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neutron_p writes "An eclectic group of artists and scientists that organizers have dubbed the "dream team" of imaging and visualization are gathered at New York University this week to begin to create a photographic system capable of capturing and displaying a gigapixel of visual information in a single image. The first Big Picture Summit, Dec. 8 and 9, is organized by artist-photographer Clifford Ross. Ross says his goal is to bring closer to reality his desire to create a "you are there" photographic experience for those who have not personally witnessed the sublime beauty of natural scenes such as Mt. Sopris in Colorado."

We passed on your questions to Tycho and Gabe of Penny Arcade a while back, and today we have their answers. Tycho primarily answered the questions with consultation from Gabe and discusses the PA comic creation process, their views on the industry, and the possibility of an animated Penny Arcade venture. As usual, they do so with wit and verve: "I am not an industry analyst, so I dont feel like I'm qualified to talk about ebb and flow of hojillion dollar industries. However, it is easy to imagine a universe where small developers don't huddle in blasted out wreckage, waiting to be vivisected by the the next wave of EA Scion-class sawbots." Read on to check out their responses.

1.) Tools by cbrocious

My question is very simple: What tools do you use (both physical and digital) to create your comics?

I'm a long-time reader and have always wondered :)

Tycho:
He uses a pencil and paper for starters, and once he's scanned that in he does all the finishing work with Photoshop 6.1 and a massive 12x24 Wacom Intuos.

2.) Your Job by JediLuke

How much of your personal life does Penny-Arcade consume? On that note, great job, I love your strip.

Tycho:
Thank you for saying so. It is hard to know, actually, where to draw the line between our personal lives and Penny Arcade. The scripts come from our normal conversations. You knew almost to the moment when Gabriel was born. The site is virtually our diary, so I'm hard pressed to determine what corner of my life it hasn't yet been dominated by.

3.) First gaming webcomic by genessy

Was Penny Arcade the first, regularly produced gaming webcomic? I read approximately 20 webcomics on a daily basis, and many of them are dedicated to gaming humor or frustration. Were you guys the first, and if so or if not, who or what inspired you?

Tycho:
No, I don't believe so - in terms of a gaming focus, that honor goes to Scott Kurtz of PvP, by five or so months. We didn't know about him when we started, but we did know about Iliad from User Friendly who covered games from time to time, typically Quake. As for inspiration, we've always made little comics, but never considered doing them in strip form until we entered an online contest that Next Generation Online (now defunct) was holding. I can honestly say that if we had not entered that contest, there would be no Penny Arcade. It never would have occurred to us.

4.) Question Two by dgrgich

A question for both of you: Name the console and three of its games that you would take to that mythical desert isle.

Tycho:
Gabe suggests that a Playstation2 would suffice, with Disgaea, Phantom Brave, and Rez. If he had Internet access, and I submitted that this island might have some kind of satellite uplink, he would gladly bring along an Xbox, with the local staples Halo 2, Pandora Tomorrow, and Links for good measure.

Consoles are, in general terms, not my bag. I have come to enjoy them but they are not my preference, but I will answer the spirit of your question. It is clear to me that I would bring along a custom PC, with System Shock 2, Missionforce: Cyberstorm, and (this is a recent addition) World of Warcraft. That is, of course, provided their game begins to work properly.

5.) Gabe and Tycho: by mcc

Just curious: Are there any webcomics you read?

Tycho:
Sure. Gabe reads Kazu's Copper, Machall, and PvP regularly. I cast a fairly wide net, but the strips I read whenever they are updated include Boy On A Stick And Slither (which I crave beyond reason), PvP, Shaw Island, 8-bit Theatre, Machall, Wigu, Deisel Sweeties, Creatures In My Head, Scary Go Round, Exploding Dog, Goats, Ctrl-Alt-Del, and VGCats.

6.) Domesitification ... by SuperRob

Jerry's bought a house, Mike's had a baby boy. How has becoming bona-fide adults changed your lives, and do you find your priorities changing away from drawing comics and playing games.

Bonus Question: What advice would you give to geeks looking to in some way ensare geek grrls?

Tycho:
We are lucky enough to have really unorthodox jobs. Drawing comics and playing videogames is what we do for a living. It is an odd loophole, I admit, but if I don't play Half-Life 2 or whatever I'm actually slacking off.

As regards the laydays, Gabriel suggests the most important thing is that you simply be yourself, unless you are poor. Then, try to be someone who is richer and better looking, because you are kind of ugly. I am only only speaking for myself, but I have had good success with traps.

7.) Halo and Bungie by SilentChris

You guys absolutely roasted the original Halo, then gradually grew to like it. You've said you've met with Bungie since then. Were the meetings amicable?

Tycho:
It's important to note that what we came to like was the multiplayer mode, and the console LAN party culture it fostered, but yes - we did come around. As for the guys at Bungie, they have never been anything but nice to us, which always makes me feel bad.

8.) Collaboration... by kayser_soze

How far does the collaboration between you two go?

Does Tycho usually come up with the text/idea for the comic, then Gabe does the art as a separate process or is it more of a collaborative venture?

