Great Expectations
"The bookies are telling us that Albus Dumbledore's days are numbered. But how the Dickens will he meet his end? Try your hand at our Alternative Potter project.
"We are publishing the best of the entries as they come in: read them here. Find out what the prizes are here."
Thursday, July 14, 2005
Tuesday, July 12, 2005
Comics Loses One of Its Major Visionaries: Byron Preiss
Around noon on July 9, 2005, writer-editor-developer-publisher Byron Preiss was involved in a fatal auto accident as he drove to his synagogue in Long Island, New York-and American popular culture lost one of its most productive and visionary champions.
For more than three decades, he spearheaded a multiplicity of mediaforms, from comics and ebooks to electronic games and CD-ROMs, that fused words and images like few other individuals would achieve in the entertainment arts. As an author, he generated dozens of books, from hard science and history volumes to profusely-illustrated children's literature. As a packager, he produced a stream of quality fiction and nonfiction titles for almost every primary publishing house, including HarperCollins, Penguin Putnam, Simon & Schuster, Random House, Rizzoli, Scholastic, and Oxford University Press, in addition to developing projects with numerous institutions, including Microsoft, Forbes/American Heritage, Fox Interactive, Comedy Central, MSNBC, Imax, Scientific American, the Grand Ole Opry, and Yahoo!.
Born in Brooklyn in 1953, he subsequently attended the University of Pennsylvania (graduating magne cum laude) and received his master’s degree from the Stanford Film School. I met him in1969 at a Manhattan convention, a tall, handsome kid with perfect teeth and thick, black hair who radiated enthusiasm like a human atomic reactor. He recounted his publishing dream so convincingly that I agreed to create some art for his first venture, a fan calendar, just to give his budding career a jump start.
Neither of us realized that our connection was the beginning of a friendship that would grow, ferment, agitate, evolve, bluster, and ultimately endure for the next 35 years. He was my best friend and confidant for more than half my lifetime—and his presence had a profound impact on me, professionally and personally.
One of our earliest projects involved an anti-drug comicbook that he conceived for near-illiterate grade school students (he was teaching at a Philadelphia elementary facility at the time). On a zero budget, we produced THE BLOCK, the tale of two inner-city brothers who choose to walk different paths, which was distributed citywide and met with exceptional success with both educators and students (some classes colored the panels, others read it aloud, and one even transformed the story into a rock opera). Preiss promoted it from New York City to Atlanta, achieving solid student acceptance and continual praise from all who saw and used it, right up to the majors at Sesame Street. The comic premiered in the summer of 1970, a year before the much-heralded Spider-Man and Green Lantern-Green Arrow drug mags.
Over the next few years, we spoke often about the future of comics, discussion which became the architectural foundation of his initial 1974 publishing venture, Byron Preiss Visual Publications (and recently ibooks), and a series of books that were the first to use the terms “visual novel” and “graphic novel”). My hardboiled detective thriller RED TIDE was one of his offerings. Preiss was the first to regularly and continuously publish adult, book-length comic-panel novels by the field’s top creators. His recent effort, Joe Kubert’s Nazi concentration camp epic YOSSEL stands as positive tribute to Preiss’ unyielding vision and belief in the form, as does his 2005 Harvey Awards win for Best American Edition of Foreign Material for BLACKSAD 2. Preiss was also a business partner of Komikwerks, LLC.
The company eventually published an extensive range of material, including many authored and co-authored by Preiss, such as:
1973 The Electric Company Joke Book
1973 The Silent “E”’s from Outer Space
1976 One Year Affair
1977 Weird Heroes (several volumes of pulp-related stories illustrated by top comics artists)
1977 Son of Sherlock Holmes
1979 Dragonworld
1979 The Beach Boys
1981 The Art of Leo and Diane Dillon
1981 The Dinosaurs
1982 The First Crazy Word Book
1983 Not in Webster's Dictionary
1984 The Bat Family
1985 The Planets
1987 Paul Revere and the Boston Tea Party
1987 The Universe
1990 First Contact: The Search for Extraterrestrial Intelligence—with Ben Bova
1991 The Ultimate Dracula
1991 The Ultimate Frankenstein
1991 The Ultimate Werewolf
1992 The Vampire State Building
1993 The Ultimate Zombie, The
1993 The Ultimate Witch
1994 Instant American History
1995 The Ultimate Alien
1996 Best Children's Books in the World, The
1997 The Rhino History of Rock ‘N Roll: the ‘70s with Eric Lefcowitz
1999 Are We Alone in the Cosmos?
2000 The New Dinosaurs
2003 The Ultimate Dragon
2003 The Ultimate Frankenstein
2003 The Little Blue Brontosaurus
Additionally, he edited hundreds of others.
