Tour Diary part 1.

The west coast of North America has a very particular smell in the mornings. I first caught it in Vancouver, way back in 1985. It’s a fresh, spicy, sweet smell, and knew it throughout my time staying in Capitola in the 90’s – it was there again in San Francisco this year. Blind me, I would know I was on the USA west coast.

I was glad of this friendly smell because the first day was a bit of a mess. We arrived early around 6AM, and found our ride had the wrong day, and so the first of a number of ‘just get yourselves there’. OK no problem. Then the hotel had a 3PM check in. Only 9 hours to kill in the Tenderloin, and unless you’re interested in making some kind of social statement, 9 hours of exhausted jet lagged stumbling around tent piss city was a grand ‘hi there & fuck you’. Eventually we found a cafe in SOMA that was cool with three huddled lumps nursing a coffee and we gave Josh Cheon a phone.

Poor Josh had just flown in from Germany. He tried hard to keep our spirits up, but was even more buggered than we were, so was obviously relieved to escape off to work. Thankfully the hotel relented and gave us rooms at 1pm.

There are some hot showers that are life defining.


Captain Hopper. Proof positive that we are in the United States.

I think this experience may have soured my feelings about San Francisco, but frankly the charm has died. Whatever cultural history it enjoyed, it now feels morose, burdened with bankers and wankers, and begging to stage a remake of They Live. The city was infested with body snatchers attending a Salesforce conference, I mean infested, every second person seemed to be wearing corporate dog tags leading them to speeches on Making People Buy More Shit Online. I heard they even had an ocean liner in the harbour to hold more of them.


Accurate documentary about San Francisco.

Day 2 was better in many ways, a few hours sleep will grant that. I walked Market rather than Mission, and got around to the unpronounceable Embarcadero. There was something on which involved swathes of people milling about in matching corporate T shirts, things like GIANT FINANCE COMPANY – WINNING IN 2015. The whole place seems to be an endless logo branded game show.

The Elbo Room is often a jazz joint, it looked old, very wooden, like most interesting things in San Francisco it’s about to be torn down to make room for apartments. This being the first gig things were a little messy, actually let’s be honest it was pretty near a cluster fuck. The idea that you can organise your music gear to be there in each city is a curious one (hey, you might even call it disruptive) with a very small margin for error, and we were straight into Murphy’s Law here – the nicest possible people had brought things we couldn’t use and it was a mad panic to replace things by the 9pm opening. Video projection is an art, and the guy trying to get our image up was definitely a member of the abstract experimental version of that art, but hey, it got up, we got up, and while this was probably the shakiest show we did, it seemed alright by the audience.

Once grand moment was when a text came back stage from Stewart’s missus The Video Projector just fell from the ceiling. Yes, it had, and missed smashing her head by about a foot. Thing is, it wasn’t our projector. I guess I should light a candle for that.

We’d programmed a main set, and then an encore. We’re not used to encores, and it felt weird putting it there, but even then I wondered whether we needed something after the encore. Just in case I put Kittenette, although neither of us expected to need it.

We needed it. Not that we’d practised it.

That night I lay awake in bed listening to somebody yelling at somebody at great length. I think man #1 was caught breaking into a car by man #2 and was getting some tough love, but it was equally likely that it was about weed. Everything in that parking lot was loudly about weed.

The next morning it was off to Los Angeles. At some point during the taxi ride the hotel decided to charge everyone’s rooms to the credit card we had supplied in case of damage. On Trip Advisor there is a line of people that had the same experience.

Civic Centre Motor Inn, San Francisco. Dodgy. Watch your credit card.

In Flight Entertainment

There’s a shed load of stuff I have to write about the recent tour – it will take a bit of time to even process it. Plus I have to wait for Knudle to get back from NYC for a bunch of photos that will sort through what is mainly hungover reverie. So in the meanwhile here’s some film reviews!

Being stuck on 12 hour flights to and from Australia is a great way to catch up with films that I couldn’t be arsed going to otherwise. No offence, but when moving image narrative is your day job, you tend to want to do anything else but watch another heroic journey in SciFi World Of The Future. God bless United Airlines they had a fine classic selection from Stan Kubrick to Peter Bogdanovich, and that’s where I spent most hours. But there are films that my students use as their aspiration (robots! explosions!) and there being no other option, time to watch.