Tycho:
It's the collaborative venture you suggested there at the end, for the comic at least. They are written first, in a tag-team manner suggestive of the WWE, and then the art is created. For longer form projects, the full page stuff we've done for PA Presents, I handle the writing itself almost completely - but that's only after we've both come up with what happens on a page, and he has given me a light sketch of the events we've agreed on for me to write to.

9.) Rise of the Megapublishers by CarrionBird

Do you think that the industry is doomed to be under the thumb of less than a handful of publishers, buying up every promising studio?(and keeping the cost of promotion so high that small guys could never keep up)

Or is there a chance for a new wave if independent developers breaking free from the EAs of the world?

Tycho:
I am not an industry analyst, so I dont feel like I'm qualified to talk about ebb and flow of hojillion dollar industries. However, it is easy to imagine a universe where small developers don't huddle in blasted out wreckage, waiting to be vivisected by the the next wave of EA Scion-class sawbots. None what I'm about to say applies to closed platforms, consoles and so forth, where the relationship between the developer, the product, and the platform locked to varying degrees.

If you are not already familiar with Garage Games, Totalgaming.net, and of course Valve's Steam, I can understand why you might feel dread. As for the costs of promotion, I'm confident that community sites like this one can recognize quality and deliver shrewd gamers unto products missed by larger sites or publications. I'm very curious to see if, for example, the Steam platform gives rise to a number of retail quality mods for cheap. We'll see how it goes.

10.) Favourite comic? by ecliptik

Out of all the comics you've done, which one is your all time top favourite, and why?

Tycho:
Gabriel has suggested to me that his current favorite is Mr. Period Returns, where Mr. Period and his Bad Boys of Punctuation resolve issues in a collected, helpful manner. It often changes for me, typically I say Red and Blue in: We Deliver to deflect the question. Honestly, I just went into the archives looking for my favorite comic and I was stuck there for like forty-five minutes. The last strip we did is usually our favorite one.

11.) Life outside of games by hng_rval

How do you spend your free time outside of gaming?

Tycho:
I guess we don't understand the question.

And on that note, what do you and your spouses do for fun (outside of the apartment)?

Tycho:
Gabe and Kara don't really leave the apartment. They do escape from time to time to see a movie, but he just suggested that a fire might also make them leave. I typically accompany Brenna to interesting cultural events, like shows and plays, that are very interesting and cultural.

12.) Do you feel the pressure to self-censor? by Drunken_Jackass

As you get older and as PA's popularity increases to more of a mainstream level (thanks to the great job you did on last year's Childplay), are you starting to feel the pressures of self-censorship? I mean, how many news anchors could reference the good work you do with Childsplay without giving a Within that site, there be fruitfuckers warning?

Are you becoming too popular to maintain your riske side?

Tycho:
Not censoring ourselves is what made us popular, so locking up our most depraved ideas hardly seems like a recipe for success. The question itself implies that we are monitoring some kind of meter that determines how mainstream we have become, and can altering the mix of ideas to match our audience. You're giving us way too much credit.

The Child's Play thing is an issue, though it's more an issue for Child's Play itself than it is for Penny Arcade. I think about this a lot. Is it proper that a site like Penny Arcade should host or operate a charitable organization? I'll tell you where the thinking usually leads me: Maybe not, but that doesn't absolve us of our social responsibility.

13.) Difficulty of making a living via online comics? by Zeddicus_Z

Guys,

At the last SAGE-AU [sage-au.org.au] conference in Brisbane we had J.D. Frazer (Illiad) as guest of honor.

At dinner J.D. spoke of the difficulties he faced in the early years attempting to make a living from comics - the insanely difficult process of being sydicated into newspapers, working out a revenue model for a web-based comic when he realised syndication was too restrictive, and generally attempting to make a living doing something he loved.

With PA and UF being roughly as popular as each other these days and thus (hopefully!) both providing decent incomes, I'd like to hear how you guys coped with the early years and how you faced some of what seem to be the common difficulties such as the syndication process, creating a viable revenue model and dealing with early set backs.

Tycho:
Well, we walked different paths somewhat, and that should be firmly delineated. One of the few things we have in common with J.D. is that we both upload images to webservers. Gabe and I have never sought syndication as an end or a means to it. Don't forget that Illiad also made Userfriendly a public company at one point - try to imagine buying stock in Penny Arcade. The mind reels.

The main thing we share, and this is something that we have in common with all cartoonists making a living on the web, is that we keep at it until we find something that works, and when that stops working - and it will - we try something else. We don't confuse that business model with our creative work, imagining that its failure has revealed some desperate flaw in ourselves.

Over the course of six years, we have cycled through nearly every sequence the tumbler can produce. The first year and a half, we worked regular jobs until it could support one, and then both of us. We've done advertising, outside projects, joined a content aggregator for a percentage of the revenue, supported the site solely on donations, eventually moved to the quid pro quo, donations-for-gifts method that is fairly commonplace now, went hybrid with donation gifts and very limited advertising (no more than two per month), and finally stabilized on advertising alone. We've gone back and forth from doing our own merchandise to having someone else do it a two or three times, trying to find the right balance.

14.) Strawberry Shortcake by Anonymous Coward

A little while back, PA had a run-in with American Greetings over the use of the copyrighted and trademarked likeness of Strawberry Shortcake in what was obviously a (protected) work of parody.

