UFC downloaded, I might watch a bit tonight in 10 minutes then delete.
Daniel Sedin with an 8 game point streak.
Ovie takes a shot to the knee and doesn't return… oooooooh, hahaha he's uot for the winter classic? I hope not. I wanna see him take part in the loss, ha.
Squirrel Hill native finds nook in HBO '24/7'
Sunday, December 12, 2010
By Maria Sciullo, Pittsburgh Post-Gazette
Peter Diana/Post-Gazette
Bentley Weiner, originally from Squirrel Hill, is the producer for the HBO Winter Classic '24/7' show.
By the time Home Box Office premieres "24/7: Penguins/Capitals: Road to the NHL Winter Classic" this week, Bentley Weiner no doubt will be exhausted.
But euphoric. Euphorically exhausted.
"I really do love it," said Ms. Weiner, the Squirrel Hill native who is one of the coordinating producers for the HBO sports documentary series. "It's hard and it's taxing, and I really don't sleep. But I love it."
The immediacy of the show's schedule is both its charm and, for those working on it, its headache.
Ms. Weiner, a 1992 graduate of Shady Side Academy, has worked on other HBO series, such as "Real Sports with Bryant Gumbel," "Inside the NFL" and "Costas Now."
"She is one of the most creative, conscientious and dedicated producers I've ever worked with," said Rick Bernstein, vice president of HBO Sports. "She may produce '24/7' but I can assure you she works 25/8 between now and January."
Indeed, Ms. Weiner was in town the week of Nov. 15 to conduct on-air interviews and coordinate future shoots. She was on a so-called vacation at her parents' house the following week at Thanksgiving, but estimates her time spent was "85 percent work, 15 percent visit."
The day after Thanksgiving, she and her father, David, were flipping back and forth between the Penguins game and the Pitt-West Virginia Backyard Brawl.
David Weiner, an attorney, played soccer at the University of Pennsylvania. He imparted a love of sports onto his and wife Barbara's only child, and Ms. Weiner thrived on playing fields and on the tennis court.
At Shady Side Academy, she was MVP of her lacrosse and field hockey team, setting school scoring records in both. At Trinity College in Hartford, Conn., she was a history major who played two years of varsity lacrosse and spent more time on internships in the sports field.
After working as a production assistant with Atlanta Olympic Broadcasting for the 1996 Summer Games, she moved to New York City with her three best friends from college.
"I think the job is a good mix for me. It's sports, but entertainment."
In Douglas Adam's book Life, The Universe, and Everything, he shares the secret of flying: it's the art of learning how to "throw yourself at the ground and miss." Tim Bailey teaches people how to do just that: throw themselves at the ground (in an airplane) and miss in order to fly.
Professionally speaking, Tim wears a lot of hats. Although his LinkedIn profile gives his job title as simply "Catalyst", it then lists 10 separate jobs under "Current". To name just a few, he works on
SpaceVidcast, Space Task Force, Yuri's Night (The World Space Party), and is the co-founder and Chief Operating Office of Sky Fire Lab—an independent organization promoting space travel in the media. See a theme yet? But if you scroll down to the bottom of his lengthy list of job titles, you will see that he is also a member of the Parabolic Flight Crew for the ZERO-G Corporation. What's that you ask? parabolic what?
Tim's job is the closest thing there is to being an astronaut without actually going into space. He spends his days assisting and training people in aircraft flights that simulate a microgravity environment—effectively he's a flight attendant teaching people how to fly—and he is one of only nine people on the planet qualified to do this.
Tim has performed over 150 such flights, each with multiple parabolas—where the craft goes up and down at a steep angles to create a "weightless" free-fall environment inside—equating to over 24 hours of his life that Tim has spent unencumbered by the Earthly bonds of gravity. This has led to Tim's unique ability to, as he puts it, "execute some fairly bad-ass flips in any axis [x, y, and z]."
In addition to being an evangelist and trainer for manned space travel, though, Tim is also a husband and recent father. Judging by his recent Twitter posts, he spends a lot of time with his family going between Kennedy Space Center and Disney World—a true geek dad's paradise!
I recently chatted with Tim about his job, his work advocating for manned space travel, and his own future in space.
Jason Cranford Teague
: Parabolic Expert is not the most common title I've seen on a business card. At what point in your life did you think to yourself "That looks like the career for me"?
Tim Bailey
: Like so many wonderful things in life, this wasn't something I planned for specifically. It does fall nicely in line with my plans to go to space! I started out as an eager young intern for Zero Gravity Corp during their final push to get an aircraft operational. When the FAA asked our cargo airline partner, Amerijet International, to provide Flight Attendants as the primary safety oversight during the parabolic flights, I jumped at the opportunity to attend the class.
JCT
: What was the qualification process like?
TB:
We went through two full weeks of 8-hour days in class learning everything about aircraft safety equipment and emergency procedures before we could be certified to fly. We have constant training and evaluation, just like crews on any other airline!
I was eventually hired to coordinate the research and filming customers that were interested in flying. My job was to ensure that we complied with the FAA regulations while still getting our customers the data or footage they wanted. I've since become an independent consultant for Zero G and a continuing part-time parabolic Flight Attendant for Amerijet.
JCT
: IT seems like doing this would be a physically demanding job. How do you prepare for flights?
TB
: The flights themselves help keep me in shape! The weightless portion is very aerobic while the 1.8-g pull out is more akin to weight lifting. Just keeping my head up is a workout! On the ground, I run after our 1-year-old a LOT. I do stretch and a bit of yoga to stay loose and limber. After a day of parabolas and the associated 1.8-g pull-outs, my whole body can be tensed. It is important to relax all those muscles and be ready to fly again.
JCT
: Is Zero G mostly for fun or does anyone train for spaceflight using it?
TB
: Doing a weightless flight is the way to train for space. Space agencies around the world have been using parabolic flight to prepare space travelers since the 60's. I've even seen video of Yuri Gagarin on a parabolic flight before his historic first space mission!
I've been on multiple flights with future space travelers. I flew with Anousheh Ansari before her spaceflight as well as Richard Garriott and Charles Simyoni. I know that some of the Virgin Galactic "Founders" with tickets to space have also come to get acquainted with weightlessness. While they are also having fun, these folks always seem to be looking ahead at what they need to do to be ready to enjoy their spaceflight experience.
JCT
: You have flown with a lot of famous people. I remember seeing the Mythbusters on a flight in one episode and realized you must be around there someplace. Who are some of the people you have flown with? Who took to weightlessness like a feather and who took to weightlessness like a rock?
TB
: There have been a lot of notable Flyers on Zero G over the years. I've seen the cast and crew of countless tv shows including The Apprentice, The Biggest Loser, The Rebel Billionaire, and of course MythBusters. Jamie and Adam were incredibly fun and professional in debunking the moon hoax myth. The "celebrities" are usually really gracious and excited to be on the plane. The film crews behind the camera are working just as hard and will risk making themselves sick to get the shots just right. Those folks are my heroes.The crews for the 7Up and MasterCard commercials were really troopers and gave 110%.
I wasn't on the plane with Stephen Hawking, but I saw all of the preparations for his flight. Hawking really took to weightlessness like a feather! He exceeded everyone's expectations. Famed SpaceShipOne designer Burt Rutan flew back in 2004. SpaceX CEO Elon Musk flew just a few weeks ago with Avatar director Jim Cameron. All of them came away smiling. I think they also came away with a better understanding of the physics of space travel.
Hands down the best people to watch on G FORCE ONE are the astronauts. They move with an ease and grace that can only come from extended time in space. Buzz Aldrin was all smiles when he took his first steps in lunar gravity after decades on Earth.
Shuttle astronaut Sam Durrance (also my former boss) did tricks with the Flyers I've never seen before. Private astronaut Richard Garriott flew his mother with him to practice weightless painting techniques. All of them are really amazing people.
JCT
: How old will Daughter need to be before you take her on her first parabolic flight?
TB
: I'm already preparing my daughter to be weightless by holding her upside-down and flipping her around when we're playing. So far she loves it! Kids as young as 8 can take part in the Zero G Experience and, like everyone else, some enjoy it more than others. I'll see how she does with other experiences like swimming underwater and riding roller coasters first–experiences that give that "out of control" feeling. For some kids, it can bit a little scary. Also, I have to save up the $5k for the flight: I don't get any freebies!
TB: I'm sure there are plenty of folks that would love to go "au naturale" on the plane, but none have been allowed to follow through on that wish! I've heard of some more risque activity on the Russian IL-76 parabolic aircraft, including nude interpretive dancing. The closest I've seen on–board the plane is weightless kissing. It is a LOT of fun (I know!) and a great reason to bring someone you love up with you on a parabolic flight. We've even had some engagements and a wedding on the plane! But no honeymoons.
JCT
: You've done a lot to promote manned space flight. Do you think our children will go into space or will we keep sending robot emissaries?
TB
: I think we'll keep sending our most advanced robots out into the cosmos to learn where we should focus our attention. That type of planning just makes good sense when reaching out into new frontiers. After the robots, we will be sending people out into the solar system. I see the excitement generated by Virgin Galactic (and other private space exploration companies) and know that we're going to see the commercial space industry keep expanding. At some point in the next few decades, going to space will be similar to taking an exotic vacation on Earth. If our kids save up, they'll have no problems getting to space. I know I'm going to space. My wife and I plan to retire on the moon. No, really…
JCT
: Or Mars? Would you be one of those intrepid colonists NASA announced they may be looking for to send on a one way trip to the Red Planet?
TB
: Over my life, I've often fantasized about setting off for Mars with my family and a rag-tag group of brilliant colonists, all Kim Stanley Robinson style, never to return to the green hills of Earth. Lately, I've realized that I wouldn't be happy living a true frontier life in such a harsh environment. If I'm not happy with cold feet or living in a tent for a month, I'm not going to do very well on Mars. I also like being around people and meeting new friends. That's not likely to happen out in space.
I understand and respect the explorers that are willing to boldly set out for Mars with no intention to return. Indeed, that may be the only way to really make any kind of permanent settlement work. I've come to realize that there is no place in the universe as spectacularly beautiful or amazingly vibrant as our home planet. I'd like to be able to see Earth and come back for a visit every few years.
JCT
: We worked together on Yuri's Night for a few years. I loved working with the group, because it seemed like the first holiday for Geeks! How's the 2011 planning going for celebrating the 50th anniversary of the first manned space flight?
TB
: Yuri's Night has recently incorporated as an independent non-profit organization after spending our first 10 years as a project of the Space Generation Advisory Council, an international youth-led organization that advises the UN on space topics. We've gotten a new Board of Directors and expanded our Global Executive Team to help us initiate more events worldwide and better support event organizers. Every event is independently organized, making each one a unique celebration of space exploration. While we always have big ideas, it is really the individual event organizers that make Yuri's Night a success. Our goal is to have 1,000 events in 100 countries for 2011!
The Global Executive Team has some neat projects in the works that will help to grab a bit of media attention (I can't reveal them yet!). We're working hard to encourage more small, local gatherings that connect people with art, science, music, and exploration in new and interesting ways. Fifty years ago, a Soviet test pilot was the first human to look back and marvel at the beauty and fragility of our home planet from space. Since then, we've had artists, engineers, musicians, scientists, mothers, golfers, and, yes, even a video game designer orbiting around our planet. If there's one thing that we want people to celebrate for Yuri's Night 2011, it is that we are all connected and all important as fellow travelers on this tiny blue marble we call Earth.
Note
: Anyone can start their own Yuri's Night party, celebrating 50 years of manned space flight on 12 April 2011. Check out YurisNight.net for details.
Jeffrey starts fast but role unsettled
New center showed varied skills in AHL
Monday, December 13, 2010
By Dave Molinari, Pittsburgh Post-Gazette
Rick Stewart/Getty Images
Dustin Jeffrey, left, is congratulated by Ben Lovejoy and Craig Adams after his goal in the first period against the Buffalo Sabres Saturday in Buffalo, N.Y.
Mario Lemieux kick-started his Hall of Fame career by scoring on his first NHL shot. On his first NHL shift.
Well, Dustin Jeffrey didn't duplicate that feat in the Penguins' 5-2 victory Saturday night at Buffalo, N.Y..
In some ways, he didn't really come close.
For starters, it was Jeffrey's 16th game in the NHL, although it was his first in 2010-11.
And he didn't get a goal until his second shift.
What's more, unlike Lemieux -- who beat Boston goalie Pete Peeters cleanly on a breakaway in 1984 -- Jeffrey didn't actually direct the puck past Ryan Miller of the Sabres with his stick. He confirmed after the game that Ben Lovejoy's pass struck his skate, not his stick.
So OK, Jeffrey's goal at 6:43 of the first period at HSBC Arena won't claim a prominent place in franchise lore, or become the stuff of hockey legend.
It was an awfully nice way to get his latest trip to the NHL started, though.
The Penguins summoned Jeffrey Friday from their American Hockey League affiliate in Wilkes-Barre. If his work against the Sabres is taken at face value, there was no need to buy him a round-trip ticket.
Although Jeffrey logged just 10 minutes of ice time and played primarily between Mike Rupp and Craig Adams on the fourth line, he came out of the Sabres game with a pretty solid personal linescore: One goal, one assist, one giveaway, 3 for 3 on faceoffs and a plus-minus rating of plus-2.
Jeffrey's assist capped a sequence similar to the one that led to his goal. With the Penguins protecting a 3-2 lead and a little more than three minutes left in regulation, Jeffrey threw the puck toward the Buffalo net, and Rupp jammed it between Miller's legs.
That goal put the exclamation point on an excellent evening for Jeffrey's unit.
"It was a big game from that line," coach Dan Bylsma said.
Effective as Jeffrey was in his role Saturday, it's not one he figures to fill over the long term.
He is skilled enough to have been tied for the AHL scoring lead when he was promoted, but defensively responsible enough that he used to be matched against opponents' top lines in Wilkes-Barre.
"For what he gets on offense, he plays really hard in his own end," said center Mark Letestu, a former linemate in Wilkes-Barre. "He's good on faceoffs, he's good on the power play. He's a really complete player at that level."
The Penguins' decision-makers believe he'll be one in the NHL, too. The issue is whether eventually he will best be cast as a top-six forward or a third-liner.
Assistant coach Todd Reirden, who coached Jeffrey in Wilkes-Barre, describes him as "a solid two-way guy whose hockey sense is what really differentiates him from some other players."
He added that, "someone who puts up that type of numbers in the American League, you have to give him an opportunity to do things in an offensive role here, as well," but still sees Jeffrey "at this point, probably [as] more of a well-rounded third-line guy."
Many of Jeffrey's talents were evident during the Sabres game. It might take a bit longer to truly appreciate his hockey IQ, but many who have monitored his development regard that as his finest asset.
"He's a nice player and he's smart," assistant coach Tony Granato said. "Understands the game. He's very coachable."
Those qualities have helped Jeffrey to be an effective penalty-killer and defensive forward for years. The offensive talents that made it possible for him to put up 13 goals and 17 assists in 25 games with Wilkes-Barre really weren't apparent until last season.
"I think it kind of carried over from last year," Jeffrey said. "When I played on a line with Letestu, we had a lot of success."
That partnership clearly helped to diversify Jeffrey's game. At the same time, it was Letestu's sensational showing during training camp that doomed Jeffrey to open this season in the minors.
Jeffrey didn't mope about being sent down, though, and was putting together an offensive season with few, if any, equals in Wilkes-Barre history when he was summoned to the NHL.
"If he would have stayed there, he would have broken some franchise records," Letestu said. "That's for certain."
A lot more certain, he might have added, than it is that Jeffrey ever will be back in the AHL.
Every piece of technology has both good and bad attributes. Nothing is perfect. Not even the iPhone. (Well, at least not until that AT&T exclusivity ends.) But until three days ago, I had never used a product with attributes that are both insanely awesome and shockingly awful at the same time. Welcome into the world, Cr-48.
Now, Google has made it very clear that they don't intend to release this product as it stands. As such, they've more or less asked those they've sent it to not to review it as a completed product. But it's pretty much impossible to avoid talking about the hardware here because for most of us, it is the first and only gateway we've had into Chrome OS. Plus, there's a lot of interest in this particular device among our readers, so I'm going to talk about it.
Simply put: the hardware is pretty bad. Actually, maybe not so much bad, as annoying as all hell. But the only reason it's so annoying is because Chrome OS, even in its very early, fairly rough stage, is that good. Well, potentially that good.
While
Jason wrote up his initial thoughts after a day with the device, I've been using it as my primary machine for just about three days now. Also, I likely have a different perspective as I'm currently traveling — something which a Chrome notebook should be perfect for.
The Design
Initially, when I took it out of the box, I sort of wanted to laugh at the Cr-48. Jason compared its look to that of one of the old 12-inch PowerBook G4s. But actually, I think it's closer to a combination of an old 12-inch iBook and one of the previous generation MacBooks — the one that came in black. In fact, when you open it up and start typing on it, it feels very similar to that MacBook.
Of course, that MacBook is also a few years old already. And when compared to the
new MacBook Air, this thing looks like a bloated dog. One covered in some kind of rubber blanket. The fact that it has a VGA port, an ugly side grill for the fan, and yet only one USB port, doesn't help.
But again, this is a prototype device. So we have to cut Google some slack here. As far as I know, they haven't said which of their manufacturing partners made this thing, but let's hope it was the cheapest device possible for them to produce and that's why it exists as it does.
I really do hope that's the case.
The Setup
Okay, so I took it out of the box and laughed. But then I opened the lid. Immediately, the thing booted up. No need to press the power button. 15 seconds later, it was walking me through a very easy-to-understand tutorial on how to use Chrome OS. After a few minutes reading it, I was asked to take a picture of myself (for my profile picture) with the built-in camera (above the screen), then I was all ready to go. That's it.
I signed in with my Google account, and the browser launched. My bookmarks, extensions, and web apps were all automatically synced. I was ready to go pretty much instantly.
Now I was impressed. Very impressed. This is absolutely the future of computer set-ups.
The Trackpad
But the love affair quickly turned sour when I started using the Cr-48 trackpad. Jason called it a "turd", but I think that's being too kind. It's maybe the worst excuse for a piece of technology that anyone has created in the past five years. It's so much worse than any other trackpad I've ever used in recent memory, it's almost unbelievable.
