Back in April The Particle People were visited by Ben Klock. While on a short visit to the US (NYC and Minneapolis only) with a special night at BLACK we were able to find out why he was on the tip of everyone’s tongue. He was modest, nice and simply blew the dance floor away with an amazing mix of new and classic techno and house. This set was a perfect example of the raw gritty underground sound of US (mostly Midwest) and German dance music coming from Berlin at the moment, most noticeably a little club you may have heard of recently called Berghain.

While in Minneapolis Ben not only was able to see what the Midwest was about, Ben even took home a little piece of Minneapolis by signing our very own DVS1 for KlockWorks005. While here he interviewed for Tanya Norman from IPR and recently with us at Jack The Box for a followup. What Follows is the followup interview and below is the original interview from Tanya and Ben Klock from April.

To top it all off we were also able to get hold of a recording of that night for JackCast002 Ben Klock Live@BLACK…

You recently visited  Minneapolis, What were your impressions of the American Techno scene before coming and what are your impressions now? Specifically  Minneapolis …
Well I have to say before I had the impression that it’s a very small scene there and this was approved. But in the end it’s more about quality than quantity. And there were some people who were really into it – especially in Minneapolis. And it was great fun playing there, because people seemed to really appreciate.

Your latest release on Klockworks (klockworks 005) is from one of our own locals and is very exciting for us.  Is klockworks005 the first release from artists other than you?
Yes it’s the first release from someone else. So it’s something special for me too. I was really impressed by Zak (DVS1). He is minimalistic in it’s original sense. And very energetic. I loved his short but intense performance he did at that party in Minneapolis. And I’m glad I didn’t go straight home after my set and had the chance to meet this guy. I will bring him over to play at Berghain in February.

Do you plan on bringing more artists into the Klockworks roster?
Always depends on the music. If I find something that really fits into the concept that I have in mind for Klockworks then maybe there will be other artists. In fact I’m just planning something with a new artist but it’s to early to tell more.

Do you plan on visiting the  US  in 2010?
I’m not sure about that yet. We’ll see.

You are known for playing a very wide range of records. I remember hearing a number of classics in your set from your visit.  What is your favorite dance floor track, the one you almost never leave home without?
Yes I like mixing old and new stuff. But it always changes. I can’t tell you the one favorite classic. There are too many great records. But if you ask me which one never left the bag since I bought it in 1995 it’s Tyree on Dance Mania: Nuthin Wrong.

Are you currently working on any new music projects that we should keep an eye out for?
I’ve only been doing remixes since my album came out in February this year. Brand new in the stores is a remix for Function on Sandwell District.
And then there will be a record on Deeply Rooted House, distributed by PlanetE with two older tracks of mine coming out before the end of this year.

One of the things we love to talk about on this Blog is gear. Some people are gear enthusiasts and some are minimalists.  What is your current preferred DJ and music production set up?
I’m sorry to disappoint you if you expect a large analog production park. For my productions I’m using Logic Pro on a Mac and lot’s of digital plug Ins. That’s all I need at the moment. For me it’s more about music than loving machines. My DJ set up is two turntables and two Pioneer CDJs 1000 and a Soundbite loop player.

Thank you Ben!  Interview by Aaron Bliss for Jack the Box.

Below is the interview by Tanya Norman the night Ben Klock Played in Minneapolis.

Particle People Bring Ben Klock To First Ave VIP Room by Tanya Norman

On April 4, 2009 local promoters Particle People welcomed Ben Klock to the First Ave VIP Room. Coming to the USA all the way from Berghain Club in Berlin, this respected producer and deejay was here to promote his new album One and EP Before One out now on BeatPort and where vinyl is sold. Ben was kind enough to grant Tanya Norman an interview opportunity, allowing a glimpse inside his world of Berlin techno and sharing insight into why sometimes less is more…

TN: Who inspires you?  Mentors in music?

BK: I don’t know where to begin.  I’ve been making music all my life.  I listened to all kinds of music.  In the 80’s I loved Prince.  In the beginning of the 90’s I was beginning to look for new sounds.  There are some heroes: old US guys, Jeff Mills, Carl Craig, Robert Hood.  Basically, that’s where it comes from.

TN: What kind of technology and tools do you use?  Describe your studio.

