Activision blocks release of Rock Band compatibility patch

In case you missed it: Guitar Hero III’s controller for the Playstation 3 doesn’t work with Rock Band—a real problem in a world where no stand-alone controllers exist, and an extra controller is needed in order to play with a full “band” on the Playstation 3. Harmonix, the developer of the guitar controllers for Rock Band announced last week that they’d developed a patch to allow the Guitar Hero III controller to work with Rock Band, causing widespread rejoicing.

But the patch was never released. Today, Rock Band fans found out why:

From Harmonix:

The [PS3 Guitar Hero] compatibility patch was submitted, approved and had been scheduled for release by Sony on Tuesday, December 4. Unfortunately, Activision objected to the compatibility patch’s release. The patch remains with Sony, but we have been told that it will unfortunately not be released due to Activision’s continued objection.

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For the life of me, I’m trying to figure out how sending over a legal team to block a patch which allows your controller to work with somebody else’s incredibly popular game is a smart idea. I mean, what’s the upshot to Activision if they let Harmonix’s patch go out: they sell more Guitar Hero III sets and controllers! I don’t see a downside for them. Harmonix even did all the necessary engineering work and will suffer any technical support woes that come along as a result. All Activision has to do is sell product and make money.

Usually when companies go on legal crusades like this, they’re either sacrificing money to make a (hopefully popular) moral point, or they’re sacrificing popularity in order to make money. Here, Activision seems to be taking the rather unusual tack of sacrificing money in order to become more unpopular. Am I missing something, or is this one of the stupidest business decisions of 2007?

Free Old Time Radio Christmas Shows

Free Radio shows

Old Time Radio Fun, an online purveyor of public domain old radio shows, is letting visitors have free access to a bunch of old Christmas episodes from shows ranging from Jack Benny to Dragnet(!) to George Burns and Gracie Allen. It’s a real blast from the past, and a lot for fun for the holiday season.

The Other Atomic Avenue

Turns out there’s a real “Atomic Ave” in Ontario, Canada. There’s apparently a couple of auto places and a gallery, but no comic stores, unfortunately…

Satellite image from Google

2000 A.D. Comic Boxes, Anyone?

I’ve been a fan and collector of the British 2000 A.D. magazine since Eagle comics started running Judge Dredd reprints from it in the early 1980s. For Americans, this series is a real oddity: a weekly anthology that’s been running continuously since the late 1970s, and has to date racked up something like 1500 issues and counting. It’s been the launching ground of everything from Judge Dredd (and the whole Dredd universe) to Strontium Dog, Zenith, The A.B.C. Warriors, Rogue Trooper, and countless others. Issues of the series are still cheap on the back issue market, particularly over in Great Britain, and I managed to score large runs of it several times over the years from stateside collectors.

Unfortunately, storing large numbers of these comics is a real pain due to their incredibly odd (by American standards) paper size. The series has changed dimensions over the years, and the earlier ones are both wider and taller than U.S. magazine sizes (although far shorter than Treasury size). So far as I can tell, there’s no stock storage box of suitable dimensions available from any U.S. box maker, and only one manufacturer of 2000 A.D. boxes (Collectorline, over in Britain). Unfortunately, shipping big hunks of oversized cardboard from Great Britain to California is costly in the extreme—we’d likely have to fork out $20–30/box in shipping charges alone (and we need about 30 of them!)

Does anyone out there know of a U.S. supplier for 2000 A.D. boxes? (such a box would also fit comics like Deadline, Toxic! and Eagle).

If not, there’s always the alternative of designing a custom box ourselves. This would involve having our box maker create a custom die: a startup expense that runs several hundred dollars at least—although we could conceivably make it less of a hit if other folks were also in need of such boxes.

Any ideas or suggestions? If not, does anyone else have interest in 2000 A.D. boxes if we were forced to enter the box manufacturing business ourselves?

Capitalism Rocks!

Man, but I love capitalism! Prior to Thanksgiving, there was absolutely no need for 6-3/4″ circular rubber mufflers, or steel reinforcing plates in the form of a shoe, but thanks to a popular new music game, and the miracle of capitalism, we now have both.

