Author Archive for agavin – Page 93

The Girl with the Dragon Tattoo

Jan14

Director/Stars: Daniel Craig, Rooney Mara and Christopher Plummer, David Fincher (Director)

Genre: Mystery/Thriller

Watched: January 9, 2012

Summary: Very stylish dark thriller

TGWTDT is a peculiar literary and cinematic phenomenon. Wildly successful, it’s not your typical story or route to success. It also proves that some people, at least, still have an attention span.

Broadly, this is a serial killer mystery blended with a taunt character driven thriller. The story itself has an odd structure. For those of you that don’t know, we have an old Swedish billionaire who hires a brilliant investigative journalist to investigate the forty year-old unsolved murder of his niece. This is wound together with the life of a hacker/investigator (the titular girl) who investigates first the journalist and then the murders. But oddly, they don’t even meet for half of the film. The first half is driven by the journalist’s investigation and by dark character study of Lisbeth (the girl).

Be warned, this film contains crime scenes, grisly crime photos, crazy homicidal dudes in their dungeons, and a very harrowing rape sequence which is all too graphic. Director David Fincher lends his natural taste and talent for the creepy to the material with great success. No surprise, he directed my all time most disturbing film, Seven. This TGWTDT is much more stylish than the Swedish versions (and that was good too). Plus this style doesn’t trivialize the material at all, but only serves to heighten the emotional impact. The story is somewhat streamlined from the earlier film and the book, but also without significant sacrifice.

Daniel Craig is highly competent in the role and the excellent supporting cast makes fine work of the host of swedish creeps (and occasional decent human being). But it’s Rooney Mara’s Lisbeth that absolutely steals the show. Of course this character is probably to a good degree responsible for the success of the franchise, but Mara does her justice. Her Lisbeth is detached, yet sexy and vulnerable, but also kick ass physically and intellectually. She’s a very complex character and both her striking visual presence and subtle performance are riveting. I particularly liked her sexual relationship with Craig. Here’s a man who clearly is used to being a man, and then she reverses the whole deal on him. He likes her, but doesn’t really know what to make of the whole thing.

But for us, that’s great movie making. Just be warned, this is not a film for the squeamish.

For more Film reviews, click here.

Or read about my current project, The Darkening Dream.

By: agavin
Comments (0)

Posted in: Movies

Tagged as: Christopher Plummer, Daniel Craig, David Fincher, Dragon Tattoo, Film Review, Girl With Dragon Tattoo, Lisbeth Salander, Movie Review, Rooney Mara, Sweden, Swedish

Paperback Getting Close

Jan12

The “beta” of The Darkening Dream‘s Trade Paperback cover has come in and I submitted another proof. With any luck I might get it on sale next week, the week after for sure. The interior layout has been complete for almost a week too. I can’t wait to see this puppy in the flesh. It should look great.

You can see some of the old paper test versions below. My long standing Lulu (ick) ARC on the left and an older CreateSpace proof on the right. Even with that hybrid cover the CS proof is looking and feeling great.

Apple also finally turned on my iBooks account today and so the iBookstore version should be up in… well however long it takes them to approve it. Given that it took ten days just to validate the account it might not be instant. All the sites except for Amazon and slow slow slow. For example, I uploaded the new cover to Barnes and Noble a week ago and it still hasn’t updated!

By: agavin
Comments (1)

Posted in: Darkening Dream

Tagged as: Amazon.com, Andy Gavin, Apple, Book Cover, Cover art, Cover Design, CreateSpace, IBooks, iBookstore, Lulu, Paperback, The Darkening Dream, Trade Paperback

Crash goes to Japan – part 1

Jan11

It’s probably hard for younger gamers to recognize the position in gaming that Japan occupied from the mid eighties to the late 90s. First of all, after video games rose like a phoenix from the “great crash of ’82” (in which the classic coin-op and Atari dominated home market imploded), all major video game machines were from Japan until the arrival of the Xbox. Things were dominated by Nintendo, Sega, Nintendo, Sony, Nintendo, Sony… you get the picture.

And in the days before the home market eclipsed and destroyed the arcade, Japan completely crushed everyone else. Only the occasional US hit like Mortal Kombat even registered on the radar.

Miyamoto, creator of Mario, playing Crash 1. I’m standing behind him off frame

All of this, not to mention the cool samurai/anime culture and ridiculously yummy food (see my sushi index!), made us American video game creators pretty much all Miyamoto groupies.

But on the flip side, American games, if they even made it to the land of the rising sun at all, almost always flopped.

Japanese taste is different the wisdom went. Special. Foreign games even had a special name over there (which I have no idea how to spell). These “lesser” titles were stocked in a seedy back corner of your typical Japanese game store, near the oddball porn games.

So it was with great enthusiasm and limited expectations that we approached the mutual Naughty Dog, Mark Cerny, and Sony decision that we were going to take the Japanese market really seriously with Crash. Sony assigned two brilliant and dedicated producers to us: Shuhei Yoshida and his then assistant Shimizu (aka Tsurumi-0600). They sat in on every major planning meeting and we scheduled the whole fall for me to localize the game in exacting detail (while we were simultaneously beginning work on Crash 2!).

For the most part, Yoshida-san made things happen and Shimizu, who has literally played like every video game ever made and read like every manga, worked the details. I (with a bunch of help from the artists) had to put in the changes.

Yoshida-san front and center, Shimizu on the far left, Rio (joined the team during Crash 2) on the far right

Somehow Yoshida-san was able to maneuver the game into being not one of those funny foreign games, but an official bona fide release of Sony Computer Entertainment, Inc. the first party Japanese studio. And it was to be sold and marketed pretty much like it had been made in Japan! Wow!

So to pull off this cultural masquerade Jason and I decided that Shu (as Yoshida-san was affectionately known) and Shimizu got pretty much whatever they wanted. They after all, knew the mysterious Japanese market. Which turned out to be pretty darn true. And, besides, both are really really smart and crazy hard workers (Shimizu is famous for sleeping under his desk) and so we all got along famously.

The gameplay itself wasn’t really too much of an issue. Shimizu did help us smooth out some sections and make them easier (often by adding extra continue points − opposite of Europe). But there were a lot of other changes.

The Crash 1 main titles, in Japanese

First of all, we had to translate the text. Some of this wasn’t so bad. But the main logo was a 3D object and Jason had to painstakingly create a version of the paper design the Japanese provided us — which required lots of checking from Shimizu as he doesn’t speak Japanese.

http://www.youtube.com/watch?v=s4XzmZyiIXA

Above is the opening in Japanese.

