Manuel Marino, Music and Thoughts » indie

Creating Clouds

Manuel Marino — Wed, 23 Jul 2008 19:04:57 +0000

Frank Kane job is very particular… he creates clouds! He can do it through his C++ library for real-time sky and 3D cloud rendering, used worldwide by scores of games and visual simulation applications on the Windows platform.

Its name is SilverLining.

Creating Clouds

Manuel Marino: Your sky and clouds library is impressive :)

Frank Kane: Thanks! SilverLining is a software library that allows real-time computer graphics developers to physically simulate the rendering of the sky, clouds, precipitation, and astronomical objects. You can specify any time at any location for pretty much any weather conditions, and SilverLining will draw what the sky would look like quickly enough for games and flight simulators.

Can we say that creating clouds is a form of Art?

It’s funny, because I didn’t go into this project thinking of it as a form of art at all – in fact it was quite the opposite and based on pure science; we went through almost a century worth of academic research into how light scatters through the atmosphere and clouds, the nature of precipitation, computing the location of the sun, moon, stars… stuff like that – and SilverLining was just meant to be a real-time implementation of the raw physics behind what makes the sky look the way it does.

However, a few months ago, I found myself standing inside New York’s Museum of Modern Art looking at an interactive art exhibit that featured SilverLining as part of it, running on a flat-panel display (this was Jonathan Harris’s and Sep Kemvar’s “I Want You To Want Me” piece. So there’s my sky rendering software, on display in the same building that houses works by Picasso and countless other other Art greats. It was surreal. So yes, Art and technology very much can live together.

Did you receive many requests of your library from game developers?

Yes, many game developers use SilverLining, and it’s even been ported to the XBox. But, we have just as many, if not more customers, in the visual simulation industry or “serious games” – people who create simulators for the military, for example – and also from broadcast video customers. A few people are working on using SilverLining for TV weather reports.

What do you think about the indie scene?

Well, I got my start as an independent game developer myself, so it’s a great way to people to learn and demonstrate that they have the skills and the drive to create something great and something big, if they do want to move on to larger projects. The growth of casual games and things like XBox Live have made it possible for indie game developers to carve out their own niche again, which is great. The world needs more people who are as passionate about their work as indie developers are.

What do you think about how internet became in 2008? What do you think about its future?

It’ll be interesting to see what direction social apps go in the long run. Will the world continue to support a few big social “portals” like Facebook and MySpace, or will a more open, simpler solution take over? Will people stay glued to their iPhones watching people Twitter about what they are doing? I think at some point we’re going to see a big divide between people who are very attached to their technology 24/7 with mobile devices, and people who rebel against the whole thing and become something akin to Luddites. It’ll be interesting to watch.

What do you think about the future of technology in general?

It all hinges on our educational system and the value society places on technology. In the US, we’ve had a real problem with a lack of interest in technology and science in general, and an educational system that does not do a good job at all in math and science.

Fortunately, there are other countries where this is not the case, and unless we see some big reforms here in the US, fewer technological advances will come from here. Already, most good technical workers here come from other countries – and our country’s restrictions on immigration and work visas make it increasingly hard to hire them. Who knows, perhaps the growth of the indie scene will counteract that effect by creating more interest in software engineering within our own country. Right now, it’s just really hard to find good developers, and that limits what the industry is able to create.

What will you develop in the future, new libraries? New projects?

I still have a few plans for making SilverLining even better, so I think that will keep me busy for awhile. Beyond that, I have lots of ideas – some involving computer graphics and some not – so if SilverLining gets to a point where it’s about as good as it can get, well, we’ll see.

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Raymond Thoughts about Games and Arts

Manuel Marino — Wed, 23 Jul 2008 14:40:33 +0000

Today we interview Raymond Jacobs, owner of Ethereal Darkness Interactive. Founded in 2002 Ethereal Darkness Interactive is commited to developing quality indie games with high production values. Raymond talks about his latest project, Morning’s Wrath 2, about videogames, Arts and technology.

Raymond Thoughts about Games and Arts

Manuel Marino: You are working on some new features for your next game…

Raymond Jacobs: yes, it is going to be Morning’s Wrath 2, the Sequel to our first game. You would be the first news source to really mention that!! As for the new systems… they are some various forms of internet integration with our new engine (The S3Engine 2.0) (version 2.0 of the engine used to make Malathedra). They will allow players to directly in-game leave comments to the developers about what they think of the game as well as submit any errors encountered via the internet automatically.

This is part of our new ‘internet technologies integration’ initiative as well as trying to know the minds of our target market better so that we can provider better games and faster fixes.

Sounds really innovative! The game reminds me Ultima Online…

Somewhat, though it is a single player game. In MW1 you had to fight off an invading army from taking over your castle along with learning the ways of magic though in doing so you get stricken by a terrible ‘dissease’ since the magical elixer that you use (mana) is by nature poisioned.

MW2 continues with this story, having morning lead her army across the continent to strike back at the invading Ashidian Army; and her search for a cure for her poisioning which is slowly driving her insane. It will likely be done in episodic format, and 3 episodes are currently slated.

