Gaming

Grand Death Auto

Two kids, 13 and 15, killed an innocent highway motorist. Was a violent computer game responsible -- or their sad lives?

  • more
    • All Share Services

Grand Death Auto

The bullets came from nowhere, and there’s plenty of nowhere in Newport, Tenn. An hour into the sticks east of Knoxville, this country town of 7,200 is little more than a piss stop on the way to nearby attractions like Dolly Parton’s Dollywood theme park or the Life of Christ Experience in 3-D. Like most people who make it to these parts, Aaron Hamel and his cousin Denise “Dee Dee” Deneau were just passing through. Quickly.

It was around 8 p.m. on Wednesday, June 25, 2003, and the sun was still shining on the end of what Hamel called “a perfect day.” The two were driving back to Knoxville in his red Toyota truck after hiking in Black Mountain, N.C. Hamel, a 45-year-old registered nurse and nature lover, had recently relocated from Ontario, Canada, dreaming of landing a log cabin in the woods. The day before, he had gotten a call back from a juvenile detention facility where he hoped to work. “I think I could make a difference and help these kids,” he told his cousin during their hike.

Driving among the semis on Interstate 40, Hamel admired the rolling hillside. “Oh, Dee Dee,” he said, “look at the beautiful flowers…” As Deneau would later recall in an interview with the Knoxville News, Hamel didn’t have time to finish the word before the window shattered. Blood and broken glass sprayed Deneau’s lap. With blood pouring from Hamel’s head, their truck sped out of control over the median into oncoming traffic and smashed into a guardrail.

Coming up behind them in a white Mazda west on I-40, a tourist from Roanoke, Va., 19-year-old Kim Bede, and her boyfriend Marc Hickman heard the crash. They assumed someone had blown out a tire. Another bullet proved them wrong. It pierced the passenger side of their car, shattering Bede’s hip. Then the shots stopped, and Newport went quiet again.

When the cops arrived, Hamel was dead. Bede was gushing blood, fragments of bullets in her spine. The woods under the faded billboards along the highway were shrouded in darkness. As word spread around the small town, investigators scoured the brush with spotlights and heat-seeking equipment, looking for a trace of what they feared might be a replay of the Beltway snipers. “We don’t know if it was road rage, a sniper, or what,” Deputy David Jennings told reporters that night.

It didn’t take long to find the answer. Lurking anxiously in the bushes was a lanky, quiet 15-year-old named William Buckner, with his short, hyperactive 13-year-old stepbrother, Josh. The two had been stepbrothers only for a brief while, but had instantly bonded after growing up in unstable families. They had no prior record, a clean slate at school, and seemingly no reason to have fired the deadly shots. But, after breaking down in tears and confessing to the crime, the boys volunteered a reason of their own. A video game made them do it.

Will and Josh said they didn’t mean to hurt anyone. They went out to shoot at the sides of trucks after playing “Grand Theft Auto III,” the bestselling PlayStation 2 shoot’em-up that has become synonymous with the controversy over violent video games. Their assertion spawned a $246 million lawsuit on behalf of the victims against the game’s makers — Sony Computer Entertainment America and Rockstar Games, a subsidiary of Take-Two Interactive Software. “What’s intriguing about this case is that there was a lack of a motive,” says Jack Thompson, the lawyer who launched the suit. “They were acting out the game.”

This, of course, isn’t the first time a video game has been blamed for fueling a violent act. On Feb. 15, another suit citing “Grand Theft Auto” was filed in Alabama, alleging the game led a teenager to shoot two police officers and a dispatcher in 2003. The Columbine massacre in Colorado was blamed, in part, on the killers’ obsession with the first-person shooter “Doom.” John Lee Malvo, the Beltway teen killer, is said to have trained on “Halo,” the Microsoft Xbox alien shooter. Despite many attempts, however, lawsuits against the makers of violent games seldom get very far, and the Buckner suit proved no different. After the Buckners’ victims filed the suit in Tennessee state court, the defendants moved it to federal court. The victims’ attorneys responded by dismissing the suit altogether, possibly paving the way for another shot at the state level.

But the fate of the Buckner boys was already sealed. In Tennessee, kids under the age of 16 cannot be tried as adults, and they must be tried before a judge, not a jury — which meant that a determination in the Buckner case came quickly. In August 2003, after listening to the evidence and evaluating a psychological assessment of the boys, the judge determined that the boys had done something extraordinarily stupid, but without murderous intent.

Will and Josh pleaded guilty to reckless homicide, reckless endangerment and aggravated assault and were sentenced to a nearby juvenile detention center, where they live today. According to state law, they can be detained only until the age of 19. With good behavior, however, they can get out much sooner — as soon as this summer. Deneau called the sentence a “slap on the wrist.” For the first time, the video-game defense seemed to work.

But it didn’t tell the whole story. There’s no easy answer for this kind of tragedy. And, today, the stepbrothers’ friends, family and even the Buckner boys themselves suggest that it was much more than a video game that sent the bullets flying from nowhere that night.

“I didn’t realize the highway was this close,” said Wayne Buckner, Josh’s father and Will’s stepfather, when we walked to the spot on the hill where his boys shot at the cars that night. We were surrounded by trees and tall brush as the cars and trucks sped by on I-40 below. Wayne is a tall, gray-haired 56-year-old in a golf-course vest, blue jeans and baseball cap. “I saw this area in the police diagram,” he said, making his way tentatively around the brush, “but this is the first time I’ve come here. My wife doesn’t want to know where this spot is.”

In his mind’s eye, Wayne had pictured the boys standing much farther away from the road, so far that their bullets would not have easily hit the cars. But, as we looked down at the highway, we were close enough to make out the passengers behind the windows. Wayne’s eyes welled up. “It’s pretty sad,” he said.

It was a sunny winter’s morning in Newport. The path in the weeds that Will and Josh cut with machetes was still discernible. A deflated inner tube they once used to ride down the nearby creek rested against a tree. Pigeons roosted in a rickety liquor billboard a dozen feet away.

It was the birds that first took the blame after the boys were caught that night. Josh told Wayne that they had been shooting at the pigeons and must have accidentally hit the cars in the process. “He said the birds always fly off this billboard toward the interstate,” recalled Wayne. When the birds suddenly abandoned their roost above us, however, not a single one flew toward the road. “I really wanted to believe him,” Wayne said, as we made our way back down to the neighborhood of modest homes below.

The Buckners lived in a split-level brick house on the side of a golf course. The golf cart Will and Josh used to ride sat by the garage with a basketball net. In the backyard, the yapping dogs now had free rein in the impressive tree house Wayne had built for the kids. Inside the living room, Wayne’s wife Donna, lit a cigarette. A petite and pretty 37-year-old in a powder blue sweater, she had dropped to a painfully thin 85 pounds since the incident. “I just can’t get my appetite back,” she said. Wayne excused himself to hit the greens. “He plays too much golf,” Donna grumbled quietly.

Since the shooting, Wayne and Donna have struggled to survive and make sense of the most senseless of acts. Though their sons were found to be reckless, not murderous, that hadn’t made their soul-searching any easier. Ultimately, that search led them to one answer: “Grand Theft Auto III.” “Will and Josh wouldn’t have done this if they hadn’t been playing that game,” Donna said, as she showed me family photos. “They aren’t serial killers. They’re good boys.”

