wordy


Soon enough, this blog will be located a short e-distance away at www.robotcousin.com/blog (which, depending on how old this post is to you, might be the URL you’re at right now). I’ve decided that if I want this site to look more professional, perhaps the blog shouldn’t be the first thing that hits you in the face when you visit the site. In a way, it’s sort of roundabout to find the demo reel (it’s a link at the top, btw), and it’s not even formatted well when you get there.

I believe it’s high time for me to do some photoshoppery and slicing to get a nice splash page there with a link to the blog, as well as a new demo reel page, and whatnot.

Time to get serious about all this now.

There are always things I want to learn. Sometimes, I find it really tough, other times I find it not challenging enough, but I always want to learn new things, especially if it expands on something I already basically know. I’m going to try and set some goals for myself this year, in reference to me learning new things. For example, this year I want to learn the following (or at least make an attempt)

  • 1- Modes (Lydian, Phrygian, etc) – I know what they’re for, but having them memorized would really help. Maybe that doesn’t count in “learning” them, as all it is to me at this point would be pattern recognition, rather than the understanding I already have/had of them, but I want to learn/memorize them nonetheless.
  • 2- All of my synths – I know how synths work, so when someone says to increase the attack time on the envelope generator, I know where to go. That’s not enough, though. If you take a synth like the ImpOscar or especially the Minimonstah, even though you know the functionality of each control on its own, I could really use to get to know my synths, as it can only help me get where I want to go faster. See also: quadraSID… that one’s currently a bit of a mystery.
  • 3- Flash Scripting (edit – found a good resource!) – quite a change from the musical goals above, but I believe having a basic-to-good understanding on how to actually get something done in Flash would really benefit not only this site, but perhaps any program I may think of making in the future… which brings me to…
  • 4- Programming/C++ – This was a goal for last year as well, and I’ve checked out a lot of resources I’ve been given, and this is something I could definitely grasp. Alongside this, I would love to get to the point of making an iPhone app or game.

So, as of right now, that’s what I want to fill my brain up with this coming year. Easier said than done, but I have a number of books on a few of the topics listed above, so at least I could take some of it in while being stuck at work.

So, people out there reading… is there anything you’d like to learn in the near future?

It’s out, it’s official; Project R has been announced. Check it out here.

The real name for it is “Bail-out! A Recessionary Rock Opera”. It’s a collaboration between myself, Chris Fulton, and Josh Linton, my friends from Fetal Films. I’ve worked with these two with both “Gamer’s Manifesto”, and more recently “Manic Chiropractic”.

I’m not going to give too much away, but I can say this: It’s going to be a short musical (it IS based on volunteer work through the NB Film Co-op, after all), and it will also be the first musical done through the co-op. It centers around one man’s plight with downsizing at his previously-well-paying job, all done through song! We’re planning on having about 5 songs in it, each about 3-4 minutes long, and I’ve already begun to write the music for it (rough demos, nothing polished yet. Drums aren’t timed up, nothing mixed, it’s all too loud, no vocals, it’s like everything is sonic drywall right now. Just the chords, and the melody-thus-far.) The lyrics are pretty much done, although up for tweaking if necessary

From the NB Film Co-op E-News…

Fetal Films and Robot Cousin Soundworks team up to rock the Recession in 2010!

The Great Recession of ‘08 calls up many colourful images; ashen, grey-suited hedge-fund managers fleeing AIG and Lehman Brothers like so many rats from a sinking ship; Red-faced right-wingers shouting “socialist!” in the faces of those who dared question the virtues of unbridled free-market capitalism; And of course, the sparkling, shiny bail-out greenbacks supposed to make it all just go away.