Right around Thanksgiving, Rock Band shipped, and thousands upon thousands of people started playing with it. Immediately, they discovered things about the included instruments that needed fixing or improvement. A big problem with the drum pads were that they were so “clacky” when you hit them that unless you played with the game volume cranked, it sounds like you were tapping on the tables of a high school cafeteria while someone played a boombox version of the song at the other end of the room. Immediately, the message boards were full of ideas for a solution, including everything from Plasti-dipping the drumsticks to covering the pads with felt to cutting up mousepads and pasting them to the pads to muffle the noise. Within days, a brilliant composite solution was posted, complete with pictures. I can already attest that this has caused a run on black self-adhesive foam at the local craft stores (and probably nationwide). Someone even came up with a commercial version and started selling them on eBay, complete with swanky product logo (and, unfortunately, the traditional extra markup of overcharged shipping!)

A couple of Rock Band fans who happen to work in a machine shop also managed to solve another problem with the game: the relatively fragile kick drum pedal. Some of the more lead-footed players of the game were actually splitting their pedals in half, so the machine-savvy duo started cutting up diamond-plate steel (the sort of non-slip material used on utility trucks’ tailgates) using a jig in the shape of the original pedal. A bit of drilling, grinding, and six self-tapping screws later, they’d created a nigh-indestructible after-market pedal for your Rock Band drums.

Capitalism: the ability to solve somebody’s problem and make a few bucks in the process—solves problems like this all the time. What’s rare is seeing how really quickly it works its magic. It really was about two weeks from “Augh! Why does nobody make a product which solves this?!” to “Here’s the answer: what color would you like it in?”

I just wonder how long will it be before someone with the necessary plastic-tooling and electronics manufacturing facilities realizes what a huge profit is waiting if they can solve the “Can’t find an extra PS3 Rock Band guitar controller to save your life” problem?

Robotic, Self-Tuning Guitar

Robot Guitar

Now this is cool: Gibson just announced a “robot guitar” with a built-in auto-tuning system. Servos in the string winders are coupled with pitch detection to let the system automatically put itself in tune. You can choose both standard and custom tunings, letting you switch between standard and, for instance, Drop D tuning in a couple of seconds with the touch of a button:

[youtube=”http://www.youtube.com/watch?v=WetVXbYRfWk”]

(Music Trivia: ever wonder why Big Rock Musicians lug about 30 guitars onstage with them? It’s not just the guitarist’s gigantic ego…OK, most of the time, it’s not just their gigantic ego. Sound and style are part of it, but the need to quickly switch between different tunings depending on the song is at least as much, if not more, of a driving factor. It’s just no fun waiting for the guitarist to retune six strings to another set of notes while trying in vain to keep up stage banter, so they just bring extra guitars, pretuned to the various song requirements)

The tuning system was created by German engineer Chris Adams and his company, Tronical GmbH. It’s available both as an after-market add-on to many existing guitars under the name PowerTune, and as part of the limited edition Gibson pictured above.

For more details of this cool (but still a bit pricey) technology, check out the Gibson site at http://www.gibson.com/robotguitar/index.html.

 

Big Numbers: A Marketing Challenge

One of the biggest problems we have in doing ComicBase (or for that matter, Atomic Avenue) is trying to make big numbers meaningful. It’s the downside of running the biggest, baddest comic book database in town—at some point, you start to feel like you’re just babbling when you try to convey the sheer amount of information involved, or how much it’s grown from year to year.

For instance, ComicBase 1.0 contained some 20,000 issues from 297 titles—all the issues from every title I owned at least one copy of at the time. For the past fifteen years, we’ve worked tirelessly to add to the database, both in scope and in the amount of detail on each issue. First, it was hundreds of titles and a few thousand issues per version. Then it was thousands of titles and tens of thousands of issues per version. Within a few years, ComicBase had become the largest database of comics ever published, but we kept right on adding issues (and adding more detail to each issue as well). But how to put a face on this?

ComicBase 12 just added some 25,000 new issues (for a total of over 325,000!), and involved changes and updates to over 100,000 more—all since the previous year. It sure sounds like a lot (and it was!) but what if we’d settled for doing half the work: say, adding just 12,500 new issues, or making “only” 50,000 updates? Without some sort of context it all just seems like a bunch of large numbers are being thrown around, and there’s really no additional sales appeal conveyed by all our extra effort.

One place where I think we’ve done a reasonable job of it is on Atomic Avenue where, as I write this, some 610,000 comics are available for sale. The relevant comparison is that it’s almost seven times the number of comics available in all of eBay’s auctions, combined. Here, at least, it seems easy for folks to figure out that if you’re looking for a comic—any comic—there’s an awfully good chance you not only can find it on Atomic Avenue, but you’re likely multiple copies for sale in whatever condition you need (and you’ll also experience a lot less hassle in the process!)