And it also makes sense why Google isn't selling the Cr-48 at all, despite the high demand. If they sold this product with this trackpad, Google may not be allowed to ever attempt to make another branded product ever again. If you think I'm exaggerating, use one.
Every time I point at something and click down, the cursor moves below or above where I had originally pointed. I've now taught myself to aim slightly higher or lower than where I want to click. But I have to guess which it will be. It's a crapshoot.
Trying to double click with two fingers is even worse. If you're used to casually doing it with ease on a MacBook, this will be your hell. To get it to work, you essentially have to lift two fingers about a foot in the air, then bring them down in a perfectly straight line at a rapid speed while making sure that they both hit the pad at the exact same time. Okay, I may be exaggerating a bit there, but it's really bad.
Two finger scrolling? It's perfect if you like randomly jumping to various parts of webpages for no reason.
Okay, I've made my point. This trackpad is a disgrace. It's an abomination. I don't know if it's hardware or software or both (likely), but it's just terrible. I'm tempted to do the unthinkable:
Moving on. So, the trackpad quickly soured my Chrome OS experience. But after I figured out little tricks to better maneuver (mainly using the excellent keyboard and its shortcuts), I was back on track. After a day, I was frustrated. But after two days, I was really, really liking Chrome OS. And even certain things about the Cr-48 specifically.
For example, every computer should absolutely have a search button in place of caps lock. I can't remember the last time I've used caps lock. And yet, there it is, right there in a vital place on the keyboard. On the Cr-48, I think the search button rivals the spacebar for my most-often-hit key. You click it and it launches a new tab reach to search away in the omnibox. It's fantastic.
Also awesome are the window-switching and full screen mode buttons on the Cr-48. OS X, with Spaces, essentially allows you to do this type of window-switching, but I'd argue that it's better on Chrome OS because everything is simplified. If you want to open a new window (as opposed to a new tab), it will reside on another screen. That said, it is a little tricky to navigate if you have more than two windows open — hitting the button will cycle through them in order.
Full screen mode has existed on Chrome for some time, but the keyboard shortcut makes it more accessible than ever before. And on smaller screens (like the 12-inch on on the Cr-48), it's very nice.
The Speed
Speed is the other major weakness of the Cr-48. It's running an Intel Atom chip which is apparently clocked at 1.66 GHz. That may seem like it would be fast enough to run a web browser, but it's not. Well, not if you're doing anything with Flash turned on.
When
we initially reported on the Flash issues that Cr-48 users were having, many of our favorite commenters (who may or may not make a living developing for Flash) were quick with the typical "bias!" nonsense. Of course, a few hours later, none other than Adobe themselves admitted the performance of Flash on the Cr-48 was unacceptable, and said they were working on it.
Good, because beyond watching a small YouTube clip with no other tabs open, Flash is basically unusable on the Cr-48. And that's annoying because Google has decided to bake Flash into not only Chrome, but
Chrome OS as well. So extensions like Flash Block are your friend here — or go to about:plugins and disable Flash directly until Adobe gets the mess sorted out.
But even beyond Flash, the Cr-48 just feels very slow when compared to any other modern computer. Typing, for example, often lags on sites such as WordPress (which I'm using right now). And opening new tabs and windows takes a few seconds longer than it would on a normal machine.
All of this is would seem to be because Google included only 2 GB of RAM in the Cr-48. But I have a MacBook Air with only 2 GB of RAM and it flies. Google really needs to work with their OEM partners to get this lag sorted out before these Chrome notebooks start shipping. And I have to believe they will.
Beyond Prototype
In fact, in many ways, the Cr-48 reminds me a lot of the G1, the first Android phone Google shipped (with HTC) a couple years ago. They both were clearly step one of a platform that would quickly evolve. And the Cr-48 even sort of feels like the G1 to the touch.
I still have a G1. Looking at it now compared to the newer Android phones is pretty humorous. The platform has clearly come a long way. And that gives me a lot of hope for Chrome notebooks as well.
As it stands now, two things about this the Cr-48 currently standout: the boot-up time and the battery life. Both are excellent.
The Cr-48 goes from being off to the log-in screen in 15 seconds. That's slightly above Google's stated 10 second mark, but it's still very, very good. When you log-in, it takes another 15 seconds or so to load all your profile information and Chrome preferences from the web. So you're looking at a total time from zero to working in 30 seconds.
For comparison, the new MacBook Air, with its new solid state drives, goes from zero to working in about 18 seconds. But that's without booting up Chrome (or your web browser of choice on OS X) and waiting for it to load a page. That adds another 5 seconds or so. So they're very close in terms of startup speed between the two systems. And again, that's on Google's prototype machine.
But as I indicated above, the Air runs circles around the Cr-48 in just about everything else when it comes to performance.
The one area where the Cr-48 does seem to have the MacBook Air beat is battery life. Google claims 8 hours, but I think it actually may be more. Because I'm in Europe, I turned off the cellular antenna (since Verizon connectivity obviously won't work here) and I'm seeing closer to 10 hours of battery life on a full charge when connected to WiFi. The MacBook Air has fantastic battery life as well, but Cr-48 is definitely better.
And again, just imagine what that will mean when someone actually creates a Chrome notebook that they intend to sell. The Cr-48 is a little bit bulky, but if they trim it down to around Air size, I bet they could still get at least a solid 7 or more hours out of the system. This seems to be one huge benefit of only running a browser.
Chrome OS
And let's finally talk about that browser. Quite a few people were shocked when Chrome OS was revealed to be little more than Chrome — and that's it. But that simplicity is the OS's strength. It removes several layers of junk that most people these days never use on a computer.
I know that personally, roughly 95 percent of what I do on a computer these days is in the web browser. Of the other 5 percent, 4 percent of it could probably be done in the browser too (light image editing, taking notes, etc). The other one percent is more difficult but those are mainly things (iTunes media management, Photoshop) that I only need to do some of the time and can use a desktop machine for.
That's the thing: Chrome OS isn't going to fully replace anyone's desktop anytime soon. But it could become a very viable on-the-go computing solution.
Even in its current beta state, Chrome OS has definitely been a perfectly adequate travel companion these past three days (Cr-48 trackpad aside). And it's only going to get better. And if Chrome's (the browser) evolution is any indication, it's going to get better very quickly.
Panels
As Jason hit on quite a bit in his post, one of the most interesting things about Chrome OS will be how developers support it. Right now, most Chrome Web Store apps are little more than mildly glorified extensions, or just links to web apps already in existence. Meanwhile, one of the coolest features of Chrome OS, panels, are barely used. Developers can and should change this quickly.
Prettification
Another thing that bugs me about the OS currently is that Google seems determined to maintain some of Windows awful aesthetics. More directly: fonts look like shit.
Chrome on Mac easily looks much better than Chrome OS does for this very reason. Hopefully Google will add some polish here as Chrome OS pushes forward.
Also, the look and feel of the top toolbar (the area to the right of the tabs) is pretty poor. Google could and should do a much better job here.
And while we're on the subject, Chrome's already dicey themes all look even worse with Chrome OS. Google should just stick to some simple color options and leave out all the BS. No, I don't want my Chrome OS to look like an ice cream cake any more than I wanted Windows to look like a hot dog stand. But that, of course, is just my opinion.
Connectivity
The biggest factor holding up Chrome OS is mostly out of Google's control: WiFi infrastructure. While WiFi is fairly widespread, it's far from everywhere. And Chrome OS is worthless without connectivity. I mean, it's completely and utterly useless.
That's exactly why Google teamed up with Verizon to offer back-up 3G connectivity. But beyond the paltry 100 MB they give you for free each month, that type of connection can get expensive quickly just to be able to simply use your computer.
Further, many deals will have to be worked out in various different countries for that level of connectivity. That's why my Cr-48 isn't fully travel-ready here in Europe, for example (there is no Verizon here).
So what happens when you boot up your Chrome notebook without a connection? Well, you get an error — a very confusing one. This has happened to me a few times in the past few days. I boot up the computer, enter my password, and it says there's a problem with my password. Only that's not true. It's just that I'm not connected to the network, so it can't verify my password (Google really needs to change the wording there).
The problem here is that if you're on a network with a password, you have to log-in to Chrome OS as a guest, connect to the network and entire the password, then log out and log back in to your Google account. A pain. And something that a lot of users are going to experience again and again.
The Connected Computer
So while Google CEO Eric Schmidt says
the world is now ready for Chrome OS, I think we're still at least a year — and maybe a few years — away from this type of system being viable for most average consumers. But I think it's fantastic that Google is willing to go out on a limb now to help the transition along.
Of course, the payoff for them looks be huge if they lead this new era of computing. And the risk is fairly minimal. Even if Chrome OS takes a while to take off, Google has more than enough capital to keep the project going for a long time — just like they did with Android at first.
In many ways, smartphones have and will continue to help us with this transition. The assumption of always having a connection to the web is now built into most of our daily lives. What good is a smartphone when you're not connected? Maybe just for playing some games. Computers will eventually be the same way. Until games are fully online as well — something which the Chrome Web Store is trying to make happen.
I don't think anyone disagrees that computers that are always connected to the Internet are the future, it's just that Google is taking it to the extreme right now with these machines. It's Internet or nothing. It's bold.
Price
While Google hasn't yet stated how much they (and their OEM partners) intend to sell Chrome notebooks for, that price is going to be crucial. It obviously needs to be low. Very low.
If Google wants these to compete with Windows machines, sub-$500 should do the trick. And if they can bring them in with better hardware than the Cr-48 for something like $300, I think they're going to sell a ton of them next by next holiday season.
And Google keeps
reiterating that they intend Chrome OS to work on other platforms as well. You can imagine desktop machines running Chrome OS might be perfect for schools and libraries. And Google could of course bundle Google Apps with them. Hell, I could even see them subsidizing Chrome notebook costs to get them available to all students in certain school districts that commit to Google Apps.
Actually, a big competitor for the Chrome notebooks may end up being the new MacBook Airs. Both are now trying to
redefine just what exactly portable computing is. There's no denying that the Air is a much, much sexier device both in look and feel than the Cr-48. But it's also likely to be several hundred dollars — and maybe even a thousand dollars more expensive in some cases.
Again, that's why Google needs to nail the price points and nail the execution with their OEM partners on these. I have some doubts as to whether that will happen or not initially, but even a mediocre Chrome notebook should put quite a bit of pressure on low-end Windows machines, at the very least. As I wrote a year ago, it would be
To finish up this post, I actually moved back from the Cr-48 to my MacBook Air. One reason is that the typing lag was driving me insane. The other is that image insertion — and image management, is still pretty tricky with Chrome OS. So I'm back to a machine with more than just a browser.
This is actually the first time I've extensively used this machine in three days. It's a little weird seeing the browser shrunk into a window. And I actually like it taking up the full screen more (that's easy enough to do on a Mac or PC with Chrome, the browser). In a slightly weird twist, I actually don't like seeing all the, yes, chrome. What's the point?
Of course, I do cherish the speed of this Air versus the Cr-48. Oh and the trackpad. My god the trackpad. It actually works! It's a thing of beauty that I will never take for granted again.
So there you go, I'm pretty divided right now on Google's first take at the Chrome notebook. It's both brilliant and bewildering. It's both the future and a nightmare. But it's definitely not boring, which is more than you can say for a lot of "new" technology these days. Watching it mature will be fun. But first the hardware needs to grow up.
If I could buy the Cr-48 right now, would I? No. But I'd download Chrome OS and install it on some cheap netbook. Or maybe even this Macbook Air…
The Queen of Chat
Oprah is as much a professional as she is a diva.
By Andrew Edgecliffe-JohnsonPosted Sunday, Dec. 12, 2010, at 7:17 AM ET
Oprah is as much a professional as she is a diva, and two pages of answers duly come back, conveying the unmistakable blend of business savvy and self-improvement-speak that has made her a unique figure in the media industry and a singularly influential voice in popular culture as she prepares to reinvent her empire.
She has graced countless magazine covers (including every edition of O, The Oprah Magazine) and appeared on almost every list of powerful women in the past decade, so when she is asked how women's place in society and business has changed in that period, it is fitting that her answer is all about power. "Women have as many definitions of power as there are women to use it. The only power that matters is authentic power—power that comes from you serving the highest expression of yourself, being true to who you are," she writes. "That's the reason we have seen such entrepreneurial explosions in business during the past decade. Women [are] figuring out how to make money doing what they love."
Oprah's tantalising promise to her audience, which has sustained The Oprah Winfrey Show as the No. 1 talk show on U.S. daytime television for nearly 25 years, is that their "authentic power," their "true calling," their "best life" is within their grasp. And by reaching for it, they might become just a little bit more like the disarmingly normal billionaire they have grown up with.
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"The best compliment I've ever been paid came in a letter from a woman in Ann Arbor, Michigan, who said that watching you be yourself every day makes me want to be more of myself," Oprah comments, with a politician's knack for the Everyman anecdote.
Audiences' early fascination with the young woman from Kosciusko, Miss., came down in large part to what she was not: Unlike most talk-show hosts in 1985, she was not male, skinny, perfectly groomed, or white. (A Baltimore station manager wanted her to change her name to Suzie, saying nobody would ever remember Oprah.) A quarter of a century later, aged 56, she now pulls off a rare "ordinary billionaire" balancing act, where her viewers know that she has wealth they can only dream of, but either believe that she is just the same as them regardless or hope some of her estimated $2.7 billion fortune will rub off.
"Although we like reading the lists, we know being powerful isn't about how rich you are, or whether you get your own coffee in the morning. It's about fulfilment and finding joy in whatever service or talent you have to offer," she says. Other chief executives tend not to mention fulfilment and joy when they talk about power, but Oprah is comfortable in a more mystical realm: "If I told you the most powerful woman I ever met, you wouldn't recognise her name," she says. "That's because her power comes from her courage, and faith and determination and confidence to make things happen, and the ability to bow before the worst of times with grace."
The audience fragmentation that has shattered many middle-of-the-road media properties seems only to have worked to the advantage of the few brands that stand out from the crowd. Oprah's brand has spread seamlessly in the past decade from television to a magazine selling 2.4 million copies a month (more than Martha), a satellite radio channel, a film company, a well-trafficked Web site, video-filled iPad apps, and a 4.6 million-strong following on Twitter. Last year's revenues at Harpo, her production company, were estimated by Fortune at about $315 million and she has become a prominent figure in philanthropy through Oprah's Angel Network and the Oprah Winfrey Leadership Academy for Girls, a school in South Africa. "There's no question she's the most successful voice in broadcast television, probably in history," says David Zaslav, CEO of Discovery Communications.
In the process, the "Oprah effect" has entered the lexicon as shorthand for the boost she can bestow by introducing her audience to a book, a television presenter or a holiday gift. Her regular pre-Christmas episodes, Oprah's favorite things, have propelled sales of products from body butter to cars. Supplicant manufacturers beg for inclusion on the list, and some investors base their stock picks on the show's selections.
Publishers are equally in thrall to her book club, whose choices have nabbed more than 60 places on U.S. best-seller lists since 1996, and several commentators saw evidence of the "Oprah effect" in the election of America's first black president, given her
In a country where media outlets are increasingly split between left and right, Oprah has hovered above the divisions from her Chicago base. Weak ratings this summer, where she was briefly overtaken by Judge Judy, were seen by some as evidence that her popularity was tumbling with President Obama's poll standing, but she has regained her lead since the autumn. In November, she interviewed former president George W. Bush, without a hint of discomfort on either side.
"I've always known that The Oprah Winfrey Show was a phenomenon, and that was not planned. The effects of the show were far beyond my power and control," she says. But her description of its influence is not about the readership of Jonathan Franzen novels, sales of Philosophy cosmetics or voting patterns, but about her pride in the program's "immeasurable" effect on people's personal lives and on "the culture".
"We were one of the first shows to talk about alcoholism and dysfunctional families in a way that wasn't exploitative, to shed light on domestic abuse, to depict postpartum depression and to openly discuss gay rights and marriage in the '80s," she says.
It is one of the oddities of her show that it can veer from ecstatic whooping over a cashmere sweater to heartbreaking investigations into sexual abuse and back again to tearful interviews with Whitney Houston or couch-jumping antics from Tom Cruise. "A lot of people's lives have been deeply and directly affected by the show," its host says. "The ability we've had to help make those connections with the viewers, to allow them to see themselves in someone else's story … has been unparalleled."
Now, the question is whether the connection will prove strong enough for viewers to follow her from broadcast television to cable. Nine months before the last episode of The Oprah Winfrey Show airs, she will launch the
Oprah Winfrey Network—OWN for short—on New Year's Day (a day of resolutions fitting to its mission "to entertain, inform and inspire people to live their best lives").
The channel is a 50-50 joint venture between Harpo and Discovery Communications, the cable channel owner behind Man vs Wild, Dirty Jobs and Sarah Palin's Alaska. Discovery is putting in $189 million and a route to 78 million homes. Harpo is injecting Oprah.com, a library of old episodes, and what Discovery's Zaslav calls "maybe the strongest brand in media," Oprah herself, who will have editorial control over all programming.
. . .
The idea has been brewing for a long time, says Oprah. "In the early '90s Stedman [Graham, her partner] and I were talking about the state of trash television and I was frustrated with what I thought television was becoming. He suggested that I create my own network. So I wrote in my journal that night and I thought of the letters O-W-N, standing for Oprah Winfrey Network (I'm always looking for signs). I decided then that the goal of this network would be to create mindful rather than mindless television programming."
Announced in January 2008, OWN was supposed to launch in 2009, but was set back by a dire advertising climate and management upheaval. Now, with a creative team led by former MTV executive Christina Norman and more reality shows in the mix, details of its schedule confirm that the new chapter in her career will have a familiar message of self-discovery, for viewers and host alike.
The full extent of her plans remains unclear, but they include Oprah's Next Chapter, a globetrotting program that will give the queen of daytime her primetime debut. She will also appear on a series called Master Class, featuring interviews with "modern masters" from Jay-Z and Simon Cowell to Sidney Poitier, Maya Angelou, and, of course, Oprah.
Other early shows include In The Bedroom with Dr. Laura Berman (there are a lot of doctors in Oprah's orbit), a documentary called One Lucky Elephant ("a touching account of a man's incredible love for a wild animal") and a show in which Oprah auditions people pitching programme ideas for OWN. The final season of The Oprah Winfrey Show will itself be fodder for a behind-the-scenes series.