With such a rainbow-palette to draw from, Fetal Films (Photo of Chris Fulton to left by Jeff Crawford) (Chris Fulton and Josh Linton) and Robot Cousin Soundworks (Jordan Roherty) thought: “hey, why not set this hot mess to music?” And so a rock opera was borne…

“Bail-out! A Recessionary Rock Opera” – a unique musical film project in the history of NB indy film…

Fetal Films’ past work – the Silver Wave Best NB Comedy Award-winning films “Gamers’ Manifesto” and “Manic Chiropractic” – were films of modest ambition; few sets, a small crew, no pricey film-stock – films about slackers produced by slackers. So, to help them pull off the garish spectacle that is the modern musical, Fulton (Writer/Director/Co-producer), Linton (Lead Actor/Co-producer) and Roherty (Composer/Co-producer) are calling on some of the usual suspects to lend them a hand. From Moncton, Danny Thebeau on Camera, from Fredericton, Jen Chiasson rocking the Editing Suite, with other frequent collaborators having their numbers called soon. In addition to the familiar, Fulton and Linton will be rounding out the group with song and dance professionals, including a much-needed choreographer to harness and channel Linton’s raw, natural rhythm into a mainstream dance-style.

The Fetal Film folks are trying (Josh Linton to right) to bring something unique to the NB indy film scene, but will need support from the NB film community at large – we hope to feed off of your enthusiasm to push us through the process and hold us accountable to you, the NB film fans.

Regular updates will be posted on the e-news feed. Will be holding auditions in the months to come, so look for alerts in the e-news and on Facebook.

Anyone interested in dropping a line of encouragement, or for more info, you can reach Chris and Josh of Fetal Films at: recessionrockopera@gmail.com

Thanks!
Chris, on behalf of Josh and Jordan.

Winning films “Gamers’ Manifesto” and “Manic Chiropractic” - were films of modest ambition; few sets, a small crew, no pricey film-stock – films about slackers produced by slackers.  So, to help them pull off the garish spectacle that is the modern musical, Fulton (Writer/Director/Co-producer), Linton (Lead Actor/Co-producer) and Roherty (Composer/Co-producer) are calling on some of the usual suspects to lend them a hand.  From Moncton, Danny Thebeau on Camera, from Fredericton, Jen Chiasson rocking the Editing Suite, with other frequent collaborators having their numbers called soon.  In addition to the familiar, Fulton and Linton will be rounding out the group with song and dance professionals, including a much-needed choreographer to harness and channel Linton’s raw, natural rhythm into a mainstream dance-style.

The Fetal Film folks are trying to bring something unique to the NB indie film scene, but will need support from the NB film community at large – we hope to feed off of your enthusiasm to push us through the process and hold us accountable to you, the NB film fans.

Regular updates will be posted on the e-news feed.  Will be holding auditions in the months to come, so look for alerts in the e-news and on Facebook.

Anyone interested in dropping a line of encouragement, or for more info, you can reach Chris and Josh of Fetal Films at: recessionrockopera@gmail.com.

The holidays have just passed, and with them they have brought many nice things for me, and hopefully for all of you out there reading this. Two things of note:

“Sometimes I Rhyme” was a wonderful surprise and a fantastic gift. From the rhyming stories about a jungle gym with an appetite, to breasts, shortcut keys for Adobe Flash, and even Jesus vs Buddha, this book of absurd and awesome poems should probably be on your list of neat gifts to give people who appreciate neat gifts. I’ve already decided that I’ll be picking it up for someone who I previously couldn’t think of anything to get.

Also, if you’re not listening to their podcast, you obviously hate fun. See below:

Curtis_Tara_trouble

All this time, recording the electric guitar signal straight into my Firewire Solo’s line input. Never using a DI box.

What was I thinking?! I’ll be picking up a passive one in the next little while. Gah, it’s like I learned nothing in my course.

EDIT (5 minutes later): Ok, weird… if you do a Google search for Firewire Solo DI Box, this post shows up on the first page. Man, those guys/that algorithm works fast!