But we could really use your help: What comparisons would you suggest if we wanted to talk about, say, the addition of another 15,000 cover images to the Archive Edition (for a total of over 200,000)? Is it meaningful to say things like, “It’s like discovering 75 long boxes full of comics that you’ve never set eyes on before!” or “If you looked at each comic in ComicBase 12 Archive Edition for just 10 seconds each, you’d need to spend over 277 hours to view them all!” Anyone got something more punchy or vivid?

Rock Band!

Rock Band

Guitar Hero is unquestionably one of the best games I’ve ever played, and Neil and I have anxiously awaited each follow-up. My favorite part is the cooperative two-player version introduced with Guitar Hero II which allows one of us to play bass while the other plays the guitar line. This Christmas, however, EA’s upped the ante and released the video game version of crack for the music-loving set with the most painfully addictive game in years. It’s called Rock Band, and it’s a four-person music game where you and your friends can form your own band using guitar, bass, drums, and vocals.

The set currently only comes as a $169 bundle which includes the game, a guitar controller, a microphone (which doubles as a cowbell/tambourine during non-singing parts of songs), and a 4-pad (+ kick) drum controller. They even throw in a pair of drumsticks for good measure. Inexplicably, individual instruments have been announced for sale, but won’t actually ship for a couple of months. Therein lies my greatest source of woe with the game—more on this in a bit.

If you’ve ever been in a garage band, the process of clearing away the sofas and setting up your drums and guitars in the middle of someone’s living room (generally the band member with the most tolerant wife/girlfriend/parents) will be frighteningly familiar. As the game begins, you name the band, set up your online avatars from a number of basic “types”, then start rocking your way through tunes like Radiohead’s “Creep” or Mountain’s “Mississippi Queen”. Some 58 songs are included in all, and you can download new ones from the Rock Band online store.

You start out doing tiny coffee house gigs, and slowly work your way up to larger venues as you attract fans. Our band, “The Quadratics” (featuring ace guitarist Neil, vocalist Carolyn, and me on drums), had its big moment when we won a 1967 van in an early level, allowing us to travel to different cities. The game itself features venues inspired by real locations in any number of places, including New York, Chicago, London, Berlin, and our own San Francisco. Each successful gig can earn your band more fans, as well as a bit of much-needed cash which you can use to equip yourselves with clothes, instruments, and accessories. (For our part, Neil and I bought our virtual selves new T-shirts, then let lead singer Carolyn blow the rest of the band’s cash on a bitchin’ new hairdo and clothes. This part is also frighteningly like being in a real band).

We spent a crazy evening our first night with the game, with Carolyn thrashing it out until she nearly lost her voice. It was some of the most fun I’ve had playing a video game, and compared favorably with at least half the times I’ve had playing in real bands. We even fell into all the old rock habits including Lead Singer Grandstanding, Constant Drummer Fiddling, and gymnastics as we hit the Big Rock Ending on some of the songs. When your band’s cooking along, you can easily get lost in the whole groove, and you even get a chance to devise your own riffs and solos at various points in the game, mimicking nicely the balance between script and improvisation that’s at the heart of playing live music (albeit without the degree of freedom—or difficulty—that real instruments have).

We were all revved up to go at it again two nights later, and both Carolyn and I were ready to take it up a notch on the respective difficulty levels of our instruments—a critical prerequisite to gaining more “fans” as your band works its way through the game. For me, the hardest part was making the bridge between the “real ”drum part, and the part the game expected: on medium, it’s pretty clear you’re really playing the skeleton of the real drum part, laying down the basic beat (sometimes at cut time). When I switched to “hard”, it got really confusing, however, as the drum part was quite close—but not quite the same—as the beat I’d play if I were playing the song for real. For instance, on “Blitzkrieg Bop”, the arm parts (tom/snare/hi-hat) were almost exactly what you’d expect, but the kick drum part had only the downbeat. It was like having to learn a new, “dub” version of the punk song, which was a bit of a challenge, but still fun. I’d get into trouble, however, when I’d let my concentration lapse and my right foot would slide into playing the “real” kick drum part, causing my score to plummet or even fail me out of the game.

We’d managed to slog our way through “Black Hole Sun” by Soundgarden when I started to realize that my I wasn’t just getting into trouble for misreading the drum part. My yellow drum pad, which is most frequently used for hi-hat parts, had started to trigger only periodically, and soon stopped triggering at all. Since most rock songs call for a steady 8th or 16th-note pattern on the hi-hat, this meant that I was soon failing automatically on every song.