Always on the leading edge of trends, he moved into interactive books, CD-ROMs, virtual comics, and online entertainment, generating a staggering volume of product, including many Marvel-related items. His audiobook The Words of Gandhi snared a Grammy Award in 1985.
Often working under severe licensing, financial, deadline, and distribution constraints, Preiss had an uncanny knack of believing in his product and his collaborative talent. He had a hands-on approach to every stage of production, a staggering juggling feat that blossomed into an operation so large it eventually filled two floors of a mid-Manhattan skyscraper.
Nonetheless, hardly a week went by that we didn’t connect in person or on the phone, often recalling the early days when I’d crash at his apartment for a couple days and we’d strategize our futures at all-night skull sessions at the Silver Star Diner on 3rd Avenue. During the next few decades, we alternated between practical jokes and serious soul searching. And somewhere along the way, we became brothers.
We worked together constantly on a myriad of projects, many of which were highly experimental in nature, not to mention risky—and, in this case, the risk was with his money. But he loved to break new ground, even if it took a few layers of skin off his hide. I still recall his shock when I insisted I’d only work on THE ILLUSTRATED HARLAN ELLISON if the story was printed in 3D (he purchased thousands of glasses and had them bound into the volumes) or the Captain America book cover I wanted produced without any type because, I explained, my painted figure of Cap said it all in every language (the volume had a phenomenal 89% sell-through) or the Wild Cards series title I recommended be run upside down in gloss varnish (it could only be read when angled toward the light, but was a knockout visual surprise).
He backed them all and many others, some of which required him to go toe-to-toe with printers, publishers, and distributors. Preiss took a sensible, cool, controlled approach to his proceedings, but I like to think I taught him a few things about fighting dirty to get the job done. We broke a few rules along the way and perhaps set a couple precedents, too. Unlike many publishers who only talk the talk, Preiss walked the walk.
Although our evenings ultimately migrated to the Friar’s Club, his dedication to the work—to the comics form and its creators—not only remained steadfast, but relentless. He cited me as his mentor for graphic design and narrative technique, and, in similar fashion, passed the torch along to others by discovering new talent and giving them the opportunity to breakout with showcase projects, in addition to supporting his favorite vets with ongoing assignments. He redefined the term loyalty.
His recent line of celebrity-created children’s books includes contributions from Billy Crystal, Jerry Seinfeld, LeAnn Rimes, Stephen Ambrose, Carl Reiner, Jane Goodall, Philip Caputo, Jay Leno, and Stan Lee. Several months ago, I pitched a fantasy series in a revolutionary, new format to him and immediately received the green light. Now, that light has dimmed.
He married and had two beautiful daughters, who became the pride of his life. And somewhere along the way, I became part of the family (I always thought I’d adopted him, which only proves how clever he was at making me believe that certain things were my ideas).
Preiss was a subtle, yet seminal force in contemporary popular culture and specifically in the evolution of narrative illustration. His vision will continue to inspire all those who knew him—and those who found something special in his work.
He is survived by his wife, Sandi, and daughters Karah and Blaire.
-- Jim Steranko
For more than three decades, he spearheaded a multiplicity of mediaforms, from comics and ebooks to electronic games and CD-ROMs, that fused words and images like few other individuals would achieve in the entertainment arts. As an author, he generated dozens of books, from hard science and history volumes to profusely-illustrated children's literature. As a packager, he produced a stream of quality fiction and nonfiction titles for almost every primary publishing house, including HarperCollins, Penguin Putnam, Simon & Schuster, Random House, Rizzoli, Scholastic, and Oxford University Press, in addition to developing projects with numerous institutions, including Microsoft, Forbes/American Heritage, Fox Interactive, Comedy Central, MSNBC, Imax, Scientific American, the Grand Ole Opry, and Yahoo!.