Crazy deal available until Dec 31st 2009

You buy and register one of their listed products (StealthPedal, StealthPedal Deluxe, AmpliTube 2, AmpliTube 2 Crossgrade, AmpliTube Fender™, Ampeg® SVX, AmpliTube Jimi Hendrix™, AmpliTube Metal), and then you get to choose from THREE (3) of their plugins (AmpliTube 2 Crossgrade, Ampeg® SVX, AmpliTube Jimi Hendrix™, AmpliTube Metal, T-RackS 3 Standard, SampleTank 2.5 L, Miroslav Philharmonik CE)

Just got this email from IK Multimedia. I would jump at this deal if I could afford it right now, but unfortunately, I cannot. A few years ago, I did participate in a group buy deal from IK, and I ended up with a ton of samples (SampleTank 2) I never use (it doesn’t really seem like they work… sometimes they do, sometimes they don’t, maybe I’m missing something, maybe I didn’t care enough), but it came with Amplitube 2, which was the free plugin they let me choose. This looks like an incredible deal, but even though I’d be saving $900, I’d be spending over $200 that I don’t currently have to spend.

If only this deal had shown up sometime early next year. I would absolutely love to have that pedal.

The plugins I would probably choose would be Ampeg, T-Racks, and Amplitube Jimi Hendrix. A lot of people prefer Native Instruments’ Guitar Rig, and I’ve tried it, but there’s something about Amplitube 2 that just got me from the start. I think it’s the wonderful crunch sound they emulate that I had difficulty emulating in GR. Perhaps it’s because it seems to take few system resources to run.

Choices, choices.

I’m window-shopping for a new audio interface. Right now, I have the M-Audio Firewire Solo, and it is, truly, nothing fancy. Can’t do surround, and the drivers are usually late. For example, I upgrade to Snow Leopard a while ago, as I posted, totally forgetting the fact that I should check my drivers before doing so. Sure enough, The last ones to be released at that time were for 10.5.7 or .8. I’ve been using some sort of weird work-around that someone posted on their forums, and it’s actually treating me better than 10.4.11’s drivers ever could. For example, no longer does my sound totally fail me me if I put the computer to sleep while a program that’s using audio is currently running (like Safari, if I’m on a youtube page or something). I haven’t had to restart the system (for that reason) since I’ve upgraded. That’s just one problem fixed, though.

Anyway, I’m tired of the FW Solo, I’m tired of buggy software and unreliable hardware. I’m tired of not even having the option to create a surround sound mix, regardless of whether or not I have the monitors to support it (that’ll be a post for another day). I want to upgrade, and when I get the money for the studio, I’ll be doing so! My criteria are as follows:

  • Must already be supported in 10.6/Snow Leopard (shouldn’t be a problem, but it’s definitely a requirement)
    Must have more than 5 outputs for surround sound support.
    Must have ADAT optical IO, in the event that I need it later on.
    Must be less than $2,000 CDN, as that’s the maximum I’m allowing myself to possibly budget for, but I’d like it to be cheaper.

So, with that criteria in place, the main contenders are:

  1. Motu 828 MKIII ($870)
  2. RME Fireface 400 ($1,469)
  3. Apogee Ensemble ($1,984)

For prices, I’ve taken them all from Saved By Technology, a fantastic site that caters to both US and Canadian residents for pretty much all of their digital audio needs.

Wow, while I was looking all of this up, I also found that SbT is selling a Mackie Control Universal Pro for $1,367! Well, I think that cuts a LOT of this short, since I’ve heard excellent things about the MOTU 828 MKIII, and have always really really wanted the MCU Pro.

So, thoughts?

I’m starting to document my possibly-long-road to success in building my own home recording studio.

I currently own a duplex, and am only using one-half of it. It came to me while we (my fianceé and I) were in search of tenants that I could apply for a government loan to actually build the beginnings of a home studio. Since I’ve graduated, I’ve always wanted to start my own studio, but I kept thinking “too big” (rent out building space, thus incurring even more monthly rent fees, commercial ones at that), or “too small” (Hey, I can work from my basement! Yeah!!). Being a duplex, it obviously has its own entrance, independant of where we actually live. It has 3 bedrooms, at least one of which would be used as a “live” room. The living room is very open and attached to the kitchen. This all came to me one night, and kept me up until 4am. It was wonderful and terrible all at once.