American Greetings got called Nazis, but American McGee's Strawberry Shortcake is still missing from the PA archives.

What are the reprecussions of the Strawberry Shortcake debacle? If you had it to do over again, either the strip, or your interactions with American Greetings, would you have done anything different?

Tycho:
I think we made the best decision that we could have, and in retrospect I haven't gained any wisdom on the subject that leads me to believe we erred in judgement. We got the best advice we could from places like the Comic Book Legal Defense Fund, and the final analysis was that we weren't absolutely, one-hundred percent in the right. We could have been a good deal more feisty legally, but we're still in court over something that happened five years ago and I think we were hesitant to open up another front when the first one was already as much as we could afford.

I think I would be much more unhappy about the situation if people didn't have access to the comic, if they wanted to find it - it's not difficult to type strawberry shortcake penny arcade and have it revealed in all its sensual splendor. In fact, and I think I've said as much, I almost prefer that there is this hole in the archive where a comic should be. If the strip was just there, I think it would have been forgotten by now - you wouldn't be asking me about it. As it stands, virtually every time I'm asked to speak to people the Strawberry Shortcake Issue comes up, which keeps the notion that corporations overreach in these matters front and center.

Update: 11/30 19:09 GMT by Z : Tycho sent this in to answer some questions brought up in comments -

The "ongoing legal battle," and it's still with us, is over the book we printed a few years ago. People often ask us why we haven't produced another book, and there's people who don't know about the first one. Our publisher never paid us for the first book, and then told us the second book had to be in black and white, and we'd better start writing it for them if we ever wanted to get paid. Obviously, we did no such thing, but since they own the print rights we can't make books for ourselves either. Hopefully it's something that can get worked out in arbitration here in a few months.

15.) Question for Tycho by Captain Splendid

Despite the fact that you've mentioned a few times that your aspirations don't go much beyond PA, is there any chance your unique writing style may be found elsewhere in the future? Is that even a remote consideration for you?

On a related note, what kind of offers have you received from mainstream (and not-so-mainstream) publications?

Tycho:
Not having aspirations to write outside my comfortable context is sort of my cover story, I'm afraid. I shudder to think how the things I write would be perceived outside of my own comfortable context. Even inside what I consider my own community, there is considerable disagreement about whether my output has merit. So there you go.

I've been offered this and that every now and again, but I'm not unsatisfied with my life or the way I spend my time, so I'd usually rather reserve my energies for Penny Arcade. Offers to write for gaming blogs, do community management, editorials in magazines that cover games, review sites and the like make up the bulk of such offers. I'm very lucky, which is another way of saying our readers are good to us, but neither of us needs to take work that we aren't genuinely interested in.

16.) An Animated Penny Arcade by Altima(BoB)

Have you ever considered trying an animated form of Penny Arcade? It seems that your brand of humor makes particular use of precise timing, and while you tend to be successful at conveying that through comic strip panels, the formula could translate to animation quite well.

Tycho:
When we're writing a comic, we will often become too elaborate than we can reasonably achieve with three panels. Sometimes, we try to make it fit - but more often than not, we say That's One For The Animated Series, which is to say that it would be well served by the properties of that medium. We have been approached on multiple occasions to do just this sort of thing. In fact, there is something percolating even as we speak.

Daniel Shefer writes "Joel on Software is a collection of essays from the Joel Spolsky's Joel on Software web log. Spolsky is also the author of User Interface Design for Programmers (previously reviewed on Slashdot) and is the principal of Fog Creek Software. In this book, Spolsky distills his technical knowledge, wit, and years of experience into an engaging collection of essays on programmers, programming and the software world. Spolsky covers everything from the technical aspects of writing code to software project management, and even offers insights into software marketing." Read on for the rest of Shefer's review. Joel On Software author Joel Spolsky pages 362 publisher Apress rating 9.5 reviewer Daniel Shefer ISBN 1590593898 summary Great insights into programming, software in general and how to do it right.

The essays in this book are even-handed. While he focuses on Windows, Spolsky is not a fanatic believer in one approach over another; if C# works better than Visual Basic for a specific task, so be it. His approach is refreshing when so much is written by opinionated members of the "Microsoft is the source of all evil" camp.

Spolsky starts with down-to-earth topics, such as how to estimate the length of time programming tasks will require, and the ratio of QA people to developers needed for a healthy product. He then moves on to share his thoughts on managing developers and higher-level software-related issues.

One of the book's opening salvos, "the Joel Test for Better Code," is a simple "irresponsible" test that Spolsky created to provide insight into how well a development organization is functioning. The test looks for things like using source-code control, and having testers create daily builds with a single click of a button. As someone who has worked companies that would have failed the "Joel Test" miserably, I can attest to the importance of these criteria.

The chapter on Unicode is a short and to-the-point overview on the topic and should be required reading for any software developer and product manager who wants an introduction to Unicode.

Clean and bug-free code is a common thread in several essays in the first part of the book. Spolsky explains the inappropriateness of developers performing QA and stresses the need to "eat your own dog food." Having developers conduct testing is a waste of resources and upsets them just the same; forcing developers to use their own product will motivate them to create a better one.

