussies put together a very decent bottle of Sauvignon Blanc or even sparkling wine, at a price not far from what you’d pay back home. With beer, however, it’s a crazy game of all-in alcoholism, with six packs running up to $18 each, but dropping back to $1.25 to 1.50 a bottle as long as you buy the next size up…a 24 (or 30) can slab. I feel like a girl admitting this, but even I’m going to stick with the Zin if the alternative means knocking back a case of beer just to get my “per unit” beer price down to a manageable level!

All in all, an amazing country, and I’d love to go back. The sights are spectacular, and their beaches put ours to shame. Best of all, the people are some of the brightest, friendliest folks I’ve ever met, and they’ve got a terrific spirit which really made the trip a joy.

Australia Road Tripping: Comics and The Candy Bar Conundrum

(edited somewhat after the initial posting to play up brand preference–I had time to sleep on the original article)

As I write this, the Australian dollar is trading for about 93 cents against the US dollar, making my dream vacation in Australia a bit more expensive than it might have been otherwise. Since it’s a family vacation, we’ve been trying to use grocery stores instead of restaurants whenever possible. It leads to a lot of ham sandwich lunches, but it helps to keep the daily food bill out of the triple digits.

Australian food prices are a bit higher than American prices, as you might expect from an island country, but two things in particular have absolutely shocked me: $2.50 candy bars and $3.00 bottles of Coke  ($2.50 for cans).  And those are the big grocery store prices–convenience store prices for a simple Kit Kat bar can run as high as $3.69!

Now, anyone that knows me will testify that getting my daily supply of caffeine trumps all other nutritional values. Give me a couple of gallons of Diet Coke or coffee and I can survive anything, but take away my Diet Cokes and I practically break out in hives. So the idea of paying San Diego Comic-Con prices for Diet Cokes really got me wondering what the story was. And for that matter, what’s the cause for the the triple-price chocolate bars?

Well, let’s start with what it’s apparently not: It’s not a (huge) difference in taxes–everyone I’ve talked to denies the existence of some special tax on Milky Bars that doesn’t equally apply to (relatively cheap) potato chips. It’s also apparently not related to the cost of manufacture: big blocks of high quality Cadbury chocolate are available for about $4, but single-serving Bounty  bars cost only a few cents less.

Finally, there’s not been a vast recent change of the exchange rate, and having looked in every candy store, convenience store, gas station, and grocery store between Brisbane and Sydney, I’m fairly certain it’s not just a case of Pete not knowing where to shop. According to the few Australian friends I’ve got left after bugging them about the price difference this past week, it’s not even a recent phenomenon–it’s been that way as long as anyone can remember.

So what’s the deal? My best guess is partial cartelization of the candy and soft drink market, coupled with brand preference from consumers blunting competitive price pressure. Simply put, a couple of candy makers (M&M/Mars, Nestle, and Cadbury seem to control the Australian candy bar market. (Hersheys failed in its attempt to enter the market). Similarly, PepsiCo and Coca Cola own the soft drink market down under. Other brands do actually exist (and, it turns out, at a tiny fraction of the cost) but they’re little known, little seen, and near-impossible to find in single-serving sizes at convenience stores.

The obvious question in any monopolistic scenario is, “If that’s true, how do they get away with it?”  Not in the sense that Australia needs a National Snack Food Investigative Commission (although my small experience with Australia’s politics suggests that the current Labour government would be only too happy to convene one). No, the real question is why doesn’t some sharp young lad at the competing company simply undercut the overpriced leader and steal their market share?

A bit of that does seem to go on, but only around the edges–the occasional promo involving lesser-ranked brands such as “Buy a Coke for $4 and get any Cadbury bar for just $1!” The highest-ranked brands seem to be largely spared deep, permanent discounting.

This is similar to what Marvel and DC do with their comic prices. Comic books have undergone incredible inflation since the 1970s, and the current $3.99 cover price is more than triple the rate of inflation of those years. (A 35 cent comic book in 1977 should cost about $1.23 today if it kept pace with the overall rate of inflation).

Periodically, Marvel and DC have tried out cut-price titles (such as The Adventures of Spider-Man) and usually discontinue them quickly, citing them as commercial failures. It doesn’t help that the titles in question are usually promoted as “kids versions”, feature second-tier writing or artistic talent, and are usually not even part of the characters’ established continuity.

