timeimmortal

Full and fair disclosure: I’m still angry at Harper and the Conservatives for cutting the Telefilm new media fund. As a part-time gamer, part-time game historian, part-time game-maker, and technical officer for the Edmonton Game Convention, the loss of the Telefilm fund is, for me, something that stings…especially since we had hoped to draw funding for the Convention, in part, from Telefilm (who were really enthusiastic at the idea of a gamer-centric gaming convention).

Be that as it may, however, I do agree with Stephen Harper when he notes that much of the whining and pleas for money from the arts community in Canada simply do not resonate with Canadians. Much of the content that the arts community in Canada produces is, simply put, not worth the money spent on it. It’s just not that good.

That’s not to say it’s all crap, of course…but one notes that the best things coming out of e.g. Vancouver these days are not wholly Canadian shows. Things like Battlestar Galactica — an excellent series — make heavy use of Canadian talent and Canadian locations, because it’s the only way that a show with such consistently high-quality visual effects can possibly stay within its overall budget. And that Canadian talent is put to good use; many of the actors on that show are excellent or better. Likewise, the Canadian landscape has proven itself versatile and adaptable to the needs of a show that has involved a few instances of planet-hopping.

But in the end, BSG is still essentially an American show. Most of its funding flows from the Sci-Fi Channel, and its principal audience is State-side. The same can be said of shows like Stargate Atlantis — produced here, but mostly funded from abroad. Few wholly Canadian shows rise to match the quality of e.g. BSG, and fewer still enjoy any kind of comparable audience and popularity.

And in many cases, there’s a good reason for that. Even a cursory glance at the slate of programs that the CBC is running this season makes one scratch one’s head — the shows just aren’t that good. Hockey Night in Canada is still about the best thing the CBC has going for it, because it’s about the only show in Mothercorp’s lineup that doesn’t betray a leftward political slant (although, to his credit, Rick Mercer has come down on the right side of the freedom of speech/HRC debate).

And of course, this is just television we’re talking about. The arts community in Canada produces quite a lot of other stuff besides niche television shows…much of it of even lower quality, and lesser appeal, than Canadian television. There’s not a stage play that has been produced in Canada in…a long time…that I’d care to go and see, and even most Canadian “artists” (by which I mean painters, sculptors, and the like) produce material that simply does not resonate with me (and, I suspect, with many other Canadians as well). Some of it is disgusting, some of it is mediocre, and some of it is just damned odd…and the amount of crap sadly outweighs, and overshadows, what genuinely good stuff exists.

And we, the Canadian taxpayers, shouldn’t have to fork over dollars in support of things which we’ll never go and see, nor ever acknowledge as being something of substance and quality. Yeah, I’ll gladly pay to support Hockey Night, even if I don’t watch much hockey…but I’m not particularly inclined to support Little Mosque On The Prairie. I’d be okay with sending a few of my tax dollars to the producers of Corner Gas, but I’d rather not line the pockets of the people who work on This Hour Has 22 Minutes.

Canadian artists rallied to denounce the Harper government for its stance. Gordon Pinsent even stood up and said that Canadian artists “should be the landlords of [their] own industry, not the tenants.”

I actually agree. I think Canadian artists shouldn’t be government tenants, dependent on federal handouts. I think the art that Canadians produce should be able to stand up on its own merits, and generate revenue that doesn’t emerge primarily from federal coffers. I have no problem with the idea that the government might lend assistance to commercially viable artistic ventures…but in the end, I don’t think the government’s contribution should be the majority share of any particular art project’s funding.

Let’s come back to the Telefilm fund and computer games for a minute. If there is one thing that Canadian artists — new media artists, mind — do very well, it is computer games. Canadians make excellent games. And I’m not just talking about EA Sports out in Vancouver, which was for years the only decent EA studio. I’m talking about the various smaller developers who have produced a consistent string of excellent titles over the last few years. Relic (Vancouver) gave us Homeworld and its sequel. Ironclad Games (Burnaby) gave us Sins Of A Solar Empire, which I am told is just an astounding title. Edmonton’s own BioWare has produced a steady stream of hits, including Baldur’s Gate, Neverwinter Nights, Knights Of The Old Republic, and Mass Effect. And Ubisoft Canada (Montreal) gave us Assassin’s Creed, another critically acclaimed game.

Government funding went into some of these titles, but the government didn’t provide the lion’s share of the development money in any particular case. And it isn’t government money that let the games themselves turn a profit; all of these titles have been commercially successful, because they’re damn good. Because they were developed with the end user in mind, and offered something that gamers the world over were willing to actually pay money for.