Born in Brooklyn in 1953, he subsequently attended the University of Pennsylvania (graduating magne cum laude) and received his master’s degree from the Stanford Film School. I met him in1969 at a Manhattan convention, a tall, handsome kid with perfect teeth and thick, black hair who radiated enthusiasm like a human atomic reactor. He recounted his publishing dream so convincingly that I agreed to create some art for his first venture, a fan calendar, just to give his budding career a jump start.
Neither of us realized that our connection was the beginning of a friendship that would grow, ferment, agitate, evolve, bluster, and ultimately endure for the next 35 years. He was my best friend and confidant for more than half my lifetime—and his presence had a profound impact on me, professionally and personally.
One of our earliest projects involved an anti-drug comicbook that he conceived for near-illiterate grade school students (he was teaching at a Philadelphia elementary facility at the time). On a zero budget, we produced THE BLOCK, the tale of two inner-city brothers who choose to walk different paths, which was distributed citywide and met with exceptional success with both educators and students (some classes colored the panels, others read it aloud, and one even transformed the story into a rock opera). Preiss promoted it from New York City to Atlanta, achieving solid student acceptance and continual praise from all who saw and used it, right up to the majors at Sesame Street. The comic premiered in the summer of 1970, a year before the much-heralded Spider-Man and Green Lantern-Green Arrow drug mags.
Over the next few years, we spoke often about the future of comics, discussion which became the architectural foundation of his initial 1974 publishing venture, Byron Preiss Visual Publications (and recently ibooks), and a series of books that were the first to use the terms “visual novel” and “graphic novel”). My hardboiled detective thriller RED TIDE was one of his offerings. Preiss was the first to regularly and continuously publish adult, book-length comic-panel novels by the field’s top creators. His recent effort, Joe Kubert’s Nazi concentration camp epic YOSSEL stands as positive tribute to Preiss’ unyielding vision and belief in the form, as does his 2005 Harvey Awards win for Best American Edition of Foreign Material for BLACKSAD 2. Preiss was also a business partner of Komikwerks, LLC.
The company eventually published an extensive range of material, including many authored and co-authored by Preiss, such as:
1973 The Electric Company Joke Book
1973 The Silent “E”’s from Outer Space
1976 One Year Affair
1977 Weird Heroes (several volumes of pulp-related stories illustrated by top comics artists)
1977 Son of Sherlock Holmes
1979 Dragonworld
1979 The Beach Boys
1981 The Art of Leo and Diane Dillon
1981 The Dinosaurs
1982 The First Crazy Word Book
1983 Not in Webster's Dictionary
1984 The Bat Family
1985 The Planets
1987 Paul Revere and the Boston Tea Party
1987 The Universe
1990 First Contact: The Search for Extraterrestrial Intelligence—with Ben Bova
1991 The Ultimate Dracula
1991 The Ultimate Frankenstein
1991 The Ultimate Werewolf
1992 The Vampire State Building
1993 The Ultimate Zombie, The
1993 The Ultimate Witch
1994 Instant American History
1995 The Ultimate Alien
1996 Best Children's Books in the World, The
1997 The Rhino History of Rock ‘N Roll: the ‘70s with Eric Lefcowitz
1999 Are We Alone in the Cosmos?
2000 The New Dinosaurs
2003 The Ultimate Dragon
2003 The Ultimate Frankenstein
2003 The Little Blue Brontosaurus
Additionally, he edited hundreds of others.
Always on the leading edge of trends, he moved into interactive books, CD-ROMs, virtual comics, and online entertainment, generating a staggering volume of product, including many Marvel-related items. His audiobook The Words of Gandhi snared a Grammy Award in 1985.
Often working under severe licensing, financial, deadline, and distribution constraints, Preiss had an uncanny knack of believing in his product and his collaborative talent. He had a hands-on approach to every stage of production, a staggering juggling feat that blossomed into an operation so large it eventually filled two floors of a mid-Manhattan skyscraper.