The other advantage is that you’re seeing it all on a tiny LCD, so none of that big-3D-screen bullshit is going to save the bad writing. And there’s the general misery of being stuck in a chair to really get the anger going.

Jupiter Ascending.


Let’s get this right. At the end of this film I am going to smile when cleaning shit. That’s my status change? Are you fucking kidding?

How do the Wachowskis still get funding? Seriously? It’s like two rather stupid high school students got a billion dollar cheque and made babby’s first science fiction film. The whole is framed in the Cinderella rags-to-riches trope, inside of which the same damsel-in-distress gambit is played out THREE FUCKING TIMES with fuck all character status development. Female character gets kidnapped by each of three villains in turn, each ties her to the railway tracks, each time her Dog Hybrid boyfriend has to perform some ridiculously overblown rescue mission that saves her in the nick of time to bring her back to convenient spaceship that tags along in the background.

She goes from cleaning toilets to being an all powerful secret princess that still cleans toilets and keeps everything exactly as it was, including global warfare, starvation and San Francisco start ups. Oh yeah, instead she goes flying with Dog Boy. Tee hee we are so secret flying around the sky of a major city in broad daylight.

Art direction is like ‘we saw Dune that was a pretty cool movie make it like that’. Acting is amateur night at the Dapto Shakespeare club. Fuck this film. If any Australian government cash went into it then shut down Screen Australia right now.



I flew my space plane over this planet and somehow didn’t notice that it was all cold mountain ranges. So when the bad guy tells me there’s warm land below I believe him? I’m a fucking idiot.

One of two films where a wall of cinematography attempts to hide the completely vapid premise that current biological / medical engineering is boring and we should go back the 20th century and mechanical / transport based science. (The other was Tommorrowland which I don’t even want to grace with a response – except to say that we in the 21st century are still suffering from the vertical slums, grids and production lines of the utopian Modern era and Disney can go suck on a gun.)

Oh no! A blight is eating all the crops! All of our current technology for genetic engineering has conveniently failed and the only answer is to go back to transport engineering! NASA! Big fucking rockets! Yee Haw! You get the idea that the people that make movies right now just can’t get over the toys they owned when they were pre-teens. So anyway America seems to have bombed everyone else to oblivion and now the remaining millions of Good White People are living off the corn shit they sweeten drinks with. Here’s a farmer guy with a gruff non nonsense voice that’s conveniently a super rocket pilot, that arrives at the secret NASA base just before the day blah blah blah can I even bother? I can’t.

Off we go on another Hero’s Journey drinking game. We get assemble the party with a love interest – tick. There’s a wise cracking donkey robot – tick. Through a portal into the underworld – tick. The Rule of Threes, here as three planets – tick. The return through the Circle of Fire – tick. The Boon conferred on the real world – tick. If I could afford the drink prices on the flight I would have been pissed out of my mind by 2/3rds of the way through.

Really all that Nolan wants is to (a) remake 2001 A Space Odyssey and (b) include a shot where there’s the ground or water curving above your head, and he at least gets the latter right. Yeah we live in Space Cylinders outside of Uranus and everybody is Good White People from the 1960s.

There’s something about navigating the universe with love. He doesn’t explain it with much clarity, probably ’cause it comes off a Hallmark Card, and fuck this film.

Mad Max Fury Road.


The good thing about this all desert air is that you can be 36 years older and somehow not age at all. Mind you, your jacket gets a bit dusty.

How many Australians are guilty of this stuff? We seem to lead the world in comic book films. Anyway this is the least worst of all the films available, mainly because it knows it’s comic book, doesn’t pretend to be anything but a comic book, with flat characters with flat comic book names and clockwork roles. It starts with a page of speech bubble (and some surprisingly naff graphics) exposition for all two people who hasn’t ever experienced post apocalyptic fiction.

And then – video game – not bad graphics – probably DirectX 10 at least. There’s driving levels, a few platform levels, quite a bit of physics where for example you have to wiggle your joystick in time with a wobbling pole to get your character onto a moving vehicle. They’ve got a strong consistent palette with each character class colour coded. A couple of times I looked for the score up in the top corner. The level changes are more obvious – the camera flies through a graphic of a steering wheel with skull. Kewl.

As an actual film… well let’s just take the point where the convoy arrives at the ‘green land’ or whatever and Max says hey everyone let’s go back the way we came. So they’re done the whole journey to fuck all and now they’re returning with what? The dead old guy? Why not just assassinate him back at the start? I mean that’s how it worked all the way through history, just put some poison in his hydroponic tomatoes – job done. This wins an Oscar for “why the hell did we drive all that way for nothing?”