In "Fire and Motion," Spolsky takes issue with the "architect astronauts" who generate vague technology announcements that are often counterproductive by creating fear, uncertainty and doubt. While these announcements may drive competitors to waste cycles in converting their code base to the latest technology, they offer no real substance. Misguided companies, mesmerized by the promise of new technologies or by demands from numskull customers, can sap years of developer time when product improvement should have taken precedence.

In "Biculturalism," Spolsky dispassionately discusses the differences in world view between Windows and UNIX programmers. Spolsky probably rankled some UNIX fans, but I share his perspective. Spolsky points out that UNIX developers are just as smart as Windows developers, but when it comes to understanding their end users and having empathy for customers, they tend to fall short.

The "Gorilla Guide to Interviewing" is relevant to all hiring managers. Spolsky describes some of the traits of his ideal hires. Those who, in one sentence, are both smart and "get things done." Spolsky believes in hiring people that can perform multiple roles. Spolsky believes in making a "sharp" decision about the candidate, and finds insulting that a hiring manager would not find the interviewee good enough for his own team but would refer him to another team. Spolsky shares one of his hiring secrets: never hire a "maybe." This might seem obvious, but he details why it's better to reject a good candidate than to hire a bad one. Firing can cost a lot of money, time and effort. Additionally, Spolsky suggests questions to ask during an interview and the necessary "what not to ask."

The "Iceberg Secret Revealed" discusses the manner in which customers express their pain, and points out that customers often don't really know what they want. It is the product manager's job to find a solution that will solve their customer's pain while keeping an eye on the market she is addressing. Just listening to customers without proper filters, is as Spolsky points out, a recipe for disaster. And the Iceberg Secret? Spolsky illustrates in five different ways how customers and stakeholders only look at the tip of the iceberg, and not at the substance beneath it.

In one of the shorter chapters, a missive on measurement, Spolsky addresses the prickly issue of measuring performance in companies. In addition to his own insights on measuring performance, he recommends Measuring and Managing Performance in Organizations by Robert Austin. I will add that to my reading list.

Spolsky wrote an introduction to In Search of Stupidity . He offers there the "geek's" perspective on what it takes to make a successful software company, taking as a starting point the ten largest software companies in 1984 and the equivalent list of 2001. His conclusion is that "no software company can succeed unless a programmer is at the helm." With his usual even handedness, he is quick to point out some of the debacles programmers are responsible for. In the example he gives, Netscape's disastrous rewriting of their code base and almost complete loss of market share while they were doing it. His bottom line? To succeed, a company needs a management team that love and thoroughly understand programming and understand and love business. Not as easy as it sounds.

In his five "Strategy Letters," Spolsky writes about issues that are relevant to anyone making strategic business decisions in the software industry. He starts with company growth modes by comparing Ben & Jerry's to Amazon. He then discusses the classic "Chicken and the Egg" problem when building new platforms. His example is still relevant -- few will develop .NET-based clients until a large number of end users have the .NET engine installed on their PCs and end users will not install it until there are enough applications that require it. Spolsky moves on to discuss backward compatibility, open source economics and the myth of bloatware.

Spolsky points out that despite the growing size of applications, the cost of disk space has plummeted even faster. This may be true, but Spolsky does not address the programs' resulting sluggishness despite more and more processing power. Spolsky wraps up the essay by dismissing the notion of coming out with a "lite" version for a given software product. I agree that lite versions do not always satisfy everyone, but they can be a great way to keep out low-end competitors from entering the market in addition to a way to introduce customers to the high-end product.

The chapter about Microsoft losing the API war is a classic. Spolsky starts with the seemingly outlandish assertion that Microsoft lost the API war. After apologizing for his "grandiloquence and pomposity," he goes on to build a convincing case that if Microsoft has in fact not lost the war, they are definitely in danger of doing so. He starts with the diminishing interest in the Windows API as a development platform. He then describes how two camps inside Microsoft (the "Raymond Chen" and the "MSDN Magazine" groups) are influencing Microsoft's approach to their developers' tools. The former group emphasizes creating a backward-compatible operating system, free of bugs and impervious to third-party applications' errors that can harm it. On the other hand is the MSDN group, promoting the latest and greatest Microsoft has to offer. As Spolsky sees it, the latter group has the upper hand, and because of this, Microsoft is losing their developer base to simpler, more easily deployed platforms.

In part 4 of the book, Spolsky takes on Microsoft's .NET strategy. He describes Microsoft's tendency to create FUD in the marketplace with vague, hollow statements, and details his own company's reasons for not adopting .NET anytime soon. Spolsky wraps up with a very straightforward feature request: a linker for .NET. This would seem to be an obvious feature, but Microsoft so far doesn't agree. Microsoft is acting as though they want to win the development platform war in a single sweep. At the same time, independent software vendors (ISVs) are resisting, because they have to guarantee backward compatibility and support for everything their customers run.

My only complaint about the book is that it's too short. On my bookshelf, it resides next to the Mythical Man Month, another favorite.

Spolsky is knowledgeable, funny and free of unnecessary religious fervor. Joel on Software is a must-read for developers, product managers and those who want more insight into the world of developing software.

Daniel Shefer is a Software Product Management professional and has written numerous articles on this topic. You can purchase Joel on Software from bn.com. Slashdot welcomes readers' book reviews -- to see your own review here, read the book review guidelines, then visit the submission page.