And things got even harder (for me) with the in game text. The Playstation didn’t have a lot of video memory and we were using a medium resolution 512 pixel wide mode anyway. What little there was, we had pretty much consumed. But the Japanese language has four alphabets! One is Latin, two are similar but different looking phonetic alphabets, and the last is the giant Kanji pictographic database. Kanji would’ve been impossible, but we needed to cram the two extra phonetic sets in. Plus the characters are more intricate than the Latin alphabet and need more pixels. I can’t remember what I did to squeeze them in, but I do remember it was painful. One part I do recall was implementing the sets of letters that vary only by an extra dot or ” mark by drawing them with two sprites (hence saving video ram).

Once the font was installed we had to input the crazy looking “shift JIS” text. One of the problems in those days was that the text editors all 8-bit, unlike today were 16-bit typesets dominate. And with a European language you can usually tell if a line of text had gotten swapped or mangled, but in Japanese… and even worse, in shift JIS it just looks like a bunch of garbage characters.

So again, Shimizu had to check everything. A lot.

Our opening and closing cut scene dialog was recorded in Japanese using very high profile Japanese actors (so they told me). We replaced those audio files (using one of my automated systems of course!). There were also a good number of cases throughout the game where we had placed text in textures. The configuration screens, loading screens, load/save screens and all sorts of other ones. These all needed new versions. We collected all of these textures, shipped them out to Japan and got back Shimizu certified versions in exactly the same sizes with the Japanese text. I used and upgraded the system that I had built for the European version so that any file (texture, audio, etc) in the game could be “replaced” by a file of the same name in the same directory with a .J on the end (or a .S, .E, .F, .G, .I for various European permutations). The level packaging tool would automatically suck up the most appropriate version and shove it in the J versions of the levels. I’m not sure we left ANYTHING untranslated. Even Japanese games usually had more Engrish. Achem, English. I so remember a Castlevania with “Dlacura’s grave.”

Then the Japanese came up with this idea of having Aku Aku explain various gameplay mechanics to you when you break his boxes, much like the raspberry boxes in Super Mario World. This was a great idea, except it meant that the game was suddenly filled with about 200 extra paragraphs of text. Undecipherable text. I had to squeeze that into the levels too. More problematic was the seemingly simple fact that when a big block of text comes up on the screen the game effectively needs to pause so the player can read it. You can’t just “hit pause” but need a separate state. This simple feature caused a lot of bugs. A lot. But we stomped them out eventually.

http://www.youtube.com/watch?v=WojXNCbHOmY&feature=related

Above you can see a walk through of the first level. A lot of the PITA localization work was in the save screens (big fun: character entry screen in three Japanese alphabets) and the various statistic screens at the end of the level. I think the Japanese allowed us to do away with the horrible password system and use memory card only.

The Japanese box and CD with its very strange Crash and Eve painting — it was nice and colorful

The Japanese also had some famous actor record a whole collection of really zany sounding grunts and noises that Crash was to make. Shimizu lovingly crafted long lists of extremely specific places in the game where exactly such and such exclamation was to be uttered. He was never one to spare either of us from a great deal of work 🙂 But his willingness to tackle any task himself, no matter how tedious, made him hard to refuse. I also had to squeeze all these extra samples into the extremely tight sound memory, mostly by downgrading the bit-rate on other sounds. This caused Mike Gollom, our awesome sound design contractor to groan and moan. “3.5k is pure butchery” he’d complain. I found this SGI tool that used a really advanced new algorithm to downgrade the sounds, they sounded twice as good at any given bit-rate than the Sony tool.

Anyway the really funny bit about these Crash sounds was the subjective feel they left us Americans with. Strange! They made Crash sound like a constipated old man. But the Japanese insisted they were perfect. I guess they were right because the game sold like crazy over there.

Another weird audio difference was that five of the songs were swapped out for new ones. Josh Mancell the composer put it this way:

An 11th hour decision made by the Sony people in Japan. They felt that the boss rounds needed to sound more ‘video game-like’. The only reference they gave was music from the Main Street Electrical Parade at Disneyland. I only had a day or so to write all those themes. My favorite comment was about the original Tawna bonus round music. It roughly translated into ‘the sound of the guitar mixed with the tree imagery is too nostalgic-sounding’. I’m still scratching my head on that one.

You can find the different tracks here.

There were also a host of minor but strange modifications we needed to make. One was that a few characters originally had four fingers, which is typical of most American cartoon characters. Apparently the Japanese have a more than usual dislike of disfigured humanoids. Fingers were added (to make them the normal five). There were a whole bunch of little visual, audio, and gameplay changes Shimizu had us make to the game. Most of these I felt were neutral, different but not really better or worse, so I just trusted him and put them in. Occasionally if they were a really pain I pushed back.

Eventually, right around Thanksgiving, just in time for Jason and I to head to Japan to promote it, the Japanese version was ready!

Coming soon, I plan on a part 2 covering Japanese marketing and promotions!

If you didn’t catch it, I have a similar detailed post in the European localization of Crash.

If you liked this post, follow me at:

My novels: The Darkening Dream and Untimed
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Cover of the hint guide in Japan

By: agavin
Comments (142)

Posted in: Games

Tagged as: Atari, Crash Bandicoot, Japan, Japanese Localization, Mark Cerny, Mortal Kombat, Naughty Dog, Nintendo, pt_crash_history, Sega, Shimizu, Shuhei Yoshida, Sony, Sony Computer Entertainment, Super Mario World, Video game, Xbox

Uh no, Takao again!

Jan09

Restaurant: Takao [1, 2, 3, 4, 5, 6]

Location: 11656 San Vicente Blvd, Los Angeles, CA 90049. (310) 207-8636

Date: December 10, 2011

Cuisine: Japanese / Sushi

Rating: 9/10 creative “new style” sushi

I’ve already covered Takao in some detail HERE and then separately here, here, and here, but we went back (we go often). The full menu and some information on the history of the place can be found through the first link.

This particular meal is another take on the medium sized omakase, which is a very good deal (in a relative high-end sushi kind of way).

We started off with a lovely “shaved rice” style cold sake. I’ve become increasingly fond of this old-school premium form of sake.

A starter trio. Some crab in miso, fresh salmon sahimi with onions, and marinated ginko nuts.

Spanish mackerel salad with spinach. The fish was marinated and grilled and they formed a nice fresh contrast.

Scallop sashimi with a trio of sauces.

And fresh octopus sashimi with the same sauces for contrast.

Then some top grade toro sashimi. Like butter baby!

New style sashimi with warm olive oil, sasame, chives, ponzu, and sliced truffle.

King crab legs with a sweet vinaigrette.

Traditional Japanese egg custard with mushrooms and fish. Like creme brulee without the crust or the sugar and with fish!

Seared at the table beef (in a teriyaki-style sauce) cooked as you like it in a cast iron plate.