So I’ve decided to take this little corner of the web to document what will be happening over the next… however-long in my quest to finally build my own studio.

Here’s hoping this all comes together. In saying that, does anyone have any idea of where I can go to get money? I’ll be going to try and get a SEED loan, but who knows how that’ll work. I’m totally in the dark when it comes to any sort of Federal loan or grant program. Help?

I’m interested, primarily, in two things: Audio and Video Games. I’d like to talk about both for a little bit.

My fianceé and I have recently been very taken by Fallout 3. Everything from its epic scope to the setting, the humour, the style… it’s all so well done. For anyone who’s not aware, Fallout is a post-apocalyptic action-RPG (role-playing game). The basic setting is that after World War 2, in a separate timeline than of our own, technology really sped up and the world became very advanced, yet still maintained the “Leave it to Beaver”-esque society of quiet America. Then, in 2077, the bombs fell. All across the U.S., a company called “Vault-Tec” had installed hundreds of underground vaults, meant to maintain life and lifestyle well into post-apocalyptia.

The game begins 200 years later. You are born and raised in Vault 101 (Fallout 1 started you off in Vault 13, Fallout 2 didn’t start you in a vault at all). One day, in your late teens, your dad mysteriously leaves the vault, something you’ve been raised to believe was prohibited.

So, Fallout 3 takes you on one hell of a journey to find your father in the “Capital Wasteland” (ruins of Washington D.C. and its environs. On the way, you’ll meet raiders, ghouls (both friendly and non), scavengers, sentrybots, super mutants, and worse. As bleak and as harsh as it gets, you always have “Three Dog”, the sole DJ of the “Good Fight” radio station, Galaxy News Radio. He’s got a collection of 20-or-so 45s and he fills the air with tips, praise, disdain, and sweet, sweet music. Within a few hours, you’ll find yourself singing along with the Ink Spots, Ella Fitzgerald, Billie Holiday, and others, as you blast the hell out of anyone who crosses your path and wants to cause trouble (and even the ones who mean you no harm!). They even have a few episodes of “The Adventures of Herbert ‘Daring’ Dashwood and his stalwart ghoul man-servant Argyle”, which is highly entertaining on its own. My favourite part of that is meeting Dashwood in the game, and him mentioning to you that he hasn’t seen Argyle for years, but he believes he’s still out there. I haven’t found him yet.

Three Dog himself is quite entertaining as well. Bethesda Softworks has programmed and designed the radio station in such a way that, at first, he’ll start talking about strange or interesting goings-on in a particular town or spot. It’ll basically be a lead-in to a quest that you can complete, and either come out the good guy or bad guy, depending on how you handle it. The best part is, Three Dog will eventually get wind of how it all went down and update his listeners on what happened. It really pulls you in to the experience, and feels like you’re effecting the world around you, bit by bit.

One alternative to GNR is ‘Enclave Radio’. The Enclave is the apocalyptic version of America’s army. Well, maybe that’s being too harsh. They’re closed-minded, brute squad under the command of President Eden, who also happens to be the main voice behind their radio broadcast. You’ll find regular, public-domain American pomp and circumstance-ish tunes on there. I honestly haven’t listened to it that often, as I’m still thoroughly entertained by Three Dog and his selection of oldies.

Another voice among the dust and rocks is that of Agitha, a lonely woman who gets by in a small shack hidden out of view from most people. There’s a quest that involves traveling to a vault that was originally meant to contain all records of artistry and artistic ability. It is there where you find her the Stradivarius violin that she once lent to a friend. When you bring it back, she uses her HAM radio to broadcast her playing, which sets a very eclectic and disturbing tone to the sheer amount of violence and despair you’ll experience. Sweet sounds as heads fly through the air.