Tuxedo Jack writes "eWeek reports that the anti-spyware vendor Aluria Software has partnered with WhenU of 'WhenUSave' and 'SaveNow' infamy. They've removed WhenU from their spyware/malware definition lists, certified their applications as safe, and they deny that money was involved. As a result, SpywareInfo and many other anti-spyware sites are delisting Aluria's 'Spyware Eliminator' from their lists of preferred software. Is this a dangerous trend for anti-spyware? Or are we just witnessing a natural evolution? I sure hope it's neither - I like my Windows boxes junkware-free, thanks (oxymoron noted)."

13.7BillionYears writes "NewScientist reports that TDK has developed a transparent polymer for LCD screens and optical media that is impervious to general neglect and abuse. Quoth the reporter, 'In one of the most convincing technology demonstrations this reporter has witnessed, I was handed a CD, a wire-wool pan scourer and some permanent marker pens, and invited to scratch or mark the discs. Hard as I tried, I could not make a single mark on the disc with the scourer. And the ink simply wiped off.' The coating is apparently responsible for Blu-Ray's new caddy-less form factor."

There is nothing better than a Slashdot interview with someone who not only reads and understands Slashdot but can out-troll the trolls. Admittedly, the questions you asked Neal Stephenson were great in their own right, but his answers... Wow! let's just say that this guy shows how it's done. 1) right to keep and bear code - by arashiakari

Do you think that hacking tools should be protected (in the United States) under the second amendment?

Neal:

Such is the intensity of issues like this that I can't tell whether this is a troll. I'm going to assume it's not, and answer the question seriously.

I'm no constitutional scholar but I'm pretty sure that the Founding Fathers were thinking of flintlocks, not perl scripts, when they wrote the Second Amendment. Now you can dispute that and say "No, anything that enables citizens to defend themselves against an oppressive government is covered by the Second Amendment." There might be something to such an argument. But pragmatically, the question is whether you can get nine (or at least five) non-hacker Supreme Court Justices to see it that way. I suspect the answer is no. It's just too easy for them to say "it is not a weapon." To me it seems a lot easier simply to invoke the First Amendment.

Also, remember that there might be unwanted side effects to classifying code as weapons. In the U.S., where the right to bear certain weapons is written into the Constitution, it might seem like a clever way to secure access to such code. But authorities in other countries might say "look, even the U.S. Government defines this string of bits as a weapon---so we are going to outlaw it."

It's difficult to form an intelligent opinion on issues like this without doing a lot of work. One has to learn a lot about the issues and then think about them pretty hard. I haven't really done so, and so I'm inclined to trust people who have, like Matt Blaze. At crypto.com he has posted some interesting material that is germane to this topic.

See http://www.crypto.com/masterkey.html

and especially

http://www.crypto.com/hobbs.html

To make a long argument short, what I have learned from Matt's writings on the topic is that (1) it's not a new issue, (2) it's a First Amendment issue, and (3) it's best in the long run, for all concerned, if vulnerabilities are exposed in public.

2) The lack of respect... - by MosesJones

Science Fiction is normally relegated to the specialist publications rather than having reviews in the main stream press. Seen as "fringe" and a bit sad its seldom reviewed with anything more than condescension by the "quality" press.

Does it bother you that people like Jeffery Archer or Jackie Collins seem to get more respect for their writing than you ?

Neal:

OUCH!

(removes mirrorshades, wipes tears, blows nose, composes self)

Let me just come at this one from sort of a big picture point of view.

(the sound of a million Slashdot readers hitting the "back" button...)

First of all, I don't think that the condescending "quality" press look too kindly on Jackie Collins and Jeffrey Archer. So I disagree with the premise of the last sentence of this question and I'm not going to address it. Instead I'm going to answer what I think MosesJones is really getting at, which is why SF and other genre and popular writers don't seem to get a lot of respect from the literary world.

To set it up, a brief anecdote: a while back, I went to a writers' conference. I was making chitchat with another writer, a critically acclaimed literary novelist who taught at a university. She had never heard of me. After we'd exchanged a bit of of small talk, she asked me "And where do you teach?" just as naturally as one Slashdotter would ask another "And which distro do you use?"

I was taken aback. "I don't teach anywhere," I said.

Her turn to be taken aback. "Then what do you do?"

"I'm...a writer," I said. Which admittedly was a stupid thing to say, since she already knew that.

"Yes, but what do you do?"

I couldn't think of how to answer the question---I'd already answered it!

"You can't make a living out of being a writer, so how do you make money?" she tried.

"From...being a writer," I stammered.

At this point she finally got it, and her whole affect changed. She wasn't snobbish about it. But it was obvious that, in her mind, the sort of writer who actually made a living from it was an entirely different creature from the sort she generally associated with.

And once I got over the excruciating awkwardness of this conversation, I began to think she was right in thinking so. One way to classify artists is by to whom they are accountable.

The great artists of the Italian Renaissance were accountable to wealthy entities who became their patrons or gave them commissions. In many cases there was no other way to arrange it. There is only one Sistine Chapel. Not just anyone could walk in and start daubing paint on the ceiling. Someone had to be the gatekeeper---to hire an artist and give him a set of more or less restrictive limits within which he was allowed to be creative. So the artist was, in the end, accountable to the Church. The Church's goal was to build a magnificent structure that would stand there forever and provide inspiration to the Christians who walked into it, and they had to make sure that Michelangelo would carry out his work accordingly.

