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Author: Bryant

Hostages

Well, this is an alarming new trend. That’s a total of thirteen foreigners kidnapped in Iraq in the last week or so. Hopefully it’s coincidence rather than a concerted effort, and hopefully everyone kidnapped will make it through the ordeal.

The victims include Christian evangelists, journalists, and human-rights workers. Doesn’t look like any common thread except that they’re foreign.

WISH #90: 2.0

WISH #90 asks:

What do you think about system updates (Paranoia XP, Amber 2.0, DnD 3.0/3.5) and conversions (d20 Silver Age Sentinels, GURPS Traveller)? What about world/setting updates that result in system reboots (the end of the Age of Darkness)? Do you buy them, run them, or use them for resources? Why or why not?

I don’t have a generic answer. I really liked the D&D 3.0 update. I didn’t much care about the D&D 3.5 update. Many of the Traveller updates sucked. The Hero 5th Edition update was great. The Vampire Revised update was quite good, for entirely different reasons. Etc.

I like it when an update is a chance to fix real rules problems or to tighten up the setting. Otherwise I don’t like them. Vampire Revised did a brilliant job at making the setting better without invalidating a lot of old play. Hero Fifth fixed several rules problems and vastly improved the presentation of the rules.

I look forward to World of Darkness 2.0, or whatever it’s officially called, because I think they will do a good rules revamp with the example of the Aeon Trinity system and because I think the new setting may rock. If the new setting doesn’t rock, I will probably not so much care about the rules revamps, though — my interest in WoD is primarily setting-driven.

Tools of the trade

Jay Rosen writes:

I will be discussion leader for a session at BloggerCon that we are tentatively calling “What is Journalism? And What Can Weblogs Do About it?”

If you plan to attend, (see Dave Winer’s invitation) or follow along by webcast, or if you just have an interest in the subject, here are background notes, some distinctions that might usefully be drawn before discussion starts, and an initial list of questions for the group. There will be no lecture, no speeches, no panel. Dave’s philosophy at BloggerCon (and I agree with it) is that the people in the room are the panel. Keep that in mind as you read this. If you show up, you are a participant. It helps to be on the same page as others, and that’s the purpose of this post.

This post is expanded from a comment I posted in response. I don’t usually do that, but given my earlier curt dismissal of the question I felt like I ought to make amends.

The question that comes to my mind is “What tools do traditional journalists have available to them that bloggers do not, and how can bloggers get those tools?”

Phil Wolfe asks, in the comment section of Jay’s thread, “When should the press director replace a camera man, photographer, or a print, TV or radio reporter with a blogger?”

I think that implies one answer: “traditional journalists have access.” Joshua Marshall has access because significant public figures will answer his questions. Kevin Drum had some pretty decent access during the Bush AWOL debate; did he just call Bill Burkett and ask questions? Did Burkett talk to Kevin because of Kevin’s reputation?

How do you decide which blogger gets on the bus? Does the answer to that question scale? If you make your decisions based on the most popular bloggers, doesn’t that just shift the paradigm? I.e., where it was once bloggers vs. Big Media, it might easily become the A-list vs. the B-list (vs. the C-list).

What else do trad journalists have? Lexis/Nexis access helps; I can get that but it costs me money. I think it’s fair to say that the traditional journalist has better access to research tools.

What else?

Red right hand

Yeah, so Hellboy. The more I think about it, the more I think it’s a great adaptation of the comics. It’s by no means a great action movie — it’s a good one, but not great. But the comics aren’t great comics, either; they’re just (just?) very very entertaining pulp. Hellboy is exactly that.

Also, del Toro infuses the movie with some of the best Lovecraftian feel since Dagon. The monster design is great, the villain design is great, it’s all great. I loved the tentacles. The movie looks just about perfect. Likewise, Ron Perlman is ideal for his role.

Flaws: the pacing of the ending is really odd. There are a couple of places where the transitions make absolutely no sense (weren’t those demons in New York five minutes ago?). But really, that’s about it.

And Hellboy’s stone right hand is excellent. It moves right, it feels like it can swat a tank through a wall, and someone was smart enough to use Nick Cave’s “Red Right Hand” in the soundtrack. Ironic musical gracenotes make my day.

Blinders, maybe

Dave Winer on journalists:

Journalists do all that they think bloggers do, with an extra added bonus of arrogance. There’s no accountability. No equivalent of the ABA or AMA. No malpractice suits to worry about.

Well, no equivalent except the SPJ. And while it’s true that journalists don’t have to worry about malpractice suits, I hear libel suits are still in vogue.