Because TRANSPORT. These films are about TRANSPORT. Anyone that really wants to make film that pushes into new territory has to get out of the damn car.

Postscript: I forgot I watched Chappie as well. Yeah I agree, Robocop was a great film. I forgot I watched it because the tacked on happy ending is so blitheringly FUCKING stupid that I willed my brain cells to die. The bit where the robot puts on a helmet that reads brainwaves. Because that’s just how CPUs work. Then loads their entire personality onto a thumb drive.

Man Cave Update

At 2 months, already a virile domain.

The first object that must grace any deserving man cave.20150913_204149

But it’s not all fun and games. One must have coloured lights and knobs. The base of the Tower of Power.


At the summit, those things that spurn knobs.


Things high up are less tactile.


Things that have not yet found their place.


Mixed with things that might never find a place.


Fruity Corky.


Elderly and or analogue.


It came from the flames (not Moroder).


And of course, beer. Needs something deeply offensive and troubling to open it with.


Third Life

First you need to read this. It’s fun. The guy wanders around abandoned university campuses in Second Life, and quite rightly wonders who the hell keeps paying the rent? And given the hullabaloo about Second Life at the time, its rapid decline and the sums of money that washed away on it, how can Linden Labs think they can do a reboot? They are going to do a reboot. Lordy lordy. Everyone is going to climb aboard the 3D Shit Train one more time. Virtual ding ding!

Today's guest lecturer will speak on corporate taxation law.

Today’s guest lecturer will speak on corporate taxation law.

You have Facebook buying up Oculus VR, Autodesk releasing a new game engine… it’s like having a relative with a drinking problem coming home with a wine cask. About now the futuro/apologists are getting all pumped to be the first to announce the New Thing – look, Coursera Over Oculus Brought To You By Facebook powered by Autodesk.

I used to be one of them. On the TV even. But I’ve been sober for a decade or more. I look at these guys, pumping it out in the tech columns of your local newspaper and I wonder how long before they regret their ice habits and carnival tattoos?

Roll up! Roll up! Every student wins a Certificate of Completion!

Roll up! Roll up! Every student wins a Gamification Badge!

Because they always talk about that sweet sweet high, when the technology potential hits the back of your brain and slides down slowly like sex. They don’t talk about that copy of VRML FOR DUMMIES that’s propping up a chair leg.

C.O.O.B.T.Y.B.F.P.B.A. will be a lovely thing, gods, it’s a lovely thing and one that will fill many happy hours of knitting. I dearly want to be in the locomotive of this shit mobile, I really do, paid or not, but I am sure a lot of pay is going to change hands. Already I know all kinds of people using 3D goggles to navigate some vague pixel blob that’s supposed to be a psychic blockage or some twaddle. Soon the research councils will see the complete inane uselessness of it and the desperate ‘innovators’ will have to switch over to exactly the same virtual campuses that the guy was writing about. But with better graphics.


Pardon me sir, is that the Chattanooga MOOC MOOC?

We need to be honest. We need to say we have been here before, so many times. It fails because we think it is innovation, that the creative industries are creative, that disruption is progress. So long as this is your driving force you are trapped in a cycle of illusion. Innovation is a coil that is self defeating. Everyone who wants to build some new world should, like our journalist, spend some time in quiet reflection in one of the old worlds.

I have written 3 new pages about equipment crap.

Arturia Keylab. Roland System-1M. Roland TR-8.


Please describe best American beer to have in your zone. We will be busy gentlemen and will not have time to go to your obscure beard shop I beg your pardon. But would like have a beer after work.

Thank you for your thoughts.Map_of_usa-7

Phoenix Rising

People deal with bereavement in different ways. I keep sadness private and gallows humour public. So just a warning that you’re going to get a bit of that. It’s an appropriate healing method.

You also probably know that rearranging the living space helps, as it swaps memories for potential (you know, living space). And one does tend to want to remove the spot-where-it-happened.