Eel tempura. Tasty, I think this was the first time I’ve had eel as tempura.

Classic miso soup.

A little sushi flight. Left to right. Toro, yellowtail, salmon, tai (red snapper), and tomago (sweet omelet).

And finally green tea creme brule for dessert.

Another intensely satisfying Japanese meal down the gullet. As you see, we keep going back to Takao and while the style remains the same, the ingredients mix it up substantially each time. Awesome place. More reviews here: [1, 2, 3, 4, 5, 6].

For more LA area sushi, see here.

By: agavin
Comments (1)

Posted in: Food

Tagged as: California, Dessert, Japanese cuisine, Los Angeles, Los Angeles metropolitan area, Omakase, sake, Sashimi, Sushi, Takao

Sucker Punched

Jan08

Title: Sucker Punch

Director/Stars: Abbie Cornish (Actor), Emily Browning (Actor), Zack Snyder (Director)

Genre: Action

Watched: January 5, 2012

Summary: Style over substance

The concept for Sucker Punch, whacked as it is, is actually pretty decent. The movie is also gorgeous and stylized. Yet… it just doesn’t really work at any rational level. Part Kill Bill, part Pan’s Labyrinth, part Inception, part Sin City, part video game cut scene, this film is all CGI glitz and fetishistic style. It’s also worth noting that the writer/director, Zach Snyder, brought us those other style over substance “classics”: Watchmen and 300.

As to the plot. Wait, I can’t really use that word because as I’ve discussed at length before plot is the action created by opposition to the protagonist’s desire. The characterization in this film is about as solid as a whiff of gunpowder and we have only the most basic desire: escape. The film opens with a comic book style summary of the setup: girl has been orphaned, framed by her evil step-father, committed to a mental asylum (in the late 40s), and scheduled for a lobotomy. From this grim — but actually dramatically interesting — setup we devolve into a series of nested fantasies.

Now don’t get me wrong. I love reality bending films. Pan’s Labyrinth is my favorite film of the last decade. They’re just hard to get right and it’s key to overlap and contrast the inner and outer worlds. In Sucker Punch, the outermost (or real) world is seen for about three minutes at the beginning and again for about three minutes at the end. Oddly, a middle layer in which the girl (named only Babydoll) imagines herself a prisoner not in a mental institution but in a stylish brothel serves up what little plot and characterization we have. This itself parallels with the real world and might have been interesting if we spent any time there. Instead we are propelled one after another into a series of really cool looking fantasy set pieces. Oddly, the “plan” to escape the institution (brothel, asylum — both? neither?) is broken down into a quest of five video game like steps, conveniently provided by Scott Glenn in a role known only as “The Wise Man”. Each step, which in the midworld amounts to things like: “steal a lighter from the fat-cat mayor who is visiting to have his way with the fifteen year-old hotties” is instead rendered into an “action packed” fantasy that has very very little bearing on the task. Also, this setup, which is pretty awful but intriguing is whitewashed due to a pansy PG-13 rating.

We have a big fight in a cool asian temple against three giant robo-samurai-knights. Each has his own weapon! Yah video games. This even includes a Doom-style gatling gun.

Immersion in a steampunk super-sized World War I trench battle, which honestly for about one minute took my breath away.

A return to the assault on Helm’s Deep, complete with orcs in danger of lawsuit from WETA and big fire breathing dragons (the dragon is the lighter — yeah, that’s deep connection).

And a sci-fi shootout bomb run on a super high tech train filled with killer robots. Snooze!

The first three of these, particularly the WWI fight, are gorgeous. I mean really cool looking. But they are ten-fifteen minute fight scenes with almost no dialog set to ethereal music like a version of “White Rabbit” sung by Emiliana Torrini. (NOTE: I did order the soundtrack, that part was awesome) For a minute or three each they seem intensely cool. But they’re just shooting, jumping, slicing and more shooting. We don’t know who these characters are. They’re in a dream within a dream. And we don’t care. They are shooting at thousands of horde-like video game style enemies. We don’t care. Somehow each of these fights results in achieving the fairly straightforward midworld objective. The connection is highly non-obvious.

Highly non-obvious = non-existent.

It’s also worth noting the extremely bizarre infusion of manga/game infused stylization. First of all, by including Comic book, 40s faux-gangster, Asian, WWI, Fantasy, and Sci-Fi we have a serious total complete massive buttload overabundance of style. Any one of these would have made for a highly stylized firm. Extreme too too too too muchness. But the girls in their weird “warrior schoolgirl” outfits is whacky — although I am a lover of midriff — and I could have gotten drunk taking a shot every time someone thunked down a gun in slow-mo or gotten rich with a penny for every giant CGI gun casing that flipped toward the camera. This is of the more is more school of filmmaking. Synder should have studied more closely what makes Pan’s Labyrinth a brilliant film: Two styles contrasting, with one being hyper realistic, a strong tie between the fantasy and reality planes. And most importantly: highly developed characters including one of the most terrifying genuine evil types to cross the silver screen in years.

Sucker Punch sort of totally could have been cool if we cared.

For more Film reviews, click here.

Or read about my current project, The Darkening Dream.

By: agavin
Comments (3)

Posted in: Movies

Tagged as: Abbie Cornish, Babydoll, Emily Browning, Fantasy, Scott Glenn, Sucker Punch, Video game, Watchmen, World War I, Zack Snyder

Near Dark – The Hurt Coffin

Jan07

Title: Near Dark

Director/Stars: Lance Henriksen (Actor), Adrian Pasdar (Actor), Katherine Bigelow (Director)

Genre: Horror

Watched: January 3, 2012

Summary: Old fashioned 80s vamp fun

Somehow I missed this 1987 low budget vampire classic. Not only is it a stylish 80s take on the vampire legend, but it’s written and directed by Katherine Bigelow (very early in her career). She goes on to do Point Break, Strange Days (one of my favorite films), and The Hurt Locker. It’s also packed with a cast straight off the Aliens set. No surprise, given that Bigelow was shacked up with James Cameron in this period. This gives us the ever reliable B-movie king, Lance Henriksen, plus Bill Paxton, and Jenette Goldstein.

This is a dark, road horror movie shot in the days before anything was digital. Still, it’s more watchable than many a newer film. It has excellent direction, stylish cinematography by Cameron alum Adam Greenberg, and an awesome moody Tangerine Dream score (which is going for $120 on Amazon!).

Remind you of Aliens?

The lead, armed only with a vampire name (Caleb) is just some Oklahoma hick. He falls in with a cute girl and a little necking turns into a lot of necking — leaving him daylight challenged. The film focuses fairly effectively on the “becoming a vampire” thing and the symptoms and consequences. It’s all pretty cool except for the “have to kill and drink someone every night” bit (or bite as the case happens to be). Poor Caleb has just too much of a conscience for the lifestyle, but still, he’s dragged alone on a murderous undead joy ride.