Though taken during better times, the shots didn’t exactly convey adolescent bliss. In one, Josh and Will sit expressionlessly on either end of a black futon facing a giant television screen. Josh, a small, wiry kid with uneven sandy blond bangs and a spotty complexion, leans against an 8-ball pillow in a yellow Fort Lauderdale Surf Sport T-shirt. The stoic look on Will — who’s wearing baggy tan shorts, a yellow Hawaiian shirt unbuttoned over a black Nike tee, a dog-tag necklace, and a half dozen bracelets on his arm — reveals, if anything, a desire for his mother to hurry up and shoot already. In a picture taken on a family trip to the beach, Will stands awkwardly in a blue T-shirt and long blue shorts, bony white arms crossed around his chest, next to Josh in a bright red shirt, arms stiffly down, staring forward; Wayne and Donna are clear across the frame. No one’s touching. “I don’t see how we could ever be a family again after this,” Donna said, as she sparked another cigarette. When I asked her how much they felt like a family before the shooting, she exhaled and said, “Somewhat.”

Will and Josh had an unstable life from the start. Born to Donna several weeks premature, Will suffered a cerebral hemorrhage at the age of one month, leaving him slightly brain damaged. Though able to function normally, he was slower than average, with an IQ of 91. His dad, a factory worker, had little patience for the boy, says Donna, even less after she divorced him, when Will was 3 years old, for fooling around with her friend. “He never wanted anything to do with him,” she recalled. “Will begged him to come over and visit, but he just wrote him off.” Years later, when she took Will to see him on his deathbed, he wouldn’t acknowledge his son. “Will always thought his father hated him,” she said.

Donna’s second marriage was equally difficult for Will. When Will got up at night to pee, her husband would berate the boy for waking him. Will began wetting the bed. Donna soon divorced again. Though Will loved the outdoors, he became more shy and reclusive at school. “He was something of a loner,” Donna said. But he rarely acted out. The worst thing he ever did was to write the word “Fuck” on the kitchen floor with a felt-tip marker. When Donna met Wayne and his young son Joshua in 2002 while working as a bookkeeper at the club where Wayne golfed, Will was ready for a friend.

And so was Josh. Though outgoing and energetic, Josh had had his share of trauma. He was born to a mother, Sandy, who suffered from congestive heart failure. Often sick, she was unable to provide readily for Josh, retreating to her books and her soap operas while her son fended for himself. She died when he was 11.

As the hospital bigwig and an active officer of the chamber of commerce, his father Wayne kept busy and had little time for Josh, who was literally bouncing off the walls. In the first grade, Josh was diagnosed with attention deficit hyperactivity disorder and began a lifetime of medication. The drugs made him sluggish but seemed to help to some degree. Josh was warm with friends and family, giving big and frequent hugs. Popular with the girls, he was the only boy invited to his friend Sara Sample’s slumber party. “He was like a little puppy dog,” Sara’s mother, Mandy Epley, recalled.

Still, Wayne had the impression that Josh was suffering. “After his mother died,” Wayne said, “he was on the run all time.” Josh never let on how he was feeling, staying up late playing video games or listening to his Eminem CDs. “He keeps it all inside,” Wayne said. “Anything bad happens, he laughs it off.”

Late one night when Josh was around 11, Wayne heard a strange sound coming from his son’s room. He walked down the hall and opened the door. The room was painted bold yellow and plastered with posters of sports cars. There’s a Lava Lite near a small desk, a student Bible, an enormous boom box. A big black sign reads Go Away.

Wayne half-expected to find that Josh had pulled the blankets from his bed and was sleeping on the floor, a habit his son had taken to without explanation. Tonight, Josh wasn’t there. He was curled up in his closet, crying. He said he wanted his mommy.

When Donna and Wayne married, it seemed as if Will and Josh’s hard times might finally be behind them. The boys hit it off so well that bringing the two families together was easy. They both dug 50 Cent and Tony Hawk and the PlayStation 2. After the wedding, Will and Donna moved to Newport to live in Wayne’s house. Buoyed by the prospect of good times, the parents transformed the basement into the kids’ ultimate playpen: a giant screen TV, a foosball table, posters and pennants of race cars, their very own microwave. Will slept here on a futon under a blanket with the words “Hot Hot Hot” written in flames.

Video games were among their favorite distractions. Paul Buckner, Josh’s 19-year-old stepbrother from Wayne’s previous marriage, gave Josh “Grand Theft Auto III” for his birthday. “When I came downstairs, I’d just see them crashing in their cars,” said Donna. “I didn’t know you could kill prostitutes and stuff like that.” The violence she witnessed, though, was enough to give her pause. “You realize this is virtual reality, not reality,” she told the boys. They nodded, and returned to their game.

Though they had a great time together, things were more difficult, particularly for Will, when they were apart. Because Will was older, he had to go to a different school than Josh and manage on his own. After classes, Will’s guidance counselor, Karen Smith, would see him outside her window wandering the parking lot. “He’d be off by himself,” she said. “He was a bit of a loner,” said his driver’s-education teacher. “He only had a couple of friends. I told him to watch out, because there were other kids here who were taking advantage of him.” Girls would ask Will for money, and wanting to be liked, he’d hand over the cash, never to be repaid.

After school and on weekends, Will fell eagerly under Josh’s wing. While Josh was younger and smaller, he was the town veteran and eagerly assumed the role of Batman to Will’s older and taller Robin. And Will, somewhat slow by nature, needed all the help he could get. “Will is a little more down-the-stream relaxed,” said one friend, “and Josh is the hard-core whitewater rafter.”

To prove his loyalty, Josh steered Will into the arms of his ex-girlfriend, Amanda Hetherington — a smart and iconoclastic 13-year-old with long dark hair and blue paw prints painted on her fingernails. Amanda wrote moody poetry, listened to Marilyn Manson, and was known as one of Newport’s only female skaters. She was a cheerleader, but the sort that would be portrayed by Christina Ricci. She hated it. “It’s just something to do,” she said.

On weekend nights while watching horror movies, Will and Amanda bonded over their disdain of Newport. “There’s nothing to do here but stare at the dots in the ceiling,” Amanda would say. And, though different, they shared a feeling of being outcasts among the ruling kids of Cocke County. “The rednecks have power over everyone here,” Amanda lamented. She thought it was cute that Will refused to wear a jacket emblazoned with the name of the school’s embarrassing mascots, the fighting cocks.

Back at home, it began to seem that Josh was leading Will into more than just a new relationship. He was leading him into trouble. One day, out by the creek behind their house, the two went out shooting with their pellet rifles. Wayne, in one of his father-son bonding excursions, had taken the boys out target shooting with his .22 rifle. They spent the day shooting at cans floating down the water. This time, Josh struggled to aim at his target. When he fired, a pellet flew at a rock, bouncing back and lodging in Will’s neck.

But it didn’t deter them. One day later, about six months before the fatal shootings, Wayne caught the boys sitting in his bedroom cleaning his .22 rifles that they had taken from his closet. “You do not ever, ever do that,” admonished Wayne, who seldom raised his voice with the boys. He grounded them for a week, and dead-bolted his bedroom door whenever he left the house. When he was home, it would remain unlocked.