It also matters when somebody suffering a mental illness has occupied a section of the house, which they have slowly turned into an impenetrable twilight zone. It became a protective fort, filled to overflowing with clothing, bags, shoes, and Unknown Feminine Objects. The windows blocked off and lit by candles all day. Everything glued with dust and candle wax. I have spent days on end clearing it out. The main feature was bags. Under several layers of clothing there’ll be a big duffel bag marked PRADA in which there’s a outer bag marked PRADA, inside that will be the PRADA hand bag, inside that will be a PRADA purse and then inside that the sort of treasures they list in JRPG’s – golden coins? used tissues? strange doctor’s letter?


It’s about three weeks now and I’ve reached the bare floorboards. So what to do with this space? Once upon a time it was my studio, back before I had to sell all the gear. Seeing as I’ve started to re-acquire all this music junk I am set on building

Some people take the man cave too far. No, I just want to have something that is utterly different to what was there before. Besides, everyone else at my work gets to have an artist studio. In this space I will conduct an investigation into the nexus between musical interfaces and beer, in view of the paradoxical relationship between alcohol consumption, muscle memory and inspiration. I’ll need volunteers. And a cat.



For the last week I’ve had no phone line, no internet except that which comes over the ‘smart phone’. Holy Shit how do people ‘consume’ through that tenuous porthole? Here’s me holding the phone up in the air trying to catch a reasonable WiFi signal, just so I can maybe see 5 words at a time from a ‘mobile’ news site – which is bowdlerised to the hell to show only ‘popular’ news items. No wonder so many dumb-ass millennials if that’s their online experience.

Anyway – it’s relevant to the topic at hand – what is ‘a book’ in this year 2015? What will ‘a book’ be in 2025? This really should be of interest to budding media designers, who spend too much time creating content and not enough worrying about publishing it. I’m starting a course on this topic because it makes no sense to keep teaching people how to animate for film and TV. That’s like teaching how to hoist sails on a long ship. Good luck on the high seas matey. I am no expert in electronic publishing, but then again I got the gig teaching ‘film studies’ 7 years ago from being a musician, and no complaints.


There will be paper books, they will be expensive collectables, like vinyl. Never mind that foppery. There will tablets, watches and perhaps eReaders, although the most recent Kindles seem to announce death of the purpose designed reader. You would hope that the book would not just be a flow of endless text pulled from a word processor, and would in some way respond to the potential of the device with sound and animation.

In 2011 the ePub3 format finally took on fixed text and multimedia. But in 2015 most eReaders still do not properly reproduce this format.

Obviously Apple got sick of that shit and Embraced, Expanded and Extinguished it into iBooks. You can’t blame them for getting tired of waiting, in fact you have to admire their snappy Hugo Boss uniforms. But at some point the iPad will no longer be the Fuhrer, and iBooks will be a dead end. ePub, like HTML5, is a mongrel, but it’s the mongrel we have to adopt.

A group of Nazi troops and students gather seized papers and books to burn, in the Opernplatz, Berlin.   (Photo by Keystone/Getty Images)

Nazis and university students. (Photo by Keystone/Getty Images)

Most of Apple’s shenanigans have to do with punching Adobe in the face enough times to try kill it, but you can’t kill that which does not live. Example – having been punched for Flash, Adobe built a tool called Edge Animate that creates Javascript animations. People build these into iBooks. Apple updates iBooks with a kill switch for Edge. Adobe updates Edge with a cloaking device. I am mainly on Adobe’s side because at least they are building a tool, whereas Apple is breaking it. Flash may have been too hard on the first iPads, but that’s turned into an ancestral dispute.

My students need to publish visually dense books that represent artistic folios, and that means InDesign. It will make ePub3 as well as PDF, which is a strong format for print publication and archives, but a little too heavy for portable devices. You can also get a HTML5 website out of it, which might equally be a book in 2025.

Under the hood the ePub is an XHTML file, the format that lead to the great HTML rebellion (in which the W3c tried to move the community over to clean and tidy XHTML only to have outsiders instead propose the messy and forgiving HTML5 spec.). Sadly that means they preserve a religious schism that has since healed, and makes hand scripting difficult. An eBook also uses Scalable Vector Graphics, while HTML5 avoids this heavy computation. All up it’s the kind of file zoo that existed all over digital media back in the good old days.

Of course there are many more things that you can do on a pad that have artistic merit. If they want to dip into objective C then it’s their private hell. Some students might want to make ‘apps’, which run on watches. Bless them, I do not know how you can convey important things on a watch.

Will we make 2025 books? Will they be good books? Can we start a dialogue between engineer and artist?

Virus TI: sold by weight.