BK:  It’s not that interesting. [laughs] I changed to complete digital. I really like total recall recording.  When I worked on my album I worked on different tracks at the same time.  I don’t want to have to reconnect cables…..with digital you can really do a lot of things.  I use Logic, a little Ableton… usually a Logic user.  And some plug-ins.

TN: Your current record label, Ostgut Ton, how long have you been with them?

BK: Since I’ve been a resident DJ at Berghain, about 3 years. Ostgut Ton is the label of Berghain. The venue they had before the Berghain was called Ostgut, that is why the label is called Ostgut Ton.

TN: You’ve been deejaying for over 10 years now?

BK: For a little over 10 years.  The international bookings started about 4 years ago, coinciding with the beginning of my residency at Berghain.

TN: Did you play any instruments as a child?

BK: When I was a kid I played piano. Before I became a DJ I also played in a band and did some songwriting, playing guitar and singing…

TN:  Did you find those experiences helpful with your current productions?

BK: Yes and no.  Sometimes it is not helpful when you are too educated in music and you want to make a good techno track…you don’t want it cluttered with too many solo parts, well, iIdon’t want it… [laughs]

Be sure to see Tanya’s post for video and pictures from the night as well as visit Particle People on RA for more pictures here…

http://www.residentadvisor.net/photo-gallery.aspx?set=6248

and on http://www.myspace.com/particlepeoplempls

Originally Published on: Jack The Box – The Midwest At Night

Lame self-indulgent status updates are present, but discouraged by the vast community. Time’s precious, and Twitter users want value from “tweets,” or individual entries. For those who follow dozens, or even hundreds of other users, individual tweet value becomes exponentially more important.

From what I’ve observed, gamers tweet a lot. Too much, in fact. Now that some titles tweet your in-game status and updates for you, it’s armageddon in Twitter game land. But I stick to my original claim. If you’re a gamer, you should use Twitter. You just need to follow the right people.

Here’s a list of ten (mostly) videogame-industry related accounts I believe everyone should follow. If you’re already in the industry, or plan on one day becoming a part of it, consider this essential following.

Note: If you’re middle-aged or older and not really down on this social networking stuff, don’t worry. This doesn’t require a predefined “digital nativity” to understand, although, I have a problem with the whole “digital native” idea but that’s another story for another time. Twitter’s easy to use. And unlike Facebook and Myspace, you won’t feel old and creepy for joining if you’re over the age of 16. According to online research from the web monitoring company comScore, the average age of a Twitter user is over 35.

John Davison

Former editor for a plethora of sites and publications. After leaving his editor-in-chief position at 1UP.com, John founded Whattheyplay.com, a site dedicated to informing parents about the videogame industry. He recently sold What They Play to IGN and now runs the long-running videogame magazine and site Gamepro – overseeing the site and editorial overhaul.

Included because: Lifelong gamer and not-so-recent parent with the right mindset to communicate both to all audiences. John’s a nerd aging gracefully.

Example tweets:  Tonight? Curry and Uncharted 2. Tomorrow, dinner with @peerign & family, and no doubt talk of Uncharted 2 that will bore our wives silly

http://twitter.com/jwhdavison/status/4931802770

Mrs D and youngest boy playing Top Gear Top Trumps. I’m a proud husband/dad right now http://tinyurl.com/yz6ejq4
http://twitter.com/jwhdavison/status/4976881357

Shawn Elliott

Former editor at 1UP.com and Games for Windows Magazine who transitioned to a position at  2K Boston (a.k.a. the Bioshock team) as an associate producer. Shawn’s an intelligent, funny, and extremely observant person with a laser-like focus on all-things relating to videogame culture.

Included because: His “artifacts from the internet” (often hilarious pictures, articles or clilps) aside, Shawn’s tweets reflect his deep care for the industry – often inciting deep discussions on narrative, journalism, and the hazy line between the latter and PR groups. I don’t say this often, but Shawn’s an industry asset.

Example tweets: Amazing representation of video games on TV. http://bit.ly/4ocDwy RT@Sliver14

http://twitter.com/ShawnElliott/status/5441023013

Was IGN in any way compensated for the creation and maintenance of MusicHub and/or any articles featured on http://music.ign.com/ ?
http://twitter.com/ShawnElliott/status/4668950506

Natural Selection 2

What began as a mod for the original Half-life will become a full-blown retail title in the near future. Natural Selection 2 blends real-time strategy and first-person shooter elements in an aliens vs. marines narrative. Even after the original’s debut in 2002, there’s still nothing like it.