When you’re a teenager without a driver’s license, it doesn’t take long to get bored. In Newport, you get bored hanging out in the parking lot in Wal-Mart, waiting for the cops to tell you to beat it. You get bored cheering the Fighting Cocks, watching “American Idol,” and swilling soda at the tiny movie theater. You even get bored playing “Grand Theft Auto III,” which is what happened to Will and Josh that night in June.

The summer of 2003 had started on a bad note. Josh failed seventh grade. It turned out that he had not been turning in his homework throughout the year. Wayne and Donna went in for a meeting with the teachers and Josh, but he offered no explanation. As Wayne recalled, “He just said he didn’t feel like turning it in.” While Amanda, Will, Sarah and his friends would be moving on, he would be staying behind. Despite the recent breakdown over his mother, Josh was back to his ways of denial. “He just laughed everything off again,” Wayne said.

Will, on the other hand, had every reason to look up. After months of biding his time, he was one month from turning 16 and getting his driver’s license. He and Donna had even made plans to get him his own car, a used Mustang that he couldn’t wait to get his hands on. With his own wheels, the invisible walls of Newport would finally come down. He could pick up Amanda himself, take her to the skateboard park, maybe even cruise up to Dollywood to soak in the Big Bear Plunge rafting ride. But he would never get the chance.

After a few rounds of “Grand Theft Auto III” that night, Josh felt the boredom set in. Hey, he said to Will, let’s go shoot at the sides of trailer rigs for real. It was doable. Wayne and Donna were home, which meant their bedroom door would be unlocked. They went upstairs. Their parents were watching TV. They asked if they could go ride the four-wheeler. Donna looked outside. The sun was still out. “OK,” she said, “but you gotta be in before dark.”

The four-wheeler didn’t go anywhere that night. Will and Josh sneaked the .22 rifles from their parents’ bedroom closet and hit the trail across the street. It’s a steep incline down to the creek. They passed the rickety pump house, cutting their way down the path they’d cut with Wayne long before. Up the trail, they could hear the semis speeding down the highway. Pigeons fluttered from behind a faded billboard. The boys took a few shots at the birds but, despite the short distance, missed. The trailer rigs would be easier to hit.

They crossed a rickety wooden fence that separated the path from the hill overlooking I-40. Will faced west down the road. Josh ran a short distance along the hill and faced east. They didn’t say anything to each other. They just started firing. Will thought that if he actually hit a rig, the bullets would just bounce off the side. After more than 20 shots, though, they hadn’t hit anything. But Will had a few bullets remaining, and he fired them away. Then they heard the rubber squeal.

After they saw the red truck careen over the median, they ran, assuming they had accidentally shot out a tire. Wayne and Donna were still watching TV when they came back home, and the boys quickly put the guns back in the closet. But their minds and hearts were racing. From the house, Will and Josh could hear the police sirens. When they asked if they could go back outside and hit golf balls, Wayne and Donna didn’t think anything of it.

An hour later, Will and Josh were nowhere to be found. Calls to the walkie-talkies they carried went unanswered. Wayne got in the truck and drove up the road. Donna grabbed a flashlight and hit the trail, fearing they had some kind of accident. Desperate, she called 911 and reported the boys missing. The cops called her back. “We have your boys right here,” she was told.

While investigating the scene of the shooting, a cop saw Will and Josh standing up on the hillside. “It’s not a place you expect to find kids around,” said Al Schmutzer, the district attorney who would prosecute the case. “The officer began talking to them and getting unusual answers.”

When the boys were released to their parents, they said they had been out shooting pigeons with their pellet gun, and when the pigeons flew over the highway, they might have accidentally shot the cars. But their parents knew enough to know that a pellet couldn’t do that kind of damage. Two days later during questioning over a polygraph test, Will and Josh broke down and confessed. “They said they’d got the idea from playing the game,” Schmutzer said. The Buckners were ordered to turn over to the police their guns and their copy of “Grand Theft Auto III.”

As the sensational news of the video-game killers hit, the residents and national media descended upon the small town. Josh would be the youngest person tried for homicide in Newport history. In written statements, the boys expressed remorse. “I will always hate myself for what happened,” Will wrote. “If I could give my life to bring him back, I gladly would. I know what I did was stupid. I didn’t think anyone would get hurt … I am so so sorry, and no matter how long the judge gives me, it won’t be long enough because I will still hate myself.” Josh wrote, “I am sorry … I hate that it happened … I know what it is like to lose someone because I lost my mother when I was 11. And it has been hard without her.”

On the day that the boys were being led into the courthouse, Amanda rushed down to get a glimpse. Will saw her long dark hair in the crowd and blew her a kiss as the cameras rolled. She knew they would never want to hurt anyone, but rejected the idea that the game was to blame. “I don’t think it would persuade them to do this,” she said over dinner at a local restaurant called the Fox n’ Hound. “I mean, my aunt plays that game.”

Amanda has been writing poems for Will. “Hold my hand,” goes one, “make me stop crying. By myself I feel like dying. I can be strong if you stay. We can be together, we’ll be okay. So here we are, together at last. We’ll be okay, forget the past.” But she hadn’t brought herself to ask Will and Josh why they fired the shots that night. “I don’t want to know the reasons,” she said, picking at her food. “It freaks me out.”

The sun was coming down over the barbed-wire fence surrounding Will and Josh’s gloomy new home, a juvenile detention center outside Newport. Behind the two-story chain-link fence that encircles the brick buildings, a stocky guard slowly led a group of prisoners across the pavement. Two rows of tough kids — murderers, sex offenders, drug dealers — walked single file behind him. Yesterday, a kid came in after shooting his dad in the face.

It was last February, and I was sitting outside the fence in the parking lot with Wayne and Donna, who were finishing their last cigarettes before walking inside to see their sons. They had been coming promptly for each allotted visit — one hour every day but weekends and Fridays. Over on the basketball court behind the fence, we could see Josh braving the cold to squeeze out a few more minutes of hoops. Despite the chill, he was wearing only a green short-sleeved T-shirt and long baggy black shorts. As a couple of taller kids hogged the ball, he lagged behind them, quickly rubbing some heat along his arms with his hands before they turned around. “I worry about him in there,” said Donna. “He’s a lot smaller than the other kids.”

Life inside the juvenile center was hard for the boys from the start. Will and Josh were assigned to separate 6-by-8-foot cells. They spent the day taking classes. Lights out by 6:30 p.m. Their parents couldn’t get them anything to help bide the time. When they requested Bibles for the boys, they were told no; kids use pages of the Bibles to roll smokes.

According to Wayne and Donna, Josh soon stopped taking his ADHD medication because the other kids were stealing it from him. Josh, however, had been known to willfully decline the medication in the past. With his hyperactivity unleashed, he started getting into trouble, talking out of place, showing up at visitors meetings without wearing his requisite uniform. One day he was caught piercing the tongues of a bunch of other kids with a shared thumbtack.