Nonetheless, hardly a week went by that we didn’t connect in person or on the phone, often recalling the early days when I’d crash at his apartment for a couple days and we’d strategize our futures at all-night skull sessions at the Silver Star Diner on 3rd Avenue. During the next few decades, we alternated between practical jokes and serious soul searching. And somewhere along the way, we became brothers.
We worked together constantly on a myriad of projects, many of which were highly experimental in nature, not to mention risky—and, in this case, the risk was with his money. But he loved to break new ground, even if it took a few layers of skin off his hide. I still recall his shock when I insisted I’d only work on THE ILLUSTRATED HARLAN ELLISON if the story was printed in 3D (he purchased thousands of glasses and had them bound into the volumes) or the Captain America book cover I wanted produced without any type because, I explained, my painted figure of Cap said it all in every language (the volume had a phenomenal 89% sell-through) or the Wild Cards series title I recommended be run upside down in gloss varnish (it could only be read when angled toward the light, but was a knockout visual surprise).
He backed them all and many others, some of which required him to go toe-to-toe with printers, publishers, and distributors. Preiss took a sensible, cool, controlled approach to his proceedings, but I like to think I taught him a few things about fighting dirty to get the job done. We broke a few rules along the way and perhaps set a couple precedents, too. Unlike many publishers who only talk the talk, Preiss walked the walk.
Although our evenings ultimately migrated to the Friar’s Club, his dedication to the work—to the comics form and its creators—not only remained steadfast, but relentless. He cited me as his mentor for graphic design and narrative technique, and, in similar fashion, passed the torch along to others by discovering new talent and giving them the opportunity to breakout with showcase projects, in addition to supporting his favorite vets with ongoing assignments. He redefined the term loyalty.
His recent line of celebrity-created children’s books includes contributions from Billy Crystal, Jerry Seinfeld, LeAnn Rimes, Stephen Ambrose, Carl Reiner, Jane Goodall, Philip Caputo, Jay Leno, and Stan Lee. Several months ago, I pitched a fantasy series in a revolutionary, new format to him and immediately received the green light. Now, that light has dimmed.
He married and had two beautiful daughters, who became the pride of his life. And somewhere along the way, I became part of the family (I always thought I’d adopted him, which only proves how clever he was at making me believe that certain things were my ideas).
Preiss was a subtle, yet seminal force in contemporary popular culture and specifically in the evolution of narrative illustration. His vision will continue to inspire all those who knew him—and those who found something special in his work.
He is survived by his wife, Sandi, and daughters Karah and Blaire.
-- Jim Steranko
Impact Comics: Classic Marvel Superheroes RPG
Impact Comics: Classic Marvel Superheroes RPG
"It was 1991. Memories of the Red Circle era were still floating around in some comic fans' minds. Some of the more astute fans were still wondering where the Spectrum Comics line went. It was a time when X-Men and Spider-Man got "BRAND NEW TITLES" which sold WAY more than they should have (and is McFarlane's art really THAT good?).
"Mike Gold, along with Brian Augustyn and Paul Kupperberg, were coming up with some plans. Mike Gold, for quite some time, has been a champion of bringing in younger readers to comic books. The big three really haven't paid all that much attention to the idea (Batman Adventures being a notable exception from DC), but in 1991, DC Comics gave it a shot.
"The premise was simple: find some old characters that have some name recognition, and update them. And while not "dumbing them down" make them easily accesible to the 8-12 year-old age group.
"How well it worked can be debated forever (and seeing that Impact folded after two years, the naysayers may have a point), but it brought this reader into comic books, and into the world of cool super-heroes.
"After deciding not to go with the THUNDER Agents (there were legal issues still surrounding the characters at the time), it was decided that the Mighty Crusaders would be good candidates. So, Archie Comics was approached, and the rest is history."
"It was 1991. Memories of the Red Circle era were still floating around in some comic fans' minds. Some of the more astute fans were still wondering where the Spectrum Comics line went. It was a time when X-Men and Spider-Man got "BRAND NEW TITLES" which sold WAY more than they should have (and is McFarlane's art really THAT good?).