"Too often I've watched shows and wondered what did I just watch that for? What a misuse of my time. I don't ever want to waste the viewers' time on OWN," she says. "When you turn on the channel, you will find something that is either inspirational or meaningful or thoughtful or perhaps just something that brings a little piece of light to your life. Because, in my heart, I am a teacher and I feel it is best when viewers can have an a-ha moment or two and be entertained at the same time."
. . .
OWN will be up against scores of lifestyle channels, covering food, decorating or relationships, but no one competitor clearly combines the various elements with Oprah's optimistic message, and her uplifting fare could stand out amid the bitchy reality shows. Oprah's celebrity was not enough to make a success of Oxygen, a cable channel showing a mix of female-focused programming—from sitcom Kate & Allie to the Inhale yoga show—in which she invested in 2000. But early bookings from blue-chip advertisers for OWN have been "extremely robust", Discovery says.
The audience for The Oprah Winfrey Show was more than 12 million a decade ago, compared with just over 8 million now, and in bidding farewell to broadcast television, she is trading a declining medium for cable, where audiences, fees and advertising revenues continue to grow strongly. Her departure from daytime TV will change the economics of local television in the U.S. One local broadcaster, Nexstar, told investors recently that Oprah's syndicated show accounted for a quarter of its programming expenses.
Publishers and others whose brands have benefited from the "Oprah effect" are waiting nervously to see whether the new network will offer them the same opportunities. Discovery's investors and international partners are wondering whether Oprah's all-American offering will travel. (Oprah notes that her broadcast show has been syndicated in more than 145 countries, points out that OWN will hit 6 million Canadian homes in March, and says: "I won't be satisfied until we reach every country around the world where TV is available.")
There is not much left of the mass media in which Oprah came to fame. Broadcast television may be declining, but it can still pull in audiences larger than the cable channels, which reach just two-thirds of the country. The challenge for OWN will be to retain the place that The Oprah Winfrey Show earned its host in the national, and international, conversation.
Asked what her aspirations are now, Oprah does not mention ratings or revenues. Instead, she replies: "I try to live in the space where I can let God use me and where I can be used for something greater than myself. I'm grateful for the run we've had with the show, but I'm ready to be used for the next thing." OWN "will be what it's supposed to be", she says, as she ends with an image that is part advertisement, part product placement and part rallying cry: "I was in London a few months ago, at the Lanvin store, and I bought a palette of about 170 coloured pencils. I don't know how to sketch, but I was excited by the idea of having all of these different
study published in BMJ attest, society's red-haired members don't always get a fair shake. Hoary stereotypes, such as the idea that redheads are also hot heads, are mixed together with actual physiological differences — such as a heightened sensitivity to pain. Now science is getting a better understanding of redheaded physiology than ever before.
In numerical terms, people with red hair are a decided minority. They comprise just 2-6% of the population of the northern hemisphere and 1-2% worldwide. It's genetics that make them such rare birds. (More on Time.com:How to Keep Surgeons From Leaving Things Behind)
The carrot-top coloration is caused by a gene on chromosome 16 that affects the melanocortin-1 receptor (MC1R) protein, which often leads to the redheads' characteristic pale skin and light eyes, as well as a sensitivity to ultraviolet light — which is why they must slather on the sunscreen when they go outside. Because the gene is recessive, both parents must carry it in order for a red-haired child to be born. That's not difficult — 80% of the global population carries the redheaded gene even most if they do so invisibly. (More on Time.com:The Top 10 Redheads)
For those few who do have the redhead phenotype, the physical challenges go beyond the occasional sunburn — something that surgeons well know. And that's what the BMJ authors sought to explore in their meta-analysis, or survey of the existing scientific literature
Operating room docs, for example, have long reported that redheads appear to need more anesthetic than others. The new study suggests that that observation is an accurate one — mostly. Those with the MC1R mutation are more sensitive to opiate pain killers — which means they'd actually need less — but less sensitive to other types, most notably lidocaine injections. One study which used heat-related pain as its litmus of overall sensitivity showed that redheads indeed felt things more acutely and unpleasantly, probably because the MC1R mutation releases a hormone that stimulates a brain receptor associated with pain regulation. (More on Time.com:Study: Researchers Identify Hundreds of Gene Variants That Contribute to Height)
Redheads are also said — anecdotally at least — to be more susceptible to hernias. The study did not establish that conclusively, but it did find a tangential link between chromosome 16 and a condition called brittle cornea syndrome, the sufferers of which have a slightly elevated hernia risk.
Less substantiated by the study was the belief that people with red hair are more susceptible to hemorrhages. A survey of tonsillectomy patients found that about 7% of both red-haired and control patients experienced post-surgical bleeding. And in a study of the blood coagulation of 50 women, half of whom were redheads, there was no difference in clotting.
Overall, the researchers concluded that even if redheads require a little extra handling on the operating table, trepidation among surgeons had more to do with stereotypes than with clinical evidence."It would seem that the reputation of people with red hair for having increased perioperative risk is without any basis in fact and should only be used as an excuse of last resort by surgeons defending problematic bleeding or recurrent hernias," concluded authors, Andrew L Cunningham and Christopher P Jones. Take that, blonds and brunettes!
Georges St. Pierre Dominates Josh Koscheck at UFC 124UFC 124 Fight Night Photos Josh Koscheck's right eye is closed shut at UFC 124 on Saturday, Dec. 11, 2010 at the Bell Centre in Montreal, Quebec, Canada. Esther Lin for FanHouse Esther Lin for FanHouse
UFC 124 Photos
Georges St-Pierre punches Josh Koscheck at UFC 124 on Saturday, Dec. 11, 2010 at the Bell Centre in Montreal, Quebec, Canada.
Arianny Celeste holds up the Round 4 sign during Georges St-Pierre vs. Josh Koscheck at UFC 124 on Saturday, Dec. 11, 2010 at the Bell Centre in Montreal, Quebec, Canada.
Ever the perfectionist, St. Pierre also said he regretted that he didn't finish Koscheck. But this was, in its own way, just as brilliant a performance as any first-round knockout.
His right eye almost swollen shut, Koscheck said afterward that he was just honored to fight the best in the business.
"Georges St. Pierre is a true champion," Koscheck said. "St. Pierre is the man tonight."
St. Pierre took the center of the cage, landed a couple of jabs and took Koscheck down just 20 seconds into the first round. Koscheck, however, was an excellent college wrestler who's comfortable on the ground, and he got right back up without taking any damage at all. The second and third times GSP went for a takedown, Koscheck stuffed it nicely and stayed on his feet. But St. Pierre was landing left jabs successfully, and Koscheck had blood and bruising on his right eye within a few minutes.
Koscheck couldn't get much going offensively in the first round: He swung hard with his right hand only to have St. Pierre duck under it, and he went for a takedown only to have St. Pierre plant his back against the cage and stay standing. Koscheck did finally get St. Pierre on his back with about 15 seconds to go in the first round, but by that point it was clear that St. Pierre had won the round.
In the second round St. Pierre could see that Koscheck's right eye was badly hurt, and St. Pierre went on the attack, throwing a superman punch, left jabs and a left high kick. Late in the round Koscheck started to mix up his striking, and he landed a good uppercut, but it was a second round that St. Pierre won handily.
In the first minute of the third round St. Pierre went for another takedown and was stuffed again. Koscheck showed off some tremendous takedown defense, as St. Pierre has some of the best takedowns in the sport. But in the stand-up department, St. Pierre continued to control the fight. He landed jabs and inside leg kicks at will, and Koscheck just had no answer with his own striking.
Early in the fourth round St. Pierre went on the attack in the striking, then secured a takedown and got Koscheck's back. Koscheck, however, maintained his composure and actually had a chance at a leg lock submission before St. Pierre pulled free as they went back to their feet. Once again, St. Pierre controlled the stand-up, and by the end of the fourth round it was clear that St. Pierre led four rounds to none.
In the fifth round it would have been easy for St. Pierre to play it safe, but instead he fought like a champion, continuing to connect with jabs to Koscheck's bloodied and bruised face. St. Pierre continued to dominate the fifth and knew as soon as the final horn sounded that he had won.
St. Pierre was fighting in his hometown of Montreal and was greeted by a loud ovation. Koscheck played up his role as the villain in this fight, and he was greeted by a loud chorus of boos. But the fight ended with Koscheck and St. Pierre hugging, putting all the pre-fight trash talk behind them. Koscheck knew he had been beaten by the best in the world.
Georges St. Pierre has shown once again why he's the best mixed martial artist in the world: He doesn't just keep winning, but he keeps getting better every time.
St. Pierre dominated Josh Koscheck for 25 minutes Saturday night at UFC 124, retaining the UFC welterweight championship with a unanimous decision victory that all three judges scored in St. Pierre's favor, 50-45. St. Pierre has been working with the renowned boxing trainer Freddie Roach, and it clearly paid off, as St. Pierre used his boxing to a greater extent than ever before in his career.
"Josh Koscheck likes to throw his punch circular, and me, I'm a straight puncher," St. Pierre said afterward. "So the issue was to keep him on the outside."
The history of the Internet is, in part, a series of opportunities missed: the major record labels let Apple take over the digital-music business; Blockbuster refused to buy Netflix for a mere fifty million dollars; Excite turned down the chance to acquire Google for less than a million dollars. Time and again, businesses with seemingly dicey prospects have ended up becoming huge successes, and price tags that once seemed absurd have turned out to be bargains. But big companies have learned their lesson: these days, they're positively obsessed with not missing the next big thing, and are willing to shell out huge sums of money in order to insure that they don't. And when Google tried recently to acquire the two-year-old daily-deal site Groupon, for the seemingly outlandish sum of six billion dollars, it was hard not to wonder if the lessons of history had been learned too well.
To be sure, Groupon's got a healthy business. Almost forty million people, in more than a hundred and fifty cities around the world, have signed up for its e-mails, and every weekday it sends subscribers a daily deal, typically from a local business—fifty per cent off spa treatments, say, or twenty bucks off sushi. Groupon's gimmick, such as it is, is that you get the deal only if enough people sign up for it, but at this point the site is so popular that just about all the deals go through. In essence, what Groupon offers is an innovative twist on the tradition of loss-leader marketing: just as retailers have always used steep discounts on certain items in order to get people into their stores, Groupon's deals are an easy, low-risk way for small businesses to attract new customers. It's an appealing business model, particularly in recessionary times. But is it, as Groupon's C.E.O., Andrew Mason, suggested recently, a company that's going to transform the way local business works? Or is it just another overpriced flash in the pan?
The answer, most probably, is neither. Groupon isn't going away. Unlike many Web companies, it's been profitable from the start. (It takes fifty per cent of the revenue in every deal.) This year, it had half a billion dollars in sales, and estimates are that, before long, it could have as much as two billion dollars in revenue. The market for local advertising, which is really the business Groupon is in, is huge (more than $130 billion a year) and still relatively untapped online. And, while Groupon has many competitors, it's by far the biggest and most respected player around.
So Groupon is a real company. But it seems unlikely that it's going to become a revolutionary company, along the lines of YouTube, Facebook, Twitter, and Google. Most of the companies that have transformed the Web have certain things in common. They have distinctive technologies. They benefit from what are usually called network effects: the more people who use the service, the more valuable the service becomes. (You're more likely to use Facebook or Twitter when lots of your friends have signed up, and the more people there are who use Google the more accurate its searches become.) Most important, they scale easily, meaning that they can grow very big without much additional effort. To be sure, the more users Twitter and Facebook have, the more servers they have to buy, and so on. But the genius of these companies is that their users do most of the work and create most of the value; once the ball is rolling, it's the users who keep pushing it along.
Groupon, by contrast, is a much more old-school business. It doesn't have any obvious technological advantage. Its users don't really do anything other than hit the "buy" button. And its business requires lots of hands-on attention: thousands of salespeople to sell to and service local businesses, copywriters to come up with the right pitches for customers (Groupon's clever ad copy is one of its selling points). Groupon isn't just flinging piles of deals at users; the idea is that it's performing a "curatorial" role, and is relying on humans, instead of on Google-style algorithms. All these things are real assets—and a reason that Groupon is less vulnerable to competition than people think—but they're also very labor-intensive. Facebook, with five hundred million users, has fewer than two thousand employees, while Groupon, with some forty million subscribers, already has three thousand employees. Groupon can obviously add subscribers easily (all it has to do is send out more e-mails), but serving them enough deals to keep them happy is another matter: the more business it does, the more people it has to hire. Recently, Groupon has experimented with a self-service system, which would let it outsource some of the work to local merchants, who could set up virtual storefronts. But, unless it wants to abandon the approach that made it successful, scaling up will require more work and more workers than the Twitters and YouTubes of the world need.
This isn't an impossible task; Amazon succeeded in the face of similar obstacles. But, even if Groupon doesn't end up changing the way we shop, there's still a good chance that it will make a lot of money—maybe even more than some of its revolutionary brethren. When we think about the Internet, we often think of businesses in black-and-white terms: either they're huge, world-changing hits or they're flops. But that's a false dichotomy. These days, the Web is full of good, solid businesses that may not be remaking the world but that are helping give people what they want. If that's what Groupon ends up being, well, there are worse fates. ♦
In 1964, a twenty-three-year-old poet was arrested by the Leningrad K.G.B. and charged with the crime of "malicious parasitism." His name was Josef Brodsky. One Communist Party newspaper denounced his poetry as "pornographic and anti-Soviet"; another noted archly that he wore "velvet pants." The authorities permitted him to testify in court, but they soon regretted their decision, and their failure to prevent a brave woman named Frida Vigdorova from taking notes on the proceedings. Vigdorova wrote down this exchange—the most famous legal exchange in Russia since Stalin's show trials—and the transcript was smuggled to the West:
JUDGE: And what is your profession? BRODSKY: Poet. Poet and translator. JUDGE: And who told you that you were a poet? Who assigned you that rank? BRODSKY: No one. (Non-confrontationally.) Who assigned me to the human race? JUDGE: And did you study for this? BRODSKY: For what? JUDGE: To become a poet? Did you try to attend a school where they train [poets] . . . where they teach . . . BRODSKY: I don't think it comes from education. JUDGE: From what, then? BRODSKY: I think it's . . . (at a loss) . . . from God.
The judge sentenced Brodsky to five years of internal exile. Living in a village near the Arctic Circle, he crushed rocks and hauled manure by day. At night, he wrote, and he improved his English by reading Auden and Frost. Brodsky's mentor, the great Silver Age poet Anna Akhmatova, laughed at the K.G.B.'s shortsightedness. "What a biography they're fashioning for our red-haired friend!" she said. "It's as if he'd hired them to do it on purpose."
Akhmatova was hardly naïve about the capabilities of Soviet justice—she had lost a husband and countless friends in the Gulag—but she could see that the state was providing a linguistic genius with an aura of heroism. By the time Brodsky returned to Leningrad, he was a mature poet, whose brand of dissidence was an implacable disdain for the Soviet regime and an enduring devotion to the Russian language. The state soon found it necessary to exile this untamable creature abroad.
On December 15th, a Russian court with no greater sense of independence or justice than its Soviet forebears is expected to begin delivering judgment in the continuing saga of Mikhail Khodorkovsky. Once the richest man in Russia, Khodorkovsky ran afoul of Vladimir Putin, and has spent the past seven years in various prison cells and a Siberian labor camp near the Chinese border. Just as his initial sentence, for a conviction on trumped-up charges of fraud and tax evasion, is coming to an end, he faces new charges and the prospect of fourteen more years in prison.
Khodorkovsky is no Brodsky, or Solzhenitsyn, or Sakharov. A functionary of the Young Communist League in college, he emerged in the post-perestroika period as one of a small breed of talented, visionary, rapacious, and, in some instances, thuggish businessmen, who made unheard-of fortunes through a combination of hustle, political connection, and outright larceny. The new Russian state suffered from a poverty of legal and business norms, and from a desperate need for capital. In 1995, the government of Boris Yeltsin instituted a "loans for shares" auction of the most precious and profitable state enterprises still in its possession—particularly oil and metals. Khodorkovsky, who had already started a bank and was close to various Kremlin officials, bought an oil company, called Yukos, for three hundred million dollars. By 2003, his personal fortune was estimated at eight billion dollars.
Khodorkovsky exploited the lawlessness of the era no less than his fellow-oligarchs did, but he was more reserved than the rest. His displays of wealth were, by New Russian standards, old Wasp. He spoke softly and wore turtleneck sweaters. Over time, he also displayed unusual signs of independence from his Kremlin patrons. And, for Putin, there was the rub. Khodorkovsky began to see the necessity of playing a less sleazy game—not least in order to attract foreign investors. He hired Western consultants and lobbyists. He started funding human-rights groups, opposition political parties, and a charity called Open Russia. He talked about selling off a quarter of Yukos to ExxonMobil or Chevron, retiring from the business, and devoting much of his time to some kind of public service.
Putin, a former officer of the K.G.B., was especially infuriated by Khodorkovsky's attempt to negotiate independent deals with foreign partners. In the emerging system, widely known as Kremlin Incorporated, these were not the prerogatives of a private businessman. Putin had instructed the oligarchs that he would not question the origins of their lucre so long as they kept out of politics. And yet, in February, 2003, at a televised meeting at the Kremlin, Khodorkovsky sparred recklessly with Putin, challenging him on questions of government corruption, and implying that top state officials were pocketing millions in bribes. Privately, Putin told Lord John Browne, the former head of BP, "I have eaten more dirt than I need to from that man."
In October, 2003, Khodorkovsky was arrested. With him out of the way, Yukos's huge oil fields and assets were absorbed by the state oil conglomerate, Rosneft. Igor Sechin, then Putin's chief deputy, added to his portfolio the chairmanship of Rosneft's board of directors. As if to illustrate further the new folkways of the authoritarian corporate state, Sechin's daughter married Dmitry Ustinov, a trainee in the secret services; Ustinov's father, Vladimir, was the prosecutor-general who initially directed the case against Khodorkovsky.
Khodorkovsky, who hardly set out to be a moral example, has been elevated by his persecutors. Many Russians still see him as a robber baron who got his comeuppance, but some have recognized his trials for what they are—absurdist acts of injustice no more respectable than the railroading of Josef Brodsky.
