Link: Jason Schreier on [Mass Effect: Andromeda]

The Story Behind Mass Effect: Andromeda’s Troubled Five-Year Development” by Jason Schreier

Like many stories of difficult or even failed video game development that I’ve read, from the collapse of Ion Storm to Battlecruiser 3000AD to Duke Nukem Forever (DNF) and arguably Half-Life 2 Episode Three/Half-Life 3, it all seems to boil down to trying to do too much when one doesn’t have a firm idea what the final finished product looks like or has no inclination to actually come up with a finished product. Sure, creativity doesn’t work on a timetable, it takes as much time as it—blah, blah, blah—creativity.

Please, our best writers and painters and scientists eventually get work done. Sculptors chisel away at the rock knowing what they’re looking for. Despite a tough time, I eventually wrote 50 short stories and a handful of novels from 2009 to 2012, like, under a thousand pages of literary fiction, because I wouldn’t start until had a beginning, middle and an end. Sadly, in the video game industry, there are a fair bit of developers, mostly on the smaller side, who are just all talk but once the popular support or the development money comes rolling in or come crunch time they’re gone and people are left hanging.

Now, that didn’t necessarily happen with Andromeda but tons of other stuff did. Read Schreier’s article!

My Main Take Aways from Schreier’s Article:

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Fmr. FBI Director James Comey’s Testimony to the US Senate Intelligence Committee

I read James Comey’s prepared statement last night, after it was released to and analyzed by mainstream US news outlets. But seeing is far different from reading.

Also, has it been less than a year since millions hated this man for interfering with the US presidential election by digging up the case-closed Hillary Clinton email server investigation prior to voting?

Ah, what strange-bedfellows politics makes.

Douglas Sirk

Sirk’s films looks like they were filmed by a man who had just discovered colour and then went to play with all of them.

Among the first DVDs that I had borrowed from work were several Criterion Collection editions of films by Douglas Sirk, a now almost totally forgotten director who had peaked in the 1950s. While his Sirk’s films were commercially successful, they were considered by the critics to be generic melodramas in poor taste. But to the modern eye, each was a breath of fresh air and bold, amphibious assaults of colours seemingly thrown onto sets from a thousand paint cans.

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