Long have I wanted to know the answer to this ageless question:
why are Access Virus synthesisers so fucking expensive?


I found that the answer is really quite simple – they weigh a shit load. Like Ensoniq keyboard levels of Jesus help me lift this thing off me. The Japanese are always striving to run everything on batteries and little shoulder bags. No, the Germans will bolt an extra plate of metal on their wares; think of how the Blofeld is basically a folded sheet of metal filled with a VSTi – this is at least two sheets – twice better.

But there is a difference between Waldorf and Access. Here, twiddle this knob. Hey, that’s pretty nice, hmmmm, could give that a twiddle for a while, feels kinda silky. The Virus has the same kind of svelte as an old Hewlett Packard calculator, or Apple computers before they were ‘Designed in California’. Classy. Other synthesisers cut corners in interesting ways, here they just cut holes out of your savings – the machine cuts nothing.

But I did not pay the full price. Hardly fleacore price but about half the going rate for second hand. First of all the latest TI2 is just a faster TI. If you’re slow like me, just get the TI and save the large price differential. Wait for some sucker to upgrade. Pounce.


Appalling Installing.

So then, to make it work. Access are proud of something called Total Integration, where the rack appears to your computer as a VSTi. I really don’t know why you would spend more on doing this than own all the VST’s in Native Instruments Komplete. But too bad, you have to have it, so first step was download the latest software from the website. This was a total pain in the crack; slow, hampered by a stupid password system that doesn’t work on Firefox, but anyway. They spend an awfully long time warning you about where to plug your USB cable. Get this wrong and you are in deep shit, they say, and so I chose a port directly on my computer.

Install, reboot, the software sees the Virus and installs new firmware on it. Then when I start up Cubase, there’s a VSTi called Virus TI. Cool. It spends the next half hour spooling patches back over the USB and now finally I can hear this thing…

… except I can’t. Nothing works. The cursor won’t even move. Sound card driver completely borked. I won’t go through the next hours of tedium, except to say, yes, get the USB port wrong and suffer. Once I played solitaire with my cables and won, we’re up and running.

Yes, but what does it sound like?

If you use MIDI (which can go over the USB cable) you get sound out the back of the box. Use the Total Integration and it comes up the USB pipe. It’s an interesting way to compare clean feed with the effects of running through a mixing desk. Maybe it’s psychological but the clean feed is pretty damn quiet and underwhelming. Crank it through the desk and it gets some balls. Pity then you can’t just use the editor without the TI thing.

Now when people say that VST instruments never sound like hardware, they mean (in part) software lacks the slight distortion of the circuitry which excite upper harmonics. This is actually noise and technically unwanted, but like tape hiss it brings the impression of air above the signal. Recent virtual analogues have a bit of this built in (the AIRAs for example). Now so far I am judging on presets (as all this wiring has stopped much creative flow) but to my ears the Virus just doesn’t have that buzz. It sounds like a VSTi. Clean, solid, hearty and rounded off.

Compare this to a Novation Ultranova – which let’s face it ‘borrows’ much from the Virus. The Nova is harsher, more pushy, even though it occupies the same genre. The Blofeld is just plain rude in comparison. The KORG Radius, which was born around the same period as the old Virus, it’s more buzzy and scratchy. Really it’s like the old Monty Python joke about ‘tinny’ and ‘woody’ words. The Virus is ‘woody’.

Start making your own patches and you find that the presets are overcooked. Dial it back and some character emerges. The architecture is the good old “2 oscillators through filters”. The filters are OK, but not exactly brimming with character, the resonance is (so far) not very organic, just a sub MOOG screech. I can’t get a Juno style flow out of it at all.

Oscillators can be one of four main types – standard waveforms including some Prophet VS style digital waves, a hypersaw, a wavetable, or a couple of variations on the wavetables that perform frequency distortions. The wavetables are good, they have a nice PPG 8-bit grunge to them that the Virus so desperately needs. The frequency distortions are interesting but mostly come down to aliased pitch shifting that works sometimes and not others. Here again there’s an effect I noticed with the filters – whenever you start to approach a violent or nasty sound the volume dips. Screech the resonance or fuck with a high frequency shift and the sound moves away from you. I haven’t quite got the theory yet but seems like it is rolling off bad frequencies to avoid aliasing. Hmmmm.