Khodorkovsky has shown an undeniable endurance. From his prison cells, he has written articles and given epistolary interviews in which he speaks up for democratic norms. Despite his suffering—he was stabbed by a provocateur in a Siberian prison camp—he has the decency to point out that many Russians today suffer even worse privations for equally bogus charges; he describes his airless destiny as "Gulag lite." Andrei Sakharov's widow, Elena Bonner, is among the pro-democracy activists who have come along to defend and define Khodorkovsky. "I think that any person becomes a political prisoner if the law is applied to him selectively, and this is an absolutely clear case," she said. "This is a glaringly lawless action."
The Khodorkovsky affair long ago erased any notion in Russia of an independent judiciary; it made plain that the courts do the bidding of a corrupt hierarchy that will stop at little to enrich itself. Khodorkovsky and his lawyers call themselves "realists." They understand that, although President Obama has raised the issue with Putin, the United States has other pressing business with Russia: nuclear-arms control, North Korea, Afghanistan, Iran. But Russia undermines its pretense to modern statehood with such an appalling abuse of state power. Putin's ruthlessness is apparent. President Dmitry Medvedev ostensibly has the power to pardon, and he has shown some small measure of independence from his patron, speaking of the "legal nihilism" that prevails in Russia today. Does he have the capacity, much less the courage, to release Mikhail Khodorkovsky? ♦
An analysis of more than a hundred thousand documents recently leaked by a disgruntled elf has revealed several surprising facts about the North Pole's most famous citizen.
· Santa and several top elves colluded to circumvent a ban on Chinese-made toys, despite pressure from the North Pole community to deliver only toys made locally.
· Santa has, over the years, acted to undermine potential successors, privately disparaging one of his nephews as "lazy," another as "not really committed to the whole Christmas thing," and yet another as "incapable of growing a beard of the appropriate size, if you know what I mean."
· Senior North Pole officials were astonished when an elf in Santa's cabinet proposed halting a long-standing program monitoring pouting and crying. "For years, we've been telling people that they'd better not do this," one said in a confidential cable, "and now we're removing all restrictions? What's next? Decriminalizing the failure to watch out?"
· After Santa suffered a serious hip injury, in the late seventies, the Prime Minister of Norway offered him access to several chimneys to conduct entrance and egress exercises.
· A reported mixup in 2004 that brought eleven-year-old Jack Keller, of Seattle, a book of math games instead of a football was not accidental: Santa was sending a message.
· During home visits last Christmas, Santa spied on the C.E.O.s of several Fortune 500 companies, and collected personal data including but not limited to credit-card and frequent-flier numbers.
· The song "I Saw Mommy Kissing Santa Claus" has more basis in truth than was previously thought; elves worried for years about Santa's philandering, which began to decrease only recently, after Mrs. Claus discovered an illicit text message from an Arizona school-board member.
· Santa doesn't enjoy going to certain St. Louis suburbs. "They just give me the creeps," he told one top elf.
· Most cookies left out for Santa end up being fed to the reindeer.
· In 2007, Santa suppressed the delivery of gifts to more than a thousand residents of Los Angeles as a result of his displeasure with the movie "Fred Claus."
· Just this year, Santa accepted a payment of twelve million dollars to keep Charlie Sheen on the "nice" list.
· A potential environmental disaster was kept secret by the North Pole in 2008, after a large bag filled with painted blocks from Vietnam fell from Santa's sleigh into the Anglezarke reservoir, in Lancashire, raising fears of lead contamination. Elves with scuba gear and flashlights were sent in to retrieve the blocks under cover of night.
· Contrary to popular belief, Santa cannot really tell when you're sleeping or when you're awake, but he will fly into a rage if his ability to do so is questioned. ♦
"A revolution is not a dinner party," Mao Zedong declared. Rather, as he helpfully clarified in 1927, it is "an insurrection, an act of violence." He might have warned that nation building is no picnic, either. Mao rose to supremacy within the Chinese Communist Party (C.C.P.), through several bloody purges of "revisionists" and "rightists." After long years as a marginal peasant leader, he finally brought his revolution to all of China, forcing his great rival Chiang Kai-shek to flee to Taiwan (then called Formosa). Founding the People's Republic of China in 1949, Mao exulted, "The Chinese people, comprising one quarter of humanity, have stood up." He soon knocked them down, overwhelming the gradual processes of China's modernization with the frenzy of permanent revolution.
Modernizing autocrats elsewhere in Asia—Turkey's Atatürk, Iran's Reza Shah Pahlavi, and Taiwan's Chiang Kai-shek—also dragooned their peoples into traumatic social and political experiments. But Mao tormented the Chinese on a far bigger scale, condemning tens of millions to early death with the Great Leap Forward, and then exposing many more to persecution and suffering during the Cultural Revolution.
Just five years after his death, the C.C.P. officially blamed the "mistaken leadership of Mao Zedong" for the "serious disaster and turmoil" of the Cultural Revolution, and the garishly consumerist and inegalitarian China of today seems to mock Mao's fantasies of a Communist paradise. Nevertheless, China's leaders today continue to invoke "Mao Zedong Thought." Taiwan, now rowdily democratic, has begun to dismantle the personality cult of Chiang Kai-shek, removing his statues and erasing his name from major monuments. But Mao still gazes across Tiananmen Square from the large portrait hanging on the Gate of Heavenly Peace. Visitors from the countryside often line up all day for a fleeting glimpse of his embalmed corpse south of the square, and in folk religions throughout China Mao is revered as a god.
This persistence of Mao in official discourse and popular imagination may seem an instance of ideological pathology—the same kind that makes some Russian nationalists get misty-eyed about Stalin. Indeed, the Communist state's vast propaganda apparatus first exalted Mao to divine status. But then a non-ideological view of Mao has rarely been available in the West, even as he has gone from being a largely benign revolutionary and Third Worldist icon to, more recently, sadistic monster. This is largely due to China's ever shifting place in the Western imagination. Three new books—Patrick Wright's "Passport to Peking" (Oxford; $34.95), Frank Dikötter's "Mao's Great Famine" (Walker & Co.; $30), and Timothy Cheek's anthology "A Critical Introduction to Mao" (Cambridge; $27.99)—attest to the difficulty of definitively fixing Mao's image, a project that amounts to writing a history of China's present.
Early visitors to Mao's guerrilla base camp in Yan'an in the nineteen-thirties—notably the American writer Edgar Snow—managed to project onto the revolutionary the ideals of American progressivism. Snow's popular report "Red Star Over China" (1937) presented a "Lincolnesque" leader who aimed to "awaken" China's millions to "a belief in human rights," introducing them to "a new conception of the state, society, and the individual." More perceptively, Theodore White, then a reporter for Time, who visited Yan'an in 1944, concluded that the Communists were "masters of brutality" but had won peasants over to their side. Other "China Hands"—an assortment of journalists, American Foreign Service officials, and soldiers who succeeded in meeting the Communists—preferred Mao to Chiang Kai-shek, who, though corrupt and unpopular, was receiving enormous amounts of military aid from the United States. "The trouble in China is simple," Joseph Stilwell, the commander of U.S. Forces in China-India-Burma, told White. "We are allied to an ignorant, illiterate, superstitious, peasant son of a bitch." But, as the Cold War intensified, the China Hands found themselves ignored in the United States. Following Chiang Kai-shek's defeat and flight to Taiwan in 1949, the Republican Party angrily accused the Truman Administration of having "lost" China to Communism. Then they berated it for hindering Chiang Kai-shek's reconquest of the mainland. The China Hands in particular came under sustained fire from early and zealous Cold Warriors for their supposed sympathy with the Chinese agents of Soviet expansionism. Henry Luce, who saw the Christian convert Chiang Kai-shek as a vital facilitator of the "American Century," fired White from Time.
The Korean War, which China entered on the side of North Korea, fixed Mao's image in the United States as another unappeasable Communist. The Eisenhower Administration now vigorously backed Chiang Kai-shek, signing a mutual-defense treaty with him in 1954, and threatening China with a nuclear strike the following year. The State Department imposed a full trade embargo on China and prohibited travel there. Sinologists were reduced to speculating from afar whether Mao was more nationalist than Marxist.
The god of Communism had failed for many admirers of the Russian Revolution by the time Mao reunified mainland China, in the early nineteen-fifties. Still, many Western intellectuals, recoiling from the excesses of McCarthyism, and hampered by lack of firsthand information, gave the benefit of the doubt to Mao in the decade that followed. Travelling to China in 1955, Simone de Beauvoir drew a sympathetic picture of a new nation overcoming the aftereffects of foreign invasions, internecine warfare, natural disasters, and economic collapse. Neither Paradise nor Hell, China was another peasant country where people were trying to break out of "the agonizingly hopeless circle of an animal existence."
The British visitors to China described in Patrick Wright's entertaining "Passport to Peking" tried to maintain a similarly open mind. Then as now, plenty of liberal as well as left-wing Brits resented their government's reflexive adherence to Washington's foreign policy. When China's urbane Foreign Minister Zhou Enlai made his first public appearance in Europe, many were persuaded that China was more than a clone of Soviet totalitarianism, and that "peaceful coexistence" was a real possibility. "Come and see," Zhou said, and a motley bunch of politicians, artists, and scientists took up his invitation in 1954. Among them were a few fellow-travellers, most notably the artist Paul Hogarth. Some, like members of the Labour Party delegation headed by former Prime Minister Clement Attlee, were seasoned anti-Communists. Others were simply self-absorbed tourists, routinely stumbling into comic misunderstandings. The British artist Stanley Spencer first accosted Zhou Enlai with a rapturous account of his native village of Cookham, and then went on about the delights of a little island in the Thames called Formosa, not realizing the name was shared by his hosts' fiercest international adversary.
The Chinese, who, Wright says, "had learned a lot from Moscow about the art of seducing foreign visitors," laid on extravagant banquets for the British. (The headline in the Daily Mail was "SOCIALISTS DINE ON SHARK'S FINS.") The mammoth Chinese construction of factories, canals, schools, hospitals, and public housing awed these visitors from a straitened country that American loans and the Marshall Plan had saved from financial ruin. They were impressed, too, by the new marriage laws that considerably improved the position of Chinese women, by the ostensible abolition of prostitution, and by the public-health campaigns.
Yet no "useful idiots" of the kind who had made the Soviet Union under Stalin appear the savior of humanity emerged from the trip. The parade held in Beijing to mark the fifth anniversary of the People's Republic reminded the philosopher A. J. Ayer of the Nuremberg Rallies. Though impressed by the "dedicated and dignified" Mao, the trade unionist Sam Watson was dismayed by Chinese talk of the masses as "another brick, another paving stone." Mao asked Attlee to help reverse the American policy of encircling his country through defense treaties with Southeast Asian countries and the rearming of Japan. Attlee firmly informed Mao that "two-way traffic was needed" for peace, and asked Mao to help persuade the Soviet Union to free its satellite states in Eastern Europe.
Jung Chang and Jon Halliday's best-selling biography "Mao: The Unknown Story" (2005) went much further, describing a man who was unstintingly vile from early youth to old age. Far from Edgar Snow's champion of human rights, this particular Mao was working toward "a completely arid society, devoid of civilization, deprived of representation of human feelings, inhabited by a herd with no sensibility." In Chang and Halliday's account, Mao killed more than seventy million people in peacetime, and was in some ways a more diabolical villain than even Hitler or Stalin. The authors claimed—among other comparisons they made to twentieth-century atrocities—that the victims of the famine caused by the Great Leap Forward (1958-62) were worse off than the slave laborers at Auschwitz.
In "Mao's Great Famine," Frank Dikötter, a professor of modern Chinese history at the University of Hong Kong, deepens this trend in Mao studies. Boldly and engagingly revisionist in his previous books—which stressed the benefits of opium smoking to the Chinese and judged China under Chiang Kai-shek to be vibrantly cosmopolitan—Dikötter hopes that his new book will help make the famine "as well known as the two other man-made catastrophes of the twentieth century, the Holocaust and the Gulag." Drawing on fresh research and a new tally, Dikötter revises upward the commonly accepted estimate of thirty million deaths in these four years, exceeding the thirty-eight million proposed by Chang and Halliday. His conclusion: out of a total population of six hundred and fifty million, "at least 45 million people died unnecessarily between 1958 and 1962." This is still a conservative estimate, he judges, and by the end of the book Dikötter speculates that the body count could be as high as sixty million. Not only that: Mao also precipitated the biggest demolition of real estate, the most extensive destruction of the environment, and the biggest waste of manpower in history.
How did this come about? Dikötter is not much interested in a wide-ranging account that would necessarily include China's internal political and economic situation in the nineteen-fifties, the shifting hierarchy of the C.C.P., or the Chinese sense of siege following the Korean War and the sharpening of Cold War divisions in Asia. He describes in some detail Mao's personal competitiveness with Khrushchev—made keener by China's abject dependence on the Soviet Union for loans and expert guidance—and his obsession with developing a uniquely Chinese model of socialist modernity. Hence the Great Leap Forward, which Mao designed to boost China's industrial and agricultural output and move the country ahead of the Soviet Union as well as Britain in double-quick time. An urban myth in the West held that millions of Chinese had only to jump simultaneously in order to shake the world and throw it off its axis. Mao actually believed that collective action was sufficient to propel an agrarian society into industrial modernity. According to his master plan, surpluses generated by vigorously productive labor in the countryside would support industry and subsidize food in the cities. Acting as though he were still the wartime mobilizer of the Chinese masses, Mao expropriated personal property and housing, replacing them with People's Communes, and centralized the distribution of food.
Organized in very short chapters, Dikötter's book takes its reader through a brisk tour of the follies, inefficiencies, and deceptions of Mao's commandeered economy: impossible targets, exaggerated claims, maladroit innovation, lack of incentive, corruption, and waste. Ordered to go forth and make steel, Chinese flung anything they could find—pots, pans, cutlery, doorknobs, floorboards, and even farming tools—into primitive furnaces. Meanwhile, fields were abandoned as farmers fed furnaces in giant coöperatives, worked in similarly wasteful irrigation schemes, or migrated to urban factories in their millions.
Having mobilized the masses, Mao continually searched for things for them to do. At one point, he declared war on four common pests: flies, mosquitoes, rats, and sparrows. The Chinese were exhorted to bang drums, pots, pans, and gongs in order to keep sparrows flying until, exhausted, they fell to earth. Provincial recordkeepers chalked up impressive body counts: Shanghai alone accounted for 48,695.49 kilograms of flies, 930,486 rats, 1,213.05 kilograms of cockroaches, and 1,367,440 sparrows. Mao's Marx-tinted Faustianism demonized nature as man's adversary. But, Dikötter points out, "Mao lost his war against nature. The campaign backfired by breaking the delicate balance between humans and the environment." Liberated from their usual nemeses, locusts and grasshoppers devoured millions of tons of food even as people starved to death.
While food shortages deepened, the Chinese regime continued to insist on huge grain procurements from the countryside. The aim was not only to maintain outstanding export commitments but also to protect China's image in the world. According to Dikötter, Mao ordered the Party to procure more grain than ever before, declaring that "when there is not enough to eat, people starve to death. It is better to let half of the people die so that the other half can eat their fill." In 1960, the worst year of the famine, which was exacerbated by drought as well as flash floods, grain was sent, often gratis, to Albania, Cuba, Vietnam, Indonesia, and Poland.
Not all Chinese died of starvation or of the diseases that accompany malnutrition. "Coercion, terror, and systematic violence were the foundation of the Great Leap Forward," Dikötter writes, estimating that at least two and a half million were worked, tortured, or beaten to death or simply executed by Party officials, and between one and three million people committed suicide. Some of those who survived did so by selling or abandoning their children or by digging up and devouring the dead.
Dikötter closes his vivid catalogue of horrors with the "turning point" of the Party meeting in early 1962, where Mao's colleague and head of state Liu Shaoqi admitted that a "man-made disaster" had occurred in China. Dikötter evokes Mao's fear that Liu Shaoqi could discredit him just as completely as Khrushchev had damaged Stalin's reputation. The book ends with a chilling foretaste of the next catastrophe to overwhelm China: "Mao was biding his time, but the patient groundwork for launching a Cultural Revolution that would tear the party and the country apart had already begun."
This narrative line is plausible: exhorting young Chinese to assault the allegedly expanding bourgeoisie within the Party, Mao hoped to preserve his power and revolutionary legacy from bureaucratic "revisionists" like Liu Shaoqi, who was among the leaders who died at the hands of the Red Guard. Yet Dikötter's account of Mao's inner life scants some crucial details that would give a richer picture of his motivations and his constant maneuvering within the Party, while also undercutting the image of him as an indefatigable megalomaniac; for instance, the fact that Mao, after resigning as head of state in 1959, was unhappy with his diminished role in day-to-day decision-making, or that he had already called for a major change of course in November, 1960, and criticized himself at the Party Conference in 1962.
Dikötter is, indeed, generally dismissive of facts that could blunt his story's sharp edge. Explaining Mao's well-known defense of farmers' evading grain procurers in 1959 and his advocacy of "right opportunism," Dikötter writes, "Mao took on the pose of a benevolent sage-king protective of the welfare of his subjects," but, he says, historians have erred in seeing this period as "one of 'retreat' or 'cooling off.' " This would be persuasively contrarian if Dikötter hadn't mentioned four pages previously that while Mao was pretending to be a "benign leader," from November, 1958, to June, 1959, "the pressure temporarily abated."
Focussing relentlessly on Mao's character and motivations, Dikötter confirms the man's reputation as sadistic, cowardly, callous, and vindictive. Yet his bold portrait bleaches out much of the period's historical and geopolitical backdrop (the uprising in Tibet in 1959, anti-American riots in Taiwan, border clashes with India, the Sino-Soviet rift), and he misses, too, the abusive relationship between Mao and the Chinese people: how sincerely and deeply, for instance, they trusted and revered their leader before being betrayed by him.