The red-neck bar blood fest is a particular highlight.

The vampires in this film stick fairly closely to some of the canonical rules: They catch fire in the daylight, drink blood, etc. But the more religious and bestial tones are dropped. No crosses, no invitations, no coffins, no fangs (that we see). They do heal fast.

I very much enjoyed the film, although in many ways it has more in common with a plain vanilla murder spree road trip movie than most supernatural films. My only beef was with the ending. Somehow Caleb and girl manage to just reverse the whole undead thing with a bit of a transfusion. Vampires should be dead. The dead don’t stop being dead.

For more Film reviews, click here.

Or read about my recently released vampire novel, in which the undead do stay dead.

By: agavin
Comments (2)

Posted in: Movies

Tagged as: Adrian Pasdar, Bill Paxton, Hurt Locker, James Cameron, Jenny Wright, Katherine Bigelow, Kathryn Bigelow, Lance Henriksen, Near Dark, Point Break, Strange Days, vampires

Parlez vous Crash

Jan06

In the mid to late 90s, Playstation games had three SKUs: SCUS, SCEE, and SCEJ, being respectively the US NTSC version, the European PAL version, and the Japanese NTSC version.

The American version shipped in early September 1996. We finished it in early August (manufacture took a month). From my perspective — and it’s worth noting that during the Crash period I personally did most of the localization work — the European version was finished at the same time. I’d killed myself getting it ready during July. But Europe itself liked to drag matters out with a leisurely testing schedule. I wanted it done, because until it was, I couldn’t do much else.

At Naughty Dog, we pioneered the idea of simultaneous international release. By Crash 2 and Crash 3 the same exact code, conditionalized very slightly, ran all three versions. Jak & Daxter was one of the first games where the American version included the European languages. By Jak II you could switch languages on the fly in the menu anytime. We wanted one code base, one art base, one thing to debug. We wanted it for sale simultaneously world wide. I wanted one gold master.

This goal and the tools to do it began on Crash 1, and were fairly well in place by Crash 2. The international groups weren’t quite as on board and year after year dragged out the European and Japanese editions for extra testing. As best I can tell this resulted mostly from a “this is the way it’s always been done” kind of mentality. Jason and I have never been big on that type of reasoning. Still, that personal caveat aside, even from Crash 1, Sony’s international teams did an awesome job, putting in a tremendous effort to ensure the product was really polished for each territory.

The front of the original PAL edition

Anyway, each territory had its own quirks. With the European version, they stemmed from PAL, the old European video standard. PAL actually has a slightly higher resolution and better color fidelity than NTSC (the US standard). But the kicker is that it runs at 50 hertz instead of 60. For Crash this meant that the frame rate would be 25 frames per second instead of 30.

The resolution itself wasn’t much of a problem. Crash was mostly a 3D game and it wasn’t hard to adjust the projection matrix in the engine to render the game to a different resolution. But the aspect ratio of PAL pixels is also a little different and Crash did have a certain amount of bitmap graphics like the powerups and font. The PAL frame buffers were larger and the machine had the same video RAM so increasing the resolution of the sprites was rarely an option. Generally, we just had to live with a slight aspect shift or stretch them to fit. I developed notation in the original data so that different kinds of sprites could go either way in a fairly uniform manner.

The real kicker was the frame rate. One of the reasons why the animation in Crash is so so much better than most of its contemporaries is that we stored every vertex for every frame — then compressed the living crap out of it. This meant that each segment of animation was sampled from Alias PowerAnimator at 30 fps. I modified the tools to support making a second copy of every animation where the step rate was adjusted to 25fps. The pal version used these files instead of the originals. This worked about 80% of the time. Sometimes it became necessary to notate a particular animation segment as having a strange or custom step for PAL, or even hand code certain frames. I added special constructs to my custom language (GOOL) which made this stuff as automatic as I could.

It often came in these enlarged boxes to fit all those languages!

But the physics and collision systems also needed to adjust to the different frame rate. I had done PAL conversions for Rings of Power and Way of the Warriorand having every great programmer’s hatred for tedium had developed the notion when starting Crash that I would notate all “time and space based” units not in the traditional game programmer manner of “moves X pixels per frame” but in a kind of neutral space. Hence everything in Crash was measured in meters, seconds, and the like. I built into GOOL constructs like (meters 5) or (meters-per-second 2.5). The compiler or the runtime (depended) would convert these on the fly into the appropriate pixel per frame units.

This had a number of big advantages. First of all, even without the PAL issue, it allowed the physics (and the enemies) to move in a fairly frame rate independent way. Special functions were used to deal with velocity and acceleration which took into account the current frame’s estimated real time (based usually on how long it took the previous frame to compute and render). This meant that the code which propelled Crash in a parabolic arc as he jumped would move him further per frame if the frame rate slipped to 20 or 15 (which, unfortunately, it sometimes did). This wasn’t a perfect solution, 15 fps still played worse than 30, but it helped.

And it really paid off with the PAL conversion. The hard work — and it was incredibly tedious — really only took me about five days. After running all the automatic convertors and debugging those I had to go through the entire game and check every single level, every creature, every behavior of every creature or object and make sure it stilled played and looked okay in PAL. If it didn’t I had to play with the numbers, or in the worst case add some special “if PAL do it a little differently” clauses to the GOOL code.

But this was in a world where most American games just played 16% more sluggishly in Europe and most European games 16% fast in America.

Crash played great in both — and looked great in both. The Euro version actually even looked a little better (higher resolution and better color) although the feel at 25hz was slightly inferior. But we didn’t invent the TV standard.

The final tricky bit with localization was the language(s). Crash 1 didn’t really have any voice (which was to become a huge deal in later games). But it did have some text.

This is Crash 2, which is the only picture I could find, but Crash 1 was similar, just with the C1 title page

In typical programmer fashion, I invented another system for this. All of the text was generated by literal strings in the GOOL code, and since I controlled the compiler, I added a feature where a mapping file could be created for each language specifying the English text and the equivalent phrases in each of our five languages (English, French, Spanish, German, Italian). I changed the way strings were handled to index into a table and to have five files on disk for the string buffer. This is typical now, but was very unusual then. Even on Crash 1 you could change the language on the fly. But Europe made me put the toggle only at the main menu because they didn’t want to have to test for weird bugs that came up when you switched languages in the middle of a level.

I systemized all of this stuff by having the tools and the game itself both have separate notions of: video rate (NTSC, PAL), territory (which country’s disc it actually was), and language. This separated the concept of language from territory, opening up the possibility of foreign languages in the American versions (which didn’t happen until Jak 1 for logistical and legal reasons).