Will soon stopped playing follower to Josh’s leader. Unlike Josh, Will had few infractions. He began doing well in school and was on the fast track to getting out. Last July, Will was transferred to a much less punitive group home facility. Josh soon began shaping up his act and was transferred to a separate group home last November. With good behavior, the two may eventually take the next step and be released for good. If and when that happens, however, the stepbrothers will not be sharing a house again. According to Donna, “the judge doesn’t want the boys back together.” When Will walks out the door, she said, she plans to move with him out of state, leaving Wayne and Josh behind. It doesn’t seem as though there will be love lost between the boys. “Josh is going to pay for some of the things he’s done in here,” Will told his mother without elaboration.

That’s not all that’s changed in Will’s mind, Wayne and Donna learned after they passed through the metal detectors to see him that cold February night. With guards standing watch, Will sat at the table in his uniform, exchanging greetings with his parents. After a bit of small talk, Donna looked him in the eye. “You’ve had a lot of time to think about what you’ve done,” she said. “Do you still think it was a video game that made you do this?”

Will sat up and became emphatic. “It wasn’t the game that made us think to go out and do this,” he said, bitterly. “We wanted to do this. The idea was to act out the game. But the game didn’t reprogram our minds.” When asked to elaborate, he just repeated that phrase: “The game didn’t reprogram our minds.” And he said he wished the lawsuit against the game’s makers had never happened. With Will’s time up, the guards came and took him away.

Would Will and Josh have done what they did if it hadn’t been for the game? While researchers try to discover whether there’s a link between violent media and aggression, the truth is that it’s impossible to say why the Buckners pulled the trigger that night. Ideas come from the most random of places, and violence has certainly been inspired by the most random of things, from the “White Album” to “Catcher in the Rye.” Even if Will and Josh hadn’t played “Grand Theft Auto III,” who knows what else might have inspired them to break out the .22s.

Whatever the reason, it was, as Will suggests, surely much more complex than a game — and to suggest otherwise is to deny the experience of so many kids like these. Maybe it was a broken home, death, rejection. Maybe it was bad biochemistry, bad grades, dumb mascots. Maybe it was the overwhelming dread of being stuck with nothing left to do. Maybe bullets fly from nowhere when nowhere feels likes it’s everywhere after all.

As Donna lit a cigarette outside, I asked her if she was surprised that Will was backpedaling from blaming the game. She said she was, but wondered if he wasn’t backing off for another reason.

“What reason is that?” I asked.

“Because the kids inside there are fans of ‘Grand Theft Auto,’ and they told him if he gets the game pulled from the shelf, they’re going to beat him up.”

David Kushner writes about digital culture as a contributing editor to Spin and a frequent contributor to other publications, including the New York Times, the Village Voice and Rolling Stone.

Draw Something, decoded

The newest mobile app sensation isn't just a game -- it's an intimate new form of nonverbal communication

  • more
    • All Share Services

Draw Something, decoded

Upon first brush, there’s not too much to grasp on to with Draw Something. The title of the game is essentially its elevator pitch: You are presented with three words, then you pick one, and then have a blank canvas on your smartphone/tablet/whatever to, well, draw something. You use your finger to draw some stuff on the screen, which ten times out of nine comes out as some sub-MS Paint-worthy scribble. The person you’re playing with then guesses what you just drew. Then, they draw something. You watch this happen, all in real time. And on a certain level, that’s it. Pictionary for the digital age. But why do we play Draw Something so obsessively, like an alcoholic returning to the bar for just one more round, and then another? Perhaps there is something downright pedestrian about Draw Something. Then again, that might be the point.

What’s astonishing about the game from a pure numbers standpoint is how many people are playing the damn thing. In its first five weeks, 20 million people downloaded it. Fifteen days later, that number increased to 50 million. Miley Cyrus plays it. So does Rosie O’Donnell. There are 6.9 billion people in the world. That means statistically, about 7 percent of the world plays Draw Something. It is currently the second-ranked paid app in the iPhone and iPad’s app stores (its free version is ranked second on iPads).

Though it reads “social game” much in the same way as Words With Friends and Scramble (also With Friends) do, Draw Something is an entirely different chimera, more of an exercise in interpersonal communication than a game per se.

It’s owned by Zynga, the social gaming behemoth whose IPO launched for a billion dollars. Zynga more or less made its name from FarmVille, which was a game that you probably remember downloading for Facebook and then becoming obsessed with. It was about farming. In all likelihood, you played it for a few weeks and then deleted it because it became annoying. Such is the Zynga way — release something addictingly addictive, have its user base grow tired of it, and then release something else that is equally addictive. Their strategy is, as the notoriously business-minded rapper Jay-Z might say, an exercise in “on to the next one.”

Zynga’s games are overwhelmingly free, and the company is publicly traded (stock is resting comfortably at $9 a share, for all you Gordon Gekkos out there). Essentially, all Zynga games are what some people refer to as “freemium” games. That means they’re free, with a caveat: You get the game, but you don’t get the full experience. If you want the Full Zynga Experience, you have to shell out. In FarmVille, this meant you could convert your money into “Farm Cash,” which could also be earned — albeit at a snail’s pace.

There’s a thing about addiction, though. Eventually, you get over it. You might enter into a 12-step program, or you might just delete Words With Friends from your phone. Whatever you have to do. Zynga understands this. This is why it offers social games of every flavor, from Words/Chess/Scramble/Hanging With Friends to Farm/Fish/Forest/Castle/PetVille to both Mafia and Vampire Wars. Clearly, Zynga is just plugging in different variables to the same equation. But people like the equation.

The same business model applies to Draw Something. In the game, your color palette is extremely limited. You get black, plus the primary colors. There is no mixing. Want pink? Oh, that’ll be 249 gold coins. Don’t worry. You get four other colors with it, too. And if you give Zynga $25 dollars, they will give you 10,000 gold coins, which translates into being able to buy basically every single color in existence, even the ones scientists haven’t come up with yet. This is the same strategy that your friendly neighborhood drug dealer employs: Give something to somebody for free, get them hooked, and then stand out of their way while they trip over themselves to give you money. It’s like the brains behind Zynga got their financial savvy equally from Business School and by listening to Biggie.

Still, there’s something compelling about Draw Something that just isn’t there with other Zynga games. It lies within the fact that unlike Words With Friends or Mafia Wars or any of the approximately 1 zillion other Zynga properties, Draw Something is an intensely communicative nonverbal experience. There’s no chat function (though the recent game update allows you to offer comments on your drawing), so anything you’ve got to say has to go down on that little white canvas. Sometimes, people will just write what they’re trying to draw out. It’s an interesting strategy, and not an unfair one. It’s still hard to draw a word on a touchscreen, and if you’ve got terrible enough handwriting (as I do), it might just look like a herd of portentously shaped snakes.

But by watching someone struggle to draw a clown fish on a blank canvas, you’ve inadvertently opened a window into their personality. There is a certain voyeuristic pleasure to be derived from watching your drawing be sculpted for someone in real time, and then watching them guess at it, and then watching them go through their own creative process, struggling to re-create a pirate ship, or Skrillex, or such abstractions as “champ” or “thug.” Succeeding at Draw Something is less a test of artistic skill — imagine Matisse, color-obsessive that he was, trying to make do with his scant four colors as he tried to draw a facsimile of a snail on his iPhone — and more a testament to the relationship one has with their Draw Something partner.