The real problem comes in the cruel ratio of sales to Cost of Goods Sold. Simplifying a bit overmuch, let’s say you’ve got a comic book that you can print for about $0.50 each and sell to a distributor for about $1.40 (leading to a street price of about $3.99). In theory, 10,000 copies sold gives a gross of $9,000 from which all your fixed costs are paid (writers, artists, marketing, shiny office building, etc.). Note that all the actual figures here are speculative: it’s the proportions that count.

Now let’s say you want to do a special comic line which you’ll sell for less in order to attract more readers. You drop the suggested retail price by a buck, and sell it to the distributor for $1.04 so it can be sold on the street for $2.99. In order to make the same gross, you now need to sell 66% more copies (16,667) in order to break even. Any less, and those extra readers came at a net loss.

A quick look around the net shows that the US price of Snickers
is about $30 for a 48-count box, so let’s guess that M&M/Mars manufactures them for something like 15 cents a bar, and sells them to distribution for twice that: 30 cents. (I’d welcome input from anyone with access to the actual figures). This leads to an individual U.S. candy bar sale price of around a dollar at retail.

Now, historically, the Australian market has proven it’s willing to tolerate retail prices of around $2.50-$3.50 for a single bar of Snickers. It seems that either M&M/Mars or the regional distributor (the candy is apparently made locally, not shipped from offshore) is able to realize relatively fat profit margins of more than double that of the U.S. market. But whether they’re taking the money to the bank, or paying it out in some expense I haven’t tumbled to in this incredibly superficial analysis, it would clearly be a monumental sacrifice to significantly cut the wholesale price in order to drive a markedly lower price at the checkout stand.

If your Cost of Goods Sold is 50%, cutting your end price by 25% means you have to sell twice as many units in order to make the same gross. And this is where brand preference becomes critical. A 1 cent reduction in the cost of some undifferentiated commodity like gasoline or hamburger meat would probably lead me to switch to the competing brand. When I’ve established an actual brand preference for a particular type of good, however, I require far greater incentives to make the switch. For instance, I like both Time Out and Nestle Crunch bars, but I like Nestle Crunch bars a bit more. It’d take a pretty good drop (10 cents? 25 cent? more?) for me to enter a store with a Crunch bar on my mind and walk out with a Time Out instead.

Similarly, a comic reader doesn’t want to read just any story about a super-powered dude in tights–they want Spider-Man or Batman or whatever their favorite character is (and given the number of Spider and Bat titles, they don’t want just any of those as wel)

As a practical matter, brand preferences on the part of consumers virtually guarantee that a price cutting move in order to gain profits through more customers will never be successful in the short term. The sharp young candy man who decides to cut the price of Snickers in the Australian division of M&M/Mars might succeed in taking over the market in time, but only if his boss doesn’t fire him in the intervening years–during which time the division’s profits will have certainly collapsed. Ditto the comic company executive that decides to start pricing flagship X-Men or Batman titles at $2 instead of $3.99. Consumers will buy more copies of their favorite heroes’ titles–but not so many more that it’ll come close to covering the revenue loss–or saving the job of the person who planned the move.

So if price cutting is so terrible for manufacturer’s profit margins, why does it ever happen? And instead of asking why Australian candy bars are so expensive, maybe we should be asking why American candy bars are so cheap?

No doubt there are economies at work in the U.S. market that aren’t available to the Australians, but in any market, the real reason is that competition leaves would-be-monopolists with no choice. One or two companies can make a (probably unspoken) agreement to not got at each other’s pricing too hard in order to protect the margins they’ve got, but if there’s a third (or fourth, fifth, or seventy third) rival in the marketplace, they may be quite willing to cut margins in exchange for a chance to break into the market.