As requests came in from Europe to do peculiar and territory specific things like “make the game harder because European gamers like a challenge” (after Crash 1 we refused to acknowledge this “truism”) I modified the tools to allow territory specific overrides in the files that controlled the game data. For example, CONTINUE_POINT_64_32 in the jungle level, “hide in europe.” While I’m not sure the frustrated Euro gamer appreciated it, the system did make serving the producer’s requests easier.

In any case, the Euro version of Crash was lavished with the same attention to detail with which we did everything, and Sony Europe did the same. This was one (if not the) first product for which the whole international organization was behind and where they controlled the worldwide rights. Each Sony territory really pulled out all the stops in supporting and promoting the game as “made here.” It was highly localized, not just the game itself but each little country in Europe doing its own advertising and marketing campaign. Even the Irish filmed their own ads with Irish accented actors. Traditionally game players were highly “nationalistic” with, for example, French games selling better in France. The attention paid by both us and at all levels of the Sony infrastructure to selling a worldwide product aimed specifically at each and every consumer group really paid off.

The game sold like wildfire everywhere. Although we had certain champion territories like France and Australia (Crash’s virtual birthplace) who really poured on the love.

The story continues with Crash goes to Japan!

If you liked this post, follow me at:

My novels: The Darkening Dream and Untimed
or the video game post depot
or win Crash & Jak giveaways!

Latest hot post: War Stories: Crash Bandicoot

Yes, Crash really took to the old country.

By: agavin
Comments (51)

Posted in: Games

Tagged as: Crash Bandicoot, Europe, Games, Localization, Naughty Dog, NTSC, PAL, PAL region, pt_crash_history, SCEE, Sony Computer Entertainment, United States

Game of Thrones – Renly’s Armor

Jan05

I can’t resist a little continued geek out and bringing you a video on the making of Renly Baratheon’s armor for season 2 of Game of Thrones.

What’s most impressive about this is not the look per se, but the incredible attention to detail lavished on each and every little item and prop. Truth is, you can’t obviously TELL that this is a unique “fashion prince” take on scale mail, but it’s part of what makes the show look fairly medieval, and not all lame shiny like say… King Author. Oh and then there is the fact that it’s well written. And that’s the most important thing of course.

My full episode by episode coverage of season 1 can be found here.

If you liked this post, follow me at:

My novels: The Darkening Dream and Untimed
or the video game post depot
or win Crash & Jak giveaways!

Latest hot post: War Stories: Crash Bandicoot

By: agavin
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Posted in: Television

Tagged as: A Song of Ice and Fire, Armor, Art, Game of Thrones, George R. R. Martin, HBO, Mail, Major houses in A Song of Ice and Fire, Television, World of A Song of Ice and Fire

The Final Cover

Jan05

And if you believe I’m really done, I’ve got a bridge to sell you…

But anyway, I’m done for now.

Click to embiggen.

As you may have noticed if you were following the last cover post, I went with the orange — again for now. The gray is perhaps prettier, but the orange pops. I also changed up the author font to a more vintage typeface to imply the 1913 time frame of the novel. And we made various other tweaks like brightening the girl which is mostly for shrunken E-Book versions of the cover where she got lost in the shadows.

Anyway, I’ve already uploaded the new version to all three E-Book sites I’m currently live with. Amazon has already updated, but the lamer, slower other sites will lag behind. If you downloaded the old cover and want to upload I suspect you can just “delete” the book from your Kindle app and retrieve the new one from the archives. I’ll test that myself soon.

So you should just go and buy it if you haven't

By: agavin
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Posted in: Darkening Dream

Tagged as: Andy Gavin, Book Cover, Cliff Nielsen, Cover art, E-book, The Darkening Dream

Special Prize Winners

Jan03

The first round of the crazy Naughty Dark Contest already has not one, but two special prize winners! And these lucky guys are both from Crash’s home country, Australia.

Tyson Cleary of Tasmania

and

William Errey from Perth

For more info on the contest, a detailed list of prizes and rules can be found here!

Both guys also wanted copies of the original Crash Bandicoot and here they are prior to shipping. I signed both cover and CD, including my special unforgable “symbol.” Yes, like Prince, I have a symbol. But you’ll have to ask the Painted Man what it means.

Thank you both immeasurably!

It’s also worth noting that this has made the virtual hat for the first round even more lucrative for the rest of you. Due to their prize winning each first round ticket is worth at least a 2% chance of winning a prize now — and if someone else claims a special prize, it could be even greater. So read up on the rules and participate.

Start by purchasing The Darkening Dream!

By: agavin
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Posted in: Contests, Darkening Dream, Games

Tagged as: Andy Gavin, Australia, Contest, Contests, Crash Bandicoot, Giveaways, List of prizes medals and awards, Naughty Dark Contest, Tasmania, The Darkening Dream

For sale at B&N and Google

Jan03

My novel, The Darkening Dream, is now for sale at Barnes and Noble and the Google bookstore.

Buy it Now!

The Nook version is fine, but use Google only if the others don’t work for you. Google’s processing engine rips apart the EPUB and puts it back — with less than dazzling results. You can read it fine, but they mangle my nice CSS formatting and butcher the little chapter start illustrations. I’m still trying to get an improved version through their system.

Paper versions are coming in about two weeks.

Truly it’s no wonder Amazon is winning the E-Book war. I simultaneously started the process of uploading to: Amazon, B&N, Google, Kobo, Sony, and Apple. The results, from best to worst:

Amazon: Took 15 minutes, it was ready 7 hours later.

B&N: Took 15 minutes, nice previewer, took 7 days to post.

Google: Took 2 hours. The interface is one of the worst ever designed. I wasn’t even sure it was processing when I was “done.” Took 48 hours to post. Mangled the book and the price and have been struggling for days to get an updated version posted.

Sony, Kobo, Apple: Still waiting for my applications for accounts to go through. This should be instant! Haven’t even been able to submit the actual book yet.

As a note too, I refuse to use Smashwords until they allow a direct EPUB upload. Using their crazy meatgrinder is not appealing at all.

Find out more about the book here.

By: agavin
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Posted in: Darkening Dream

Tagged as: Andy Gavin, Barnes & Noble, E-book, Google Bookstore, Novel, The Darkening Dream

Sugar & Spice

Jan03

Title: Sugar & Spice

Author: Saffina Desforges

Genre: Crime Fiction

Length: 353 pages

Read: Dec 26 – 28, 2011

Summary: Disturbing, but gripping

I was slogging through a best selling YA historical fantasy when I finally couldn’t take it anymore. That particular piece of anonymous juvie trash was making me want to gag myself with a spoon so I needed to wash the bad taste out of my mouth with an entirely different kind of filth.