The sound design is spot on. The wind, the footsteps, the weapon noises… everything is done so well. You hear the meaty thud when your super-sledgehammer makes contact with the side of a super mutant’s head. The zap and then the eventual fizz from a laser rifle as it melts Talon mercenary to a pile of goo. One of the best/worst (’worst’ as in “so good it gives me shivers due to subject matter”) would be when you open up what is known as a “gore bag”. They must’ve recorded wet cabbage pulled apart while submerged in mud to get that one. (A gore bag is what it sounds like. Kept by the super-mutants, they’re almost like trophies of past victims.)

I’m impressed by the voice acting, for the most part. The inflection of the dialogue that’s spoken is really well done, but just like Morrowind and Oblivion, you have about 4 or 5 different voice actors playing a LOT of different parts. Every ghoul sounds the same, as well as every super mutant. There are some big name actors, however. Liam Neeson plays your father, Ron Perlman is the narrator (just as he was in Fallout 1 and 2), and Malcolm McDowell voices President Eden, something I actually didn’t realize until I happened upon that information on imdb.com. As for most of the other characters, you’ll hear voices thanking you for saving them, and then, not 5 minutes later, those same voices might be cursing you as they try to blow off your arms.

To me, sound and music is an integral part of the whole video-game experience, and Fallout 3 doesn’t disappoint. The score is moody and brooding, and contains hints of the music found in Morrowind and Oblivion, which is somewhat odd, since F3’s score was composed by Inon Zur, whereas Morrowind and Oblivion were scored by Jeremy Soule. Maybe Bethesda had strict guidelines in terms of melody. Reading about guys like Soule and Zur really light a fire inside me to become a better composer and get more work.

For now, though, I think I’ll just sit back, close my eyes, and listen to some GNR… but not while out in the wasteland; I’d probably get smashed by a Deathclaw.

Everything’s been up and down lately. Not much music has been coming out of me. It’s a block, but I know it’s temporary. I’ve started taking my Microtrack with me to a lot of places, as I find myself alone in the car, driving, and I’ll have a musical idea that I know won’t last more than 10 minutes in my head. I record a crude version of me humming or la-la-la-ing it out (quite embarrassing even when it’s just me listening back to it) so at least I’ll have that “really good idea” for a while, until I can get back to Logic.

What’s been inspiring me lately is Tripping Daisy’s “Jesus Hits like the Atom Bomb“, which is, hands-down, the best album I’ve ever heard. I bought it when it came out, in 1997, and at first, as with most music I end up loving, I didn’t like it at first. Why not? Because it wasn’t as “alternative-rock” as their previous album, “I am an Elastic Firecracker.” There wasn’t a track on there that could, at the time, match up to my then-favourite 9-minute grunge-opus “Prick“.

However, after only a few listens, I quickly came to realize that this was an amazing musical treat.

From the get-go, the ever-energetic “Field Day Jitters“, followed by the wonderfully epic “Waited a Light Year” (yes, we all know it’s not actually a measure of time), and all the way until the last murmurs of their Brainiac tribute, Indian Poker Parts II & III, “Jesus Hits…” is an ear-opening and emotional journey through a very abstract and candy-coated sonic landscape. I still, to this day, have it constantly playing in the car. I sing along to it. I don’t do that very often, but I can’t help but make an exception. Am I any good? No, but it my imagination, I’m awesome. This album makes me feel awesome. This album makes me feel more everything than anything that came before it. This one album has seen me through pretty much every good and bad time of my recent life, and I know it’ll be there for anything in the future. I know I’m coming off as some sort of fanboy, and because of that, I try each and every time to listen to it critically, objectively. In doing so, I’m still amazed by how it all comes together, so very fresh and dynamic, although I have found a few editing errors. One of the best things about this album is that I actually do notice new things every single time I listen. How could they ever follow it?