Can we say that videogames are a form of Art?

Personally I consider videogames as a major form of Art but I don’t believe that people yet see games as an Art form, at least not the vast majority. They are still mainly an entertainment source however indie developers are definitely causing a movement of games as an Art form.

Flash games in particular have helped further this, allowing many traditional artists with limited programming skills to make simple games, which are avaliable to a wide audience.

As for my company everything we do is first a source of artistic inspiration and second a business endevor. We feel that without the artistic and creative backbone, what we develop isn’t likely to be enjoyable.

How technology fits with creative skills?

We limit ourselves to fairly proven technology, choosing not to push the technological envelope very much; but instead create a platform for creative expression; by creating a limited and finite set of functionality on existing technology it forces us to be creative, rather than to rely on technology to turn heads.

The newest HDR rendering may be very pretty, but beyond that it says nothing about the depth of a particular game, so in short, we use technology as a pedistal from which to express our creativity.

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Punk music in the late seventies

Manuel Marino — Thu, 14 Feb 2008 17:00:21 +0000

Wade Crawley said me “I propose to write an article about the influence of punk and indie music and culture on a young person (myself) coming of age in England in the late seventies and early eighties”.

I accepted, and Wade wrote this article! I must add also these more lines from him: “I’m quite excited at the prospect of having it published on your weblog because I was very impressed by the quality. It’s a very good weblog and an entertaining read.” Thank you Wade! And I’m sure our readers will appreciate very much your writing.

Punk music in the late seventies

I was still at school when I first heard of the Sex Pistols. The now infamous Bill Grundy interview was only shown on a London regional news programme, so only people in and around London got to see it. For those of us living outside of London, it was the outraged front pages of the tabloids the following day that first made us aware of the Sex Pistols and punk rock.

“The Filth and the Fury” screamed one tabloid’s front page and most of the others had similar outraged headlines on their front pages. The foul language of some of the band members in that interview had outraged people so much, that in one case a man had put his foot through his television screen, reported one newspaper.

Looking at that interview now on YouTube, it all seems rather tame by today’s standards, but it perfectly illustrates just how uptight our society was back then. As a schoolboy going through the obligatory teenage rebellion phase, I found it all very exciting. Even now, I don’t think a music video has ever captured the air of menace and defiance like the Sex Pistols’ Pretty Vacant. Anything that upset parents, teachers and the establishment that much, had to be good, was my attitude at the time.

BBC Radio One was pretty much the only radio station catering for young people at the time as this was before the rise of commercial radio. They tried to ignore punk as though it wasn’t happening. The BBC’s flagship weekly music television show, Top Of The Pops, was a show whose remit was to include the acts that were selling well in the charts and as punk at that time was dominating the charts, they couldn’t ignore it any longer. The show’s DJ’s and presenters, middle aged men like Tony Blackburn and Mike Read who had made no secret of their dislike of punk music, much to our amusement, had to smile through clenched teeth and show enthusiasm for bands they hated.

When God Save The Queen by the Pistols hit number one in the charts, the BBC decided that there was no number one that week and refused to play it. In all of the official chart listings, when you got to number one there was just a blank space! At that time, any criticism of the royal family was treated pretty much as blasphemy!

I went to school in Whitehawk, a heavily working class area of Brighton, on England’s south coast, with a reputation for some of the worst social problems in the city. Many of the bands that were around back then such as Genesis, Led Zeppelin, Yes, Emerson, Lake and Palmer, etc, were all made up of middle class art students or music graduates with nothing for us to relate to at all. Now, all of a sudden, along came punk rock with bands made up of people of similar age and from similar backgrounds to us. They had songs that we could relate to and expressed how we felt at that time. They also proved that you didn’t have to be a music student who had studied an instrument for many years, to be in a band and write great songs.

In the few years leading up to that time, I had gone to the movies to see ‘Tommy’ by the Who and Led Zeppelin’s ‘Song Remains The Same’ because I liked both bands. However, the films were so self indulgent and pretentious that I came away thoroughly disillusioned. The arrogance of the band members in the live footage of Led Zeppelin in ‘Song Remains The Same’ and their condescending attitude towards their audience, coupled with the narcissistic ‘fantasy’ sequences, not only left me with a foul taste in my mouth but also ensured I never bought anything by them again. After all this, punk rock was like a breath of fresh air.

Britain in the late 70’s was a pretty grim place to be growing up in. Industrial unrest was rife, rubbish was piled high in the streets because there was a strike by the dustmen who had refused to collect it and the ultra right wing National Front were beginning to come to prominence. They were organizing marches all over the country involving large numbers of their union jack carrying skinhead supporters, through racially sensitive areas. Taking advantage of all this unrest, they were targeting working class areas and managing to get members elected to local councils. Many young people were being indoctrinated into their ideology but punk bands were openly coming out against this and using their influence to fight back against the racists.