Enter the disturbing indie crime thriller about no less a subject then a serial killer with a taste for little girls. Apparently it’s been a runaway best seller in the UK (both the author and the setting are British). And you’d have to be a total whack-a-doodle like me to even pick up something like this.

Sugar & Spice doesn’t have the greatest writing in the world. The book has a peculiar distant quality — maybe a good thing — and the point of view changes are frequent, confusing, and totally jarring.

Still, I couldn’t put it down. Desforges sure did a lot of research into the dark unpleasant corners of the human psyche. And this book attempts to put you there. Full frontal. It’s not a comfortable place, but it does have all the fascinating quality of a colossal train wreck. There’s no brilliant storytelling here, although the prose is workmanlike and clear. The book could use a 15-20% trim-job. But it’s still a compelling journey if you like to read on the dark side.

If you don’t, stay far, far away.

For more book reviews, click here.

By: agavin
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Posted in: Books

Tagged as: Book Review, Crime fiction, Saffina Desforges, Serial killer, Sugar & Spice

Announcing the Naughty Dark Contest

Jan02

This is the kickoff post for my new experimental — and hopefully permanent — giveaway program. Via this contest you, dear reader, will have the opportunity to win signed copies of Crash Bandicoot and Jak & Daxter games as well as my books and cool toys. All you have to do is participate in my gleefully elaborate scheme to help sell and promote my new novel, The Darkening Dream.

A detailed list of prizes and rules can be found here!

Or by clicking anytime on the big contest icon in the sidebar.

So if signed copies of any of the following look up your alley, read the rules and participate! And even if you aren’t a collector they apparently have significant dollar value because a set of four signed Crashs sold on Ebay recently for over $453!

By: agavin
Comments (5)

Posted in: Contests, Darkening Dream, Games

Tagged as: Andy Gavin, Contest, Crash Bandicoot, free, Giveaways, Jak & Daxter, Naughty Dog, Prizes, The Darkening Dream

A-Frame – Ultimate Picnic Food

Jan01

Restaurant: A-Frame

Location: 12565 Washington Blvd, Los Angeles CA 90066 – tel: 310-398-7700

Date: December 15, 2011 & February 28, 2012

Cuisine: Gastro Picnic

Rating: Really yummy

A-Frame’s building used to be an IHOP — hence it’s architecture and the name.

It has, however, been really revamped.

A nice Burgundy to begin.

The menu is fairly short. We ordered everything tapas style, regardless of the category.

“Heirloom pickles.” I like pickles, but perhaps better with rice al la certain Japanese dishes.

“Island Farmer’s Market Salad.” A nice pleasant salad with Asian notes.

“WAGYU BEEF TATAKI with sliced pearl onions, ginger, pickled jalapeño and shoyu vinaigrette.” This was a wonderful dish. Very tangy with great texture.

“BLUE CRAB CAKES with lemongrass creme fraiche, bibb lettuce, and perilla leaf.” These crabcakes were to be eaten “thai-style” wrapped in lettuce. They were quite good.

“CHARRED BABY OCTOPUS with carrot kochujang puree, bok choy, pickled vegetables and nori seaweed.” Another nice dish.

“SESAME LEAF WRAPPED SHRIMP TEMPURA with fresh cucumber, herbs and shoyu dipping sauce.” This had shiso (a Japanese mint relative), which pretty much means I adored it.

“CLAM CHOWDER with green curry, lemongrass, pancetta, coconut milk and toasted sourdough.” A really nice take on “clam chowder.” Essentially it tasted a lot like one of those creamy coconut milk/lemongrass thai soups, but with a nice bacon richness somewhat akin to a great New England chowder. Bravo!

“BABY BACK RIBS air-dried and hoisin-chili glazed.” These were some great ribs too, with a rich “Chinesy” taste and a good amount of vinegar.

“ROASTED LAMB with toasted sesame oil, shoyu and garlic served with fresh herb salad and salsa verde.” This dish was fine, but it didn’t have the flavor impact I was looking for.

“CRACKLIN BEER CAN CHICKEN with kimchi, century egg, salsa roja and verde.” Good fried chicken.

“Lamb Meatball Skewer.” These were nice ground lamb skewers, but they seemed a bit expensive for what they were.

“Pan Roasted Brussel Sprouts. with rice cakes, kimchi bacon puree and diced apples.” The bacon sold it.

“BANANA BACON CREAM PIE vanilla cream, caramel bananas, and bacon brittle.” I hate banana, but this was still good. The bacon sold it!

“THICK ASS ICE CREAM SANDWICHES with black pepper szechuan ice cream and salted chocolate cookie.” This was a wonderful ice cream sandwich. I loved the peppery ice cream.

“CHU-DON’T-KNOW-MANG pound cake cinnamon churros, with malted chocolate milk and vanilla ice cream.” And this was the complete winner in the dessert category. These were some of the best churros I’ve had, and that milkshake-like thing was awesome.

Happy times!

The chickens going around and around.

Overall, I was very pleased with A-Frame and will totally be back. This was a pair of VERY tasty meals with a unique take on fairly uncomplicated food. Essentially, it’s very contemporary without being avant garde, and fuses eclectic flavors from around the world with American comfort foods.

For more LA dining reviews click here.

By: agavin
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Posted in: Food

Tagged as: AFrame, California, Clam chowder, Culver City, gastropub, Los Angeles, Public house, ribs, Santa Monica California

Cover Takes – Opinions Wanted!

Dec31

Even after the product launch has begun, I’m still tinkering — and such is the way of it in the new world of agile product development. My current cover (to the left) now has an awesome image, but the overall effect isn’t quite bookish enough. So in the interest of total transparency (or mind numbing boredom?) I’ll continue to let you in on these intermediate steps of the creative process.

My cover designer, Pete Garceau, has whipped up a couple concept sketches. To the right is a darker colored take and below one in the original color scheme. You can click them to embiggen.

These are NOT in any way finished. Just concepts.

What I want to know for you, reader, is:

1. Which color scheme do you like, and why?

2. Your opinion of The Darkening Dream font/logo?

Please let me know in the comments!

Discover more about my novel, The Darkening Dream here or on all sorts of other links in the left sidebar.

It’s worth noting, that in the specialized world of book design the book designer (interior), the cover designer (logo design cover layout), and the illustrator (who paints the image on the cover) are sometimes all different people!

NOTE: I updated this post at 10:43am PST with slightly newer takes on the covers. The “older” two can be found here and here.

By: agavin
Comments (19)

Posted in: Darkening Dream

Tagged as: Andy Gavin, Book Cover, Book design, Color Schemes, Cover art, Cover Design, Covers, E-book, The Darkening Dream

Kotaku Dreams

Dec30

Gaming site Kotaku has run a quick little feature on The Darkening Dream today.