Similar arrangements were made by writers. After Dante was banished from Florence he found a patron in the Prince of Verona, for example. And if you look at many old books of the Baroque period you find the opening pages filled with florid expressions of gratitude from the authors to their patrons. It's the same as in a modern book when it says "this work was supported by a grant from the XYZ Foundation."

Nowadays we have different ways of supporting artists. Some painters, for example, make a living selling their work to wealthy collectors. In other cases, musicians or artists will find appointments at universities or other cultural institutions. But in both such cases there is a kind of accountability at work.

A wealthy art collector who pays a lot of money for a painting does not like to see his money evaporate. He wants to feel some confidence that if he or an heir decides to sell the painting later, they'll be able to get an amount of money that is at least in the same ballpark. But that price is going to be set by the market---it depends on the perceived value of the painting in the art world. And that in turn is a function of how the artist is esteemed by critics and by other collectors. So art criticism does two things at once: it's culture, but it's also economics.

There is also a kind of accountability in the case of, say, a composer who has a faculty job at a university. The trustees of the university have got a fiduciary responsibility not to throw away money. It's not the same as hiring a laborer in factory, whose output can be easily reduced to dollars and cents. Rather, the trustees have to justify the composer's salary by pointing to intangibles. And one of those intangibles is the degree of respect accorded that composer by critics, musicians, and other experts in the field: how often his works are performed by symphony orchestras, for example.

Accountability in the writing profession has been bifurcated for many centuries. I already mentioned that Dante and other writers were supported by patrons at least as far back as the Renaissance. But I doubt that Beowulf was written on commission. Probably there was a collection of legends and tales that had been passed along in an oral tradition---which is just a fancy way of saying that lots of people liked those stories and wanted to hear them told. And at some point perhaps there was an especially well-liked storyteller who pulled a few such tales together and fashioned them into the what we now know as Beowulf. Maybe there was a king or other wealthy patron who then caused the tale to be written down by a scribe. But I doubt it was created at the behest of a king. It was created at the behest of lots and lots of intoxicated Frisians sitting around the fire wanting to hear a yarn. And there was no grand purpose behind its creation, as there was with the painting of the Sistine Chapel.

The novel is a very new form of art. It was unthinkable until the invention of printing and impractical until a significant fraction of the population became literate. But when the conditions were right, it suddenly became huge. The great serialized novelists of the 19th Century were like rock stars or movie stars. The printing press and the apparatus of publishing had given these creators a means to bypass traditional arbiters and gatekeepers of culture and connect directly to a mass audience. And the economics worked out such that they didn't need to land a commission or find a patron in order to put bread on the table. The creators of those novels were therefore able to have a connection with a mass audience and a livelihood fundamentally different from other types of artists.

Nowadays, rock stars and movie stars are making all the money. But the publishing industry still works for some lucky novelists who find a way to establish a connection with a readership sufficiently large to put bread on their tables. It's conventional to refer to these as "commercial" novelists, but I hate that term, so I'm going to call them Beowulf writers.

But this is not true for a great many other writers who are every bit as talented and worthy of finding readers. And so, in addition, we have got an alternate system that makes it possible for those writers to pursue their careers and make their voices heard. Just as Renaissance princes supported writers like Dante because they felt it was the right thing to do, there are many affluent persons in modern society who, by making donations to cultural institutions like universities, support all sorts of artists, including writers. Usually they are called "literary" as opposed to "commercial" but I hate that term too, so I'm going to call them Dante writers. And this is what I mean when I speak of a bifurcated system.

Like all tricks for dividing people into two groups, this is simplistic, and needs to be taken with a grain of salt. But there is a cultural difference between these two types of writers, rooted in to whom they are accountable, and it explains what MosesJones is complaining about. Beowulf writers and Dante writers appear to have the same job, but in fact there is a quite radical difference between them---hence the odd conversation that I had with my fellow author at the writer's conference. Because she'd never heard of me, she made the quite reasonable assumption that I was a Dante writer---one so new or obscure that she'd never seen me mentioned in a journal of literary criticism, and never bumped into me at a conference. Therefore, I couldn't be making any money at it. Therefore, I was most likely teaching somewhere. All perfectly logical. In order to set her straight, I had to let her know that the reason she'd never heard of me was because I was famous.

All of this places someone like me in critical limbo. As everyone knows, there are literary critics, and journals that publish their work, and I imagine they have the same dual role as art critics. That is, they are engaging in intellectual discourse for its own sake. But they are also performing an economic function by making judgments. These judgments, taken collectively, eventually determine who's deemed worthy of receiving fellowships, teaching appointments, etc.

