Audience | The VidZone Network Blog

June 11, 2009

The secret to “good” pop music

A few of my friends look at me weird when I say I listen to pop music, recommending that they check out the new Britney Spears album. Possibly my favorite era in music during my young life is during the late ’90s to early ’00s between when grunge rock faded away and rap became Top 40 radio mainstream.

Let me explain how I listen to music. When I first hear a song, I listen to “the big picture,” the overall feeling of the song and not yet analyzing the little details like lyrics and composition.  In later passes I dissect the components of a song and analyze each individually.  It will take at least four playthroughs before I’ve actually really “listened” to a song.

For me, a “good” pop song is one that I will let play through without wanting to switch to another song.  In other words: inoffensive.  It doesn’t have to actually be good or great, just not bad, just “good enough.”

After all, getting past “no” is often the hardest, most important part.   Everything past that is gravy.  That’s the lesson.  In order to reach the widest possible audience, you don’t necessarily have to figure out how to appeal to every kind of person, just offend as few as possible.

Carl @ 1:39 am
Filed under: Music,Personal,Techniques — Tags: , , ,

May 30, 2009

Carl’s Movie Mini-Review: Up

Up

Pixar remains untouchable with their latest film, especially when led in by a trailer for Sony’s Cloudy with a Chance of Meatballs, which, in its first minute looks like a total Jimmy Neutron rip-off.  The last time I read the book was in first grade or so, but I don’t recall a kid inventor making non-sensical contraptions.

One of the themes of Up seems to be that misery loves company.  The cast of hereos consists of outcasts, misfits, or sad-sacks in various forms.  Through their mis-adventures together, each starting off with seperate goals for journey, they eventually learn to lean on each other, making a whole new family of their own.

The movie is full of laugh out loud quirks which work for both kids and adults.  Note I said “and.” Normally there’s jokes for kids and jokes for adults.  Many of the jokes in Up are truly multi-layered with an extra kick for those with more life experience.

Humor aside, the opening montage in itself is a wonderfully developed, touching, impactful beginning-middle-end story and could easily have been its own short.  More sensitive folks may want to pack tissues; many in my theater were audibly tearful.

Pixar is known for tackling very specific technical challenges with each film.  In A Bug’s Life, it was crowds.  In Monsters, Inc., it was hair.  In The Incredibles, it was humans.  Between the front-attached animated short Partly Cloudy and the iconic balloons lifting a house, I think their challenge here was complex soft-body collisions.  However, the balloons are far from always on screen, so maybe I’m just imagining the showcase because it was far from highlighted.

What is masterfully showcased is the use of depth.  Normally when you see CG films in 3D, all layers are more or less in clear focus.  The primary method of funneling the viewer’s attention is by popping something out of the screen.  Up utilizes traditional camera lense techniques (the “imperfect lense” seen in Wall-E) to make sure that the viewer is not overwhelmed and unsure of what to look at.  The clouds, fog, light/shadow, and frame composition also noticably contribute to the incredible sense of dimensionality. I’m 100% certain that it would still pop without the glasses.

Back to talking about people, I noticed there were numerous elderly couples or small groups attending my showing.  They weren’t accompanied by families or grandchildren, and several groups stayed through the credits.  I don’t recall any similar situation in other family movies, and I wonder if the turnout had anything to do with the protagonist.

Highly recommended.

Carl @ 12:37 am
Filed under: Film,Reviews — Tags: , , , ,

April 9, 2009

Tiers of joy

Whether a gamer is looking to relax and just play or is looking for some sort of masochistic challenge, it is universal that they desire some sort of feedback that they have succeded in their task. At the most basic level, this can simply be the passing from one level/stage/world to the next. Or perhaps an incrementing score count.

These two concepts have gone hand in hand since the beginning of video games. When expressing your arcade achievements to a friend, you’d tell him you got to Wave 26 while defending the galaxy or had earned 306,225 points. Each of those means different things, though. When talking about levels (or stages, worlds), those are relatively large segmentations of progress. What constitutes a level? How long does it last? Did you die at the beginning or at the boss battle at the end? Regardless of your individual sub-progress within that level, you’ve at least reached a very definite milestone with very definite context relative to the overall length of the total game.

Let’s take Guitar Hero as a very modern example with several layers of goals.  You can aim to:

  • Beat the song
  • Earn X number of stars
  • Hit 100% of the notes
  • Earn a crazy high score

Regardless of your level of dedication or “hardcoreness,” there’s an achievable goal for you.  You can stop and be satisfied with the goal you’ve just achieved or aim for something loftier and more abstract.  Note that the more specifically defined goals are at the most basic level, and they’re very broad in their definition of what it requires to achieve it.  This gives the more casual player something to aim for.  This kind of player has no concept of what 2,000 points means, let alone 200,000.  They can beat a song by the skin of their teeth with a 4-digit score or with a 6-digit score; winning is winning.  But as a player evolves, he looks for how he can do “one better.”  Aim for that fifth star next time, but aside from passing an arbitrary checkpoint, the actual score still doesn’t matter.  Aim for 100% notes; the score still doesn’t matter, either, so you don’t even have to worry about Star Power.  But the ultimate level is where each individual increment of the score meter matters, and you want to milk it for all it can offer by perfectly timing Star Power deployment.

Score is a moving target.  One day you’ll wake up and find that 5 million points isn’t all that great, especially when compared against the rest of the world.  Modern day leaderboards are like the high score screen of arcades of yore.  We didn’t really see much of them until consoles got back online, bringing with them the resurgence of heated competition.  That score is a moving target means the game is never over for the most dedicated; each competitor continues to raise the bar for the others.   A self-populating list for mere bragging rights is a cheaply designed goal/reward for players, but it doesn’t mean much and can even be intimidating for those far from the top.  Sure, a player may add another 100,000 points to their old best (if they even bothered to remember their old score), but moving up in ranking from 538,923 to 537,201 is almost worthless in the grander scale.

To offer a wide range of stacked goals allows games to cater to both the casual “just have fun” game player and the fanatic “gotta get my initials on the board” player.

I’m not saying that’s the only way to go about things, but it’s just a warning that not allowing for “less than perfect” execution can alienate a player.  Make sure the player knows that they’ve reached the milestone with some sort of positive feedback, like a text/icon pop-up indicating the end of a section, a new item, or an Achievement/Trophy unlock.  Heck, even Ninja Gaiden litters the world with life-rejuvenating save points.  That reward of a life refill is enough of a pat on the back of the player to say, “good job for making it this far.”

Carl @ 3:46 pm
Filed under: Games,Techniques — Tags: , , , ,