"Mike Gold, along with Brian Augustyn and Paul Kupperberg, were coming up with some plans. Mike Gold, for quite some time, has been a champion of bringing in younger readers to comic books. The big three really haven't paid all that much attention to the idea (Batman Adventures being a notable exception from DC), but in 1991, DC Comics gave it a shot.
"The premise was simple: find some old characters that have some name recognition, and update them. And while not "dumbing them down" make them easily accesible to the 8-12 year-old age group.
"How well it worked can be debated forever (and seeing that Impact folded after two years, the naysayers may have a point), but it brought this reader into comic books, and into the world of cool super-heroes.
"After deciding not to go with the THUNDER Agents (there were legal issues still surrounding the characters at the time), it was decided that the Mighty Crusaders would be good candidates. So, Archie Comics was approached, and the rest is history."
Thursday, June 30, 2005
The Strange World of Dr. Jonathan Reed
"According to Dr. Jonathan Reed, his encounter with an alien took place sometime during October 1996 in the Cascade Mountain woods of Washington State while hiking with his dog. At one point during the hike, Reed says, his dog became agitated and ran ahead of him barking. Concerned the animal was in danger after hearing it howl like it was 'being mauled,' Reed grabbed a tree branch about the size of a baseball bat and went to investigate. Upon reaching the site, Reed found his dog attacking a humanoid creature. The creature then attacked the dog, 'literally tearing the head off.' The dog was reduced to ashes -- Reed described it as having 'imploded.'
"Reed then claims to have lunged at the alien, striking it in the head with the branch. The alien, after being struck, screamed and fell to the ground.
"An hour after assaulting the alien and trying to regain his composure, Reed heard a humming sound coming from the woods. Seeking the source, he says, he observed a 'large, wedge shaped, black triangle' hovering low to the ground. He also called it an 'obelisk.' Reed, equipped with a 35mm camera and 8mm video camera, proceeded to photograph and film both the 'obelisk' and alien, as he remained at the scene for about three hours. Reed says he then wrapped the alien body in a thermal blanket, took it home and stored it in a freezer. {Two closeup photos of the alien's head, apparently lying on the shiny thermal blanket, and one photo of the alleged 'obelisk' craft, have circulated on the internet. - ed]
"The next day his friend, known only as 'Gary,' came over after Reed contacted him. Reed stated that 'Gary' contacted Peter Davenport of the National UFO Reporting Center and started asking "what if" questions, such as, 'What if we had a dead alien body?' [Peter Davenport has told CNI News that he does not recall speaking to 'Gary' or Dr. Reed at the time of this incident.] Reed also claims that his friend "Gary" has been missing for the last 2 years."
Click Here For the Rest of the Story
Click Here For The Chilling Photos
Click Here For A Transcript of the November 11th appearance of Dr Jonathan Reed, Robert Raith and Whitley Strieber on Art Bell
If it has Whitley Streiber, it has to be true. Enjoy the fun. [Via Jonny]
"Reed then claims to have lunged at the alien, striking it in the head with the branch. The alien, after being struck, screamed and fell to the ground.
"An hour after assaulting the alien and trying to regain his composure, Reed heard a humming sound coming from the woods. Seeking the source, he says, he observed a 'large, wedge shaped, black triangle' hovering low to the ground. He also called it an 'obelisk.' Reed, equipped with a 35mm camera and 8mm video camera, proceeded to photograph and film both the 'obelisk' and alien, as he remained at the scene for about three hours. Reed says he then wrapped the alien body in a thermal blanket, took it home and stored it in a freezer. {Two closeup photos of the alien's head, apparently lying on the shiny thermal blanket, and one photo of the alleged 'obelisk' craft, have circulated on the internet. - ed]
"The next day his friend, known only as 'Gary,' came over after Reed contacted him. Reed stated that 'Gary' contacted Peter Davenport of the National UFO Reporting Center and started asking "what if" questions, such as, 'What if we had a dead alien body?' [Peter Davenport has told CNI News that he does not recall speaking to 'Gary' or Dr. Reed at the time of this incident.] Reed also claims that his friend "Gary" has been missing for the last 2 years."