The relationship between that critical apparatus and Beowulf writers is famously awkward and leads to all sorts of peculiar misunderstandings. Occasionally I'll take a hit from a critic for being somehow arrogant or egomaniacal, which is difficult to understand from my point of view sitting here and just trying to write about whatever I find interesting. To begin with, it's not clear why they think I'm any more arrogant than anyone else who writes a book and actually expects that someone's going to read it. Secondly, I don't understand why they think that this is relevant enough to rate mention in a review. After all, if I'm going to eat at a restaurant, I don't care about the chef's personality flaws---I just want to eat good food. I was slagged for entitling my latest book "The System of the World" by one critic who found that title arrogant. That criticism is simply wrong; the critic has completely misunderstood why I chose that title. Why on earth would anyone think it was arrogant? Well, on the Dante side of the bifurcation it's implicit that authority comes from the top down, and you need to get in the habit of deferring to people who are older and grander than you. In that world, apparently one must never select a grand-sounding title for one's book until one has reached Nobel Prize status. But on my side, if I'm trying to write a book about a bunch of historical figures who were consciously trying to understand and invent the System of the World, then this is an obvious choice for the title of the book. The same argument, I believe, explains why the accusation of having a big ego is considered relevant for inclusion in a book review. Considering the economic function of these reviews (explained above) it is worth pointing out which writers are and are not suited for participating in the somewhat hierarchical and political community of Dante writers. Egomaniacs would only create trouble.

Mind you, much of the authority and seniority in that world is benevolent, or at least well-intentioned. If you are trying to become a writer by taking expensive classes in that subject, you want your teacher to know more about it than you and to behave like a teacher. And so you might hear advice along the lines of "I don't think you're ready to tackle Y yet, you need to spend a few more years honing your skills with X" and the like. All perfectly reasonable. But people on the Beowulf side may never have taken a writing class in their life. They just tend to lunge at whatever looks interesting to them, write whatever they please, and let the chips fall where they may. So we may seem not merely arrogant, but completely unhinged. It reminds me somewhat of the split between Christians and Faeries depicted in Susannah Clarke's wonderful book "Jonathan Strange and Mr. Norrell." The faeries do whatever they want and strike the Christians (humans) as ludicrously irresponsible and "barely sane." They don't seem to deserve or appreciate their freedom.

Later at the writer's conference, I introduced myself to someone who was responsible for organizing it, and she looked at me keenly and said, "Ah, yes, you're the one who's going to bring in our males 18-32." And sure enough, when we got to the venue, there were the males 18-32, looking quite out of place compared to the baseline lit-festival crowd. They stood at long lines at the microphones and asked me one question after another while ignoring the Dante writers sitting at the table with me. Some of the males 18-32 were so out of place that they seemed to have warped in from the Land of Faerie, and had the organizers wondering whether they should summon the police. But in the end they were more or less reasonable people who just wanted to talk about books and were as mystified by the literary people as the literary people were by them.

In the same vein, I just got back from the National Book Festival on the Capitol Mall in D.C., where I crossed paths for a few minutes with Neil Gaiman. This was another event in which Beowulf writers and Dante writers were all mixed together. The organizers had queues set up in front of signing tables. Neil had mentioned on his blog that he was going to be there, and so hundreds, maybe thousands of his readers had showed up there as early as 5:30 a.m. to get stuff signed. The organizers simply had not anticipated this and so---very much to their credit---they had to make all sorts of last-minute rearrangements to accomodate the crowd. Neil spent many hours signing. As he says on his blog

http://www.neilgaiman.com/journal/journal.asp

the Washington Post later said he did this because he was a "savvy businessman." Of course Neil was actually doing it to be polite; but even simple politeness to one's fans can seem grasping and cynical when viewed from the other side.

Because of such reactions, I know that certain people are going to read this screed as further evidence that I have a big head. But let me make at least a token effort to deflect this by stipulating that the system I am describing here IS NOT FAIR and that IT MAKES NO SENSE and that I don't deserve to have the freedom that is accorded a Beowulf writer when many talented and excellent writers---some of them good friends of mine---end up selling small numbers of books and having to cultivate grants, fellowships, faculty appointments, etc.

Anyway, most Beowulf writing is ignored by the critical apparatus or lightly made fun of when it's noticed at all. Literary critics know perfectly well that nothing they say is likely to have much effect on sales. Let's face it, when Neil Gaiman publishes Anansi Boys, all of his readers are going to know about it through his site and most of them are going to buy it and none of them is likely to see a review in the New York Review of Books, or care what that review says.

So what of MosesJones's original question, which was entitled "The lack of respect?" My answer is that I don't pay that much notice to these things because I am aware at some level that I am on one side of the bifurcation and most literary critics are on the other, and we simply are not that relevant to each other's lives and careers.

What is most interesting to me is when people make efforts to "route around" the apparatus of literary criticism and publish their thoughts about books in place where you wouldn't normally look for book reviews. For example, a year ago there was a piece by Edward Rothstein in the New York Times about Quicksilver that appears to have been a sort of wildcat review. He just got interested in the book and decided to write about it, independent of the New York Times's normal book-reviewing apparatus. It is not the first time such a thing has happened with one of my books.

It has happened many times in history that new systems will come along and, instead of obliterating the old, will surround and encapsulate them and work in symbiosis with them but otherwise pretty much leave them alone (think mitochondria) and sometimes I get the feeling that something similar is happening with these two literary worlds. The fact that we are having a discussion like this one on a forum such as Slashdot is Exhibit A.

3) Singularity - by randalx

What are your thoughts on Vernor Vinge's Singularity prediction. Is it inevitable? Will humans become a part of it or be left behind by this new "species"?