While I do very much enjoy Tripping Daisy’s post-humously released self-titled final album, it has its dry spots. This is very much not the case with “Jesus Hits…” If I wanted an amalgamation of both albums, I would simply add “Drama Day Weekend” and “Tragiverse” to it, but that might upset the flow of it all.

I’d love to give all credit to the band itself, and I’m sure that that’s where the majority of it should be placed, but that would be overlooking a very important individual named Eric Drew Feldman. There are no words for the music this man produces. He knows how to hit those fantastic moments time and time again. Another one of my favourite Feldman productions is Frank Black’s “Teenager of the Year“. Speedy Marie, ahead of the now. She’s better built, that’s how. She’s built for speed.

I think I’m done gushing for one post. Next up, the sounds of post-apocalyptia.

I guess today marks the pseudo-start of weekly meetings I’m having with a friend of mine over an upcoming project which may end up being the biggest thing I’ve worked on so far. I’ve mentioned it a bit in the past, and while I can’t say anything official about it yet, I can certainly be vague and non-descript! I think I’ll call it “Project R

The project itself wasn’t my idea, but I wish it had been. Still, I’m the primary composer, so it does allow me a great amount of freedom and input. If Project R is my friend’s baby, then that makes me its “involved Godfather”.

We recently decided to hold weekly meetings, every Tuesday, if circumstances allow. Tonight was really productive. We hammered out and seemed to add a bit of ‘creative cement’ to the whole thing. There was one point where we were sort of both hit with the same idea, an idea that hadn’t occurred to either of us while going over this thing on our own. Very helpful to have active and involved feedback. We want to shape this into something good, something memorable. Something fantastic, hopefully.

Who knows how it’ll turn out? Certainly not me, but I do have the power to steer it here and there, and I just hope I make the right choices about it. Either way, it’ll be a HUGE learning experience. I just hope it ends up opening doors for other opportunities. While Project R won’t actually make me any money directly, who’s to say what could branch out from it? Definitely a possibility.

We’ll find out in two weeks if our work ahead will be on a paved or rocky road. It will be then when I’ll be able to take the tarp off of what we’re working on.

In other news, the yearly Silver Wave Film Festival is coming up. November 5-8th, Fredericton New Brunswick. It seems that this year will be attempting to out-do last year, just like last year did the same for 2007. I have to admit, I’m really excited for it. I was hoping that the two short films I scored would have been submitted to the panel (who generally accepts them, unless they involve questionable material, or are too long), but word from one of the directors was that he had been too involved with the organization of the film festival itself that he was unable to submit his film.

I’m not sure if he means it slipped his mind, or his involvement would prohibit it for being considered for any sort of award or recognition. I didn’t bother to clarify. It’ll be there next year. That’s cool.

—–

I wasn’t going to get into this, originally, but hey, it’s my site.

I hit a bit of a brick wall today, emotionally. It was one that I didn’t see coming, and even looking back, I still can’t really make it out. All of a sudden, I was overcome with a horrible feeling. I felt as though I was just wasting away, not doing what I was supposed to be doing, and others would soon pass me by, instead of walk alongside me. I felt like I was still, briefly, who I was years ago. It’s as if every bad thing I had ever done manifested itself as an emotional ball of hate that just decided to find me today, and mess me up. Well, it didn’t last too long, but it wasn’t good.

What brought me out of it was this: I’d like to think that I’m not only a different, but better person than I was just a few years ago.We all go through stupid periods in our life, times where we are nothing but emotionally and perhaps physically destructive for no good reason. To ourselves, to others, whether they deserved it or not. I made a deal with myself years ago. I said that I’d forgive myself for all of the stupid shit that I’ve done to others as long as I not only promise to change, but actually do it. And for the most part, all of that, to me, is now ancient history. Yet, every once in a while, a few thoughts will catch me, or something will remind me of how everything used to be, and I just get mad at myself all over again.

I have to remember that I’m still keeping good on my own promise.

Today, we remember a very important game. A game that taught you survival skills, money management, and not to trust red-headed hitch-hikers.

Today, we remember “Cross Country Canada.”