And make no mistake-everyone‘s got competition. Even if there are only three major chocolate bar makers in Australia, and they’ve sort-of-agreed to price fix, they still have to compete against the things people eat in preference to their pricey chocolates. For instance, an Aussie which balks at $3.50 for a Time-Out bar might grab a package of Tim Tams or a bag of  Salt & Vinegar potato chips. Not surprisingly, I was able to determine that Australia ranks below the U.S. in its per capita consumption of chocolate (unknown what percentage is chocolate bars) and I theorize–although it would cost me thousands to look at the industry report which would tell me if I’m right–that they make up for it in their consumption of the relatively cheap salty snacks category. (Or, I suppose, they could just have better diets all round…)

So it just may be that the first major entrants into the Australian chocolate bar market thought that $2.50-$3.50 was a pretty good price for a serving of their product, nobody domestic can afford to kill their own margins by cutting prices enough to overcome brand preference, and those consumer preferences solidified in a way that makes it incredibly expensive to enter the market, distribute nationally, and try to win a piece of the pie for yourself. Even Hershey apparently has decided that’s the case (although the latest word is that they may make a play to buy Cadbury)

And if so, the best recourse for consumers is to cut down on Mars Bars while in Australia, switch over to chips for your junk food needs, and for me to get used to the taste of Regal Cola instead of good old Diet Coke.

ComicBase 14.0.3 and the Awesomely Large Database Bug Fix

I just posted two beta (translation: we‘re pretty sure they work perfectly, but we don‘t want to get cocky until some other folks beat on them) builds of ComicBase 14.0.3 and ComicBase Express 14.0.3. If you‘ve got ComicBase 14 already, you can download the updaters here:

Of the three issues these builds address, the one I never saw coming was an “Overflow” error which we traced to an ancient routine in ComicBase which counts the number of titles in your database (prior to things like showing progress bars and statistics). What was the overflow in question? As it turns out, a few folks have actually managed to add more than 32,767 titles in their databases (A title is a comic series (e.g. Action Comics–not to be confused with the 437,000+ individual issues currently in ComicBase).

As it turns out, 32,767 is one of those magic numbers in computer science–2 to the 15th power (if you start counting at zero) — and the limit to a data type known as the “signed integer”. Go beyond that, and you get an overflow error.

Once I located it, it took but a moment to fix the problem (the new limit is 2 ^63rd power: a bit more than a 9 quintillion). But I had to stop for a moment and just marvel at how far this little comic project has come in the 16 years since we started with the then-huge database of 20,000 issues from 297 titles. (And back then, I figured it was just a “mopping up” operation to add in everything those 297 titles didn’t cover, thus my dimensioning of the title count as a simple integer). Man, I couldn’t have been more wrong about the scope that ComicBase would one day become.

So anyway, please try out 14.0.3 and send us notes to let us know how they work out for you. And let’s all pray that I never have occasion to revisit that particular limit again!

Barcode Scanners – Sales, Success, and Sudden Shortages

When we added the barcode scanning feature to ComicBase years ago, we sort of had the idea that a few folks might be interested, but they they might not know where to grab a barcode scanner of their own. Thinking ahead, we made a deal with the supplier of the Manhattan barcode scanners we’d chosen for our own use in the office to get a couple of extras to sell to interested customers.

We ordered two scanners, thinking we might be stuck with them if they didn’t sell. Instead, they both sold instantly, so we ordered five more.

Those sold quickly as well, so we upped our next order to ten… then twenty five… then case lots… and before long, our little software company had actually become the #1 seller of that particular barcode scanner in the country.

Fast forward to this year, and we caught a break on the pricing of the scanner. Rather than just pocket the extra profit margin, we decided to take a chance and heavily discount them down to a previously unheard of $89 each. As a result, we sold so many in just a few days that we cleared our entire inventory in under a week.

“Wow!” I thought, “we’re really onto something here! Let’s do some bundles so that folks upgrading to ComicBase 14 can grab a barcode scanner at the same time and I’ll bet we’ll sell a ton of them!”. We did…and we did.

We moved so many, as it turns out, that we actually sold out the entire remaining supply of that scanner in the U.S. The distributor literally ran out and had to order more from the Pacific Rim where they’re manufactured.

Since then, it’s been a somewhat awkward few weeks over in the shipping part of the company as we had to arrange to ship the software ahead of time as we deal with the back-order of the scanners. We even made a couple of customers a deal and sold them the scanners we pack along to trade shows to demo ComicBase. But now even those are gone and all we can do is desperately wait until September 11th when the Florida-based distributor gets the big shipment in.

