Why John Hodgman Is the Narrator for Sci-Fi Novel Year Zero

                    

I made the unlikely transition a couple years back from tech entrepreneur (Listen.com/Rhapsody) to science fiction author (you can read more about that in my previous post on Wired). In approaching publishers, my agent positioned my odd background as a positive: Entrepreneurs are self-starters, she’d say. Think of everything this guy will do on his own to make the book a success!

Random House took me on, and I indeed started acting like the CEO of the world’s smallest startup. I launched a website, started an eensy Facebook marketing campaign (which has yielded all of 831 fans so far) and went after book bloggers like a headhunter glad-handing engineers in a Mountain View bar.

Another thing I expected to do for myself was to read my audiobook — because, like so many authors today, I can read. But that’s where Random House drew the line. Sure, they said, you might read occasionally, in your spare time. Perhaps you even close the shutters and read aloud. But we need a professional for this.

Having lived in Mubarak’s Egypt for a while, I have a thing for nepotism, so I agreed — on the condition that they hire a friend or close relative of mine for the job. After rejecting my entire family tree, they agreed to hire my buddy John Hodgman, based on his credentials as a Daily Show Resident Expert, human-shaped PC and professional narrator.

The video above of Hodgman and me bantering in the studio will show you what a smart choice Random House made. Hodgman is smooth, poised and mellifluous, while I keep darting my head around like a duck trying to spot the next handout of bread from a friendly crowd. Luckily this habit of mine — which I only became aware of when I saw this video for the first time — did not interfere with the actual writing of my book, as I hope you can tell from the first chapter, which you can find here.

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Year Zero will be published July 10.

Review: Bloody Serious Abraham Lincoln: Vampire Hunter Isn’t as Fun as It Sounds

Honest Abe (played by Benjamin Walker) takes on bloodsuckers in Abraham Lincoln: Vampire Hunter.
Image courtesy 20th Century Fox

Bearing the most outrageous movie title in recent memory, Abraham Lincoln: Vampire Hunter sounds like a world-class exploitation flick that would make Roger Corman proud.

You can’t take a concept like that seriously, right?

Wrong. Action auteur Timur Bekmambetov takes the premise very seriously, staging a glum, if visually spectacular, drama enacted by skillful performers who display not a glimmer of disbelief about the absurd notion that our nation’s Great Emancipator left a trail of beheaded vampires in his wake.

Screenplay writer Seth Grahame-Smith, adapting his own novel, figured out clever ways to interweave Honest Abe’s vampire-slaughtering obsession with documented fact about our 16th president: Lincoln’s mom died when he was a kid. He chopped wood with an ax, worked as a store clerk while cramming for his law exams and endured the death of his young son during the Civil War.

Plug those factoids into a 19th-century American landscape teeming with plantation-owning vampires, and faster than you can say, “Four score and seven years ago,” there’s your high concept in a stovepipe hat.

History buffs might appreciate the savvy incorporation of biographical milestones into the R-rated movie, which opens Friday. But that’s not the problem. The real drag about Abraham Lincoln: Vampire Hunter is that, in the face of such an audacious premise, nobody on screen seems to be having much fun.

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Pixar Reinvents Big Hair for Brave

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BRAVE

Merida's hair, and the rest of a scene, are rendered completely.
Character Art: Director Matt Nolte

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In the ’80s, when you wanted big hair you whipped out the Aqua Net. But it wasn’t so easy for animators. The Little Mermaid‘s Princess Ariel was meant to sport curls, but the technology just wasn’t there in 1989—rendering that kind of bounce and frizz, cel after hand-drawn cel, was all but impossible. Now, though, animated big hair is finally on the big screen in Disney/Pixar’s Brave.

The movie centers on Merida, a feisty Scottish princess on a quest to save her kingdom from a curse. To illustrate her fiery spirit, filmmakers wanted Merida’s locks to spring off the screen—”Curly hair almost defies gravity,” simulation supervisor Claudia Chung says—but Pixar’s old CG hair simulator (used in 2001′s Monsters, Inc.) wasn’t up to the task.

So in 2009 Chung’s team designed a new simulator named Taz, after the wild Looney Tunes character. It forms individual coils around computer-generated cylinders of varying lengths and diameters. The resulting locks stretch out when Merida runs but snap back into place as soon as she stops. Each strand is also strung through with a flexible “core curve,” like the string of a beaded necklace, that lets the coils bounce and brush against one another without unwinding.

Add a little randomness, some gravity, and more than 1,500 hand-placed corkscrews and flyaway wisps and voilà: hair with depth and texture viewers have never seen before. The result may look wild, but it’s not. “It’s very stylized, very controlled,” Chung says. No hair spray required.


Observation Deck: Here’s Why Prometheus Left Me Fuming

                    

We deserve better. That’s what Prometheus made me think. I imagine you’re tired of talking about Ridley Scott’s new sci-fi film at this point — and I know that all of us geeks have pretty much aired out our criticisms, questions, defenses, counterattacks, etc.

But frankly, I’m still mad. Because one of the worst habits of premium-level, expensive genre entertainment like Prometheus is that its writers tend to ignore plot — or be ignored by directors, studios and whoever else is in charge of this stuff.

So this week on the Observation Deck, I have a short but heartfelt rant about what constitutes quality science fiction entertainment, and the difference between genius and well-executed crap.

See an Awesomely Psychedelic Music Video Made From 5,016 iPhone Images

DIY music videos made on iPhones are awesome. (Well, sometimes.) But the obsessive director of Trumpeter Swan’s “Fools Parade” clip went above and beyond, using the go-to gadget to shoot the video and handle visual effects.

Jeff Turboff captured imagery on an iPhone and then passed each individual frame — all 5,016 of them — through PhotoTropedelic, an app that adds 1960s pop-art flair to smartphone images. “Fools Parade” turned out so acid-trippy amazing that even the app’s creator was impressed.

“When I first saw the ‘Fools Parade’ music video, I felt like a cartoon character getting hit over the head with an oversized frying pan, complete with stars circling around my stunned head,” Larry Weinberg said in an email to Wired. “I had some notions that the images from PhotoTropedelic could be used for compelling animation, but I was not prepared for what Jeff pulled off for this video.”

He’s right. The clip looks like something made using a crazy visual effects video editor, but it’s actually much more complicated than that.

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