Dikötter's explanation of the Great Leap Forward omits the fact that—despite the damaging effects of the Korean War and the American trade embargo—China had, by 1956, made remarkable progress in securing social stability, achieving economic growth, and improving living conditions. According to Roderick MacFarquhar, a leading historian of Mao's China, "what Mao accomplished between 1949 and 1956 was in fact the fastest, most extensive, and least damaging socialist revolution carried out in any communist state." The distinguished expatriate writer Liu Binyan recalled the early nineteen-fifties as a time when "everyone felt good . . . and looked to the future with optimism"; most were eager to do their bit for their country.
Little did these enthusiasts know that they were about to be kicked in the teeth. Dikötter doesn't make the imaginative move into ordinary people's lives, their longings for stability and dignity, which Mao's utopianism so cruelly trampled. The manifold victims in "Mao's Great Famine," keenly computed but cursorily described, remain a blur. And Dikötter's comparison of the famine to the great evils of the Holocaust and the Gulag does not, finally, persuade. A great many premature deaths also occurred in newly independent nations not ruled by erratic tyrants. Amartya Sen has argued that "despite the gigantic size of excess mortality in the Chinese famine, the extra mortality in India from regular deprivation in normal times vastly overshadows the former." Describing China's early lead over India in health care, literacy, and life expectancy, Sen wrote that "India seems to manage to fill its cupboard with more skeletons every eight years than China put there in its years of shame."
The discrepancy between democratic India and authoritarian China is due to a complex interplay of political, geographical, and economic factors. Certainly, it cannot be explained through the fantasies and delusions of an Oriental despot. Mao's individual pathology goes only so far in explaining China today, and it is pretty much useless in figuring out the Chairman's enduring, even growing, influence outside China. What, for instance, is one to make of the irruptions of Maoism in the age of globalization? The Maoists of Nepal, who overthrew the monarchy in 2006 and won nationwide elections in 2008, remain a formidable political force. The Indian Maoists, whom India's Prime Minister describes as the country's gravest internal-security threat, are ranged against mining corporations and security forces in a vast swath of central India. Consisting largely of forest-dwelling peoples and landless peasants, these insurgent groups mouth a Mao-inspired rhetoric against foreign imperialists and local "compradors." But, like Che Guevara and the Vietcong, they also adopt Mao's tactic of marshalling rural populations against the cities, establishing, in addition to a cohesive party and militia, their own administrative structures and organizations.
This model of mass mobilization was Mao's singular contribution to the making of the modern Chinese nation-state, though it also nearly unmade China after 1949. The most stimulating chapters in the academic collection "A Critical Introduction to Mao," edited by Timothy Cheek, discuss Mao's "Sinification" of a European tradition of revolution. Mao belonged to a Chinese generation of activists and thinkers who developed a fierce political awareness at the end of a long century of internal decay, humiliations by Western powers and by Japan, and failed imperial reforms. Whatever their ideological inclinations, they all believed in a version of Social Darwinism—the survival of the fittest applied to international relations. They worried about the social and political passivity of ordinary Chinese, and were electrified by the possibility that a strong, centralized nation-state would protect them from the depredations of foreign imperialists and domestic warlords. As Sun Yat-sen, China's first modern revolutionary, explained in a speech shortly before his death, in 1925, "If we are to resist foreign oppression in the future, we must overcome individual freedom and join together as a firm unit, just as one adds water and cement to loose gravel to produce something as solid as a rock."
Others took on the arduous task of welding a defunct empire into a nation-state, most prominently Chiang Kai-shek, whose urban-based Nationalist Party first brought a semblance of political unity to postimperial China. But it was Mao who, helped by a savage Japanese invasion and Chiang Kai-shek's ineptitude, came up with an ideologically like-minded and disciplined organization capable of enlisting the loyalty and passions of the majority of the Chinese population in the countryside. More enduringly, Mao provided a battered and proud people with a compelling national narrative of decline and redemption. As he stressed shortly before the founding of the People's Republic, "The Chinese have always been a great, courageous and industrious nation; it is only in modern times that they have fallen behind. And that was due entirely to oppression and exploitation by foreign imperialism and domestic reactionary governments." This would change: "Ours will no longer be a nation subject to insult and humiliation. . . . We will have not only a powerful army but also a powerful air force and a powerful navy." Unlike India and Nepal, China contains very few active Maoists today, but strains of Mao's anti-imperialist rhetoric grow more potent every year. As Timothy Cheek, a historian at the University of British Columbia, explains, "Most people in China appear to accept the assumptions in this story about China's national identity, about the role of imperialism in China's history and present, and about the value of maintaining and improving this thing called China. Increasingly, moreover, China's middle classes accept the additional story in Maoism—the story of rising China: China was great, China was put down, China is rising again."
Though better informed about Mao's calamitous blunders, Chinese intellectuals today are far from united in their assessment of him. Attacked for his despotism by liberal-minded scholars, Mao is admired by New Left intellectuals for his assault on Communist bureaucracies and advocacy of "extensive democracy" during the Cultural Revolution. Summing up the diverse and contested meanings of Mao in China, Xiao Yanzhong, a professor at People's University in Beijing, describes Mao scholarship as "a bellwether that can indicate changes in China's politics, economy, and society, as well as the states of mind of the Chinese people."
Certainly, the C.C.P., which remains as opposed to free elections as ever, has no choice but to derive its legitimacy from Mao Zedong even as it drifts further away from his ideals. Shortly after the sixtieth anniversary of the People's Republic last year, the Chinese Premier, Wen Jiabao, visited the tomb of Mao Anying, Mao's favorite son, who died in the Korean War. Laying a wreath, Wen abruptly addressed a stone statue of the dead soldier. "Comrade Anying," he said, "I have come to see you on behalf of the people of the motherland. Our country is strong now and its people enjoy good fortune. You may rest in peace."
Comrade Wen surely realizes that, absent Mao's exploits, the Chinese people would have started to enjoy their present good fortune three decades earlier. But would China have found a strong political basis for its prosperity without Mao? This is the harder counterfactual question. Asked for his views on the French Revolution, Zhou Enlai replied that it was too early to say; and he must have hoped for a similarly delayed verdict on the Chinese Revolution, the human costs of which truly did make the Reign of Terror look like a dinner party. Zhou, in pleading for the long view, was not being entirely shifty (nor is George W. Bush, who, after unleashing violent revolution in Iraq, has also entrusted his score sheet to future historians).
We have surely made up our minds about Mao. But the Chinese judgment on Mao's revolution has been complicated and deferred by the longevity of the Communist regime and the country's extraordinary economic successes. Another revolution, such as the one that has occurred in Taiwan, could bring, along with political freedoms, a new self-image to China, which would likely disown Mao. But it is also possible that the Chinese nation will continue in the decades ahead to acknowledge Mao as its father—disgraced, discredited, and irreplaceable. ♦
Books
Tea and Antipathy
Did principle or pragmatism start the American Revolution?
What did the American Revolution look like? Nathaniel Hawthorne imagined it as an angry face, painted so as to appear divided in two. "One side of the face blazed of an intense red, while the other was black as midnight," he wrote. This uncanny visage appears in Hawthorne's tale "My Kinsman, Major Molineux," of 1831; its owner rides on horseback through moonlit Boston streets, carrying a drawn sword and leading a mob of people who laugh and shout as they wheel along a rich elderly man whom they have tarred and feathered.
Hawthorne's "double-faced fellow" was modelled on a historical figure who went by the pseudonym Joyce Jr. and, in the seventeen-seventies, claimed to lead Boston's Committee for Tarring and Feathering. In 1777, Abigail Adams recorded the charges against five merchants who were his victims: "It seems they have refused to take paper money, and offered their goods lower for silver than for paper." During wartime, anxieties about hoarding and profiteering no doubt shortened tempers, and, in the Boston Gazette, Joyce Jr. threatened "Judgment without Mercy" to anyone else guilty of "such nefarious Practices." Joyce Jr. had little of the dignity that we associate with the Founding Fathers; his tone was bitter, and, more important, his grievance was mercenary rather than ideological.
His method of punishment, however, became iconic. Tarring and feathering was so popular in New England in the seventeen-sixties and seventies that at least one observer thought Americans had invented it, though in fact it has been around since at least the twelfth century. What was it like? Pine tar, used to waterproof ships, is liquid at room temperature and, in most cases, was probably applied unheated. Feathers were obtained either from fowl (the smellier the better) or from cushions. The third and most essential ingredient was exposure. One customs agent was kept outdoors in his "modern jacket" until he was frostbitten. "They say his flesh comes off his back in Steaks," a woman reported afterward. Victims felt a lingering shame, though the frostbitten customs agent, a resilient personality, petitioned King George III to dub him a "Knight of the Tarr."
Few victims held the high social status of the elderly gentleman in Hawthorne's tale, but he, too, seems to have had a historical model. Hawthorne was probably thinking of Thomas Hutchinson, the lieutenant governor of Massachusetts, whose Boston town house was destroyed, in 1765, by a mob upset by Parliament's new stamp tax on the colonies' newspapers, legal documents, and pamphlets. Hutchinson and his family fled their supper table just minutes before a crowd screaming "Liberty and property!" axed open the doors of their home. As Richard Archer notes, in "As If an Enemy's Country" (Oxford; $24.95), a lively and sympathetic history of pre-Revolutionary Boston under British occupation, the rioters scattered or stole nearly everything inside, including jewelry, dishes, furniture, paintings, about nine hundred pounds in cash, and an archive of New England history that Hutchinson had spent thirty years collecting. "I see they threatened to pitch and feather you," George III later observed, during a debriefing with Hutchinson, who by then had served as Massachusetts's second-to-last royal governor. Hutchinson, a slender, fastidious man who liked to debate political philosophy, corrected him: "Tarr & feather, may it please your Majesty."
"Insurgencies are not movements for the faint of heart," T. H. Breen writes, in "American Insurgents, American Patriots" (Hill & Wang; $27), a scholarly, unnerving account of the American Revolution's darker side—the violence, death threats, false rumors, and extremist rhetoric that introduced a new political order. Breen suggests that Americans today "have come to regard insurgency as a foreign and unpleasant phenomenon" and are now so imperial in outlook that we'd rather not remember that American revolutionaries, too, were irrational and cruel. The implied comparison with the contemporary insurgencies of Iraq and Afghanistan is interesting, but over the past two years the history of America's first insurgency has taken on a new pertinence, as the Tea Party movement has laid claim to its anti-tax and pro-liberty principles—and has inadvertently reproduced its penchant for conspiracy theory, misinformation, demagoguery, and even threats of violence. Furthermore, in much the way that journalists have begun to ask whether shadowy corporate interests may be sponsoring today's Tea Party, historians have long speculated that merchants may have instigated early unrest to protect smuggling profits from British regulators—that the start of the Revolution may have been Astroturfed. Archer's history focusses on the years 1768 to 1770, and Breen's on 1774-75; Benjamin L. Carp's assiduously researched "Defiance of the Patriots" (Yale; $30) tackles the 1773 Tea Party itself. Breen is not concerned with the revolutionaries' financial motives, and Carp sometimes takes the rebels' rhetoric at face value. Nonetheless, the three books together offer a chance to ask new questions about the American Revolution, including one that the conventions of political sentimentality usually render unspeakable: Was the Tea Party even such a good idea the first time around?
In pre-Revolutionary Boston, merchants and government officials were often at odds, because economics more or less required some merchants to break the law. Americans spent about a tenth of their income on manufactured goods from Britain, but Britain wanted little that New England was selling. To keep the cash flowing, Boston merchants therefore sold to planters in the French West Indies, who fed New England's low-quality dried fish to their slaves and made barrels for their molasses from New England timber. Inconveniently, Britain taxed molasses from foreign countries a burdensome sixpence a gallon and, from 1756 to 1763, during a war with France, outlawed molasses from the French West Indies entirely. So merchants smuggled. For a bribe of between half a penny and one and a half pence per gallon, a typical British customs official was willing to shrink the reported amount of non-British molasses on board a ship by a factor of ten. The scale of the deception can be estimated by comparing customs records with insurance records: though smugglers lied to the government, they told the truth to their insurers. The historian John W. Tyler, in his book "Smugglers and Patriots" (1986), identified twenty-three Boston smugglers from insurance records and suggested that there were many more. He also discovered that these illicit traders were highly influential among political radicals.
It seems to have been bad feeling between merchants and magistrates that led to the sacking of Hutchinson's town house. The seventeen-sixties saw the introduction of two new laws, the universally unpopular Stamp Act and, more damaging for merchants, the Sugar Act, which altered tariffs to discourage smuggling and altered the judicial system to make it easier to win convictions. To fight both measures, radicals like Samuel Adams hit on the idea that Parliament's laws were invalid if they were "unconstitutional," then a relatively new word. Adams argued that the traditional British balance of powers and liberties was violated if Parliament taxed Americans, who weren't represented in it.
In the spring of 1766, Parliament repealed the Stamp Act and revised its trade laws, replacing a threepence duty on foreign molasses with a one-penny duty on all molasses—about what a bribe had cost. Now that legally imported molasses was cheap, Boston's smugglers turned to wine from Madeira and the Azores, which was heavily taxed, and to Dutch goods, which it was against British rules to import directly to the colonies. Although the colonists were still being taxed and still had no representation in Parliament, protest faded. "Were the people of Boston therefore hypocrites?" Archer asks. "There is no simple answer to that question."
The stamp-tax riots set a pattern, and when, in 1767, Britain further strengthened the customs service and levied new taxes, Boston merchants—smugglers in the lead—again organized the resistance, this time through an agreement not to import British merchandise. The agreement, though ostensibly a matter of principle, was financially very convenient. Easy credit from Britain had glutted Boston with manufactured goods and had tripled the number of the city's shopkeepers who moonlighted as importers. Non-importation gave more established merchants a chance to restrict supply, sell off inventory, and thin out the ranks of their rivals.
Legally, the merchants couldn't enforce compliance, so they set about turning public opinion against those who resisted. The non-importers published the names of holdouts and called on Bostonians to boycott them. (Embarrassingly, a loyalist newspaper retaliated by printing the ship manifests of the non-importers, some of whom turned out to be importing after all; Hancock, for example, had brought five bales of fine linen into Boston four months after the agreement went into effect.) A series of street actions was also arranged. This time, the merchants' populist intermediary was William Molineux, a smuggler, embezzler, and sometime hardware merchant who became known as "the first leader of dirty matters." Windows were smashed, homes were smeared with feces and urine, and one holdout merchant was carted through town with a supply of tar and feathers until he requested permission to leave Boston forever. Customs agents were manhandled and hanged in effigy—those who seized a sloop of John Hancock's were stoned—and in October, 1768, British troops moved into the city and occupied it for a year and a half.
All in all, the campaign worked so well that the merchants found it difficult to extricate themselves when Parliament, in April of 1770, repealed all the duties except one, on tea, which George III thought Parliament should retain so as to "keep up the right." The tea tax had become a symbol, and it infuriated the populace. But the businessmen thought they could live with it; by 1770, supplies were beginning to run low and prices of most goods were pleasantly high. The merchants began to hold private meetings; one complained that it wasn't fair for non-merchants to prevent merchants from dissolving an agreement made among themselves. In October, the merchants scrapped non-importation, and some non-merchants felt betrayed. "Great Patriots," a Worcester man sneered to John Adams, Samuel Adams's then less famous cousin, "were for Non Importation, while their old Rags lasted, and as soon as they were sold at Enormous Prices, they were for importing."
For the next three years, Americans ostensibly boycotted the tea of the East India Company, Britain's licensed monopoly provider, though in practice they drank what they liked. Indeed, for consumers, anger over the tea tax had never made much economic sense. For one thing, many drank Dutch-supplied tea, which was smuggled and therefore tax-free. Benjamin Woods Labaree, the most attentive scholar of the Colonial tea trade, estimates that three-quarters of the 1.2 million pounds of tea that Americans consumed each year was smuggled. Meanwhile, the tax on legal tea was largely offset by a tea-tax refund passed the same year. But in 1772 that tax refund shrank, making British tea more expensive and enhancing smugglers' price advantage. Tea piled up in the British warehouses of the East India Company, which owed money to the British government and also needed to ask it for a loan. Someone had an idea: why not raise cash by dumping the company's surplus tea on the American market? Parliament agreed to help by restoring the old refund in full and by allowing the company to export tea directly rather than through merchant middlemen. With the new measures, the price of legal tea was expected to halve. Consumers would save, Parliament needn't lose quite so much on its bailout of the East India Company, and smugglers would be driven out of business.
Boston's big businessmen felt threatened. Not only might smuggling cease to be profitable but, if the experiment of direct importation were to succeed, it might cut them out of the supply chains for other commodities as well. Clearly, it was time for Sam Adams and William Molineux to rile up the public again. At the start of November, 1773, a public letter summoned merchants expecting tea consignments from the East India Company to the Liberty Tree. When they failed to appear, Molineux led five hundred people to the store where the merchants were huddled, and its doors were torn from their hinges. A second letter warned the consignees not to take it for granted that the colonists would remain "irreconcilable to the idea of spilling human blood." Amid the populist fervor, only a few noticed that the working-class Bostonian stood to gain little from the protest. Joke in a Boston newspaper, November 4, 1773: Colonist No. 1, hurrying to the Liberty Tree, says he hopes that a mob will force merchants to lower the price of tea, which has risen to a dollar a pound. Not exactly, Colonist No. 2 says. The mob is going "to make those who expect to sell at half that price send it back again."
On November 28th, the first of three ships carrying East India Company tea arrived in Boston Harbor. If the tax on the tea was not paid within twenty days, customs had the right to seize it, and, because tea had grown scarce in Boston, it was sure to find its way into teapots once ashore. The next day, Boston's radicals invited anyone with a stake in the city's commerce to a meeting. Five thousand people showed up, and the group resolved that the tea should be sent back to Britain with the tax unpaid. The day after that, when Governor Hutchinson ordered the group to disperse, one of its leaders declared that they needn't obey, because they had reverted to "a state of nature." On December 16th, the last day of the first ship's grace period, the group ordered the shipowner to trek to Governor Hutchinson's country home, seven miles away, and ask, once and for all, for permission to leave the harbor with the tax unpaid. It was nearly six in the evening before the man returned with Hutchinson's refusal. On hearing it, Sam Adams declared, "This meeting can do nothing more to save the country," and someone yelled, "Boston harbor a tea-pot tonight!" By six-thirty, three teams of men, some in Indian disguise, were hoisting tea chests onto the decks of all three ships, hatcheting them open, and dumping the tea in the harbor. Between thirty and a hundred and fifty men took part, possibly, according to the historian Dirk Hoerder, under the supervision of Molineux, and in less than two hours they destroyed nine thousand six hundred and fifty-nine pounds' worth of tea—some ninety thousand pounds by weight. The Massachusetts Gazette noted with approval that "such attention to private property was observed, that a small padlock belonging to the captain of one of the ships being broke, another was procured and sent to him." Such an efficient and disciplined mob was unlikely to have been a spontaneous one. Indeed, Carp, who has identified a hundred participants, reports that eight of them were employed by a single radical merchant.