Included because: Developer Unknown Worlds generated $220,000 from pre-sales alone, “completely changing [their] financial picture.” Each day, via a series of tweets, fans can read how much closer the game is to release. This not only strengthens the link between community and developer, but it provides an excellent inside look at how a game is made.

Example tweets: One of our Decoda customers gave this talk about using Lua in game engines. A good primer for Spark modding: http://bit.ly/2XLrUl

http://twitter.com/NS2/status/5425164792

Working on pistol alt-fire. Some kind of phosphorous marker that draws a trail behind tagged aliens? It has a laser sight too. Ideas? #fb
http://twitter.com/NS2/status/5106198098

Adam Sessler

The current editor-in-chief of the G4 Network’s game content.

Included because: Sessler deserves a spot on this list if only for his perseverance and determination – creating the videogame program Extended Play in 1998 and carrying it through two massive network transitions. His tweets, and the links included, often demonstrate exactly why he holds his current position.

Example tweets: hey new soapbox…I’m a little angry. http://tinyurl.com/yc5yp8x

http://twitter.com/AdamSessler/status/5431269589

look, can someone give Lieberman back his foreskin so I can disown him.
http://twitter.com/AdamSessler/status/5250392641

Robert Ashley

Videogame journalist, food critic(?), musician, and proprietor of the coolest podcast in gaming.

Included because: Like Shawn Elliott, Ashley’s a highly intelligent individual who cares deeply for the videogame industry, but is rightfully concerned with its direction. His tweets communicate all that, of course, but they also give us an inside look at the development, marketing, and growth of his excellent “internet radio show about videogames and the people who love them.” Business-minded individuals without the slightest interest in gaming should still follow this account.

Example tweets: You guys are now officially my PR rep.

http://twitter.com/robertashley/status/5104407156

Uncharted 2 opens big. How many different animations for a dude getting hurt can a game have? It’s like the stages of the cross.
http://twitter.com/robertashley/status/4904808537

Dave Perry

David Perry might be a genius. At the age of 15, he began his development career. Two years later, he began making games for Elite Systems, Mirrorsoft, and Virgin Games. 10 years later, he formed Shiny Entertainment. 10 more years later, he sold the company for $47 million. Since then he’s formed videogame industry consulting agencies, spoken at dozens of universities and conferences, and co-hosted the 2006 Game Developer’s Choice Awards.

Included because: See above.

Example tweets: Students from USC pitched me a cool MMO idea tonight. Thanks AJK for inviting me!

http://twitter.com/dperry/status/5414422643

Good day today! With OnLive valued over $500M, it’s helping fuel Gaikai! Our focus is the lowest cost to the player, to a WIDER audience.
http://twitter.com/dperry/status/4503501899

Q Entertainment

“Synesthesia: It’s what’s for breakfast.” reads the bio for Q Entertainment’s twitter page. It’s a fitting description for a company specializing in developing videogames that tickle your audio and visual senses in new ways.

Included because: If you’re an audio nut, and a gamer, Q Entertainment might already be one of your favorite developers. Following the team on Twitter’s the next logical step, right?

Example tweets: The Rez on PS3 feedback is useful. But the IP is Sega’s. Can we sell enough to make it worth the effort? Will our new games suffer? Etc.

http://twitter.com/Q_Entertainment/status/5358837044

Game design inspires research. Research inspires game design. Can we make something so fresh and so clean clean?
http://twitter.com/Q_Entertainment/status/4123893580

Gamasutra Jobs

Gamasutra’s not only an excellent site for videogame news, analysis, and editorials, but it also compiles the most industry-related jobs into one massive network. There,  users can upload personal information and resumes to better land that dream job.

Included because: Whoever runs the Gama_jobs account posts new employment opportunities nearly on a daily basis. If you want a job in the industry, you need to follow this account.

Example tweets: Are you a great mentor looking to bestow knowledge on the next generation of game devs? The younglings need you! http://tinyurl.com/gamaEDU

http://twitter.com/Gama_Jobs/status/5428128946

End of Day Position Highlight: Community Developer – Ubisoft – San Francisco, CA http://tinyurl.com/UbiCM
http://twitter.com/Gama_Jobs/status/5406277099

OCRemix

According to the site, “Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation, preservation, and interpretation of video game music. Its primary focus is www.ocremix.org, a website featuring hundreds of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans.”