I might not be able to draw my way out of a paper bag — thankfully, a concept that has not cropped up for me in the game yet — but if someone really gets me, they’ll know that little yellow squiggle with a couple jagged edges is a walrus, not a hornet’s nest or a stack of gold doubloons or an orangutan. (Note to self: Buy the “Mardi Gras Color Package,” whatever that means. It has orange in it.)

That’s another thing about the game — there’s no way to win. Once you hit your 99th turn with someone, the game resets and you’re back to round one, without even so much as a virtual fist bump. It’s Theseus, finally slaying the minotaur, only to find himself back at the start of the labyrinth and having to do it all again. It’s quixotic in the fullest sense of the term, only instead of a suit of armor and Sancho, you’ve got a digital, smartphone-shaped scimitar and your fingers. And your friend.

In this way, Draw Something isn’t really a game at all. It’s a conversation, full of pointed chit-chat, pictures, and sometimes several-hour lapses. After challenging me to a game, my dad didn’t realize that you were supposed to play at your own leisure, and sent me an antsy series of texts because I didn’t draw him back immediately. My father’s immediate instinct to treat the game as if we were sitting across from each other speaks to a very real generational gap. When my father was my age, you were lucky if you could jam a computer into a ranch-style home. Now, he’s got a computer in his hand, and he’s drawing on it. That’s pretty drawesome (as the app puts it), in and of itself.

I have very few running conversations in my life. I like it that way. It’s hard to talk with someone on, say, Gchat, for hours or days on end, and there are few people I would actually try to do such a thing with. However, I am currently playing 14 games of Draw Something. Social games allow for a certain level of mediation, creating the necessary distance to feel like you’re interacting with someone without actually talking to them. In many ways Draw Something is the perfect surrogate for real communication — drawing is an inherently more impressionistic mode of exchange than speaking, but you’re still getting your message across. It’s not like Words With Friends, where you’re taking turns filling in tiles on a faux Scrabble board with somebody you went to school, while holding a real conversation with them in the app’s chat function. There’s still a message to be gleaned. Draw Something just tells you what you’re trying to say.

Continue Reading Close

Drew Millard is an Associate Editor at Kill Screen Magazine and a freelance music writer. His writing has appeared in the Wall Street Journal, VICE, and Time Out New York. His blog Rap Industry Fan Fiction was named one of Huffington Post's "Seven Sites You Should Be Wasting Time On Right Now." He lives in Brooklyn, because of course he does. He tweets from @drewmillard.

“Sleep No More”: Shakespeare meets Internet games

"Macbeth" and alternate reality gaming collide in a show that could suggest the future of cutting-edge theater

  • more
    • All Share Services

"I've gotten to the secret level in Macbeth!"

Sleep No More” is one of the hottest shows in New York right now, which is surprising, considering that I spent most of my two hours during the McKittrick Hotel production wandering around the six-story building, wondering what the hell was going on.

The British company Punchdrunk’s production is ostensibly the story of “Macbeth,” though mixed with Alfred Hitchcock’s film “Rebecca” and told in the form of an interactive maze that owes more to video games — New York magazine compared the experience with “puzzle-horror first-person video games like BioShock” — than Shakespeare.

Audiences form groups and are given “Eyes Wide Shut”-style masks as they enter the lounge area, which serves as the show’s waiting room. They are told they aren’t allowed to speak until they return to the lounge and also not to bother the actors — but nothing else is off-limits. Then you are let loose in the hotel, where every room is decorated like a spread from “Nightmare Homes Monthly,” and run into the “characters” (easy to spot because they aren’t wearing masks). They perform their wordless scenes as they race from room to room. Sometimes they dance. Sometimes they fight (also a form of dancing, with some super-intense choreography). In one room, you might find a weeping woman looking at a photograph while packing a suitcase. In the basement, there’s a dinner party where guests are either having a blood orgy or doing a sweeping waltz, depending when you arrive.

There’s even a strobe-light rave room where a naked man wearing a boar’s head simulates sex with a woman. In another, a lithe man lip-syncs to Peggy Lee’s “Is that All There Is?” while crying. David Lynch would be proud.

“Sleep No More” was beautiful, terrifying and novel. What it wasn’t, however, was coherent. But maybe that’s because I hadn’t known that in order to get the full experience of the play I would have had to spend hours unlocking hidden Internet websites and swapping clues on Facebook with other devotees. Basically, it requires turning your life into one big alternate reality game before the show even begins.

As Ben Brantley wrote in his New York Times review:

“The idea is once you’re let loose on one of the floors of the hotel, you pick out a single character and pursue him or her (though you can switch any time you want), as the performer runs, dances and vaults all over the place.”

That’s easier said than done. These actors will run you ragged through corridors and secret passageways, sometimes locking the door behind them. Audience members themselves act as another deterrent to sticking with Macbeth or one of the witches; mobs form around the actors and block you from seeing all the action. Half the time, the group divides as it tries to (silently) figure out if Macduff ran up the stairs or slipped into a backroom somewhere. Next thing you know, here’s a new character with a plot all his own. You end up watching a bartender fight some other guy for awhile before realizing that you’ve completely missed the point … if there ever was one.

Unlike fragmented films such as “Memento” or “Inception,” there’s no DVD version of “Sleep No More.” If you leave feeling like you didn’t get it, well, you didn’t get it. If only you had bothered to check out the discussion boards on the play’s Facebook page, where hyper-vigilant audience members post clues on whom to follow, where the action is going to take place, and what the hell is actually going on. It’s like a go-to guide for the uninitiated, and after the show it’s the best place to go and post your questions about the production. Say, for instance, that you wanted to figure out how to follow the character of Macbeth without losing him in the crowd. Well, here are some tips (which contain major show spoilers), courtesy of another “Sleep No More” forum:

“I followed Macbeth around pretty much all night. After the dance, Lady Macbeth takes Duncan away to another room. I followed them.

She seduces him, then after some kissing, she goes away.

Duncan undresses and then goes to the area right next to his bedroom that has pillows on the floor, and a basin with blood, and he lies down on the pillows.

Macbeth walks in and smothers Duncan with a pillow. Then he goes to the basin and covers himself in blood.

He runs to the bedroom with the bathtub, Lady Macbeth undresses him and bathes him, etc.

Then Macbeth runs to the Witch Disco Orgy, where he gets covered in blood all over again.

After that, he goes to a room with a pool table and kills Banquo.

He goes and meets Lady Macbeth again (but not in the bedroom) and they go to the banquet scene.

Then Macbeth leaves (unless you’re catching the very last go-around), and goes to the Hotel Lobby.

He beats up and tries to rape Lady Macduff, and then Macduff beats the crap out of Macbeth.

Then Macbeth runs to a balcony (we’re not allowed to follow him, we have to watch from the sides), and he jumps down to the forest.”

Don’t live in New York or have $80 to spend on a ticket? Well, there’s a reason to care about these secret clues and weird haunted-house rooms. Remember that 1997 David Fincher film, “The Game,” the one where Sean Penn buys his uptight corporate brother (Michael Douglas) the ultimate birthday present — a voucher for a live “game” from a company called Consumer Recreation Services. From there on in, every person Douglas’ character comes in contact with is part of the game, from business associates to that pretty waitress who just messed up his food order. Before you can say “Big Brother,” Douglas is running for his life, convinced he is about to be killed by this shadowy CRS conglomerate, which is everywhere and owns everybody.

