Aria winners

Watched the ARIA Awards last night. Thought it went quite well this year, though I still don’t understand why these ceremonies are so long – seemed to drag a bit in the middle. Good to see Bernard Fanning win Album of the Year, though; Tea & Sympathy is a great album and I thought it was the right choice. Wolfmother did well as well, and Eskimo Joe… all in all it was a good night for Aussie music. What more could we want? Smiley courtesy of

2006 Hugo Awards

The Hugo Awards and John W. Campbell Award for Best New Writer were presented in August at the 64th World Science Fiction Convention in Anaheim. The main winners were:

Best Novel: Spin, Robert Charles Wilson
Best Novella: Inside Job, Connie Willis
Best Novelette: Two Hearts, Peter S. Beagle
Best Short Story: Tk’tk’tk, David D. Levine
John W. Campbell Award: John Scalzi

The full list can be found here.

Unfortunately it looks like the ceremony is going to be remembered more for an incident with Harlan Ellison than for any of the winners, though. Ellison groped Connie Willis on stage, grabbing her breast after she supposedly made a remark for him to behave. This is absolutely unacceptable behaviour, boorish and disgusting. It’s not the first time Ellison’s done something like this, and that makes it all the worse – like he seriously thinks he has power over women no matter who they are. The best thing anyone can do is to not give Ellison the attention he craves.

I actually didn’t hear about the incident until a couple of weeks after it happened, so I had a little bit of distance from it, which has probably helped my reactions to stay level. But some of the reactions after it happened were completely uncalled for, which I find incredible. A lot of people were defending Ellison, attacking people who were upset for Willis, suggesting Willis had done something wrong. Others similarly were using it as a rant against men everywhere, saying we’re all sexist pigs. Look, it’s never okay to blame the victim and I feel very sorry for Connie Willis here, but neither is it fair to say that all men are like this because of what Ellison did. I’d never do that, and if anyone seriously thinks that men aren’t upset about this as well, have a look at Patrick Nielsen Hayden’s blog – he’s quietly seething, as are others.

From Game to Screen

What a horrible-looking film Silent Hill is. I rarely judge a film before I see it, but based on the trailer for this film I doubt I’ll ever want to see it! Zombies, dark alleyways, close-ups of Radha Mitchell screaming… I’ll pass, thank you. The reviews haven’t been spectacular either, as you’d expect. I’m getting tired of the idea that all video games are like this, though; violent, senseless, without a story. Just because there have been a few crap movies based on games doesn’t mean all games are like that.

I think the problem with a lot of movie-games is that they’ve tried to recreate the game too closely. Tomb Raider‘s sets and story felt like they’d come straight out of the game, and Doom and Resident Evil were much too close to their original games as well. It just doesn’t work. You can’t recreate a game for the big-screen because you just don’t have that same sense of interactivity; you can’t suspend your disbelief as easily as in a game, and so the movie falls apart. The most important thing a movie-game should have instead is a sense of the game’s world; to make you feel like you’re in the same environment as the game, but with a deeper, more involved story. I don’t think directors understand this enough.

The perfect example to follow is comic book adaptation. Think about Spider-Man. Sam Raimi is a Spidey fan and has been incredibly faithful to the comics in creating the movies; when you watch the movies, there’s so much detail that you feel you are in the comic-world. But at the same time he’s changed a few things to make it more believable; updating the spider that bit Peter to being a genetically enhanced one, letting Spider-Man’s web be natural rather than something made. If you seriously think about the comic, there’s no way it should work on screen; it’s camp, corny, a guy with the powers of a spider in a bright red-and-blue suit! But Raimi’s created the world so well, and changed enough of the story, that it works on the big screen. You just believe it. That, I think, is what movie-games are missing.

Maybe it’s simply that the wrong games are being made into movies. I mean, there’s no way Street Fighter or Dead or Alive were ever going to make good films! I have high hopes for Halo, though. Halo and Halo 2 are two of the best games I’ve ever played; their worlds are so detailed that they almost feel like myth sometimes, and they have a great story. A Halo movie could change the way movie-games are seen, and with Peter Jackson behind it, it could work really well. The game I really want to see made into a film, though, is Metal Gear. The Metal Gear series comes from Japan and is all about nuclear proliferation and terrorism, about how far we can go before we lose who we are. If Metal Gear gets made, it could be something really special.

In any case, I just hope the idea that all video games are a stupid, violent waste of time isn’t gaining too much popularity. There are really good games out there, and they aren’t all super-violent. There are even games with – shock, horror – a good story! Young women are playing games more and more now, and the University of Southern California even has a Game Innovation Lab. If that doesn’t say to people that games should be taken more seriously, then I don’t know what will.