Included because: Anyone looking to make a career in audio needs to follow OCRemix. The community’s friendly, the submissions cover every genre imaginable, and there’s real potential to use the site as a stepping stone towards paid gigs.

Example tweets: Today’s random YouTube! OCR01671: Final Fantasy VII “Suco de Melancia” by Red Tailed Fox! http://bit.ly/1RFXik #SquareEnix #PlayStation

http://twitter.com/ocremix/status/5426378647

News! OverClocked ReMix Releases Castlevania: Sonata of the Damned! http://bit.ly/44V6Tj
http://twitter.com/ocremix/status/5329376548

Valve

The house that built Half-life also owns and operates Steam, the premier digital distribution service in gaming

Included because: Valve’s twitter feed mainly includes announcements of varying kinds, i.e. title updates, release dates, deals, etc. Sometimes, it also doubles as a way of communicating directly with individual fans.

Example tweets: Trick or Treat! Team Fortress 2 Halloween Sale – 2 Hours Only! http://tinyurl.com/ygpmn85

http://twitter.com/ValveNews/status/5302466913

Enhanced Security for your Steam Account http://tinyurl.com/yj8h36e
http://twitter.com/ValveNews/status/5237442131

JMatthews: Hey Bryan, really looking forward to having you play Nov. 7^th for HotDish’s “Local’s Guide to Trainwreckin’” @ First Ave’s VIP. Many people know you in the Minneapolis dance scene, but can you give us a quick rundown of the history of Bryan Gerrard?

Gerrard: Lookin forward to it too man! It’s been a minute since I played up in the VIP. Quick rundown huh? Well I guess when it comes to house in MPLS – Been playin music since ’94 and like a lot of us dusty old cats still left around,  I came up playin raves and warehouse parties throughout Mpls and the Midwest in the 90’s. Started playin clubs shortly after and have been doin it ever since. I’ve played at or held a residency at pretty much every club in the city over the last 10-15 years and still love it!

JMatthews: Can you give us a rundown on Celebrity Records?

Gerrard: Celebrity was formed in ’99 with my homeboy David Drone in the back of his record shop Bassment Records. We started basically with the idea of releasing quality music that we believed in as opposed to saturating the market with a million tracks like a lot of other labels do.  It’s always been a labor of love for us and about quality over quantity. Over the years we’ve had the pleasure of working with industry veterans like Andy Caldwell, Scott Wozniak, Gene Farris, Jay-J, Stacy Kidd, Jay West and Alexander East as well as exposing the world to now famous and prolific artists such as Chuck Love, Audiowhores and Random Soul (all of whom released their first productions on Celebrity).  It has also been an outlet for many of our own production and will continue to be till the sun (or we) burn out!

JMatthews: What has been your biggest influence in the Minneapolis music scene?

Gerrard: Wow biggest influence…Well if we’re talking about people its without a doubt my house brothers 4 life Monte Hilleman, Alex Jarvis and David Drone. Those boys were doin this shit before me and I used to go see all them play before I ever started and that’s without a doubt the reason I got behind the decks. They graciously invited me into the fold a few years later and we’ve had sooo many crazy experiences since then it’s impossible to count. I’d also have to say the early days of SNDP at First Ave and old nights at The 90’s with DJ Miss Miss back in the day were major influences as well.

JMatthews: Who would you say has the most influence on you and your music right now both locally and internationally?

Gerrard: Well without a doubt all the people I mentioned before remain a big influence. I’ve been getting into a lot of other music lately but when it comes to house I’m diggin the stuff Crazy P, Spirit Catcher and Lovebirds are  doin big time. Really diggin the slowed down disco approach to things although there really doesn’t seem to be much of an ear for that here in MPLS. I’m also a big fan of Jay West and Manuel Sahagun’s stuff. Pretty much every track those guys do stays in my wallet forever. I love that they really respect sound quality while keeping the tracks innovative and funky as hell!

JMatthews: Can you tell us a little bit about the earlier life of Bryan Gerrard in the early 2000’s with beatopia, First Avenue, etc? Do you feel that times then are different then vs. now?

Gerrard: That was definitely the heyday that’s for sure! The best times I’ve EVER had djing in my life were up in the VIP room. I miss the feeling that people were open to hearing music they didn’t know and music with a feeling and just having a great time!