A few days from then, we should get ours, and start making life difficult for both our mailman and our art staff (apparently the replacement batch of scanners are now black, but otherwise identical. Unfortunately this will mean a bunch of work to shoot new product photos and lay out all the various ads we use to show them in the proper color). I personally think the new black color looks cool, but for all I know, there’s a home office there where someone’s not only had their heart set on beige, but has also picked out a matching desk and drapes to go with it. Far be it from us to want to cause an unwelcome surprise where office decor is concerned!

Imagining the Tenth Dimension

As a sci-fi buff, I always loved the idea of traveling in the fourth dimension. Four dimensions I get. But my eleven year old son Neil is a budding string theorist, and one day tried to school me in how there are ten (and exactly ten) dimensions. My response was to smile indulgently at the precocious lad–then vacate the room quickly before he could realize I had only the foggiest idea of what he was referring with all those extra dimensions. (Why ten? Why not six or 23 or infinity?)

But now, if you can hang through the fifth dimension part of this well-presented, but admittedly mind-blowing video, it’ll all be made clear…

Late to the Party: Dr. Horrible’s Sing-Along Blog

During Comic-Con, I was introduced to Joss Whedon’s latest project, “Dr. Horrible’s Sing-Along Blog”. I’d vaguely heard about this one last year right about the time I was neck deep in work trying to get ComicBase Atlas out the door, so I never actually checked it out. Apparently, it was a project thrown together during the writer’s strike between fan-fave director Joss Whedon and his brothers, and starring Neil Patrick Harris (How I Met Your Mother), Nathan Fillion (Firefly), and Felicia Day (The Guild).

Amazingly, the whole thing was originally released on the internet for free and quickly became a fan phenomenon. Now, however, it’s out on DVD, and Shiaw-Ling managed to snag me an autographed copy so we all sat around in our hotel room at the convention watching it…and it’s great! Whedon funded the entire project himself, and even though it’s available for free from various outlets, I have no problem recommending the $9.48 DVD (both for the extras and just so Joss can get some of his money back!)

One of my favorite scenes is here: Self-aggrandizing super-hero “Captain Hammer” (Fillion) has just recognized Dr. Horrible (Harris) out of costume and informed him that he’s about to make off with the girl Horrible has a hopeless crush on just to spite him:

[youtube=http://www.youtube.com/watch?v=ILObfEzX92k&hl=en&fs=1&rel=0]


To All Software Vendors: Keep It Real on Upgrade Prices

OK, upgrades are on my mind a lot right now, and I don’t want to tell anyone how to run their business—it’s hard enough running my own. But to all you software vendors out there, can we please keep it real when it comes to upgrade pricing?

I’m catching up on phone messages and emails after our big cameo on the silver screen, and among my many messages were two from the vendors of some development tools we use in-house. These are fairly expensive products, and the messages were pleas to buy their latest and greatest. Although I’m happy with the products in question, I won’t be jumping on either upgrade deal anytime soon.

The reason? The programs in question cost several hundred dollars apiece, and the upgrades in question were incredibly minor (e.g. “now with better support for Word 2007 XML export!” or “more responsive menus! [I’m not even kidding on these]). But, because I’m a valued customer—the companies in question are offering me an upgrade discount of…about 15-25% less than buying the whole product over again.

To wit: the first product costs $799 to buy in the first place, but upgrades can be had for the special upgrade price of just $599 (but only if I act now–otherwise the upgrade price goes up to $699!) In comparison, upgrades to ComicBase typically run about 1/3 of the original price ($99.95 for the upgrade to the $299 Archive Edition, or $49.95 for the $129.95 Professional Edition).

Normally, I’d just shake my head in disbelief, but this time, in a fit of misplaced inter-company generosity, I made the mistake of actually telling the salesman of the special $599 upgrade why I wasn’t taking him up on his kind offer:

“Hey look, let’s say I get $800 worth of value out of buying your product from a starting point of nothing, which is pretty much the minimum I’d need in order for it to make sense to buy a $799 product in the first place. That’s not chump change for me, and the product really has to deliver in order to meet that. But when you price the upgrade at $599, you’re saying the difference in value between the two-year-old version I’ve already got and the new one is by itself worth 75% as much as a whole new program.”

“I mean, are you really telling me that the ‘Improved Word 2007 XML support’ is such a great feature that I’m going to get 3/4 of the value from it alone as I did going from nothing at all to the current version?”

I didn’t think so either.