What do you do after founding and retiring from one of video games’ most successful development houses? If you’re Naughty Dog co-founder Andy Gavin, you write books.

The first of said books is The Darkening Dream, a shadowy fantasy novel about a young girl caught up in a battle that pits ancient supernatural forces like vampires and Egyptian gods against each other.

You can check out the full post here.

Thank you guys! And I’ve already seen a big sales jump. I hope all the fans of my old stuff love my new stuff too.

Discover more about my novel, The Darkening Dream, here.

By: agavin
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Posted in: Darkening Dream

Tagged as: Andy Gavin, Arts, Darkening Dream, Egyptian pantheon, Fiction, Kotaku, Naughty Dog, press, The Darkening Dream, Video game

The Look – Pastor Parris

Dec29

Pastor John Parris is the junior of my two point of view villains in The Darkening Dream. Given the kind of occult woodblock look I’ve been developing I tend to focus on the character’s magical nature to develop their icon.

With Parris I got off to a false start, drawn in by this classic image of Baphomet. It has strong associations with the occult, witchcraft, and demonology. All good stuff that Parris likes to keep close at hand, wrapped in black silk coverings. Or perhaps in a human-skin pouch.

I even had my artists do this rendition (above). But this was a red herring. Truthfully, Baphomet is a nineteenth century rendering, a reinvention of such things in light of 1800s eclecticism. It’s more akin to the effect this image has for us moderns, being cool, exotic, and devilishly naughty. Parris comes from a school of magic that is much more about really believing in fire and brimstone.

So I turned to this kind of image (above) showing a seventeenth century witches sabbath. This is totally apropos, but I didn’t know how to make an icon out of it.

Then I found this view (above) of the witches table. Parris is a ritualist and he often employs candles (lychnomancy) in his magic. The scene was too visually complex, but it was a start.

So I did a ghetto version for my artists (above), using Photoshop to strip away some of the excess and they came back with below, which was about perfect. This shows the tools of Parris’ trade: the candle, the powder horn, bowls for mixing, blades for bloodletting.

Discover more about my novel, The Darkening Dream.
To find out about developing a style for the interior art, see here.
Or for more information on Pastor John Parris, the warlock.

By: agavin
Comments (1)

Posted in: Darkening Dream

Tagged as: Baphomet, demons, John Parris, Magic, Occult, Parris, Pastor John Parris, Pastor Parris, Salem Witch Trials, Succubus, The Darkening Dream, Warlock, Witchcraft

Guest Interview – Farsighted

Dec27

I’m experimenting again by allowing a guest post/interview by a fellow author.

– Andy

About Farsighted!

Alex Kosmitoras may be blind, but he can still “see” things others can’t. When his unwanted visions of the future begin to suggest that the girl he likes could be in danger, he has no choice but to take on destiny and demand it reconsider. Farsighted is the winner of the 2011 Dragonfly eBook Awards. Get it on Amazon or Barnes & Noble.

About the Author: Emlyn Chand has always loved to hear and tell stories, having emerged from the womb with a fountain pen grasped firmly in her left hand (true story). When she’s not writing, she runs a large book club in Ann Arbor and is the president of author PR firm, Novel Publicity. Emlyn loves to connect with readers and is available throughout the social media interweb. Visit her on her website, Twitter, Facebook, or GoodReads.

Let’s get to know the author a little better through this rousing Q&A…

Q: What was it like writing from the viewpoint of a blind, teenage boy? Were there any parts of Alex’s personality/life you found hard to come up with?

A: You know, it wasn’t as hard to write blind as I initially thought it would be. It didn’t take long to begin “seeing” Alex’s world the way he does. I wrote the entire story without knowing what anyone or anything looked like (except for Alex himself). When it came time to shoot the book trailer, the directors were asking me questions about the scenes and which props they should bring, and I really, really didn’t know what to tell them!

As I got to know Alex better and better, it became easier to tune into his way of seeing things. I read books about coping with blindness in a school setting and spent a great deal of time pondering how I might behave if I couldn’t see. In the story, Alex has always been blind; he’s always known the world to be a certain way. Not everyone understands that, and they have trouble talking about it with him. I gave Alex a tendency to overcompensate. He knows who he is and what he’s capable of, and he wants the world to know it too, so sometimes he overdoes things a bit.

Q: Your cast of characters has international flavor? What’s behind that choice?

A: I don’t see why my characters all need to belong to the same culture or ethnicity. What fun is that? Culture shapes our characters in a big way, so by diversifying my cast, I was able to hit on more types of personalities and situations. Grandon is based on my hometown; it’s small and kind of boring. I couldn’t wait to escape and move on to bigger and better things. My home town was mostly Caucasian, but somehow I ended up with a very diverse set of friends even though they made up less than 1% of the student body. Fast forward a few years, and I end up marrying a man from India. He’s from New Delhi, like Simmi. I’ve always been fascinated by other cultures; I even decided to pursue my Master’s in Sociology for this very reason. I credit two early life influences for this attraction: 1) My adoration of A.C. Slater in Saved by the Bell, 2) Disney’s Aladdin being the best movie ever.

Q: What was the inspiration for Farsighted?

A: Everything started with a single image—my face in these tacky oversized sunglasses reflecting out at me from the car’s side mirror. I was daydreaming while my husband drove us across Michigan for my sister’s wedding. Something about my image really struck me in an almost horrific way. I felt the glasses made me look blind but found it so weird that there was still a clear image within them; it seemed so contradictory. At the time, my book club was reading The Odyssey, which features the blind Theban prophet, Tieresias. I started thinking about what it would be like to have non-visual visions of the future and began forming a modern Tieresias in my mind. Lo and behold, Alex Kosmitoras was born. I didn’t want him to be alone in his psychic subculture, so I found other characters with other powers to keep him company. Thank God for my poor fashion sense. 🙂

Q: What would you like readers to take away from Farsighted? Is there a different message for adults than for teens?

A: First and foremost, I hope that readers will enjoy themselves. My primary goal is to tell an interesting story that people will find entertaining and be glad they read. Secondly, I’d like to infuse contemporary Young Adult fiction with a bit more diversity and teach readers about the beauty of other cultures and other ways of life. I also hope that Farsighted is a book that leads to introspection—what would I do if put in Alex’s place? Did Alex ever have a choice or was this path his destiny? What would it be like to see the world the way he sees the world?

I like to think of anything I write as being kind of like a Disney movie, in that the primary audience will be children, but there are extra tidbits for the adults too. Farsighted has been infused with a great deal of research about runes, classic mythology, and Eastern spirituality, but you don’t need to understand any of that to be entertained by the story.