JMatthews: Let It Be, what a shame, right? Have you been able to visit the warehouse or the now online shop?

Gerrard: Yeah that’s too bad but not a huge surprise. All the good record shops are gone. Haven’t had the chance to check out the warehouse yet.

JMatthews: Digital versus vinyl. Thoughts?

Gerrard: I think I get asked this question about once a week. And honestly I’m surprised I still do considering digital has been the standard for several years now. My take on it is to move along with technology instead of fighting it. I love the sound of a record as much as the next guy but when clubs refuse to have a decent set of working turntables in them, all the record shops are gone and only about 10% of all the music getting made is released on vinyl the choice kind of makes itself no? I will be busting out some vinyl in the VIP!

JMatthews: Best club to rock out at outside of the 612?

Gerrard: My favs are Smart Bar in Chicago, Blue in Miami, and until last year before it closed Pink in SF was the joint!!!!

JMatthews: You are now holding a residency at The Lounge, can you give the dance community who doesn’t know a little about what your nights are like there?

Gerrard: I love it at The Lounge. That place has been around for so many years that you just gotta! I play a lot of different styles there depending on the night but when that place gets goin it can be one of the best nights in town. They recently remodeled the Main Room which I think makes a huge difference. People need to come down and check it out!!!

JMatthews: What are your thoughts on where house music is going and where it is going to be in the next 5-10 years?

Gerrard: wow man who knows. In the past just when you think house is dying out it comes back. I think people get wrapped up in all these sub-genres and fads but at the end of the day house always wins and will always be around in some format. Probably just need to wait a few more years so it can be all “Retro” then we’ll see its next big resurgence.

JMatthews: Well we sure are looking forward to having you come out and rock some of that vinyl, that is one thing we will never deny a DJ!

Bryan Gerrard will be bringing it this Saturday, November 7^th in the VIP room alongside myself, Nate Laurence and DJ SoulFeather for “A Local’s Guide to Trainwreckin’”. Be sure to come out and get down! Its only a $5 show, but if you email HotDish (info@hotdishmpls.com), we will get you on the list for reduced admissions! Plus free crossover to TOO MUCH LOVE. How can you fail?

Interview by: J Matthews

Originally Published on: Jack The Box – The Midwest At Night ]]> http://www.ipr.edu/blog/2009/11/an-interview-with-bryan-gerrard/feed/ 0 http://www.ipr.edu/blog/2009/11/d-w-d-i-derek-would-do-it/ http://www.ipr.edu/blog/2009/11/d-w-d-i-derek-would-do-it/#comments Mon, 02 Nov 2009 19:24:57 +0000 Travis Norman http://www.ipr.edu/blog/?p=3730
By Laura Holt (IPR Alumni)
How do you begin to write about someone who significantly impacted your life without you even knowing it?  Well you begin with some deep thoughts of shared conversations had with him, teary eyes over conversations left unspoken, a smile and a laugh over crazy escapades, inside jokes, and comments dished out while enjoying a smoke.

You never really realize how much someone truly means to you until you no longer have a chance to tell him or her.  My great friend Derek “New York” Doyle tattooed my spirit in ways I can’t even explain.  From the first time I met him in Demo Production class a few years back to last Thursday when I said my final good bye, he always had a way of getting my attention.  He had a way of capturing everyone’s attention whether they liked it or not.  Derek’s brain was like a sponge that absorbed everything around it.  His mind was a weapon and his voice was a shield.  He may have spoke out of turn, talked inappropriately, and had no boundaries, but that what made him stand out.  Derek grabbed life by the horns and if you weren’t along for the ride, you better get the hell out of his way.  This guy could do anything and when he did it was never halfway done either.  He was an amazing writer, publicist, drummer, and actor.  Come to think of it there wasn’t much he was unable to accomplish once his mind was set on it.

One of my favorite quotes is by actor James Dean, “Dream as if you’ll live forever, live as if you’ll die today.”  Derek achieved that everyday.  His name was a synonym for fun.  There was never a dull moment being around him and that’s what I love about him.  He kept me on my toes.