Click Here For the Rest of the Story
Click Here For The Chilling Photos
Click Here For A Transcript of the November 11th appearance of Dr Jonathan Reed, Robert Raith and Whitley Strieber on Art Bell
If it has Whitley Streiber, it has to be true. Enjoy the fun. [Via Jonny]
Tuesday, June 28, 2005
This Dork Is Bound For Origins
Friday after work Colleen and I will be heading South to Columbus for a day at the Origins gaming convention. At least a day at Origins for me. I have meetings scheduled with Steve Kenson and John Snead and I have a mix of excitment and fear.
It should be a fun and interesting day. Maybe I'll even get to game.
It should be a fun and interesting day. Maybe I'll even get to game.
Friday, June 24, 2005
Glastonbury Festival to Hold Silent Disco
Here's a cyberpunk type of image for your upcoming campaigns:
Glastonbury Festival to Hold Silent Disco
"It's a scene familiar to any summer music festival � open fields full of sweaty young bodies writhing in time. But this one appears to be missing a vital element � sound.
"At Britain's famed Glastonbury music festival this weekend, festivalgoers can take part in a "silent disco."
"The music, instead of being pumped out through stacks of speakers, will be streamed to the audience through personal sets of wireless headphones, and it'll look like the dancers are jumping around to a nonexistent beat."
Glastonbury Festival to Hold Silent Disco
"It's a scene familiar to any summer music festival � open fields full of sweaty young bodies writhing in time. But this one appears to be missing a vital element � sound.
"At Britain's famed Glastonbury music festival this weekend, festivalgoers can take part in a "silent disco."
"The music, instead of being pumped out through stacks of speakers, will be streamed to the audience through personal sets of wireless headphones, and it'll look like the dancers are jumping around to a nonexistent beat."
Romania Stunned by Nun's Death in Exorcism
Romania Stunned by Nun's Death in Exorcism
"The whispers started in April in the mind of the 23-year-old nun.
"In the heart of an Orthodox convent in Romania's impoverished northeast, doctors say, Maricica Irina Cornici believed she heard the devil talking to her, telling her she was sinful.
"She was treated for schizophrenia, but when she relapsed, a monk and four nuns tried a different method: exorcism."
"The whispers started in April in the mind of the 23-year-old nun.
"In the heart of an Orthodox convent in Romania's impoverished northeast, doctors say, Maricica Irina Cornici believed she heard the devil talking to her, telling her she was sinful.
"She was treated for schizophrenia, but when she relapsed, a monk and four nuns tried a different method: exorcism."
Thursday, June 23, 2005
Gossip: Prime Directive d20
This blogger has heard that a big part of the delay in Prime Directive d20, produced by Amarillo Design Bureau is in the fact that the publisher has said that he is uninterested in learning the d20 system in order to understand the manuscript turned into him from a respected d20 author. This disinterest has lead to internal strife between the publisher and the author, as the unknowledgeable publisher and playtesters who are just as clueless have forced enormous rewrites of the material, rewrites that in many cases do not fit with the workings of the d20 system. Many of these re-writes wouldn't even make sense to someone with a passing knowledge of how d20 works, such as requirements to spend XP at certain places in character development (which of course would mean that characters would not be able to advance as quickly due to having to use XP for things other than what they are intended for in the system.
This blogger fears that the resulting book may not even be compatible with other d20 products, due to a mistaken understanding of the nature of how d20 works. Hopefully, this will not be the case.
This blogger thought that the days of publishers attempting to exploit the d20 fan base with uninsipred and poorly implemented conversions of their house settings was a thing of the past. While Prime Directive d20 sounded interesting when announced, this blogger can not justify supporting a publisher who has expressed disintrest in learning a system and is only publishing for that system for the money of the fan base.
ADB Discussion Forum
From a posting by Steven Cole of ADB (in the above linked thread): "It is important to remember that SVC will do the production coordination and probably the page layouts but that he doesn't understand the D20 system at all (and doesn't want to)."