Q. There have been articles written this year about YA being too dark for teens. What are your thoughts on this?

A: I definitely agree. I want to get back to the core of the YA genre, and I attempted to do that with Farsighted. I also think that paranormal has gotten a bit too out there. One thing I hear from readers quite a bit is that the paranormal seems normal in Farsighted. They don’t question the existence of the powers, and it doesn’t seem out there like some other books of the genre do. That was important to me. I wanted my story to be run by the characters, not the fantastic elements. This is a story about Alex, not about a blind psychic.

Q: What motivated you to structure the book around the runes?

A: Remember how I said my Master’s degree is in Sociology? It’s actually Quantitative Sociology. I’m a numbers person as well as a word person. I love things to be organized just so. If you set a stack of papers in front of me; I’m going to fuss with them until they are lined up in a perfect stack. It’s just the way I am. Shaping each chapter around a rune gave the story order, which made me feel happy and comfortable. Whenever I got stuck and didn’t know what should happen next, I was able to learn more about that chapter’s rune and get the inspiration I needed to continue. The runes themselves tell a story, one that is successfully completed. I felt that boded well for Farsighted.

Q: What is your writing process like?

A: I begin with a seed of an idea and work out from there. With Farsighted, I started with Alex and created the rest of the story and characters to fit around him. Using the runes as a structural framework for this novel created an outline for me too. I’m a numbers person as well as a word person. I love things to be organized just so. If you set a stack of papers in front of me; I’m going to fuss with them until they are lined up in a perfect stack. It’s just the way I am. Shaping each chapter around a rune gave the story order, which made me feel happy and comfortable. Whenever I got stuck and didn’t know what should happen next, I was able to learn more about that chapter’s rune and get the inspiration I needed to continue. The runes themselves tell a story, one that is successfully completed. I felt that boded well for Farsighted.

Q: What do you like to read? Who is your favorite author?

A: I LOVE YA—I read it, write it, love it! My favorite author is JK Rowling. The more I read, the more I realize how brilliant she is as an author. If you remove the dialogue tags from Harry Potter, you still know which character is speaking, and Rowling managed to create an intricate beautiful world without allowing her character development to suffer, which is tremendously rare. I consider her literary God. Suzanne Collins, and JD Salinger are classic faves.

My all-time favorite book is A Prayer for Owen Meany by John Irving, definitely. The novel has so many layers and entertains on so many levels. Also the characters in that novel seem more real than those from any other I’ve ever read. It’s just beautiful—that’s the only word for it.

Q: If you had to be stuck on an island for a year with three literary characters, who would they be?

A: First up, we’d obviously take Robinson Crusoe. He knows what he’s doing, and he can be the provider. I’ll also take Katniss Everdeen from the Hunger Games—if we get in any kind of danger, she’d be a great protector. Lastly, I’d take Ron Weasley. Ron and I can live the good life, while the other two make sure we all stay safe and well-fed. I know I would never get bored with Ron around—he’s just 24/7 entertainment.

Q: You’ve taken a risk by going with an unconventional ending. Without spoiling the story for your readers, can you tell us why you made this choice? Are you glad you did this? Do you feel it’s been successful? Why or why not?

A: Yeah, I ended with a cliffhanger, which goes against traditional publishing wisdom. But you know what? I. AM. INDIE! Being indie means taking risks and breaking the mold and, boy, am I excited to do it. The ending is kind of polarizing, people either love it or wish there was more there. The joining thread is almost everyone mentions looking forward to the next book in the series. Farsighted demands a companion, and people see that. I think it was a good decision since this is the first in the series and since I enjoy toeing the line of convention. It’s fun to shake things up.

By: agavin
Comments (8)

Posted in: Books

Tagged as: Alex, Alex Kosmitoras, E-book, Emlyn Chand, Farsighted, goodreads, guest post

11 reasons you should buy The Darkening Dream

Dec26

1. It’s a great book.

2. It’s only $2.99 — but the price might go up soon.

3. You loved Crash Bandicoot.

4. You loved Jak & Daxter.

5. I was a great boss, friend, or co-worker.

6. My vampires don’t sparkle.

7. There are several beheadings.

8. Decrepit ancient Egyptian gods are cool.

9. The girl on the cover is really cute.

10. I handed you a glass of $100 wine at some point.

11. The book includes a “cesarian by vampire scene.”

And 4 refutations to your protests:

1. I’m poor – but it’s only $2.99.

2. I don’t have a Kindle – you can read Kindle books on a smartphone, iPad, or the web.

3. I’m too lazy to click twice – bad excuse.

4. I don’t read – do you really want to admit that?

Buy it now!

Then after you do, retweet, share, like, or otherwise spam this post or a link to the book on all of your social media! 🙂

By: agavin
Comments (6)

Posted in: Darkening Dream

Tagged as: Amazon Kindle, Andy Gavin, Crash Bandicoot, E-book, IPad, Jak & Daxter, Kindle, Naughty Dog, The Darkening Dream

The Darkening Dream for Christmas!

Dec25

As a surprise move, I’m stealth launching The Darkening Dream — right now! — although only the Kindle edition.

If your stocking has been stuffed with a brand new Kindle, or you already have one, or you read on the Kindle app anywhere (iPad, Android, etc.)…

Buy it now!

Stealthy introductory price of $2.99. Which is certainly a bargain given that it took me two busy years to write and a lot of work to produce the layout, cover, etc.

So, you might ask (after you have purchased your copy — hint hint), what is a stealth launch?

Well, firstly, while the book is totally done and the E-Book version is all typeset, I’ve only put up the Kindle version. In the next week or so I’ll try and get all the other E-Book variants up (B&N, iTunes, etc.). Also, I’m still finishing up the paper editions. These will look great but they take a bit longer because I have to wait for physical proofs (5 days), make changes, then wait again, etc.

But also, I’m bucking the marketing machine that over the last thirty years has moved more and more to “big launch and then go away” mentality. Pretty much all big products: movies, albums, books etc. are marketed this way now. The marketeers build everything up for a big launch, hope for the best, then turn elsewhere a few scant weeks later. Truth is, this serves the marketeers more than it does the customer. Novels don’t age very fast. I enjoyed The Maltese Falcon as much as any book I read this year and it’s 81 years old. And the potential reader who happens to stumble upon my book doesn’t really care if it was published today — or last year. And it will take me time to collect reviews, get the other editions out, build up more web linkages etc. Later, when I have more of that in place I’ll begin the bigger marketing push.

So try it out and see what you think. Afterward, please review the book on Amazon. Reviews matter!

If you’re still not convinced:

Find out more about the book here
or read the sample chapters
or even check out a bit about the characters.