George Washington disapproved of the Tea Party, and Benjamin Franklin called it "an Act of violent Injustice on our part." But the Revolution was not yet in the hands of the Founders, although it had left those of the merchants, who now dodged and stalled as the people—passionate and heedless of economic niceties—called for a ban on all tea, even what was smuggled from the Dutch. The merchants were also losing their ability to control crowd violence. Breen reports that, in early 1774, a New Hampshire supporter of Parliament bled to death after a mob forced him to ride a sharp fence rail, which left a four-by-six-inch hole in his groin.
Britain overreacted, closing the port of Boston, restricting town meetings in Massachusetts, and giving the King the power to appoint the upper house of the Massachusetts legislature. British troops arrived in Boston in May. A Salem newspaper called Britain "more cruel than Sea-Monsters towards their young ones," and a meeting in Wrentham declared that Britain seemed to want to reduce colonists "to nothing short of the miserable and deplorable State of Conquered Slaves." A few merchants still hoped that Boston might pay for the tea and reconcile with Britain, but they were too intimidated by the outbursts of popular anger to give voice to their proposal at a Boston town meeting.
Sympathy for Massachusetts broke out in other colonies, and radicalized colonists across the region threw off the guidance of the merchant class. "These sheep, simple as they are, cannot be gulled as heretofore," the wealthy New York City lawyer Gouverneur Morris wrote to a friend. "The mob begin to think and to reason."
In Philadelphia in September, 1774, as representatives from twelve colonies met for a Continental Congress, bells tolled throughout the city for Americans killed during a British assault on Boston. In fact, the British hadn't assaulted Boston or killed anyone; the bells tolled for a false rumor. Nonetheless, tens of thousands—about a third of New England's able-bodied men, according to one contemporary estimate—mustered to reclaim Boston. Breen observes that "no one seems to have expressed the slightest skepticism" about the truth of the rumors of British atrocity. A loyalist of the time put it more bitterly: "If the Faction had told their deluded Followers, that an Army of 30,000 Men were crossing the Atlantick in Egg Shells, with a Design to roast the Inhabitants alive & eat them afterwards, the People would have first stared, & swallowed down the Tale, whole."
Breen argues that the emotions roused by the false rumor emboldened the delegates, who soon passed the Continental Association, an agreement not to import or consume British goods. They voted not to let colonists export to Britain, either—though only after an interval that allowed Virginia to sell off its latest tobacco harvest. In addition, Americans were not to drink any taxed tea after March 1, 1775; sheep were to be preserved from slaughter, for the sake of a native wool industry; and no one was to indulge in cockfights, horse racing, theatre, or fancy dress at funerals. Soon the local committees charged with enforcing the Continental Association patrolled for thought crimes, too. They read private mail. They ordered loyalist pamphlets burned or tarred and feathered.
Tea abstention and consumer sacrifice, Breen writes, "created a climate that encouraged other people to adopt more coercive ways to preserve liberty"—a phrase of Orwellian depths. Since the local committees lacked legal authority, their chief tools were intimidation and ostracism. As for violence, the committees forswore it "except so much as is necessary," as a Worcester group nicely explained. In Wilmington, North Carolina, a committee went door to door for signatures to a new loyalty oath. According to its own minutes, the committee gave holdouts six days to reconsider before it published their names and ordered fellow-citizens to shun and boycott them—a stern but legal measure. In the journal of a visiting Englishwoman, however, Breen found another version. In downtown Wilmington one day, the woman saw a number of her American friends on the street: "I stopped to speak to them, but they with one voice begged me for heaven's sake to get off the street, making me observe they were prisoners . . . and that in all human probability some scene would be acted very unfit for me to witness." Probably, they expected a punishment like tarring and feathering, which would be more humiliating if a woman they knew was watching. Militiamen said the Englishwoman's friends were free to go if they signed the loyalty oath. She waited in a house nearby while her friends held out, and sometime after two in the morning they were released.
Violence unlicensed by committee was wilder. In Plymouth County, Massachusetts, a drover who bought an ox from a royally appointed legislator was carted for miles inside the belly of its partially dressed carcass. In East Haddam, Connecticut, a loyalist doctor was tarred with hot pitch, feathered, and rubbed with pig dung. Deaths at the hands of American insurgents were rare, though. For their part, British troops did kill a few of Americans over the years, but even the so-called Boston Massacre, Archer shows, seems to have been a case not of malice but of soldiers panicking in the midst of a crowd throwing snowballs and sticks. Tempers were high, but it wasn't yet clear to most people that the stakes were high, too. It had all happened so many times before: a British tax, an American fuss, British repeal, American calm. Until the Battles of Lexington and Concord, in April, 1775, neither side imagined that the other might not back down.
Breen thinks that most Americans didn't feel licensed to kill British soldiers until they learned of American deaths at Lexington and Concord, and began to read reprints of "The Crisis," a series of vitriolic anonymous essays thought to be the work of a radical essayist named William Moore. "The Crisis" (not to be confused with Thomas Paine's work of the same name) is spiteful and unhinged, and it's dismaying that it spoke to the American spirit at the moment of independence. The author described the British Prime Minister, Lord North, as being "engendered in the womb of hell"; imagined George III eagerly plotting "the people's ruin"; and claimed that the King's friends in Parliament were planning "to plunder, butcher, starve, or enslave" first the colonists and then the British themselves. The author flirted with calling for the assassination of George III and wished death on both houses of Parliament. He could write as violently as he liked, he taunted, because under British law conspiracy to make war on the king didn't qualify as treason unless accompanied by an overt act. As Breen notes, the author "did not worry a lot about evidence."
In 1974, the historian David Ammerman wrote that it is obvious in retrospect that America wasn't going to play second fiddle in the British Empire indefinitely. "What is not so clear," Ammerman continued, "is that the pursuit of equality need have included violence or that the equality sought necessitated independence." Spend a little time with the venality, misinformation, hysteria, and violence that led up to the Revolution, and the picture becomes murkier. As Breen notes, "No evidence survives showing that the king or his ministers contemplated a complex plan to destroy American rights," yet a significant proportion of the American populace became convinced that this was the case. The confusion might have been deliberately induced, if merchants were pulling strings. But then why did the puppets keep waving their hands even after the merchants tried to yank the strings in the opposite direction?
In the mid-twentieth century, historians trying to make sense of the paranoid style in American Revolutionary politics suggested that it derived from essayists on the fringe of the Whig Party in England who saw themselves as heirs of the men who had launched the English Civil War. Though marginal in England, these conspiracy theories seemed cogent in America, where colonists lived under governors with strong executive powers but no local constituency. Still, historically informed descriptions of what people believed don't explain why colonists stood up for their principles only some of the time, and why they disagreed so acrimoniously that they were willing to dip one another in tar barrels. In a 1972 article, "An Economic Interpretation of the American Revolution," Marc Egnal and Joseph A. Ernst suggested that the Revolution may have been triggered by the growth of British capitalism, which for decades flooded the colonies with easy credit and with manufactured goods that were better and cheaper than Americans could make themselves. The British were doing to us in the seventeen-sixties more or less what China is doing to us today. Merchants were the first to make their discontent political, because they were the first to see that the economic predicament could be eased if the colonies had the autonomy to, say, print paper money or trade with other nations. The people, for their part, may have hoped that boycotts of imported luxuries would limit their personal spending and encourage American manufacturing, which might, in time, employ them. But the people's enthusiasm for the boycotts far outran the merchants'. In banning such items as funeral scarves and elaborate mourning dress, the colonists seem to have been admitting to powerlessness, as if their desire for British goods were itself the instrument of their subjugation.
Maybe that's where the paranoia and the rage came in. The British never forced John Hancock to ship fine linen to Boston, after all. He just suspected that Americans wanted it in spite of themselves, however loudly they said they preferred independence. Even today, Americans don't want a revolution against their own consumerism—not for all the tea in China. ♦
Shigeru Miyamoto has always tried to re-create his childhood wonderment. He's the closest thing there is to an autobiographical game creator, and shuns focus groups: "As long as I can enjoy something, other people can enjoy it, too."
When Shigeru Miyamoto was a child, he didn't really have any toys, so he made his own, out of wood and string. He put on performances with homemade puppets and made cartoon flip-books. He pretended that there were magical realms hidden behind the sliding shoji screens in his family's little house. There was no television. His parents were of modest means but hardly poor. This was in the late nineteen-fifties and early nineteen-sixties, in the rural village of Sonobe, about thirty miles northwest of Kyoto, in a river valley surrounded by wooded mountains. As he got older, he wandered farther afield, on foot or by bike. He explored a bamboo forest behind the town's ancient Shinto shrine and bushwhacked through the cedars and pines on a small mountain near the junior high school. One day, when he was seven or eight, he came across a hole in the ground. He peered inside and saw nothing but darkness. He came back the next day with a lantern and shimmied through the hole and found himself in a small cavern. He could see that passageways led to other chambers. Over the summer, he kept returning to the cave to marvel at the dance of the shadows on the walls.
Miyamoto has told variations on the cave story a few times over the years, in order to emphasize the extent to which he was surrounded by nature, as a child, and also to claim his youthful explorations as a source of his aptitude and enthusiasm for inventing and designing video games. The cave has become a misty but indispensable part of his legend, to Miyamoto what the cherry tree was to George Washington, or what LSD is to Steve Jobs. It is also a prototype, an analogue, and an apology—an illuminating and propitious way to consider his games, or, for that matter, anyone else's. It flatters a vacant-eyed kid with a joystick (to say nothing of the grownups who have bought it for him or sold it to him) to think of himself, spiritually, as an intrepid spelunker. The cave, certainly, is an occasion for easy irony: the man who has perhaps done more than any other person to entice generations of children to spend their playtime indoors, in front of a video screen, happened to develop his peculiar talent while playing outdoors, at whatever amusements or mischief he could muster. Of course, no one in the first wave of video-game designers could have learned the craft by playing video games, since video games didn't exist until people like Miyamoto invented them. Still, there may be no starker example of the conversion of primitive improvisations into structured, commodified, and stationary technological simulation than that of Miyamoto, the rural explorer turned ludic mastermind.
In his games, Miyamoto has always tried to re-create his childhood wonderment, if not always the actual experiences that gave rise to it, since the experiences themselves may be harder to come by in a paved and partitioned world. "I can still recall the kind of sensation I had when I was in a small river, and I was searching with my hands beneath a rock, and something hit my finger, and I noticed it was a fish," he told me one day. "That's something that I just can't express in words. It's such an unusual situation. I wish that children nowadays could have similar experiences, but it's not very easy."
What he hasn't created is a company in his own name, or a vast fortune to go along with it. He is a salaryman. Miyamoto's business card says that he is the senior managing director and the general manager of the entertainment-analysis and -development division at Nintendo Company Ltd., the video-game giant. What it does not say is that he is Nintendo's guiding spirit, its meal ticket, and its playful public face. Miyamoto has said that his main job at Nintendo is ningen kougaku—human engineering. He has been at the company since 1977 and has worked for no other. (He prizes Nintendo's financial and creative support for his work: "There's a big difference between the money you receive personally from the company and the money you can use in your job.") He has never been the company's (or his own) boss, but it is not unreasonable to imagine that Nintendo might not exist without him. He designed the games and invented the franchises that caused people to buy the consoles. He also helped design the consoles.
In the gaming world, the creators of the games are not always widely known, much less venerated; the structure of the business, in which engineers and artists do their work for hire, and in which, increasingly, they do it in greater numbers, owing to the more complex technology of the games, consigns them to relative anonymity. Part of it, too, is that games are typically considered to be commercial products, rather than creative works; consider the fact that game titles, unlike the names of, say, movies or songs, appear in most newspapers and magazines, including this one, un-italicized and without quotes. There aren't very many video-game auteurs, but Miyamoto is one.
The original Super Mario Bros. was the best-selling video game of all time, until Wii Sports surpassed it, two years ago—and Miyamoto was one of the leaders of the team that came up with the Wii. The Super Mario Bros. franchise has sold more than two hundred and forty million units, and that's not including Mario Kart, Mario Party, and other offshoots, which have sold tens of millions more. Yet it is for the nature of his games, rather than for their commercial success, that Miyamoto is so widely revered. In a poll last year of nine thousand video-game developers, who were asked to name their "ultimate development hero," Miyamoto was the runaway winner. "At the end of the day, most of the designers out there now grew up playing his games," Will Wright, the creator of the Sims and Spore, and the developer who came in third in that poll, told me. "He approaches the games playfully, which seems kind of obvious, but most people don't. And he approaches things from the players' point of view, which is part of his magic."
Securing an audience with Miyamoto in Japan is a little like trying to rescue Princess Toadstool. You must pass through a series of stages and contend with various obstacles and delights. The Japanese, by and large, aren't accustomed to the way of an American reporter; it is unusual for them even to invite friends over for dinner, to say nothing of a gaijin with a tape recorder and a notebook. (An old Japan hand warned me, "Japanese people don't generally ask questions directly about one another.") The corporate ethos in Japan, and especially at Nintendo, is self-effacing; the humility that has kept Miyamoto at the company for three decades, rather than in, say, Silicon Valley, seeking his billions, also governs the apportionment of credit. Miyamoto has been a superstar in the gaming world for more than two decades, but neither he nor the company seems inclined to exploit his stardom. They contend that the development of a game or a game console is a collaborative effort—that it is indecorous to single out any one contributor, to the exclusion of the others. Miyamoto is also guarded about his private life. The fact that anyone would be curious about it baffles him.
The first time I saw Miyamoto in person was in Los Angeles last June, at the E3 Expo, the video-game industry's annual American convention. It's a huge affair, befitting a sixty-billion-dollar global industry. Nintendo, for its presentation, rented out the Nokia Theatre and filled it with nearly four thousand gaming enthusiasts, journalists, and executives. Early in the program, Miyamoto appeared on a giant video screen to demonstrate Legend of Zelda: Skyward Sword, the fourteenth installment in the Zelda series, which he created in 1986, and which involves the adventures of an avatar named Link, who roams a fantasy world in an attempt to rescue a princess, Zelda. Miyamoto's explanation of how to deploy the controls was dubbed with an English translation. (His father was an English teacher, and Miyamoto understands some English, but he can't speak it well, and he insists on doing interviews and public appearances in Japanese.) With a zap, Miyamoto's image suddenly disappeared from the video screen and reappeared below it on a scrim of white curtain, and then Miyamoto himself burst out through the curtain and onto the stage, to riotous applause. Grinning broadly, dressed in a white Zelda T-shirt, an untucked and unbuttoned dress shirt, and jeans, he wielded the Wii's two controllers—the Wii Remote and the Nunchuk—as a sword and a shield. At fifty-eight, he is trim and agile, with a boyish mop of black hair and an easy smile. In public, Miyamoto often strikes a lighthearted crouching pose, a proto-Wii stance that seems to owe a little to the gunslingers of the first video game he ever played, Western Gun, and a little to Yosemite Sam.
As Nintendo's creative taskmaster, Miyamoto had a hand in most facets of the development and design of the Wii, introduced in 2006. Internally code-named Revolution, it was the first wireless motion-capture gaming console; sensors allow players to dictate the movements of their onscreen avatars. The simplicity and dynamism of the controller, which Miyamoto conceived and helped design, attracted several new constituencies of what are called "casual" (as opposed to "hard-core") gamers to video games—the Wii Bowlers and Guitar Heroes to whom the name Zelda may have still summoned up Mrs. Fitzgerald. (Miyamoto, in fact, named his Zelda for her.) "Our goal was to come up with a machine that moms would want," he has said. The Wii has less processing power and graphic sophistication than rival machines from Sony and Microsoft, but it has outsold them by a wide margin, owing to its ease, sociability, and accessibility, and also perhaps to the misconception that, say, Wii Tennis is a form of exercise.
Wright told me, "Miyamoto starts from the kinesthetics of the controller. What is this thing going to feel like in my hands? Will I feel like I'm instinctively connected to this world? As opposed to, I've got sixteen buttons, and I'm trying to figure out which button does the super-thrust power-up, in which case it's very cerebral, kind of like learning to play the piano. Rather than, you know, just picking up a shovel and starting to dig. He's had an amazing impact not just on software and games but on the hardware as well."
At E3, Miyamoto said a few words in English but then went on in Japanese—a translator stood beside him—as he turned toward the giant video screen and demonstrated the new Zelda game. He guided Link through a landscape of cheerful menace, slashing at quasi-comical enemies. "Let's take a look at these mushrooms," the translator said, without affect. "Here we see the Deku Babas, popped up here." Onscreen, giant carnivorous flytrap plants bobbed and weaved, and Miyamoto vanquished them with swipes of his sword. "You can let loose sword beams," the translator went on. "If you look at the Bokoblins, you'll notice that they are protecting themselves with their swords and they're trying to block my attacks." The Bokoblins, ratty sword-wielding soldiers, made an alluring squashing sound when Miyamoto killed them.
The sincerity with which everyone considered the Bokoblins or the Deku Babas, amid the pomp of a corporate showcase, was bewildering; it brought to mind some combination of Dungeons & Dragons and the N.F.L. draft. I am not a gamer. I took a few whacks at Super Mario, when it came out, in the mid-eighties, but mostly my video-game experience predated the Nintendo invasion and the unabating craze for home systems. I played arcade games, and I played them poorly; my quarters never went far. I usually wound up watching friends play, muttering over their shoulders in vain attempts to persuade them to play street hockey or Nerf football instead. The games were Space Invaders, Asteroids, Missile Command, Pac-Man, Robotron, Tempest, Centipede, Defender, Joust, and Galaga, which I did become passably proficient at and which, if I see it now, in a pizzeria or an airport, still inspires me to hunt for change. There was also Donkey Kong, which was unlike any of these others: it had a sense of humor, a narrative context, and beguilingly goofy graphics.