This brings me to the biggest heartbreak of Rock Band: the instruments. The message boards are full of tales of problems triggering the strum on the guitar controller, as well as periodic problems with the sensors on the drum controller. The lack of individually-purchasable instruments means that spares can’t be obtained without buying the entire kit again (itself an impossibility, since it’s sold out everywhere). EA has a fairly efficient RMA system in place, and will cross ship you a replacement instrument using 2-day shipping, but as I write this, the replacement has not yet arrived. Presumably, they’re either short on instruments at EA central, or are overwhelmed with the sheer demand for replacement instruments.

The other problem is that, despite assurances made before the game shipped, on the Playstation 3, neither the Rock Band guitar controller works with Guitar Hero III, nor does the Guitar Hero III controller work with Rock Band. (Apparently the Xbox 360 situation is a little less bleak in this regard). This means that it’s currently impossible to set up a 4-piece band on the Playstation 3, since the kit only comes with one guitar, and no third-party replacements exist. Not surprisingly, there’s a growing list of Rock Band games for sale on eBay with every instrument except the guitar—that one presumably having been spirited away to act as a bass guitar for a different set, or as a replacement for a failing guitar controller. It’s madness, but the game is so addictive that I’ve seriously considered buying a second set myself just so I could scoop the guitar and sell off the rest on eBay. But even that isn’t an option, since the entire set is sold out everywhere.

Argh! Such a good game! And so maddeningly frustrating! I know the situation will be worked out in the months ahead, but the waiting—for both a replacement drum kit and the chance to get a second guitar to use for bass—is killing me.

Any of you EA guys able to hook me up? We have a big office Christmas/Rock Band party coming up, and I’ll bet we could help you out on the comic software front (hint! hint!)

Best “It Shipped” Notice, Ever

From a recent purchase I made at Despair, Inc:

Again, thanks for your recent order from Despair, Inc.

If you have received this email, it means that your credit card information proved valid and that your order has been sent. You might assume now that we have your money that you’re in for better treatment. You might also assume that if you try really hard, you will succeed. But your assumptions would, in both cases, be completely wrong.

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Tech Purchases of Yesteryear

When I pulled down the Christmas decorations from the attic this weekend, I noticed that we’ve actually been in our house long enough that some of the file boxes we’d put up with “destroy by…” dates seven years in the future had actually come due. “What the heck” I thought, “Let’s do some shredding!”

Let me tell you now: the process of feeding old financial records into a shredder for hours on end does not a heartwarming trip down memory lane make. (Mostly it just made me think, “Jeez, have I ever blown a lot of money on stuff over the years!”) There were a couple of nice surprises when I found registration cards from customers of ComicBase 1.0 who said kind things about us—and it was even better when I realized that the name on the top of the card was still a customer over a decade later. The other highlight was coming across the source code for an online D&D game I wrote for a CDC Cyber mainframe back in high school, as well as a BBS system I wrote during a college summer I spent working in Michigan for Dow. There was even the manual for a quiz-making program: my first professional programming gig—for the TI 99/4A computer. All of these got spared the shredder’s wrath.

Not so lucky were the countless receipts for tech items and office equipment. Mostly these just served as a vivid reminder of the relentless march of progress, and how much cheaper and better computers have gotten over the years. I knew it was bad, but some of the receipts were almost physically painful to read, like the first time I bought a hard drive with more than 1 GB of space—for a mere $1,300. The $419 I apparently spent for a 9600 baud Hayes Smartmodem (circa the time ComicBase 1 was written) also hurt.

I was also shocked to see that the first CD-R drive I bought: a crazy-fast 2X model with a drive caddy for loading disks, cost exactly as much ($999.95) as the crazy-overpriced Blu-ray burning drive we bought last year so we could ship ComicBase Archive Blu-ray Edition and claim eternal bragging rights as the first PC software shipped on Blu-ray. A little over a decade earlier, we were one of the earlier—but nowhere near the first—software to actually fill up a CD with all of our picture and movie content for ComicBase 1.3.

At the same time, I noticed that the prices I’ve been paying for electricity, paper, inkjet cartridges, insurance, and so on really seemed quite similar to what I pay now. Sadly, so is my cell phone bill, although it now covers two phones instead of one, and I can’t think of the last time I had to stare nervously over my statement wondering if I’d gone over my allotted minutes and ended up paying outrageous “overage” fees. And yes, about 1/4 of my cell bill today is still a laundry list of indecipherable fees, taxes, and surcharges, just like it was ten years ago.

Sigh. Cue the pretentious French saying about the whole “the more things change…” thing, I guess…