This blogger finds this attitude to be very disheartening.
This blogger fears that the resulting book may not even be compatible with other d20 products, due to a mistaken understanding of the nature of how d20 works. Hopefully, this will not be the case.
This blogger thought that the days of publishers attempting to exploit the d20 fan base with uninsipred and poorly implemented conversions of their house settings was a thing of the past. While Prime Directive d20 sounded interesting when announced, this blogger can not justify supporting a publisher who has expressed disintrest in learning a system and is only publishing for that system for the money of the fan base.
ADB Discussion Forum
From a posting by Steven Cole of ADB (in the above linked thread): "It is important to remember that SVC will do the production coordination and probably the page layouts but that he doesn't understand the D20 system at all (and doesn't want to)."
This blogger finds this attitude to be very disheartening.
Sunday, June 19, 2005
Bar of soap sells for $18,000
For your discussion, a campaign seed. The world is always stranger than fiction.
Bar of soap sells for $18,000
"Perhaps the oddest piece of work at Art Basel is a bar of soap, displayed on a square of black velvet, purportedly made from Italian Prime Minister Silvio Berlusconi's fat, removed during liposuction."
Bar of soap sells for $18,000
"Perhaps the oddest piece of work at Art Basel is a bar of soap, displayed on a square of black velvet, purportedly made from Italian Prime Minister Silvio Berlusconi's fat, removed during liposuction."
Monday, June 13, 2005
Origins Awards Ceremony Changes
Friends and Colleagues in the Games Industry,
We have taken a careful look at the Origins Awards Ceremony. Despite recent attempts to make the awards more interesting and entertaining (last year's 30th Anniversary show, in particular), Origins Awards ceremonies have been very lightly attended. We have concluded from this, and from the success of previous social events, that both gaming fans and industry professionals would rather celebrate the awards in a party-like atmosphere than sit down to a 2-hour ceremony.
As such, we've chosen to announce the Award Winners to the public on Thursday morning at 9:30 a.m. from the entrance of the Exhibit Hall, where the nominated products will be on display. We've replaced the Awards Ceremony with a celebratory Gala, scheduled from 9:00 PM to 12:00 AM Friday night in the Fusion Room on the Ballroom level of the Crowne Plaza Hotel, across the skywalk from the Convention Center. Origins Award statuettes ('Callies') will be distributed at the party to those winners in attendance.
The party is free for the primary creators of nominated products and Supporting members of the Academy, and $30 for others. Tickets for the party may be purchased at the Special Services desk at Main Registration.
We are confident that this approach is much more in keeping with the spirit of our industry, and we hope you will all take the opportunity to enjoy the celebration.
On the behalf of the GAMA/Origins Staff
Sean Patrick Fannon
Events Coordinator, Origins/GAMA
Events@gama.org
www.originsgames.com
www.gama.org
We have taken a careful look at the Origins Awards Ceremony. Despite recent attempts to make the awards more interesting and entertaining (last year's 30th Anniversary show, in particular), Origins Awards ceremonies have been very lightly attended. We have concluded from this, and from the success of previous social events, that both gaming fans and industry professionals would rather celebrate the awards in a party-like atmosphere than sit down to a 2-hour ceremony.
As such, we've chosen to announce the Award Winners to the public on Thursday morning at 9:30 a.m. from the entrance of the Exhibit Hall, where the nominated products will be on display. We've replaced the Awards Ceremony with a celebratory Gala, scheduled from 9:00 PM to 12:00 AM Friday night in the Fusion Room on the Ballroom level of the Crowne Plaza Hotel, across the skywalk from the Convention Center. Origins Award statuettes ('Callies') will be distributed at the party to those winners in attendance.
The party is free for the primary creators of nominated products and Supporting members of the Academy, and $30 for others. Tickets for the party may be purchased at the Special Services desk at Main Registration.
We are confident that this approach is much more in keeping with the spirit of our industry, and we hope you will all take the opportunity to enjoy the celebration.
On the behalf of the GAMA/Origins Staff
Sean Patrick Fannon
Events Coordinator, Origins/GAMA
Events@gama.org
www.originsgames.com
www.gama.org
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