One of the earlier ’sandbox’ box games (meaning you had free-reign over a lot of gaming aspects), CCan, as I remember it being abbreviated, was one of the best edu-tainment titles I ever had the pleasure of experiencing in my youth. And I’m glad I did back then! Had I been older, I would’ve easily overlooked this excellent game.

The premise was simple; you’re a trucker, and you’ve been given the task of picking up a (player determined) number of commodities throughout Our Home and Native Land, and then you deliver them all to the final destination, which I believe was randomly chosen at the beginning of the game. So, for example, you’d start off in any Canadian city of the game’s choosing (again, random each time) and be given a riddle, of sorts, and you’d get 2 guesses to which commodity they’re referring to. I guess they weren’t riddles since they weren’t very witty. It was more like a Jeopardy! question.

“This commodity is glorified in a large statue of the coin that shares its name.” Of course, the answer would be “nickel”. The question itself would be more “fact-y” than that, I just don’t remember how they worded it.

Here’s where it gets interesting. If you had the retail copy of the game, or were playing it in the past 5 years and had access to Gamefaqs.com, you could easily look up where these commodities were to be picked up. The retail copies came with a sheet, listing every commodity and the city/town it was found in. So you’d see “Nickel – Sudbury (and any other place the game may allow you to pick it up from).

However, from a recent chat with a friend, both of us reminiscing about this wonderful game, he told me that he never had the guide. I was shocked, until he explained that the commodities were always placed in a city or town that made sense (hence the Nickel, sort of). You could get oil from Albertan towns. I’m sure there are other examples, but I can’t think of any right now.

The beauty of this game was that, although the time you took was being kept track of (you always had access to what the date and time of day was, in-game), you weren’t on any sort of time limit, and were free to travel all over Canada. Was there a lot to do? By today’s standards, no way. But back then, in the early 90’s, the heyday of CGA (which this game ran in), EGA and VGA graphics, being able to sleep in a hotel or your truck (your choice, and your fine to pay if caught!), the option to buckle or not to buckle your seatbelt, put chains on your summer tires when winter driving, or to pick up a hitch-hiker seemed like total trucker-flavoured freedom! Not to mention having to stop for food at any restaurant that might be nearby.

Speaking of which, if CCan is to be believed, there are a LOT of  places called “Joe’s Diner” throughout the provinces. Who is this Joe, and how long has he been in business? Does he have a clear mission statement? Is there a “Joe’s Diner” charity going, like the Tim Horton’s Kids Camp? I hope so. I know that, while playing CCan, I must’ve spent enough to pay off the guy’s mortgage, and reimburse him for the money he dished out sending his kids to college.

But it wasn’t all “Eat, Sleep, Truck” in CCan. No no, there were Dangers. What sort of dangers, you mentally ask me as you read this?

Accidents.

Flat tires.

Falling asleep at the wheel (see accidents)

Police (get those damned chains off of those tires! DO YOU KNOW WHAT YOU’RE DOING TO THE 401?!?)

Running out of gas.

Speeding, although this was easily avoided.

And last, but not least, hitch-hikers. Yes, you have the option to put your fate (and your cargo) in the hands of some shady-looking, improperly-dressed ruffian who you’ll see by the side of the road. I don’t mean it was always the same guy (and yes, it always was a guy), but it might as well have been, because they all looked the same. But hey, it was 1990, and by that I either mean it may have been a graphics thing, or perhaps all hitch-hikers wore flannel. Who knows?

These “wanderers of the TCH” could sometimes tip you for helping them out, or rob you at gunpoint. It was up in the air what would happen, but I do know they only stole commodities, so you were a-ok for picking everyone up when you didn’t currently have cargo. I found this to be very “Vegas Dream“-y, in the respect that there was no rhyme or reason to the good or bad fortune, it was like a coin-toss. Still fun though.