What the salesman apparently didn’t recognize was that when you ask me to buy a $699 upgrade to a $799 product, it was less a question of upgrading, than trying to sell incredibly similar software to someone who already owns a copy. Upgrades are generally easy to sell: you’ve already found the customer, and done at least one thing which makes them happy. New purchases are much harder. And that’s effectively what they were asking me to buy.

Honestly, though, I sympathize with anyone running a business, and we all have to choose our best shot at a strategy for success. Ours is to keep upgrade prices as low and attractive as we can make them, and be as aggressive as possible with the data and feature set so that our customers really look forward to each year’s upgrade.

Every year, it’s really a game of, “What can we do to make this version so awesome that anyone whose subscription just ran out will be dying to grab the next one?” We don’t want to merely justify the upgrade price, we want to pack in an excess of value so that as many people as possible will feel that grabbing the current upgrade is one of the smartest buys they’ll make this year. (And I for one completely believe this–especially in the case of ComicBase 14! I know that we won’t get everyone to upgrade every year with this strategy, but our customer retention rates have been known to make a lot of other companies green with envy. And that’s the way I want to keep it.

But that’s just one man’s opinion. I wish these other folks the best of luck with their strategy (and I really do enjoy their products). But please, stop calling to ask why I didn’t grab the new version this year, and get your engineers to do something more than “improved menu speed” to justify an almost-the-same-as-new “upgrade” price.

ComicBase and Atomic Avenue Go to the Movies

A couple of weeks before Comic-Con, I was heading out to grab coffee at the Starbucks across the street when a strange call came into the office. Joe answered it, and I could hear him saying things like, “You want to borrow what?” and “I don’t think we normally loan that out…” to the caller. I stopped, puzzled, and made pantomime motions to Joe along the lines of “Who the heck is that, and what do they want?”

It turned out that the “Who” was the production company working on the new Working Title/Universal Movie “Paul” (Written by and starring Shaun of the Dead’s Simon Pegg and Nick Frost). The “What they Want” was to borrow our Atomic Avenue rocket–indeed, our entire show booth–for use in the movie, where they apparently were called on to restage Comic-Con for several scenes.

Cut to yesterday, and I was sitting in an extras holding room in the Albuquerque convention center. It’s a room full of  Stormtroopers, Steampunks, a platoon of Princess Leia’s (slave girl version from Episode 5) and the odd green-skinned woman ala Star Trek, the original series. In short, it was exactly like every movie you’ve ever seen portraying extras looks like. We were along for the ride playing ourselves, manning a slightly stripped-down version of the ComicBase booth (no computer monitors).

Unfortunately, I can’t go into any details about the movie, but it looks like it’s going to be a lot of fun. And it certainly gives you a whole new perspective on the monumental job it takes to bring a motion picture to life. For instance, a small army of craftsmen and set decorators just days to recreate Comic-Con, and legions of production assistants are constantly handling everything from errant wookie costumes to set calls. The actors are also working their butts off, doing take after take (yesterday ran from 6am to after 9 pm) in scenes that–when they’re all cut together–will probably just look like a couple of guys having a laugh. And to his great credit, Neil also worked “booth duty” right up until the very end, and is back for the second day of shooting today.

Gotta run–they’re ushering the “attendees” into the hall, and it’s time to man the booth…

Comic-Con: Now Bending Space and Time!

Everyone who’s experienced it knows that Comic-Con is a mind-bending extravaganza with the capability to tax every iota of your energy and endurance, both in preparation, execution, and in the long slog to and fro. And to top it all, this year it’s managed to seemingly tear the fabric of reality and reverse the flow of time itself.

To wit: ComicBase 14 was released into the wild at Comic-Con, but it won’t even officially exist until early next week. And since we were all working crazy hours struggling to get ComicBase 14 out the door in time for Comic-Con, that staff was so exhausted (and the office was thrown into such disarray) that we won’t have the extensive web site configuration and other materials ready to allow us to actually ship ComicBase 14 until next week. (I had hoped for earlier, but a round of flu has been knocking off Human Computing staffers members like Watchmen’s Mask Killer).

So there you have it: a product that doesn’t exist yet has been busy killing its creators, thus delaying its birth.

And the best part? In two week’s time, I’m actually going to be on a movie set  in Albuquerque…reenacting Comic-Con!

I swear, I couldn’t make stuff like this up…