I was reading up on some astrology about my Gemini friend and came across a website that nailed his characteristics down to a T.  Author Jill Phillips writes, “Geminis born June 6 are remarkable individuals and have a need to express themselves through artistry and words. They have unbounded curiosity and never tire of learning new things.”  She goes on to state, “June 6 individuals are psychological magnets, drawing to them the individuals best equipped to teach them what they need to learn about life.” “With so many artistic talents at their disposal, these people can easily make a place in some creative field.” “June 6 natives are dreamers. They often set goals for themselves that seem impossible, and yet on some level they seem able to hit their mark. They aspire toward a high level of spiritual perfection. “

Derek Doyle is a legend in my eyes and in many other eyes too.  I never understood until now how hard he struggled through life yet he never complained or let his illness hold him down.  He is one of the greats in my book and will always hold a huge piece of my heart forever!

There will be a BON VOYAGE party in Derek’s Irish honor on Wednesday, Nov 4 at Sneaky Pete’s downtown Minneapolis from 7pm until 2am.   All ages are welcome until 10pm after 10pm only 21+ allowed.  Bring a memory and have your party hat on to bid adieu in true Derek “NY” Doyle fashion.

Video streaming service/website http://www.hulu.com/ might evolve into a free and subscription-based hybrid next year. Chase Carey, Deputy Chairman at News Corp, one part of the media consortium that owns Hulu (other members include Walt Disney, General Electric, and NBC Universal), wills it. And he’s willing it hard. At the OnScreen Media Summit, the man, oblivious to the past  80 profitable years of ad-supported broadcast television, said “I think a free model is a very difficult way to capture the value of our content.” Demonstrating an intense love for the Hulu community, the man added “I think what we need to do is deliver that content to consumers in a way where they will appreciate the value…” The comment’s sure to get those forum rats riled up, but is he right? Does the typical Hulu user undervalue the provided content? I don’t know, but I wouldn’t rule out the possibility either. Media accessibility’s doing crazy things with our expectations.

But nevermind the aforementioned somewhat ignorant and insulting comments. Here’s the most interesting thing he said at the summit:

” …Hulu concurs with (the notion) that it needs to evolve to have a meaningful subscription model as part of its business.”

Don’t believe the hundreds of articles and message board commenters ravenously proclaiming the end of our beloved Hulu. Don’t believe respected financial sites like the Motley Fool, either. In an article on the site titled “How Hulu Plans to Wreck Itself,” writer Anders Bylund outlined the service’s inevitable failure if it adopted a subscription model – basing his reasoning in Hulu completely eliminating its free model.  Anders implies this would cause a mass exodus of users due to the loss of “a no-brainer way to watch shows they (users) can’t or otherwise get.”

Anders is shortsighted. Not only that, he saw “subscription” in Carey’s quote and stopped reading. If you remember, or just look above, Carey actually said “a meaningful subscription model as part of its business.” The keyword here is “part.” Adding a form of paid subscriptions, while leaving the free offerings unchanged, Hulu could transform into a service many times more powerful and relevant than what’s possible under its current form. I know the potential’s there. Xbox Live told me.

Microsoft’s online service is the best on any console, ever. When it launched in 2002, Live revolutionized online console gaming by providing gamers with a seamless online community. Instead of creating an account for each title, only one was needed for the Xbox. Players carried this identity wherever they went in the online world. They didn’t just play with each other, either. Microsoft ingeniously packaged a microphone with every Xbox LIVE starter kit, emphasizing voice-based communication’s integral role in the community they hoped to create.

In two months, 250,000 subscribers signed up for Xbox Live – a paid service costing $50 a year. Less than two years later, subscription numbers reached a million. Most recently, in May of this year, Microsoft announced subscriptions hit 20 million, but didn’t specify how many were Silver members, a new free, but limited, way of experiencing LIVE that debuted with the Xbox 360 in 2005.

If just a quarter of that 20 million subscriber-base are the gold, or paying, members, Microsoft generates over 1.25 billion annually in fees. If more than a quarter are gold subscribers, well, you do the math. With this additional revenue stream, the company’s continually evolved LIVE throughout the years, adding an unparalleled level of content to suit the wants and needs of both its current and future subscribers. Say what you will, my dear Sony fanboys, about the PlayStation 3’s “PlayStation Network” not costing you a dime, it’s nowhere near as feature-rich as the incomparable Xbox LIVE.