Although I missed out on all of it—not only on the brothers Mario and the Nintendo games but on Call of Duty, World of Warcraft, SimCity, and Halo—I saw legions get sucked in, and so I formed the not uncommon opinion that video games, like motorcycles or heroin, were irresistibly seductive and profoundly insidious. I had decided to avoid them completely, and, when I had kids, to keep them away from video games as best I could. This I have mostly done, but for the purpose of this assignment I've had a loaner at home—a Wii, with all the fixin's. It will be hard for us to bid it goodbye.
Nintendo has been in the business of play since 1889. Its founder, Fusajiro Yamauchi, made playing cards, or karuta. Well into the next century, the company's main product was hanafuda—cards made from crushed mulberry bark and lavishly illustrated with symbols such as animals and flowers— which replaced the painted seashells that the Japanese had traditionally used and which became widespread in Japan for gambling. As it happens, fortune and luck are intrinsic to the company's name. Made up of the three kanji characters nin, ten, and do, the name has been said to mean "Leave luck to heaven," or "Work hard, but in the end it is in heaven's hands," as the journalist David Sheff rendered it, in his 1993 portrait of the company, "Game Over: How Nintendo Zapped an American Industry, Captured Your Dollars, and Enslaved Your Children." (Sheff decided to write the book, which in spite of the title is generally admiring, after watching his young son Nic get hooked on Super Mario; Nic's addiction, years later, to methamphetamine became fodder for another book.)
In 1949, Yamauchi's headstrong and debonair great-grandson Hiroshi Yamauchi, aged twenty-two, took over Nintendo and began restlessly casting about for ways to extend its reach. He secured a licensing agreement with the Walt Disney Company and scored a big hit with American-style playing cards adorned with the image of Mickey Mouse. Other entrepreneurial gambits—instant rice, a taxi fleet—fared poorly. In the mid-nineteen-sixties, Yamauchi hired an engineer named Gunpei Yokoi and a crew of young tinkerers to think about making toys and games, and their experiments helped foster a culture of whimsy and risk amid Nintendo's rigid corporate structure. As one of them told Sheff, years later, "Here were these very serious men thinking about the content of play."
The very serious men turned out a succession of silly gizmos. There was the Ultra Hand, a device with a gripping hand at the end of it; the Love Tester, a primitive electronic contrivance that purported to measure the level of ardor between a boy and a girl; the Beam Gun, which used a ray of light to hit simulated targets. (Nintendo converted abandoned bowling alleys into "shooting ranges," where you could fire at simulations of clay pigeons.) Across the ocean, a company called Atari, based in California, had created Pong, the first hit video game. Pong, originally an arcade game, was turned into a home version in 1975. Inspired by Atari, and by the craze for a new arcade game called Space Invaders, Yamauchi, who told Sheff that he had never played a video game, led Nintendo into the arcade business, and also pushed for the development of a home console like Atari's, an apparatus that would come to be called the Family Computer, or Famicom.
In 1976, Miyamoto, then age twenty-four, was a recent art-college graduate, with a degree in industrial design and an enduring fascination with the Japanese comic strips called manga. He liked to draw and paint, make toys, and play bluegrass on the banjo and the guitar, and wasn't sure how any of this was going to translate into earning a living. He had a vague idea that he'd create some kind of mass-market object. His father got him an interview with Yamauchi, through a mutual friend. Miyamoto showed the company some toys he'd made, two wooden clothes hangers for kids in the shape of crows and elephants. Yamauchi hired him to be an apprentice in the planning department.
What Miyamoto became, however, was Nintendo's first artist. He started out by designing the console for a car-racing game, and then by conceiving the look of the attackers for a knockoff of Space Invaders called Space Fever. His breakthrough came after an arcade game called Radar Scope, which Nintendo had hoped would be a hit in America, failed, leaving the company with an inventory in the United States of two thousand unsold Radar Scope cabinets. Yamauchi tapped Miyamoto to design a new game to replace Radar Scope in those cabinets.
Mario, of course, went on to bigger things. When Nintendo released the Famicom in the United States, in 1985 (it was rechristened the Nintendo Entertainment System, or N.E.S.), Super Mario Bros. was the game that sold the machine and in turn laid claim to the eyes, and the thumbs, of the world. The market for home games had crashed, and several companies went under or got out. Super Mario represented a re-start. Again, the object was the rescue of a maiden, who has been kidnapped by Bowser, or King Koopa, an evil turtle. Mario, now a plumber, and joined by a lanky brother named Luigi, bounced through the Mushroom Kingdom, dodging or bopping enemies in the form of turtles, beetles, and squid, while seeking out magic mushrooms, coins, and hidden stars. When you set down these elements in ink, they sound ridiculous, but there is something in this scenario that is utterly and peerlessly captivating. There were eight worlds, with four levels each, which meant that you had to pass through thirty-two stages to get to the princess. You travelled through these worlds left to right, on what's called a side-scrolling screen. It wasn't the first side-scroll game, but it was the most charming and complex. What's more, the complexity was subtle. Yokoi, Miyamoto's mentor, and the inventor of the Game Boy device, had urged him to simplify his approach. The game had just fifteen or twenty dynamics in it—how the mushrooms work, how the blocks react when you hit them—yet they combined in such a way to produce a seemingly limitless array of experiences and moves, and to provide opportunities for an alternative, idiosyncratic style of play, which brings to mind nothing so much as chess. Will Wright cited the theory of emergence—the idea that complex systems arise out of the interaction of several simple things. "The hardware wasn't much better than Atari's," he said. "The polish and the depth of the games were. Super Mario was so approachable, so simple, so addictive, and yet so deep." The game's musical score, an entrancing suite by the Nintendo composer Koji Kondo, may be to one generation what "In-A-Gadda-Da-Vida" was to another.
Jamin Brophy-Warren, who publishes a video-game arts and culture magazine called Kill Screen, told me that there is something in the amplitude and dynamic of Mario's jumps—just enough supernatural lift yet also just enough gravitational resistance—that makes the act of performing that jump, over and over, deeply satisfying. He also cited the archetypal quality of Mario's task, that vague feeling of longing and disappointment which undergirds his desperate and recurring quest for the girl. "It's a story of desire," Brophy-Warren said.
There are generally two approaches to thinking about games: narratology and ludology. The first emphasizes story, the second play. The next time I played Super Mario, on the Wii (you can order all the vintage games), I found myself in a narratological mode. Mario reminded me of K. and his pursuit of the barmaid Frieda, in Kafka's "The Castle," and of the kind of lost-loved-one dreams that "The Castle" both mimics and instigates. But then a Koopa Troopa got me, and I had the distinct thrill of starting over with the press of a button—quarters hoarded now only for parking meters. If the game was anything, it was unpretentious, and it was better to approach it that way. As Wright had said, "When you play his games, you feel like you're a kid and you're out in the back yard playing in the dirt."
Hyrule, of course, was in many ways based on Miyamoto's childhood adventures. Miyamoto told Sheff not only about the cave but about dares among his friends to make forays into neighbors' basements and yards, or about a neighbor's bulldog that would charge him each time he passed by, jerking on its chain, or about getting stuck high in a tree or wondering what was at the bottom of manholes. He filled his games with his childlike interpretation of the world as a carnival of quirky perils and hidden delights. Hyrule, he once said, is "a miniature garden that you can put into a drawer and revisit anytime you like."
Nintendo is insistent that it's in the entertainment business, presumably because entertainment implies accessibility and ease—greater commercial reach. The term "entertainment" also suggests passivity, and so Nintendo's emphasis on it does a disservice to video games—the good ones, anyway. You take in entertainment but take part in play. One you watch, the other you do. You might say that video games are both diminished and enriched by the fact that we have to play them in order to enjoy them. "Many video games ask for a lot in order to be played, so it is not surprising that some people do not play video games," the Danish ludologist Jesper Juul has written. "Video games ask for much more than other art forms."
Entertainment can put on airs; it might, over time, turn into something else, like art, literature, or a department at Brown. Novels, as we're often told, were once deemed frivolous, much in the way that video games are now. "Video games are bad for you?" Miyamoto once said. "That's what they said about rock and roll!" Certainly, video games have their highbrow evangelists and critical apologists, who may consider them to be cultural artifacts, coded texts, mythopoetic fictions, or political paradigms. In this respect, they may have more in common with opera than with hopscotch or cribbage. And yet they are first and foremost games, and games, regardless of how much we may love them, are by definition trivial and superfluous. For whatever reason, everyone deems some games worthier or more virtuous than others (except for those outliers who have no interest in any kind of game at all). You may think that bridge is noble, and that blackjack is dumb; that football is courageous, while squash is for wimps, or else that football is idiotic and squash refined. Often, the judgments have to do with ancillary benefits: Athletics enhance fitness and character but take time away from your studies or the festival of foreign films. Chess stimulates the mind but can crimp your love life. Video games, no matter how many people love them, rarely fare well in these matchups. The best analogue for their combined disreputability and ubiquity may be masturbation.
And yet the success of this "casual revolution," as Juul has called the spread of easier, more accessible video games, like the Finnish sensation Angry Birds, has engendered the idea that games should be more widely integrated into everything we do—that we are insufficiently engaged unless we are passing simultaneously through a real world and a simulated one. The answer is more games, not less, according to Jane McGonigal, a game designer and the author of the forthcoming book "Reality Is Broken: Why Games Make Us Better and How They Can Change the World." Her dream, as she put it in a speech last spring, is "to make it as easy to save the world in real life as it is to save the world in online games." We try harder when we play. "In game worlds, I believe that many of us become the best version of ourselves," she went on.
The Dutch cultural historian Johan Huizinga, in his classic 1938 study "Homo Ludens" ("Man the Player"), argued that play was one of the essential components of culture—that it in fact predates culture, because even animals play. His definition of play is instructive. One, play is free—it must be voluntary. Prisoners of war forced to play Russian roulette are not at play. Two, it is separate; it takes place outside the realm of ordinary life and is unserious, in terms of its consequences. A game of chess has no bearing on your survival (unless the opponent is Death). Three, it is unproductive; nothing comes of it—nothing of material value, anyway. Plastic trophies, plush stuffed animals, and bragging rights cannot be monetized. Four, it follows an established set of parameters and rules, and requires some artificial boundary of time and space. Tennis requires lines and a net and the agreement of its participants to abide by the conceit that those boundaries matter. Five, it is uncertain; the outcome is unknown, and uncertainty can create opportunities for discretion and improvisation. In Hyrule, you may or may not get past the Deku Babas, and you can slay them with your own particular panache.
The French intellectual Roger Caillois, in a 1958 response to Huizinga entitled "Man, Play and Games," called play "an occasion of pure waste: waste of time, energy, ingenuity, skill, and often of money." Therein lies its utility, as a simulation that exists outside regular life. Caillois divides play into four categories: agon (competition), alea (chance), mimicry (simulation), and ilinx (vertigo). Super Mario has all four. You are competing against the game, trying to predict the seemingly random flurry of impediments it sets in your way, and pretending to be a bouncy Italian plumber in a realm of mushrooms and bricks. As for vertigo, what Caillois has in mind is the surrender of stability and the embrace of panic, such as you might experience while skiing. Mario's dizzying rate of passage through whatever world he's in—the onslaught of enemies and options—confers a kind of vertigo on the gaming experience. Like skiing, it requires a certain degree of mastery, a countervailing ability to contend with the panic and reassert a measure of stability. In short, the game requires participation, and so you can call it play.
Caillois also introduces the idea that games range along a continuum between two modes: ludus, "the taste for gratuitous difficulty," and paidia, "the power of improvisation and joy." A crossword puzzle is ludus. Kill the Carrier is paidia (unless you're the carrier). Super Mario and Zelda seem to be perched right between the two.
Months after seeing Miyamoto in Los Angeles, I was invited to meet with him in Japan. This stage was tricky. The convolutions of the Japanese transit system—various private and public railways stacked atop one another, each with its own fare regimen—were like the early subterranean screens of a Super Mario game. Repetition improved performance; the efficient conversion of yen coins into ticket stubs and the confident stride to the proper track gave rise, like the successful navigation through Mario's sewers and the ingestion of Fire Flowers and Starmen, to a pleasurable sense of competence and grace.
Miyamoto recognizes that there is pleasure in difficulty but also in ease, in mastery, in performing a familiar act with aplomb, whether that be catching a baseball, dancing a tango, doing Sudoku, or steering Mario through the Mushroom Kingdom, jumping on Goombas and Koopa Troopas. His games strike this magical balance between the excitement that comes from facing new problems and the swagger from facing down old ones. The consequent sensation of confidence is useful, in dealing with a game's more challenging stages, but also a worthy aim in itself. "A lot of the so-called 'action games' are not made that way," Miyamoto told me. "All the time, players are forced to do their utmost. If they are challenged to the limit, is it really fun for them?" In his own games, Miyamoto said, "You are constantly providing the players with a new challenge, but at the same time providing them with some stages or some occasions where they can simply, repeatedly, do something again and again. And that itself can be a joy."
Our conversation took place at Nintendo's headquarters, in an industrial neighborhood south of Kyoto's central train station. Across the street was an electrical switching station and, beyond that, an elevated segment of superhighway, still under construction, ending abruptly in the air. The Nintendo building is a giant white cube, seven stories tall, surrounded by a plaza of white cobblestone and beyond that a white brick wall. From the upper floors, a programmer could see, in the distance, the pagoda roof of the main hall of Tofuku-ji, an eight-hundred-year-old Zen temple, rising over the trees at the edge of town. The Nintendo building is just ten years old, but, for video-game fans, who sometimes wait outside the gates for a glimpse of Miyamoto, it is already something like the Kaaba, in Mecca. He generally does not consent to autograph requests, for fear of being inundated. He is more often recognized, or at least approached, by foreign tourists than by Japanese, occasionally while he is out walking his dog. His first thought is that the tourists are looking for directions. To preserve his anonymity, he makes it a point not to appear on Japanese TV programs.
The front lobby was vast and unadorned. A young assistant led me down the hall and into a conference room and instructed me to sit facing the door: traditionally a seat of honor for a guest. Someone had arranged some Super Mario plush toys on a windowsill. I had repeatedly asked for, and been denied, a tour of the offices or any opportunity to see Miyamoto outside this room. When I asked the assistant who'd shown me to the conference room where Miyamoto was, he replied, "Mr. Miyamoto is the person who is very difficult to find. In Nintendo, everyone wants to find him." Five of the building's seven floors are occupied by game developers, half of them artists and half of them engineers.
Miyamoto appeared a moment later, accompanied by Yasuhiro Minagawa, a Nintendo spokesman who would act as Miyamoto's translator. Amid small talk about a recent heat wave in Japan, Minagawa, tall and tousled, said, "I use the term 'murderous.' " Miyamoto, dressed in a striped button-down shirt and black pants, regarded me with a wide smile. Up close, I could see that he had freckles and a few gray hairs. His upper lip sticks out a bit, like that of a character in a Matt Groening comic strip. He was carrying a beat-up and bulging old leather diary with a painted, hand-tooled relief of a horse on its cover. A friend had made it for him. It was where he jotted down thoughts and ideas. He said he was very busy: there was a deadline looming for the release of a new handheld device with a 3-D display that requires no 3-D glasses. Also, it was the twenty-fifth anniversary of the release of Super Mario, and he was judging a competition in which thousands of players had used a Nintendo program to make and submit their own Mario animations. Miyamoto himself was to narrow these down to fifty finalists.
As Minagawa translated each of my questions, Miyamoto often buried his face in his hands or rubbed his eyes and frowned, as though Minagawa had misheard me and, instead of asking Miyamoto to parse the differences between entertainment and play, was telling him he'd gone broke. But it became clear, once he began talking, animatedly, with extravagant hand gestures and giggles of delight, that the apparent anguish was merely an expression of deep thought, a counterpoint to his ebullience in answering. Miyamoto spoke in paragraphs, with Minagawa taking notes on sheets of paper, which he tossed aside as we went. (Minagawa's translations were necessarily hasty. In places, I have cleaned up his English.)
I mentioned the quote in David Sheff's book about the very serious men who devised the company's early games, and asked Miyamoto what he and these serious men understood.
"It's about enjoying something," he said. "I used to draw cartoons. I'd just show them to some of my friends, expecting that they were going to appreciate them, that they were going to enjoy reading them. And I haven't changed a bit about that. When I'm making video games today, I want people to be entertained. I am always thinking, How are people going to enjoy playing the games we are making today? And as long as I can enjoy something other people can enjoy it, too.
"Nowadays, my main focus is on trying to find some new, unprecedented experiences that people can get deeply into, deeply absorbed in. But some of my job involves something completely different—when there is a game that is not yet interesting, I have to think about how I can change it or adjust it so that people can be entertained." In fixing games, he relies on his taste and intuition. And then he asks family and friends to play them. Nintendo doesn't use focus groups. "I always remind myself, when it comes to a game I'm developing, that I am the perfect, skillful player. I can manipulate all this controller stuff. So sometimes I ask the younger game creators to try playing the games they are making by switching their left and right hands. In that way, they can understand how inexperienced the first-timer is.
"What we demand in development is sharing the common feeling." Minagawa interjected that Miyamoto had used the term kyokan: "Kyo is the sharing and kan is the emotional feeling."
"Suppose someone is talking about his children," Miyamoto continued. "If I am a father, I can understand personally what he's talking about. We have kyokan." The term kyokan was used by the primatologist Masao Kawai to describe his empathic approach to studying monkeys; Kawai would befriend them and insinuate himself into their lives, so that he could better observe their behavior. Miyamoto said he wants the game players and the developers to have kyokan: for the players to feel about the game what the developers felt themselves. The developers are the primatologists, the players the monkeys.
One method for achieving understanding is the doling out of information, about what to do when, in just the right doses. "We always use the term 'difficulty' when we talk about gameplay," he said. "If a game is too difficult, people may not want to play it again. With the appropriate level of difficulty, people may feel like challenging it again and again. As they repeat it, the amount of information they can acquire naturally increases. . . . I always try to be conscious about that kind of gradual improvement.