It’s that last point that’s important: people wanted to support these games financially, by buying them. As Kateland at TLA notes:

In any given time, in any given culture, if patrons cannot be found who are freely willing to pay for the fare which is offered by the artistic community, is says something substantial about the fare which is offered, but apparently, not in Canada.

The government purse is not a finite resource. The purse is only filled by sweat of the brow of the taxpayers via the coercive arm of Revenue Canada. Life is about choices and so is government. The government cannot go on funding indefinitely and without concern to the cost of each program which it currently funds.

And so I find I’m torn. I agree, overall, with the decision of the Canadian government to restrict arts funding. I just wish they hadn’t killed the Telefilm fund in the process. In the end, though, that’s not a total loss either. Certainly, none of the above-listed game companies is going to be hurt all that much by it, and even the Convention will be able to find alternative sources of funding. That’s because they, and we, keep in mind the most important thing: the people. These companies, and our Convention team, intend to produce something that others will see as worthwhile, and not just something which will earn appreciative nods from a select handful of artistés and intelligensia.

TK writes in with a comment on my surprisingly prolific final Cylon theory (which, for the Reader who does not know, points to Karl Agathon — Helo, by callsign — as the final Cylon yet to be revealed on the television show Battlestar Galactica).

I’m finding myself somewhat in agreement with your hypothesis regarding Helo as a Cylon, well the numero uno cylon. I was watching The Farm the other day and I noticed when Starbuck had her vision (dream), that it was [Samuel Anders] and Helo who held her wrists while Anders said he wanted to have a baby with her. When it was all said and done, it turns out Anders is a Cylon, and they are interested in procreation. Why was it not Lee Adama holding Kara’s other hand??? He is her other love interest, so why shouldn’t he be there in opposition to Anders?? Your essay was well thought out and presented. I wish we did not have to wait until 2009 to see who the big kahuna Cylon is.

TK

TK raises a valuable point, one I had previously not considered — the vision in The Farm. I am going to have to re-watch that episode this weekend to refresh my memory as to the specific sequence, but if so, it could indeed be another valuable clue.

It is a pity that we have to wait until 2009 to find out who the last Cylon really is, but I don’t imagine that we’ll have to wait that long once the series starts back up again. The next episode, Sometimes A Great Notion, would have served as the series finalé had the WGA strike gone on too long. Since I can’t see Ron Moore leaving us hanging in such an eventuality, there’s a good probability that the opening episode of the second half of this final season of BSG may in fact see the last Cylon revealed.

Certainly, the trailer for the next episode implies this to be the case. And really, I can’t see the producers thinking it a wise choice to waste time — when there’s already going to be fan tension due to a delay — going back and re-shooting parts of the episode just to prolong the tension a bit more.

At any rate: thanks, TK, for adding your own insight to this matter.

To which Kathy asks: Do I have to start watching this stupid show now?

To which I reply: Unless the very fact that the backdrop outside the few windows that appear is a starry one rather than a city will be a source of insurmountable frustration and disgust, I rather suspect the Furious One might just like Battlestar Galactica (the new version).

Get it on DVD — that way, you can always chapter-skip the more tedious parts of the Lee Adama/Starbuck “affair.”

Update: Welcome, TotalFark readers!

The latest bit of evidence for Rare Earth has to do with the conditions under which our solar system formed, and how the conditions which enabled a life-sustaining planet to emerge here have been notably absent in pretty much every other observed planetary system.

As a Christian, I should note that I fully accept that sapient, non-human entities exist. In fact, I can think of at least two such species: angels and demons. As to other…erm…biological creatures existing elsewhere in the Universe, I’m rather more agnostic — in fact, I don’t really care if they exist or not. If they do, it’s probable we’ll never meet them anyhow. If we do, I highly doubt that it will be the final death-blow to god-belief and Religion that those of an atheistic bent often seem to think that the discovery of intelligent alien life will be.

But I will say this: if there are other sapient species out there, I rather doubt that there are a lot of them. Should humanity ever take to the stars, I imagine that our experience will be more like that of the characters in e.g. Firefly or Battlestar Galactica — human beings, effectively alone amongst the stars, save for the antagonists that they have made for themselves.

Just as a follow-up on this article, I downloaded a program called Celestia, and while it’s probably not 100% accurate, it does offer a fairly decent ability to simulate…well…a particular issue that was raised concerning the identity of the planet that was discovered at the end of the mid-season cliffhanger of Battlestar Galactica, a planet that is supposedly Earth.

Here’s the constellation Orion, as viewed from Earth (more or less). The stars highlighted in green are the component stars of Orion, while the star selected in red is Muliphein (Gamma Canis Majoris), a bright giant star situated just over 400 light years from Earth.