Now jump ahead a couple of years and meet a man named Elan Lee, one of the founding fathers of alternate reality games (ARGs), who cites “The Game” as one of his major influences.

ARGs usually start out on the Internet (check out ARGN.com, which links to the big games being played right now). A cryptic website leads participants to a couple of clues, which quickly move into real-life scenarios. Players are expected to meet a certain person at a certain place in order to get another piece of the puzzle. The difference between “The Game” and ARGs is that you are working with a team: everyone else who is playing the game at that time. It’s a group activity, where one person’s find is quickly put up on a forum, to be compared with what someone else discovered in a different location. It’s like Fincher’s movie plus Dungeons and Dragons, with enough viral buzz to attract a cultlike following.

Even if you’ve never heard of ARGs, you’ve probably followed one anyway. “The Dark Knight” used one to give away the first peek of Heath Ledger as the Joker. To a lesser extent, it’s how J.K. Rowling revealed Pottermore as her new website, because the clues were only handed out online.

ARGs have been mainstreamed by marketing strategists for everything from the movie “A.I.” (where the game was called “Beast” and revolved around a fictitious murder) to Lee’s first corporate creation, “I Love Bees,” which was actually a viral promotion for “Halo 2.” Here’s a walk-through of how the latter worked:

The great part about using alternate reality games instead of regular advertisements is that a small group of super-fans can be counted on to play the game as quickly as possible, then post the results online. Then it’s picked up by the rest of the Internet and mainstream media, which don’t have the time or inclination to do hours of real-life legwork just to see a sneak peek of an upcoming movie. But for ARG fanatics, the results aren’t the point; it’s the game that matters. Well, the game, and the community built around it.

Which brings us back to “Sleep No More.” Yes, this play is an ARG, although it doesn’t have to be; it can start and end with your experience during a performance. But the show does have bonus material that will lead you to real-life encounters with the characters outside of McKittrick Hotel, provided you can figure out how to unlock Punchdrunk’s coded website. There have been location-based clues at Grand Central and IRL meet-ups for those who are as obsessed with solving the seemingly endless mysteries of “Sleep No More.”

Suddenly, those insanely detailed rooms filled with ephemera in “Sleep No More” don’t seem to simply mean some whimsical set designer had an unlimited budget. As it turns out, everything is a possible clue, relating to a story much larger than the ones told inside the confines of the “Macbeth” story line.

So “Sleep No More” is an interactive play that’s also a community-sourced Internet game that requires a working knowledge of Greek gods and JavaScript in order to solve it. God help all the Luddites of the world if this is the future of theater.

Continue Reading Close

Drew Grant is a staff writer for Salon. Follow her on Twitter at @videodrew.

My summer of Dungeons & Dragons

I was a scared kid with a sick mom. But I finally found the courage I needed -- and it came with polyhedral dice

  • more
    • All Share Services

My summer of Dungeons & DragonsA photo of the author as a teen, with one of his D&D dungeon maps superimposed behind him.

Some say that all narratives ultimately tell only two stories. One: Someone goes on a journey. Two: A stranger comes to town. The summer before my eighth-grade year, when I was 12, I experienced the intersection of both. In other words, I learned how to escape.

This was 1979. My mother had been home from the hospital for a few months, and my sister, brother and I were just coming to understand her. Our “new” Mom.

The new version of my mother was a changeling. At 38 years old, she had suffered, and barely survived, a ruptured brain aneurysm. The head injury caused her to be mostly paralyzed on her left side. Her brain became scrambled. She limped around the house, couldn’t tell time and didn’t know the day of the week. Often, she’d make inappropriate remarks, swearing at the slightest provocation or making some lewd joke in front of friends. At times, she scared me.

“Ethan!” she’d yell from her lair. “Help me get up!” She might be half-dressed in her bed, or on the toilet, or on the floor, or in the bathtub.

Years before my mother’s “accident,” as we called it, my dad had moved several hours away. We saw him regularly, but he and my stepmom were largely out of the picture. A family friend had moved in to help take care of my Mom, my siblings and me. The theory was, Sara Gilsdorf might make a miraculous recovery, and the friend would move out. We eventually discovered this would never come to pass.

It didn’t take long to figure out I couldn’t tame my mother, not this beast. I knew I couldn’t save her, either. I fought with her for a while, usually battling over her inability — what I mistakenly read as her refusal — to regain her old life, be it making a cup of coffee or making a family decision. After a while, I gave up. And kept my distance. I was stuck with a mother I was afraid to love.

We began calling her the Momster.

 ——-

Coincidentally enough, the film “Super 8″ also takes place in the summer of 1979. Like the boys in that film, I armed myself with a movie camera and was determined to be the next Spielbergian blockbuster kid. I studied Disney animation books. I built sets in my sister’s bedroom where stop-motion Plasticine creatures ran amok through an HO-scale train town. I ripped apart Revell model airplane kits to make my own “Star Wars”-like space ships that I’d film, frame by frame, as they dangled from fishing line in front of a hand-painted star-scape.

As I built and destroyed these worlds, my journey through the realm of adolescence to the kingdom of adulthood began to reveal itself as a tricky maze filled with traps, monsters and dead ends, not to mention broken mothers. I longed for some safe way through that labyrinth of conflicting, constricting emotions. The Super 8 movies I shot provided one avenue of escape.

Then, later that same summer of 1979 when my mom came home from the hospital, a stranger came to town — a new kid moved into the neighborhood. And a new path appeared to me.

JP and his family bought the house across the street from me. Not a ramshackle, creaky, 19th century New England colonial like mine, but a more modern one, with linoleum in the kitchen, wall-to-wall carpeting everywhere else, and a fully present, fully functioning father and mother.

I hung out a lot at JP’s house that summer. After a few weeks of watching “Buck Rogers in the 25th Century,” listening to Electric Light Orchestra’s “Discovery,” and programming primitive video games in BASIC on his TRS-80 Radio Shack computer, JP told me about Dungeons & Dragons.

“Elves?” I said one particularly hot afternoon as he cracked open the Basic D&D boxed set’s lid. “Like the Keebler kind?”

“No. Not little ones, doofus.” JP seemed a little miffed. “Have you read ‘Lord of the Rings’?”

“I saw the movie,” I countered. Ralph Bakshi’s half-baked, but still haunting, adaptation of Tolkien’s fantasy novel had come out the year before. I saw the cartoon on a trip to Boston to visit my mother in the hospital and it blew my mind.

“Well, D&D is kinda like ‘Lord of the Rings.’ Only you’re in the book. You’re in the movie. You choose what happens. You can be an elf, or a dwarf, or a human. You can be a wizard, or a fighter, or a thief. Even a cleric.”

I wanted to ask what a cleric was, but I kept my mouth shut. “A fighter. You mean like Conan? Or Strider?”


“Strider is more of a ranger. But yeah, you kill stuff. You’re the tank.”

I didn’t know what a ranger was either. All I could picture was the Lone Ranger, and the Texas Rangers. Mentally, I thumbed through my baseball card collection that my pet cat had recently peed on, ruining it. Neither of the Wild West or Major League Baseball universes seemed to be of use here.