"Sometimes the test players complain that there are too many enemies in one stage. And when I approach the designer of that scene with that kind of complaint sometimes he or she says, 'Oh, maybe they couldn't find the stars at the beginning. As soon as they find out that the star makes you invincible, it's more joy.' And the developer insists that hiding the star in the beginning is going to be great. But if game players don't understand this, and they can't find the star, then the game doesn't make sense at all."
He compared the craft of luring players forward in a game to writing a good detective novel. "To what extent are you going to hide the secrets?" he said. "In order for a mystery or a joke to work, we have to provide the necessary amount of information. Not too much, not too little, but the perfect balance, so that in the end people can feel, How come I didn't realize that? The difficulty with video games, unlike movies or novels, where the authors themselves can lead the audience to the end, is that in games it's the players who have to find their own road to the end."
Earlier, Miyamoto, a bluegrass fanatic, had suggested that learning to play a game is like learning to play a musical instrument. "Take the guitar," he said. "Some people, when they stumble over how to accurately place their fingers in an F chord, they actually give it up. But once you learn how to play an F chord you become more deeply absorbed in playing the guitar." The F chord, as he sees it, is a kind of bridge between indifference and pleasure. "If the bridge is too easy to pass by, it's called 'entertainment.' If it's rather difficult, it can be called 'hobby.' "
Miyamoto often listens to music on his way to work. (He used to walk or ride a bicycle, but now Nintendo makes him drive, for his safety and its peace of mind.) "If I find that a certain musical phrase is very nice, probably the first thing I am going to do in my office is I am going to pick up the guitar and try to imitate that phrase until I can get it right," he said. He uses a program on a Nintendo DSi handheld device to slow down the phrases, to unpack and understand them.
This urge to improve is a key ingredient in the formula, if there is one, for what keeps people playing a game. Miyamoto has become an aficionado of absorption. He has observed, for example, that some of his friends at his swimming club—he swims to stay in shape—have become obsessed with their technique and its contribution to speed and faster times. He also has friends who collect various things, and he studies the seriousness with which they tend to their collections.
He also studies himself. Miyamoto is the closest thing there is to an autobiographical game creator. His experience with his family's pet Shetland sheepdog, and, more to the point, with other dog owners, gave him the idea for Nintendogs, a popular game in which you create a simulation of a pet and look after it on the DSi. And Pikmin, a game featuring tiny creatures that have stalks protruding from their heads and that live and travel in pods called Onions, arose out of his time puttering in the garden. When he turned forty, he decided to give up cigarettes and pachinko and get in shape. He took up swimming and jogging, and began weighing himself every day on a digital scale. He hung graphs of the data, down to the gram, on the bathroom wall. "Once the graphs I'd recorded started to pile up, I started to feel a strange fondness for them—regardless of whether I was gaining weight or losing weight," he said a few years ago, in a Q. & A. with Nintendo's president, Satoru Iwata. All this became, for his wife and his daughter, a source of curiosity and amusement, and an idea occurred to him. "This could be a nice trigger for conversation," he told me. "If I could make it into a game, it could probably help isolated fathers get more association with their daughters." He brought the notion to the team of designers developing games for the Wii. They were skeptical, but eventually they came out with Wii Fit, a fitness game, which has since sold thirty-seven million copies worldwide. It suits his view, and the industry's, that introducing an element of play to a transaction or a task can get people to do things they might not normally do. In the commercial sphere, this is called "gamification," or, more gratingly, "funware": make something a game, in a supermarket or on a social network, and Homo ludens will play it. "It's a shame if we narrowly limit the definition of video games," he said.
This tendency for his personal fixations to become platinum-selling video games has given rise to an obsession, among gamers, with whatever Miyamoto says he's up to. When I asked him, to that end, what he did for pleasure these days, he said, "I like changing the interiors of the house, or sometimes even the exterior of the house. Sometimes I'm called the Sunday carpenter. Even at midnight or at some early hour in the morning, I will change the location of the sofa in the living room. That's me. Something tells me that by changing it my life is going to be more enjoyable. At least it's going to give me some fresh feeling." (Rearranging the furniture: this game came along years ago, and it was called the Sims.) In terms of non-video games, he prefers games of luck, in which a weaker player has a chance of winning, such as hanafuda, to games of skill, like go and shogi. "I'm not as good at so-called 'strategic games' at all."
The Japanese word for play is asobi. In "Homo Ludens," in a chapter summarizing various languages' expression of the "play-concept," Johan Huizinga notes that asobi can mean "play in general, recreation, relaxation, amusement, passing the time or pastime, a trip or jaunt, dissipation, gambling, idling, lying idle, being unemployed." The opposite of asobi might be majime, which can mean "seriousness, sobriety, gravity, honesty, solemnity, stateliness; also quietness, decency, 'good form.' It is related to the word which we render by 'face' in the well-known Chinese expression 'to lose face.' "
"Anything that is impractical can be play," Miyamoto said. "It's doing something other than what is necessary to continue living as an animal." As to its purpose, he said, "When it comes to other animals, they play to prepare themselves for hunting. If you ask me why human beings play, well, I just don't know. It must be just for pleasure. We generate chemicals in our brain so that we can have some pleasure, and by now we've come to understand that pleasure makes you happier, and being happier makes you healthier."
The games Nintendo has been making have become less isolating and more social. The Wii was designed, in some respects, to bring gaming out of the basement and into the living room—to make it more acceptable to parents, many of them retired gamers themselves, and to reach more eyeballs and thumbs. "I became more conscious about the environment in which people play the video games, especially after we had our first child," Miyamoto said. (He has a son, twenty-five, who works at an advertising agency, and a daughter, twenty-three, who is studying zoology.) His children played video games, although on sunny days he made them go outside to play. "I don't think I ever talked about doing homework first. But, if there was any rule, it was that inside our house the video games—hardware, software—they are my property, so that when the children want to play they have to borrow them from me. So, for example, when I said, 'It's time for you to stop. Otherwise you cannot play again at all'—I think it worked!"
He doesn't have much time anymore to play other games. He noted, with what seemed to be some annoyance, that the long pregame movie sequences that come with most games—prologues that establish the narrative and the scene and that involve no gameplay at all—take what little time he has actually to play. (As it happens, Donkey Kong was among the first games to have a pregame sequence.) To find out what's out there, he prefers to interview Nintendo's developers and employees about their experiences playing games. When I asked him which game developers he admired, he named only one, Will Wright. "It's becoming increasingly difficult to tell, from the looks and the play of the games, who has created the software," he said.
Unlike most of the better-known game designers, Miyamoto doesn't have a particular niche. His games have spanned many genres. He's also been at the forefront of three major phases: the side-scrolling game; the free-roaming 3-D game, like Super Mario 64 and Legend of Zelda: Ocarina of Time, to which Grand Theft Auto and its ilk owe their existence; and, with the Wii, the motion-capture game, now the prevailing paradigm. (Consider Kinect, the new Microsoft toy.) The only big shift he missed, perhaps, is the push toward hyperrealistic graphics.
"I recognize that there are certain types of games for which the photorealistic graphics are suited," he said. "But what I don't like is that any and all games are supposed to be photorealistic." He prefers to direct his team's efforts and resources toward the quality of the gameplay—the choices and challenges inherent in the game, also known as the game mechanics. Mario, his most famous creation, owes his appearance to the technological limitations of the first Donkey Kong game. The primitive graphics—there were hardly enough pixels to approximate a human form—compelled Miyamoto to give Mario white gloves and red overalls (so that you could see his arms swing), a big bushy mustache and a red hat (to hide the fact that the engineers couldn't yet do mouths or hair that moved), and a big head (to exaggerate his collisions). Form has always followed functionality. The problem now, if you want to call it one, is the degree of functionality.
What impressed him most about the early manga artists of his youth, aside from the fact that they created a genre "from nothing at all," was how they later subverted it. "When they became much older, they started to destroy the style they themselves had created," he said. For example, they began to ignore the cartoon-panel framework or combine multiple narratives or else use the manga form to explore macroeconomics or their own private thoughts. "When I started working for the company, I thought that someday I would like to do the same. I wanted to destroy the styles that we ourselves created. I don't think we can do so completely, but I think that in the way that we are making video games today we might be getting closer to my idea of destroying the original style." He went on, "Because we ourselves have created the original format or style of video games, we understand why we had to do it at the time. Because we understand that, we can also understand why some of them must be kept intact and why some of them we can destroy."
Miyamoto fans have made pilgrimages to some of the larger limestone caves near Sonobe. These have electric lights and permanent stairways and are open to tourists. He told me that although he'd visited these caves, they weren't the ones he'd talked about exploring as a boy. His were smaller, more hidden. A few years ago, he was in Sonobe and went to look for them. He found that houses and roads had replaced a lot of his old terrain, and that someone, presumably out of concern for safety, had blocked off the entrances to his caves.
Two days after my meeting with Miyamoto, I went to Sonobe to have a look around. I took a taxi. The driver, like Mario, wore white gloves. He spoke no English. It was a bright, mild autumn day; in the hills outside the city, the foliage was beginning to turn. We got off the highway in Sonobe, which seemed both rural and light-industrial in a way that reminded me of Nyack. The houses were small and close together, with handsome roofs of ceramic tile. We stopped alongside the Sonobe River, where Miyamoto, as a boy, had caught fish with his hands, and I descended the bank and stared at the riffles for a while until I realized, with a start, that there were six or seven giant carp in a pool right by my feet. Then we stopped at the Shinto shrine, at the foot of one of Miyamoto's mountains; a quick reconnaissance of the bamboo forest that abutted it turned up nothing but garbage—an instant-ramen wrapper, a gym sock. Next up was Komugi Mountain, atop which, Miyamoto had told me, I would find the ruins of Sonobe Castle, the epicenter of his childhood explorations. We parked near a collection of municipal buildings, including a new pagoda-style "international center" that had been modelled on the castle. We walked past a drained swimming pool and a little park decorated with statues of stone monkeys and lions to a paved lane that appeared to wind its way to the top of Komugi Mountain, which, it turned out, was hardly a mountain at all; it had an elevation of just a few hundred feet. It was thinly forested, with a sign every hundred yards or so describing the flora in Japanese. The driver and I stared helplessly at the signs; I was reminded of those moments in Zelda when you push a button on the Wii Remote and are provided with hints about what to do next. The button, in this case, was defective. Sunlight slanted through the trees; the hollows were full of ferns and mushrooms. Near the top, a path broke off and led to a flat open plot, where the castle should have been, but, save for an old stone wall, there were no ruins to be seen. A set of austere monoliths dominated the site. There was also a small nursery surrounded by a fence.
On a whim, I went down the backside of the hill. It was steeper here, and more thickly wooded, and the earth underfoot was gravelly and slick. I had to hold on to branches to keep from sliding. About twenty yards down, I came across a hole in the ground. Someone had slid some logs into it lengthwise, to narrow the entrance. Leaves had packed in around them, like mortar. Three logs had been lashed together and planted in the earth as a crude little fence. For a probe, I found a branch nearby, but it hit nothing. Holding my cell phone, I stuck my arm in, but the phone's display illuminated only roots and dirt. The opening, if you'd cleared out the stuff blocking it, would have had room for the frame of a boy with a lantern.
I wandered around in the brush for a while longer but found no other open holes. Visible below, in the valley, was a running track, a soccer pitch, and a giant dirt lot, where you could hear the shouts and screams of children at play. I bushwhacked back to the cab, and we drove around to where the sounds had been coming from: a schoolyard. I stood at the edge of it for a spell and watched a bunch of boys, aged nine or so, play a frenzied and unruly game of kickball. On one side of the yard, a group of girls were playing something else. One at a time, they dashed in and out of the brush at the foot of Komugi Mountain. The object, it seemed, was to venture in deeper, or stay in longer, than the girl before. ♦
Winter Classic: HBO's aims for access to Penguins, Capitals
Sunday, December 12, 2010
By Maria Sciullo, Pittsburgh Post-Gazette
Gene J. Puskar/Associated Press
Penguins captain Sidney Crosby and Capitals captain Alex Ovechkin will lead their teams in the Winter Classic at Heinz Field, Jan. 1.
When cameras began rolling last week, little Max Rupp was a natural.
The 1-year-old son of Penguins forward Mike Rupp was filmed by an HBO crew for its upcoming sports reality program, "24/7: Penguins/Capitals: The Road to the Winter Classic."
At the team's holiday party at the Consol Energy Center, it was Cute Kid Alert: "I had Max on a sled and was pulling him around," said his father.
But during a visit with Santa -- HBO or no HBO -- Max wanted no part.
"[HBO cameras] got him screaming on Santa's lap," Mr. Rupp said. "That's like the typical Christmas picture, isn't it?"
Still, "I think Max Rupp is going to be a superstar by the end if it," said defenseman Ben Lovejoy.
Pittsburgh fans can watch the series first episode at 10 p.m. Wednesday.
"I can tell you, the reaction from the NHL, from the teams, the coaches and the players, has been as good or better than any '24/7' we have ever produced," said Rick Bernstein, vice president of HBO sports and series executive producer with president Ross Greenburg.
"They all understand what the show is about, they all understand how we have to be there all the time."
"All the time" means exactly that. The cameras are rolling at games, during practices, on airplanes, in hotel rooms, at restaurants, and they might even follow some players or coaches home.
HBO has a crew of eight living here through New Year's Day, when the Penguins meet arch-rival Washington outdoors at Heinz Field. Four episodes will air -- three featuring the run-up to the Winter Classic, which includes a Dec. 23 game in D.C. -- and a Jan. 5 finale episode shot at the Classic itself.
The final say on what appears on the episodes, however, is up for negotiation.
"This is [a policy] we have had in place since we started doing 'Hard Knocks,' " said Mr. Bernstein, citing the cable giant's behind-the-scenes series profiling NFL teams during training camp.
Behind the scenes Teams can preview the edited content and if they believe it puts them in a compromising position, from a competitive standpoint, HBO will work with that.
"But I can tell you that over the years there have been very few changes requested of us," Mr. Bernstein said.
"We maintain editorial control, but I think they understand that the only way the series will be a success is if we both work together to provide total access."
"24/7" has produced seven up-close-and-personal looks at prizefighters since its inception in 2007, winning a slew of Emmy Awards. Earlier this year, it followed NASCAR driver Jimmie Johnson en route to the Daytona 500.
This is the first time an HBO sports reality series has jumped into the lives of players, coaches and staff during a team's regular season.
"One thing I have learned is that, unlike football, you can have a team be on a slide and it's not as big a deal. You can lose a few and I think the guys can still be in a good mood," said Bentley Weiner, a coordinating producer who grew up in Squirrel Hill.
Superstitious behavior abounds in athletics, so it probably didn't sit well that on the first day of the crew's arrival, Nov. 15, to shoot B-roll and explore camera angles, the Penguins lost in overtime.
After that, however, they have been on an 12-game winning streak. A change in routine? Cool.
To prepare for filming, the advance HBO team spent a week and three home games with the Penguins in mid-November.
From now until New Year's, one field producer, one assistant, two cameramen armed with Panasonic VariCams, two audio specialists and two camera assistants make up the very mobile group responsible for shooting the Penguins, 24/7.
Exhaustive research has provided them background information, YouTube clips, NHL-provided clips, as well as a list of good restaurants open at odd hours.
A similar scenario is being played out in Washington, where the coordinating producer is Scott Boggins.
Ms. Weiner said it usually takes the athletes a few days to get used to the camera crews: "I think it depends on the athletes. We hope they don't notice within a couple of days. After a week, they know they're there, but they're not as cautious."
When HBO and the Penguins announced in September that "24/7" would cover the Winter Classic (the game airs on NBC), players appeared amused.
"We're allowed to swear, right?" said goalie Marc-Andre Fleury.
Noting that the New York Jets head coach was talking up a blue streak on the most recent edition of "Hard Knocks," Penguins coach Dan Bylsma laughed and said, "I don't think I'll let fly like Rex Ryan, but it'll be interesting to feel the cameras on you in different situations."
In the first filmed practice Tuesday, some of the players wore microphones, and backup goaltender Brent Johnson wore a tiny helmet cam next to his left ear.
He claimed no distraction: "I actually played just how I always play. They [viewers] get to see the shots coming right in.
"No one shot at my head, so that was good."
Tell me a story It's one thing to shoot hours of footage -- possibly 500 by the time they're done -- and quite another to shape it into intriguing story lines.
"One of the most challenging aspects of '24/7' is, we go into each week with what we think the format of the show will be, but it is often changed," Mr. Bernstein said.
Some of the story threads are obvious: the well-mannered Penguins superstar, Sidney Crosby vs. the bad-boy Caps superstar, Alex Ovechkin.
Penguins standout Jordan Staal is fighting back from not one but two injuries, so his story probably is a given.
Still, the obvious doesn't always turn out to be the most interesting, which is why the crew films interviews boxing managers and guys who make smoothies for the athletes.
There will be 25 consecutive days in the field, planning, arranging camera placement, doing interviews, filming. Back at the editing studios in lower Manhattan, producers are in constant contact with the Pittsburgh and D.C. crews. Each day's footage is put on an early morning flight, arriving around 10:30, where it is logged and digitalized.
In New York, a team of about 20 transform the raw footage into compelling documentary. Previous "24/7" cycles have produced 30-minute episodes, but the Winter Classic shows will expand to 45 to 55 minutes.
The executive producers, coordinating producers and senior producer David Harmon have begun their marathon editing sessions. Some work can be done ahead of time -- choosing music, assembling B-roll film -- but the rest is an organized scramble to meet deadline.
"It's a five-week grind, day and night, without a day off," Mr. Bernstein said.
The script is locked down by Tuesday night, when actor Liev Schreiber arrives to record the voice-over. Mr. Schreiber, a Tony Award-winning stage actor also known from his many films, has become the go-to guy for documentary narration.
On occasion, holes in the script are left on purpose. For Pacquiao-Margarito "24/7" in November, the weigh-in was conducted at 6 the night before the new show aired. The fresh footage was quickly inserted, but, as Ms. Weiner said, "it's a crazy process.
"Once we start editing during the run of the show, it's 14 hours a day, probably, at least," she added. "We're usually at work until 1:30 a.m., but it's not unusual to be there at 3 a.m."
The payoff is a program that is must-see television, for hockey fans and beyond. After all, it's not reality TV, it's HBO.
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