Looks pretty normal, eh? Now let’s look at Orion from nearby Alpha Centauri.

As the Reader can hopefully see, the alignment of the stars is nearly identical. For good measure, let’s look at Orion from one other nearby star, Tau Ceti.

And here again, Orion is nearly the same as would be seen from Earth…this despite the fact that Tau Ceti is just shy of twelve light years away from us.

Now, to hammer the point home, let’s take a look at Orion from Muliphein, which isn’t anywhere near as close to us, but not all that far when compared to the distances mentioned in BSG.

I can’t actually fit all of Orion’s stars into the frame of the picture, so spread out have they become. And the shape? Forget about it; from this frame of reference, Orion is no more. But hopefully the Reader can see that constellations are not a great way to mark a planet’s location, especially if one isn’t working from the most accurate data set to begin with.

Now, just to prove that I’m not using a biased sample here, let’s try the same experiment with a more complex constellation (and one that’s relevant to BSG as well): Capricorn. Here’s the view from Earth (this time, I managed to frame Earth in the shot as well).
Read the rest of this entry »

At the end of Revelations, the mid-season cliffhanger of Battlestar Galactica’s fourth and final season, the Colonial fleet and their renegade Cylon allies find and land on a planet that all involved believe to be Earth, the legendary home of the 13th Tribe of Kobol.

The planet itself appears blue from space, but is quickly discovered to be a nuclear wasteland, devoid of life and marked only by decimated buildings and burnt-out ruins. The immediate conclusion that the producers of the show likely wanted us to jump to was that yes, this was Earth, and that the 13th colony had somehow destroyed itself. As a lesson in human concupiscence, that wouldn’t be a bad ending in and of itself, but there are a few questions left unanswered if one simply assumes that one can take the show at face value as to the identity of this ruined planet.

First off, there’s the issue of how vague and masked the shots of the planet from orbit are. I mentioned this before, but I just found a handy comparison image (as well as a reasonable theory about who the final Cylon might just be) on another blog that tells the tale better than before:

Now, there’s been a fair bit of argument that the ruins themselves tell the tale. In particular, a number of people have made the association between the ruined bridge seen at the end of Revelations and the Brooklyn Bridge. Personally, I’m not convinced; this show has been marked by repeated examples that what the characters think they see is not necessarily what is (e.g. Starbuck’s seeing a gas giant that was thought to be Jupiter, but turned out not to be, or her seeing a comet that turned out to be the damaged rebel basestar). I certainly think that the ending scene was composed so as to make us think of New York, but I won’t say for certain whether that’s what was being depicted.

At the end of the third season, the CGI was unambiguous: Earth was easily recognized, and the shape of the North American continent was distinct. As the comparison photos above tell, in this discovery of Earth there is nothing about the planet itself which obviously suggests that it is Earth. No continents are visible, and much of the world is dark. Ron Moore et. al. are far too “tricksy” (apologies to Smeagol) for this to be a mere coincidence, or simple artistic license. There is some meaning to the sudden lack of clarity.

There is also the matter of pretty much every main character, including Laura Roslin (supposedly the “dying leader” who will not live to see the proper end of the journey of humanity across the stars), being on the surface of the planet. Unless the producers are setting us up for some kind of “actually, it was this dead character all along” sort of letdown, it seems that a second objection to the probability that this devastated planet is actually Earth must be raised¹.

On the other hand, there is the matter that Felix Gaeta did match the various constellations when the fleet first arrived into orbit of this ruined planet. Initially, I remarked that “it would be very nearly impossible to find another point in the galaxy in which all those stars appeared to align in just that way.” However, in making that statement, I forgot to take three things into account, which I was reminded of when I read this article at The Science of Battlestar Galactica:

1. How accurate were the images of the constellations that Gaeta was working from?
2. How many of the constellations were visible to Gaeta when he made his checks (e.g. were any of them occluded by the planet or the system’s Sun)?
3. Is it actually impossible that the stars might not line up in more or less the same manner from some other point?

The answer to the third question has actually already been given to us in a subtle way by BSG’s producers: the constellation Orion appears, more or less properly configured, in the episode The Ties that Bind, in the backdrop of the ambush on the rebel basestars by the pro-Raider-lobotomy Cylon faction. Surely the Cylons would have noticed whether or not there was a habitable world in reasonably close proximity to the location of said fracas?

Of course, one constellation lining up could just be a coincidence — in theory, so long as the Cylons were on a more or less straight-line path between Earth and the approximate middle of Orion’s shape, the alignment of the stars would remain the same — one would expect to see the constellation get “larger” in one’s view, perhaps, and one might also reasonably expect to note changes in the apparent brightness of the various stars themselves. The shape of the cons