“OK, I’ll be a fighter.”

JP handed me a pile of polyhedral dice — not just 6-sided dice, but 4-, 8-, 12- and 20-sided. I rolled as he instructed and before I knew it I had written six numbers on a sheet of loose-leaf paper, next to six categories that JP called attributes.

“Is 14 Strength good?” I asked. “Wait. He’s only got 5 for Intelligence.”

“He’s pretty strong,” JP said. “But he’s pretty dumb. You’ll have fun.”

Strong and dumb. This sounded like exactly the opposite of me, Ethan: about 5-foot-6, 130 pounds, a predictably good, B-plus/A-minus student, and never once tested in a real fight. Fun. “So now what happens?”

“Go to the store and get your equipment.” JP said my character had a few gold pieces to outfit himself.

This whole role-playing thing was new to me, but not to JP. Using words only — and in my mind, but also in the combined words and minds of JP and me — my fighter went shopping. Once in the “store,” in the “town,” my fighter (me) asked JP (who was the gamer referee, or the Dungeon Master) if he could buy himself a sword, a suit of chain mail, some torches, 50 feet of rope, a grappling hook, food (what JP called “rations”), a throwing dagger, a shield and a helmet. JP said he could. By the time he got out of there, my fighter had about six copper pieces left. JP told me to write down all these items on my character sheet. I dutifully complied.

“So now, you need to find the other adventurers,” JP said. “I’d suggest you go to the tavern.”

Go to the tavern. This was strange. D&D felt too much like little kid’s play, too much like make-believe. But I liked where this story was headed. “OK. I go to the tavern.”

“Good idea.” He smiled. “You push open the door. Inside, it’s gloomy. A fire crackles in the corner. You hear that a ship just docked in town, and a big battle against some nasty goblins just ended, so the place is full of tough-looking guys. There’s a dude in the corner with a funny hat. You might, you know, go over and talk to him.”

“I go over to the corner and talk to him.”

“Hello there, traveler,” JP intoned, with a kind of mysterious, Mr. Roarke from “Fantasy Island” voice. “I have heard of your exploits. You are a brave warrior.”

“I am? I mean, I am.” Maybe I could be a brave warrior. Even if I felt far from brave in the real world. “Yes, good sir, very brave.”

“Well, I have been assembling a group of worthy adventurers for a task.” JP looked up from his books and dice spread out around him on his bedroom’s pale green carpet. “Oh, how rude of me. I forgot to introduce myself,” Mr. Roarke continued. “My name is Malicus. Malicus the Wise, they call me. And your name?” JP raised one eyebrow, wizard-like.

I was sitting on the floor across from him, propped up against his bed. My fingers sunk into the soft fibers of the carpet. “My name is … My name is E … Ethor.” Ethan + Thor = Ethor. It was the best I could do.

“Well, Ethor,” Malicus said, “I know an Elvish archer named Quikpuck, a Halfling thief by the name of Slyfoot, and a cleric named Fabian the Just. The four of us have been hired by Lord Rathbane to investigate some mysterious happenings in the Krog Mountains above this port town. We have been told of treasure in a dungeon there. But also many men have died trying to get it. And these parts are overrun with goblins. We need a fighting man.”

“Uh huh. Well, Sir Mal … what is his name?” I whispered.

“Malicus.”

“Sir Malicus, I am not afraid of goblins. I have slayed many a … uh … Fell beast.” I had no idea where the phrase “fell beast” came from, but I was pretty proud of myself. I raised my arm in the air. “I will join you!” I was getting the hang of it.

“Very good. A stout warrior like yourself will come in handy. We leave at daybreak. You’d best get some rest, Ethor.”

It was way past dark. I could see, across the street, a square of light from my kitchen. The TV flickered like a blue flame. Mom would be wondering where I was. “I should probably go. Can we play again tomorrow?”

JP nodded.

“Can I take this?” I held up Ethor’s character sheet.

“Sure,” JP said, his nose in a rule book, already onto the next thing. “I gotta plan the adventure anyway. Come over after dinner.”

I gathered my stuff and booked it across the street, hoping to get though the front door and sneak past my mom without her seeing me. Maybe like Slyfoot.

——-

That summer, I kept making Super 8 movies, but D&D soon took over. It quickly became more than a game: It became a vital experience that let a geeky, introverted, non-athletic kid — a kid who felt about as powerful as a 3-foot hobbit on the basketball team — take action, be the hero, go on quests, and kill monsters. Not that all guys (and they were mostly guys in those days) who played D&D were geeky, introverted, non-athletic kids, but enough were, and at least this one felt invisible. With everything going on at home, perhaps I was the perfect candidate for escape. But I was also drawn to the idea of this game. I had always sensed that something was missing from the real world. My no-budget movies were one Band-Aid. But shooting my “Star Wars” remakes and clay monster battles took weeks and resulted in three-minute movies. Entering the D&D fantasy was effortless, instantaneous and endless. Epic.

I now see it was no accident that the year I found D&D, or it found me, coincided with my mother’s return from the hospital. It took courage for a teenage boy to deal with the Momster — more courage than I could muster at the time. I couldn’t face down the creature that plagued my own house. But playing D&D let me act out imaginary, possibly symbolic battles instead, and distracted me from the prospect of facing the real ones waged within my family’s four walls. In the D&D playscape, I learned to be confident and decisive, and feel powerful. Even cocky. Some of the guts and nerve and derring-do I role-played began to leak into my real world. By the time I graduated high school, I had transformed. I had used fantasy to escape but also to gather strength for later, when I could face and embrace my mother again. Which, as an adult years later, I finally did.

But in the summer of ’79, I was but a newbie. I needed to gain experience. I had only tasted the power Dungeons & Dragons. I didn’t know that game was about to save my life.

Back to those two archetypal narrative plots: someone goes on a journey; a stranger comes to town. That summer, two strangers came to town: JP, and my mother. Three, if you count me. I would become a stranger, myself, again and again. I would play many new roles. I would go on incredible journeys to imaginary lands. And I would defeat many monsters.

When I got home that night after my virgin D&D session, after slipping past my mother, I headed straight for Webster’s. “Cleric |ˈklerik|, noun. A member of the clergy; a priest or religious leader in any religion.” The next day, back at JP’s for another adventure, I would learn that in the D&D game world, clerics weren’t just priests. They were characters who had dedicated themselves to a god or perhaps several gods. They could cast spells such as “cure light wounds” and “protection from evil.” They could dispel the undead.

Surely those powers would come in handy, at home, or in my head, or in whatever life I would choose to live that summer, or in some realm far away in the future.

Continue Reading Close

Ethan Gilsdorf is the author of the award-winning book "Fantasy Freaks and Gaming Geeks: An Epic Quest for Reality Among Role Players, Online Gamers, and Other Dwellers of Imaginary Realms," his travel memoir/pop culture investigation into fantasy and gaming subcultures. He also writes on pop culture, movies and books for The Boston Globe, New York Times, Christian Science Monitor and contributes the blog "Geek Pride" for psychologytoday.com and blogs for wired.com's Geek Dad. Follow Ethan's adventures at Fantasyfreaksbook.com.