Many punk bands when they played live had reggae bands supporting them and the Clash famously played at a Rock Against Racism concert at Victoria Park in London to over 80,000 people. When they sang ‘White Riot,’ Jimmy Pursey of Sham 69, a band with a large skinhead following, joined them on stage and this was an extremely significant gesture. This really did make a difference to a young and still very impressionable audience. I had friends who were skinheads, some of whom were planning to join a National Front march that was about to take place in Brighton. That Clash gig, along with various interviews with band members in the music press, were some of the main reasons why they thought again and decided not to go. Another factor that helped was the fanzine culture that had sprung up directly because of punk and the ‘do it yourself’ mentality. ‘Sniffing Glue’ was one of the first and more well known. They were magazines written and printed by fans and included interviews with bands, reviews of gigs and political articles expressing the opinions of the authors, many in support of the Anti Nazi League. They started off just crudely photocopied on A4 paper but the ones that became popular ended up being quite professionally printed and presented. They only cost a little pocket change too so anybody could afford them.

Another positive repercussion of punk was the rise of the independent record labels. There would be no ‘indie’ music scene if it wasn’t for punk. In fact, the music scene now would be very different if punk hadn’t happened.

I really believe punk has made a difference to how I think in general and that music really does have the power to change the world.

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Music Geek

Manuel Marino — Wed, 19 Dec 2007 05:45:04 +0000

Robin Mookerjee is a songwriter obsessed with music. Is this a good thing? Or a bad thing? I can say he is a real music geek! Read his story and check his website.

Music Geek

I’m really a fan as much as a songwriter, but a lot of songwriters say that. Elvis Costello, Elton John. They were fans first. But I was a serious fan, probably like most people who listen to “dark” music. Great songs got me through my adolescence. They got me through breakups. They kept me company.

So, you can tell I’m a music geek. I wanted to write songs before I wanted a tricycle. I came from a classical music family. Popular music was practically banned – it was trash. They made me take violin lessons. So, naturally, I got an electric guitar. And – no kidding – it was from SEARS. I learned chords. I wanted to be a new waver. I got older and got an asymmetric haircut. No matter what else I did, music was always first for me.

But I NEVER had hip taste, and I was kind of ashamed of that. I liked some alternative and punk bands, but I liked top forty groups, commercial stuff – whatever struck me as real. My friends hated anything with synthesizers, so I hid my New Order cds. I’m kind of disagreeable that way. That’s why it was weird when I became involved with a VERY HIP band. They were everything: goth, emo, industrial, electro, Madchester, trance, ambient, straight rock… Everything except metal, hip hop, or country. This band, Bleak House, in Pennsylvania, was driven by big egos and weird hair. The local bars where we played had country music on the jukebox. They took one look at us with our weird clothes and hair and yelling at us. It was the egos that sunk the band. I couldn’t get along with the drummer who smoked pot all day and watched the Cartoon Channel, or the bassist, my ex-girlfriend, who thought she could sing like Aretha Franklin. We broke up.

That’s when it hit me. I wasn’t hip and never would be. I liked songs that rocked, sure, with attitude, but also sentimental heartfelt stuff. Most of all, I loved an amazing melody. I wanted to crack the secret of how songwriters came up with a melody that everyone wanted to hum. That is my obsession. Unfortunately, I had a day job and not much time to pursue this obsession, except in my mind.

End of story? No, because one Christmas my sister sent me a digital recording program – Cakewalk. One weekend I learned it. I’m still not that good at using these programs – I’m a songwriter, not a producer – but, anyway, I got TOTALLY OBSESSED with music again. I started recording and writing songs, and I couldn’t stop. And a funny thing happened. I decided to be myself. I wasn’t an acid-rave-nu-techno-retro-psychedelic punk. I was a guy who LOVED great songs. Everything from the Stones to Paul Simon to Dire Straits to The Cure to Smashing Pumpkins to Coldplay… Even Hall & Oates. Anything with a great melody and some heart and soul. The songs started pouring out of me, and I got some musicians in to help with bass and percussion parts. They sounded okay. They had hooks. I thought some as hits, at least the kind of song that used to be a hit, and I could imagine some tracks as somebody’s favorite song.

And another funny thing happened. The songs came out like Elliot Smith or Nick Drake or something. Not the tunes, which were pure pop, but the lyrics. They were about loss, death, uncertainty, basically saying “What’s it all about?” I never knew I was that morbid. Writing is funny that way. Like looking into a mirror and seeing someone else. Some songs were your basic, “I got dumped and I can’t deal with it” type thin. But none were particularly cheerful. So I called the album MISERABLISM.

Now I perform them in little bars in Brooklyn. Places where everyone is a garage punk / grindcore / progressive house / nu-metal / swamp-punk. And they actually like it, even though I’m basically just a guy who writes songs. My songs are for other people who needed pop music to survive growing up in America. That’s why their a bit sad. Because sad songs make you feel a little better.

It feels great just knowing my little creations are on people’s iPod playlists as they jog around and around a New York City park. Now I’m hooked, talking to record labels and renting time at a high class studio, very different from the pure indie setup on which I recorded “Miserablism.”

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