It’s all about value – the individually-perceived summation of all things offered by a good or service that either tightens or loosens a consumer’s grip of hard-earned cash. Xbox LIVE offers me great value for $50 a year. So does Netflix, for whatever I pay (it’s essential stuff, I forgot the exact amount years ago). If Hulu offers users a paid model with great value, then the service can, and probably will, be successful. Until then, and hopefully after, can we stop this “everything should be free” attitude? Don’t get me wrong, free’s great, especially when funds are cripplingly absent, but paid can be better.

Who Ya Gonna’ Call?

Spooky sounds set to a dance beat…

eerie atmospheres…

This Is Halloween – Marilyn Manson

Simpsons style…

The Great Pumpkin Waltz – still classic

The Nightmare before Christmas – This is Halloween!

epic style 80’s power metal

“This isn’t one of those in-game pre-rendered movies, is it?” As Batman: Arkham Asylum played on the screen, a Game Night attendee demanded answers. I couldn’t fault him for questioning the graphics’ validity. Videogame companies notoriously employ smoke, mirrors, and feature film-quality 3D animation to mislead consumers into buying a product that can, in no way, live up to such a high visual precedent. In truth, it’s my fault I was caught off guard by the question. I should’ve expected the interrogator’s response. I often ask the same exact question (Thanks, Killzone 2!).

Batman doesn’t need in-game movies. The title immerses the player in the Bat-experience without them. The cinematic encounters aren’t observed, like in some “Final” titles, they’re played. Developer Rocksteady shows players this almost immediately during the lengthy introduction of escorting the Joker into the depths of Arkham.  As many of us know, this kind of medium interactivity isn’t new.

Cutting to a computer-generated or, heaven forbid, full motion video clip during an interactive game can segment the experience. In the world the player inhabits, he or she can move the protagonist around and interact with various objects and people. The boundaries are known, if only somewhat, here, and the objects are, in a way, tangible. But the world the clip inhabits might be entirely different, and potentially occupied by a similar, but bizarro-ish protagonist who possesses the capability to make decisions contradicting, or slightly off, from those made by the player. We assume they’re the same, because continuity and what games have taught us throughout years tell us, but we really don’t know. Think of it this way, you know the properties of an orange when holding it – the pleasant smell of the citrus flavors, the round and sometimes ovular shape, and the smooth but bumpy texture – but if all you know of an orange is what you’ve seen in a picture, then you can only assume. The power of a first-hand experience must never be underestimated.

Since this is a licensed title, it’s more vital than normal that the player feels like Batman (we all expect certain things from the Dark Knight). Through smart, and extremely well-designed gameplay mechanics, Rocksteady achieves this. Next, it’s up to the visuals to do their part (no sense in creating elaborate mechanics for Batsy Watsy if he looks and moves like a black tin can wearing a cape). Spoiler: The art department proved themselves as capable as the gameplay guys (and gals?). Arkham Asylum can hang with the biggest of visual baddies (not including the great emperor Crysis), in lighting, shadows, and raw pixel count. It’s really a beautiful game, and even better looking on the PC, provided you have the necessary setup.

As I said in my other Arkham Asylum-related article, the game includes added support for NVIDIA’s PhysX technology (”a proprietary realtime physics engine middleware software development kit). Since I possess a capable computer, I figured I’d bite, and see what kind of improvements this flaunted technology offered.

The difference is staggering. As the HardOCP folks say in their review of the title, “… there is absolutely a graphical effects payoff in Batman: Arkham Asylum.”

There’s more stuff occupying the floors, shelves, and hallways of the asylum and its outlying grounds when PhysX are cranked up to 11. Depending on where you are in the game, this can include more papers, tin cans, rubble, and fog. At normal and low physics settings, these materials are less present, or sometimes, not even included. Adding an additional dozen cans to an inconspicuous corner might not seem like a big deal, but it is. Think of it as the best way out of the environmental uncanny valley – the more realistic things the greater the possibility for the little things to make something seem unreal.

But there’s a cost to this, literally. PhysX support isn’t exactly cheap. As HardOCP notes:

“NVIDIA has told us a number of times that the best “bang for the buck” for a dedicated video card for PhysX is the GeForce 9800 GTX+, also known as G92, also known as 8800 GTS 512, also known as GTS 250.”

NVIDIA’s essentially saying “get two graphics cards” to run PhysX. While this isn’t necessary, the alternative, one really good card, is almost as expensive. If you want full support for these advanced features, and additional graphics capabilities such as anti-aliasing, get ready to spend around $300.