Your guide to day one at Comic-Con

The schedule is set for the opening date of the country's largest collective geek-out. Here's what you need to know

  • more
    • All Share Services

Your guide to day one at Comic-ConGet ready to rock out.

San Diego’s annual Comic-Con can be a very scary place for the uninitiated. With thousands of panels, screenings and artist booths, the four-day entertainment convention is perhaps the only place in the world where you can have a panic attack while staring at six versions of “Sexy Leia.”

In two weeks, nerds will descend en mass to California, and in preparation, the producers of Comic-Con have posted the schedule of events for the kickoff day on July 21. (Technically there is a preview night, but who is counting?)

If you’re still feeling overwhelmed, we’ve prepared a brief guide of the day’s must-sees, as well as what programs to avoid.

Definitely catch: “Game of Thrones” panel

Author George R.R. Martin moderates a panel featuring series executive producers David Benioff and D.B. Weiss as well as cast members Emilia Clarke, Nikolaj Coster-Waldau, Peter Dinklage, Kit Harington and Jason Momoa.

I know this is going to be the hot ticket event of the first day, but I’m not sure if it’s because the show is so popular, or if fans are just going with a bag of rocks to pelt at George R.R. Martin’s head. Either way, it’s not to be missed. Bring your Flip cam.

Definitely avoid: “Battlestar”: So Say We All

Richard Hatch hosts a panel and fan discussion of the “Battlestar Galactica” universe, politics and philosophy with Hatch (Tom Zarek, Capt. Apollo), Michael Taylor (“Battlestar Galactica,” “Caprica,” “Blood and Chrome”), Dr. Kevin Grazier (BG science consultant), and surprise guests for this exciting roundtable and Q&A session.

Guys: “Battlestar” is over. Time to move on. Now, someone show me the way to that Damon Lindelof/”Lost” theory panel.

Definitely catch: “Oh, You Sexy Geek!”

Does displaying the sexiness of fangirls benefit or demean them? When geek girls show off, are they liberating themselves or pandering to men? Do some “fake fangirls” blend sex appeal with nerdiness just to appeal to the growing geek/nerd market, or is that question itself unfair? And what’s up with all the slave Leias? Action flick chick Katrina Hill (ActionFlickChick.com) asks Bonnie Burton (Grrl.com), Adrianne Curry (“America’s Next Top Model”), Clare Grant (Team Unicorn, “G33k & G4m3r Girls”), Kiala Kazebee (Nerdist.com), Clare Kramer (“Buffy the Vampire Slayer”), Nerdy Bird Jill Pantozzi (“Has Boobs, Reads Comics”), Jennifer K. Stuller (Ink-Stained Amazons, GeekGirlCon) and Chris Gore (G4TV’s Attack of the Show!) to discuss whether fans can be sexy and geeky at the same time — and if they should!

I’d say that you could just watch the mashup of hot chicks on late-night shows and save yourself the effort, but since these are actual nerd girls discussing gender issues and not just Mila Kunis talking about World of Warcraft, it’s worth making time for.

Avoid:  TV Guide Magazine: Fan Favorites

TV Guide is back with an all-star panel for the fans! Moderated by editor in chief Debra Birnbaum, Fan Favorites features your favorite talent from your favorite shows — in front of the camera and behind the scenes. Panelists include Nestor Carbonell (“Ringer”), Johnny Galecki (“The Big Bang Theory”), Jorge Garcia (“Alcatraz”), Leslie Hope (“The River”), Zachary Levi (“Chuck”), Joe Manganiello (“True Blood”), Julie Plec (“Vampire Diaries”), Matt Smith (“Doctor Who”), Kevin Williamson (“Vampire Diaries”), Deborah Ann Woll (“True Blood”), and others.

What a clusterfuck … do the same people who want to see Jorge Garcia or Matt Smith really care about what “Chuck” or the guy from “The Big Bang Theory” have to say? I imagine this panel will be the real-life approximation of channel-surfing when you’re bored.

Definitely catch: Entertainment Weekly: The Visionaries: A discussion with Jon Favreau and Guillermo del Toro on the Future of Pop Culture

EW moderates an in-depth conversation with Jon Favreau (“Cowboys & Aliens”) and Guillermo del Toro (“Don’t Be Afraid of the Dark”), two filmmakers at the forefront of bringing geek culture to the masses and making blockbuster art out of pulp fiction. They will discuss their inspirations, their current work, and how they strive to put a personal stamp on blockbuster entertainment. Plus: How is new technology changing the way stories are produced and viewed? And what do they think the pop culture universe will look like a decade from now? Moderated by Jeff “Doc” Jensen.

Comic-Con is one of the first places that “cool” directors will leak spoilers and info about their upcoming features, so get a front seat and turn on your tape recorder in case Guillermo del Toro lets something slip about “Pacific Rim.”

Bonus “Don’t Miss” screenings: Mike Judge hosting the new “Beavis & Butt-Head” episodes, “Archer” viewing and cast discussion, and the exclusive premiere of “Burn Notice: The Fall of Sam Axe.” Just kidding.

This list is far from definitive. What events are you most looking forward to for Comic-Con?

Continue Reading Close

Drew Grant is a staff writer for Salon. Follow her on Twitter at @videodrew.

Even more evidence “Candy Land” movie will be like “LOTR”

Film's writer confirms previous comments; admits to loving challenges, J.R.R. Tolkien, candy

  • more
    • All Share Services

Even more evidence "Here the gumdrop hammer-stroke will fall hardest."

Last week, the sweet world of nostalgic board games got a little bit more bloody. Glenn Berger, one of the writers for the upcoming “Candy Land”  film, told Entertainment Weekly to “envision it as Lord of the Rings, but set in a world of candy.”

While my first reaction was to send that idea to Yikers Island for a life sentence, Berger’s bold vision grew on me. Think of how many jokes there are to be made here! Lord Licorice bellowing from the Cupcake Commons, “NONE SHALL PASS … UNTIL THEY PICK A PURPLE CARD FROM THE TOP OF THE PILE!” And that’s just from the top of my head! I could think of so many more jokes by the time the film actually came out.

So anyone who thought Berger was going to try to backpedal from that grandiose claim was badly mistaken. If anything, the writer wants audiences to know how committed he is to doing a J.R.R. Tolkien thing for the Hasbro game. Also, how committed he is to candy:

That’s precisely, I think, why we got the job on CANDY LAND. But that’s also why we were excited about getting the job on CANDY LAND. It’s something that, on the face of it, seems like a huge challenge: it’s a board game for kids, and there’s no strategy involved. But what it does have is the opportunity to set an action movie in a world made of candy. So when we meet with the director, Kevin Lima, and he says, “I want this to be LORD OF THE RINGS but with candy,” you could either laugh at that, or say, “If you could pull that off, that would be really cool. We’d love to be a part of that because we love LORD OF THE RINGS and we love candy.”

That should just be the film’s tag line: “Love ‘Lord of the Rings’? Love candy? You’ll love this movie!”

Hey, if you can think of a better tag line … or even a better “‘Candy Land’ meets ‘Lord of the Rings’” joke, let me hear them in the comments.

Continue Reading Close

Drew Grant is a staff writer for Salon. Follow her on Twitter at @videodrew.

Page 1 of 27 in Gaming