Preliminary impression is that it’s a bit of a Rolls Royce. Nice woody edges, comfortable, smooth ride. Kawai 100F it ain’t. In the coming weeks I’m going to see if I can’t get it sounding a bit more upset about something.

Praise for ‘Walkies’

There is a kind of computer game where the player travels a world, first person, and takes in the sights. There’s a back story, often a mystery that needs exploring, and some mild struggle to navigate it. Mild struggle – the few antagonists, if any, are easily avoided and very rarely would you expect any shooting.


Gamers hate this. The genre is derided as ‘walking simulators’, a reference to the endless simulator games that pour out of Germany and Eastern Europe – ‘forklift simulator’, ‘garbage truck simulator’ – strange dull games for obsessives. Terrible reviews, few stars. Of course gamers themselves are getting some terrible reviews at the moment for their own lack of empathy and insight, so it’s tempting to ignore their protests. But they do have a point. As games, these titles suck. Perhaps that’s a good thing.

Consider Roger Ebert’s denunciation: Computer Games Can Never Be Art. It’s a good read, although his opponent is a bit lightweight. In there he points out the need for a game to have struggle and scoring. He’s on very firm ground here, he agrees with the pantheon of game theorists. You can’t have a game unless there’s a win. You can’t have a win without a battle – and so on.

I would like to turn this whole thing around. We can allow Ebert’s claim that it can’t be art if it’s a game. Therefore, it should not be a game. It can do everything that a game would do, but winning and scoring are not the primary purpose. And voilà – we have a strength, not a weakness.


“no one should have illusions about uncovering a complex gameplay experience … how am I meant to feel like I’ve just come through an arduous quest if nothing ever made me really think or work hard?” – Game informer on Journey.

As moving pictures became movies, and talking films became talkies, these mobile tales need a similar name – I prefer walkies.

This doesn’t automatically create art. Dear Esther is an example of a disappointing walkie. Ether One is a better walkie, but let down by a desire to be a game – the game aspect is way too hard perhaps as an over compensation. Now I am ‘playing’ (can that word still work?) MIND: Path to Thalamus, which is not a missing Skinny Puppy album but a rather good Spanish walkie featuring a storm chaser – a man that loves tornadoes, but has caused death by his enthusiasm. He is on a pilgrimage to atone for this sin.

Things that I get from this title:

It is visually and musically involving. I see and hear things that bring me excitement and pleasure. I am given time to admire these things. Unlike a film.

I am driven to explore, to see more. I have to admit I don’t play games very long if I’m constantly beaten. Nothing new to see means I lose interest. Gamers will talk about how many hours of play you get and complain these titles only give a few hours at most. Sure, if you ignore everything except winning. Stand still for a while. Then wonder what happens next.

There are ‘rails’ that pace the narrative. Most games have guides that deliver the player from level to level: Pac Man, Bioshock, Amnesia. Few are ‘sandboxes’ with no paths, notably Grand Theft Auto. Rails are the most extreme guide, as they exist inside the level, and Dear Esther has rail-itus. Ether One and Thalamus, not so much. A good walkie probably should not have rails, but this is something that authors are obviously trying to figure out. Yume Nikki is a sandbox.

There’s a strong story arc. You are pretty sure you know what’s going on, but you have to check it out. Or sometimes you have no idea and need to get to the end. Either way the payoff is the third act. You are satisfied by hearing the story to the end.

Some struggle against the world is required. It’s not just walking. But if you pause for thought, the answer comes to you. The world demands your attention and understanding.


“Horrible game. Boring story, just walking around, not scary at all. Great graphics, but that is not the important part. I hoped that i was near the end when i played this game, so i runned through everything that is ‘scary'” – Metacritic on A Machine For Pigs

A walkie is a subset of adventure, but you can have adventures that aren’t walkies. Bioshock is an action adventure – you can’t die, and a plot is revealed over the duration of the game. But I never got to admire the scenery for very long without drowning. Myst was the first walkie but perhaps erred to the unreasonable puzzles that mar adventures (and it had a maze which is instant fail).

Walkie is a helpful word because it takes a negative and spins it around to a call to action. Let’s drop the ‘game’ word. If people want to say these aren’t games then, yes they’re  right, and furthermore that’s an advantage. I would have loved Stalker to be a walkie, I really don’t want to have to kill and be killed just to see the zone. The film is great. Why can’t we have something that works like the film on a computer screen?


“Too much shooting and dying, not enough mysterious plot line” – Me.