Before you console kids point and laugh at the price, remember how much you paid for your PS3 at launch. Yeah, that’s what I thought.

Oh, and even without these fancy doohickies, Arkham still looks better on the PC. And to make that happen, you don’t need a $300 card. Once again, check HardOCP’s excellent breakdown for more details.

If you have a capable computer, a PlayStation 3, and/or Xbox 360, there’s no reason to pick up either console version. Arkham on the PC looks better, can be played using a controller, can be modded, includes Xbox LIVE support, and is $10 cheaper. This is undoubtedly one of the best titles of the year. Play it the best way. Play it on the PC.

You don’t have to own an iPhone to understand the value that apps present.  iPhone app development has been a booming business despite the current state of the economy.  Apps are cheap entertainment users can take anywhere.  Those who sell their apps for less than a large coffee see huge revenues from thousands of downloads.  Free apps see even more downloads and give companies a new venue to reach consumers.  The music industry has witnessed the iPhone app become not only a tool to promote artists, but also interactive albums with exclusive content that have brought in millions of dollars in sales.  But what about those cool apps you see from famous rock stars?  Can I get one of those?  The answer is: heck yes you can.

Mobile Roadie is the most promising solution for those on a budget.  While its offerings are fewer than Kyte, a platform commonly used by major labels and corporations, Mobile Roadie has a lot of functionality for the price.  Although both platforms are ideally suited for music industry related clients, they can easily be modified to fit the needs of any public figure or company.

MR features include a wall with commenting, tour dates, music player that stays put while you browse the content, album info and iTunes links, videos, integration of facebook, flickr, and other media sharing and social networks, and even imports your RSS feeds from Twitter, blogs, calendars, etc.

From what I’ve seen on the MR site, there is a mere $499 fee for setup.  MR then charges $30 per month for the first year or until your app is downloaded 1000 times.  After that you pay $0.01 per download, per month.  Sounds confusing right? Well MR allows you to forgo the one cent fees by hosting your own content.  So as far as I can tell, if you don’t hit the 1000 download mark in the first year you pay a total of $760 for your very own app from Mobile Roadie.

Kyte offers a professional custom app solution as well as free consumer level podcast creation tools.  The Kyte iPhone app platform is a powerful high end service for those who want a custom app placed in the app store as well as video distribution across the expanses of the world wide web.

The Kyte framework has many of the Mobile Roadie features but Kyte is more about video and chat than being an audio player.  The consumer that downloads your Kyte powered app will have the ability to watch videos and live shows while chatting with other fans who are using the app.  Your branded app powered by Kyte can be monetized to generate revenue from advertising.  In addition to mobile sites and apps, Kyte distributes your content around the regular old internet too.

Kyte has a desktop production tool that allows users to produce a Kyte podcasts that are then syndicated through your iPhone app and your Kyte channel.  50 Cent, G-Unit and the entire Thisis50.com team reached over 50 million views on their branded Kyte channel.  Your Kyte channel, much like a Youtube channel, can be embedded as a widget on Facebook, MySpace, and just about anywhere.  The content is spread throughout the web, not just to iPhones.

Another bonus that Kyte has over Mobile Roadie is that Blackberry users can also download the Kyte apps.  Pricing for Kyte Premium, their basic offering, ranges between $150 and $500 per month.

Kyte has a free scaled down consumer level offering for fans and video bloggers to make “shows” containing audio and video of their favorite artists.  This service does not provide a custom mobile app.  Not to be confused with the professional custom Kyte powered apps, another app is available for iPhone and Nokia smart phones called “Kyte Mobile Producer” which is a mobile version of the free producer service.  This app turns your compatiable phone into a mobile podcast studio.  Additionally, you can browse Kyte channels from any web enabled phone at m.kyte.tv.

Another possible “turn key” app creation tool I found is App Wizard.  App wizard is supposedly a desktop software that converts your existing website into an iPhone app.   There is hardly any information about the software and there are no demos or screen shots on their website.  The site has only two pages, a home page with a brief description and a page to buy the software for $190.  I’m skeptical that this software exists or does what it is supposed to.  If such a thing did exist, it would be the easiest and most affordable road to the App Store.  I’ve requested more information but have not heard back from them and will update all you curious interwebbers when I learn more.