It’s such a silly question anyhow. Blogs are a medium, like television and newspapers. Journalists can blog; blogs are not inherently journalism.

Splish splash

Water Margin rocks out, as expected. I got a particular kick out of it because I know Ti Lung from A Better Tomorrow, and it’s funky watching a younger version. Others may recognize Tiger Tanaka from You Only Live Twice as Master Lu, the focus of the plot. But probably not cause he’s decked out in full old master regalia.

Anyway, it’s all kinds of epic but a little disjointed, which is not surprising considering that it’s just a few chapters of the vast novel Outlaws of the Water Margin. It’s easy enough to follow if you don’t mind all the seemingly marginal characters running around — it’s not that they’re unimportant to the saga, it’s that they don’t do as much in this segment. In some ways this was an excuse to put all the Shaw Brothers stars together in one movie.

The martial arts sequences are generally fairly short, except for the big climax. The weapons work is very cool, and there’s a lot of wrestling (mostly from David Chiang as Yen Ching the Young Prodigy) which is something I haven’t seen much of in Hong Kong movies.

Definitely worth watching.

Whittemore on espionage

A couple of quotes for Jere. First, about history:

Well, it was simple enough, he thought now. Anna was often on his mind these days because of Assaf. And so in the desert this morning his memory had abruptly tumbled back through the years to Stern, all the way back to Egypt and the Monastery where it had actually begun for Anna and him, although neither of them had known then that it was a beginning, so long ago in Cairo.

Stern… Anna… secret histories.

I suppose we all have them tucked away inside somewhere, thought Bell, these precious and secret events with their secret beginnings. Understanding as little as we do, we always seem to be connected to others in ways we never suspect, in a sweep of time we can’t fathom, in moments we’re only able to recognize years later. As if for each of us the important things in life become but one single story in the end, one beautiful secret dream we grasp too late.

And about the inevitable effects of undercover work:

As for the Runner, he was simply trying to survive in his innermost being, and what surprised him most was how remote his old self now seemed. He found himself recalling Yossi as he might recall a childhood friend. He knew every detail about the life of this other person, but it was all a memory from another world. Yossi’s hopes, Yossi’s fears… they were simply no longer his. Halim understood disguises, and the lean new face he saw in the mirror, with its deep-set eyes and white hair, meant little to him. It was the inner changes that astonished him as Yossi slipped away into the past.

The steps of survival were always so small, it seemed to the Runner. Yet how vast was the sad finality of these changes he was witnessing.

About history again:

Years ago in front of the fire in the great central room of his house, during the second winter of the Lebanese civil war, he had listened sadly, helplessly, to the outpourings of Ziad’s heart and watched the shadows of Ziad’s terror loom on the far walls of the room like some primitive dance of death in a cave on the edge of the underworld. He had felt very close to Ziad then, so close he had wondered whether he might be in danger of confusing Ziad’s destiny with his own.

Yes, well, his friend had given him many things over the years, far more than he ever knew. And wasn’t it strange how all of this had ineluctably come to pass for the Runner? Even with the most careful planning and all the will in the world, there never seemed a way to know which little moment from the past would mysteriously blossom into a man’s inevitable, entire future.

When did it begin, I wonder?

But when did what begin? Which part of the intricate scheme of things? The sordid nightmare of life which was Lebanon? His complex feelings for Ziad? A man’s estrangement from his country and culture?

And that was just it. For years he hadn’t had time to ask himself that sort of question, which a recluse like Bell pondered day in and day out. Yet once there had been long leisurely hours when he and Bell had explored it together in the ruins of the Omayyad palace in Jericho, sitting beside the magnificent mosaic of the pomegranate tree with its three gazelles and the lion.

Before the Six Day War. Yes, Halim remembered those times very well.

Edward Whittemore was a CIA field agent after World War II; in the 70s and 80s he wrote the Jerusalem Quartet, four novels about the Middle East. At first, they’re magic realism, but by the end they’re almost pure espionage. The final novel — Jericho Mosiac, from whence the above quotes originate — is a fictionalized account of Eli Cohen’s espionage career. As a whole, the Quartet is a superb depiction of the Middle East.

Met you tomorrow

Not that I am not all about the Luke Wilson, but I cannot help but think that 3001 ought to list C. M. Kornbluth in the credits somewhere. "Marching Morons" comes to mind.

The IMDB boards are all a-twitter because the plot is stolen from Futurama. Which, I guess, is evidence of Kornbluth’s predictive skills.