And let’s not forget the option to play CCan with up to 3 other people! Yes, that’s right, you could all take turns picking up and delivering those sweet, sweet commodities. Too bad it didn’t have a co-op feature. What I wouldn’t give to be able to hide player 2 in the backseat with a gun so that when some random jackass decided to get tough with me, SURPRISE! Now, give ME all of the oil you’ve been stashing away.

As far as the educational aspect, it was definitely there. As I mentioned, there were Jeopardy!-like questions to answer (but it would tell you the answer if you missed your 2 attempts at guessing, so you’d always learn!), but there were other facts spread around the game. Some of them would pop up from time to time, depending on where you were. Yet some of them were more inconspicuous. For example. it was CCan that taught me that there are no roads to or from Churchill, Manitoba. How did I learn that? From trying to drive there, of course. Instead, you had to put in an order at the train station at the nearest city (can’t think of it right now…. Brandon, maybe?) and wait for it to come in. Not in real-time, mind you.

All in all, Crosscountry Canada was a gem among other educational games at the same time, both for its freedom, sense of immersion (albeit limited by the technology of 1990) and the fact that, like it or not, you learned. Hell, I’d rather fire up CCan and do a 9-commodity-run with 3 of my friends than play Halo any day.

Hell of a damned game, that’s for sure.

Geocities is closing (possibly old news to some). And I had just mentioned good ol’ GC in one of my recent posts… weird. A place I don’t think about forever, and when I do, something newsworthy about it is brought to my attention.

Anyone reading this remember Geocities? If you were on the web around 1997, you probably saw quite a number of fan pages written in basic HTML with tiled or neon backgrounds and over/under-sized, hard-to-read text, discussing all manner of anything.

Web 2.0 more-or-less put the final stake into the heart of sites and services like Geocities. I mean, although you’re currently at www.robotcousin.com, I could just as easily be posting this at robotcousin.wordpress.com (doesn’t exist). The old “put your html and animated gifs here!” sites of yesteryear have gone (or are going), and now are the blogspots, the wordpresses, the Facebook fan pages.

I think, just for fun, next time I’m updating this site, I’ll tile “underconstruction.gif” in the background.

RIP Geocities. You served many a fan-fiction-author well.

Dec 15th 1995 – October 29 2009

I find this site strangely comforting. A place where I can just type whatever, say whatever, not caring about what I’m saying or what people think of it. I know that’s very “Geocities 1997″ of me, but it’s true.

More music on its way, although not in this post. I want to sing, but I don’t have a lot of confidence in my voice, nor do I really have anything to sing about. However, upon closer reflection, I realize that both of those problems are solvable. Don’t expect to hear me crooning about how quiet it is in St Margarets anytime soon, but I’ve got something.

As for other projects, I’m almost finished working on something really magical with my friend Curtis (of the Curtis and Tara show) that I can’t wait to share with the 3 people that read this. Should be available quite soon.

Might end up working two jobs in the next little while. It’ll kill my available time, but with the extra money, it’ll lessen quite a bit of stress caused by the lack thereof.

A while ago, there was a project going on with a section of the Something Awful forums. It was called “Project Endlife” and it was supposed to be a mockumentary (not the funny kind) about what supposedly happened during the years between Half Life and Half Life 2. Also, it was all going to be done using Garry’s Mod. I had offered to do music, and got this one done as kind of a demo for the project leader.

Then, one day, I went to the website, and it wouldn’t let me in. It wouldn’t let anyone in. The topic on the forums disappeared… everything was gone. I eventually found the leader and questioned him about the whole thing, and he just said that he realized he was going to be WAY too busy for this sort of thing, and didn’t believe most of us could’ve ended up pulling all of this off, or something. Bleh.

Anyway, here’s Transpire (demo). Although it doesn’t sound ANYTHING like it, it was inspired by Track 2 of the Half Life 2 soundtrack. For anyone who doesn’t have the soundtrack, but has played HL2, the track in question starts around the time where you jump through the first batch of trains, the first time you start being shot at by the Combine.

You know the one.

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