Deadline:

“Cyan’s goal in working with Legendary is not just to create a compelling TV drama but to develop a true transmedia product that will include a companion video game that extends the story across both media,” the company said. “Seventy percent of tablet owners use their device while watching TV at least several times a week. Cyan sees the potential to push the boundaries of interactive storytelling to a new level.”

Seems like good timing with the return of Twin Peaks and the nostalgia surrounding the LOST 10 year anniversary.

That said, I don’t feel the second-screen experience has been the revolution that hopefuls (HBO, etc.) had cracked it up to be. I have a difficult time pulling myself away from a good story to send an email, text, or surf the web. I have a hard time believe that “70 percent” is enjoying good TV. While a new Myst companion game sounds enticing, I have extreme reservations that I’ll be able to enjoy a world as rich and mysterious as Myst simultaneously on TV and iPad. The best I can picture is a children’s TV-esque situation where the actors on-screen “wait” for you to complete a puzzle before proceeding.

On the other hand, I love Myst and have very vivid memories of talking through the games with both my step-father at home and father 400 miles away. I enjoyed the game so much that I convinced my grade-school teacher to allow me to write a book report based in the strategy guide. Needless to say, I’ll be tuning in.

Earlier this evening, I had the very fortunate privilege of attending The Morris Series: Leadership and Innovation, featuring Walter Isaacson put on by The Aspen Institute. Even more fortunate that today is the release date of his latest book, The Innovators.

The introductory illustrated timeline of innovation in the book reads with the following dates:

• 1993 (Mosaic, AOL)
• 1994 (Web log and directory, Pathfinder)
• 1995 (Wiki Wiki Web)
• 1997 (Deep Blue)
• 1998 (Google)
• 1999 (Blogger)
• 2001 (Wikipedia)
• 2011 (Watson)

The decade long gap between 2001 and 2011 is a bit alarming. Was it glazed over as said decade has been under careful watch by Isaacson’s primary audience and may read as redundant? Is it simply that he aims to address said decade within the book? I’m hoping for the latter.

Not only did the late ’90s account for the blossoming of the Internet as we know it, but 2001 marks the year of the September 11 attacks. Two critical events intersecting on a single timeline. Add in adolescence (the insane flourishing of ideas, rebellion, and independence — this particular generation referred to as “millennials” by some), and you have the perfect mixture for… something…

If not from himself, this “something” is what I hope someone of Isaacson’s stature addresses. A large majority of the fresh engineering talent, and possibly the next round of innovators, moving into the professional workplace witnessed both the late ’90s blossoming of the Internet as well as the September 11 attacks during adolescence. That must shape the philosophical and social ideas surrounding up-and-coming technology in a profound way, and I would love to know how.

I have a problem.

I rarely use a hands-free solution to select music while driving with passengers. Directions? No problem. Texting? Forget about it. But with music, I believe in the element of surprise. I believe in it so much, I will risk taking my eyes off the road for it. I have a problem.

If I say to my phone, “play ‘Dreams’ by Fleetwood Mac,” I am sure my audience will have already imposed a judgement on the familiar song without actually being lulled into the pent up, sultry piece. Don’t get me wrong. “Dreams” is a phenomenal song and I could never sing enough praise about it, but it’s that simple introductory drum-to-bass fill that puts it over the top. It’s the hook that lights you up when it surprises you on the radio or in your playlist/mixtape. Entering into the song with the intro, “play ‘Dreams’ by Fleetwood Mac,” kills the element of surprise. Most people (your truly included) will have already jumped to Stevie howling “it’s only right” over the somber drums, bass, and swelling guitar. If not that, then the legendary chorus. I can’t imagine the intro is their first thought.

For context, other examples include:

• “You Make My Dreams” - Daryl Hall & John Oates
• “Don’t Stop ‘Til You Get Enough” - Michael Jackson
• “Higher Ground” - Stevie Wonder
• “Understanding In A Car Crash” - Thursday
• “Sussudio” - Phil Collins
• “Invisible Touch” - Genesis

Until consumer tech is able to read minds, I don’t think this is a problem for technology to solve. The real problem here is caring way too much about what other people think. That is a problem I need a solution to now.

Jeremy Parish writing on his 2-dimensions.com blog:

Video games are made by hard-working schlubs, and they’re written about by hard-working schlubs, and both categories of schlub do so in service of the hard-working schlubs who do their schlubbing so they can afford to buy video games. We’re not so different, you and I.

Great perspective piece on 10+ years working in the gaming press. I have Parish, in part, to thank for where I am today. From one hard-working schlub, schlubbing to afford to write about video games on the side (because I can’t help it either), to another hard-working schlub: Thank you.

Leigh Alexander, writing for Time:

As video games unshackle from old constraints, traditional fans double down on keeping the treehouse sacrosanct. The tension between “games as product” and “games as culture” is visible within these online controversies as everyone invested in the industry watches to see which will “win”. Someone should tell the internet conspiracy theorists they can relax — we’ll absolutely, definitely have both.

One of Alexander’s many terrific pieces. Another great bit at Daring Fireball. (via Peter Hollo)