Neal:

I can never get past the structural similarities between the singularity prediction and the apocalypse of St. John the Divine. This is not the place to parse it out, but the key thing they have in common is the idea of a rapture, in which some chosen humans will be taken up and made one with the infinite while others will be left behind.

I know Vernor. To know him is to respect him. He kicked my ass (as well as J. K. Rowling's and Greg Bear's and a few other people's) at the 2000 Hugo Awards, and on top of that he knows more physics than I ever will. So I don't for a moment think that he is peddling any such ideas with his prediction of a singularity. I am only telling you why I have a personal mental block as far as the Singularity prediction is concerned.

My thoughts are more in line with those of Jaron Lanier, who points out that while hardware might be getting faster all the time, software is shit (I am paraphrasing his argument). And without software to do something useful with all that hardware, the hardware's nothing more than a really complicated space heater.

4) Who would win? (Score:5, Funny) - by Call Me Black Cloud

In a fight between you and William Gibson, who would win?

Neal:

You don't have to settle for mere idle speculation. Let me tell you how it came out on the three occasions when we did fight.

The first time was a year or two after SNOW CRASH came out. I was doing a reading/signing at White Dwarf Books in Vancouver. Gibson stopped by to say hello and extended his hand as if to shake. But I remembered something Bruce Sterling had told me. For, at the time, Sterling and I had formed a pact to fight Gibson. Gibson had been regrown in a vat from scraps of DNA after Sterling had crashed an LNG tanker into Gibson's Stealth pleasure barge in the Straits of Juan de Fuca. During the regeneration process, telescoping Carbonite stilettos had been incorporated into Gibson's arms. Remembering this in the nick of time, I grabbed the signing table and flipped it up between us. Of course the Carbonite stilettos pierced it as if it were cork board, but this spoiled his aim long enough for me to whip my wakizashi out from between my shoulder blades and swing at his head. He deflected the blow with a force blast that sprained my wrist. The falling table knocked over a space heater and set fire to the store. Everyone else fled. Gibson and I dueled among blazing stacks of books for a while. Slowly I gained the upper hand, for, on defense, his Praying Mantis style was no match for my Flying Cloud technique. But I lost him behind a cloud of smoke. Then I had to get out of the place. The streets were crowded with his black-suited minions and I had to turn into a swarm of locusts and fly back to Seattle.

The second time was a few years later when Gibson came through Seattle on his IDORU tour. Between doing some drive-by signings at local bookstores, he came and devastated my quarter of the city. I had been in a trance for seven days and seven nights and was unaware of these goings-on, but he came to me in a vision and taunted me, and left a message on my cellphone. That evening he was doing a reading at Kane Hall on the University of Washington campus. Swathed in black, I climbed to the top of the hall, mesmerized his snipers, sliced a hole in the roof using a plasma cutter, let myself into the catwalks above the stage, and then leapt down upon him from forty feet above. But I had forgotten that he had once studied in the same monastery as I, and knew all of my techniques. He rolled away at the last moment. I struck only the lectern, smashing it to kindling. Snatching up one jagged shard of oak I adopted the Mountain Tiger position just as you would expect. He pulled off his wireless mike and began to whirl it around his head. From there, the fight proceeded along predictable lines. As a stalemate developed we began to resort more and more to the use of pure energy, modulated by Red Lotus incantations of the third Sung group, which eventually to the collapse of the building's roof and the loss of eight hundred lives. But as they were only peasants, we did not care.

Our third fight occurred at the Peace Arch on the U.S./Canadian border between Seattle and Vancouver. Gibson wished to retire from that sort of lifestyle that required ceaseless training in the martial arts and sleeping outdoors under the rain. He only wished to sit in his garden brushing out novels on rice paper. But honor dictated that he must fight me for a third time first. Of course the Peace Arch did not remain standing for long. Before long my sword arm hung useless at my side. One of my psi blasts kicked up a large divot of earth and rubble, uncovering a silver metallic object, hitherto buried, that seemed to have been crafted by an industrial designer. It was a nitro-veridian device that had been buried there by Sterling. We were able to fly clear before it detonated. The blast caused a seismic rupture that split off a sizable part of Canada and created what we now know as Vancouver Island. This was the last fight between me and Gibson. For both of us, by studying certain ancient prophecies, had independently arrived at the same conclusion, namely that Sterling's professed interest in industrial design was a mere cover for work in superweapons. Gibson and I formed a pact to fight Sterling. So far we have made little headway in seeking out his lair of brushed steel and white LEDs, because I had a dentist appointment and Gibson had to attend a writers' conference, but keep an eye on Slashdot for any further developments.

5) What are you reading these days? - by IvyMike

Since you're Neal Stephenson, I suspect the answer could be something like "surveys of ancient Sumerian accounting systems".

If that's the case, please include a work of modern fiction or two in your list; something you think that a fan of your work might also enjoy. :)

Neal:

Fiction I have lately read and enjoyed:

Set this House in Order by Matt Ruff
Ilium by Dan Simmons
Iron Council by China Mieville
Perfect Circle by Sean Stewart
The I Love Bees alternate reality game
Jonathan Strange and Mr. Norrell by Susannah Clarke
The Fool's Tale by Nicole Galland (in galleys; soon to be published)
Short story collections by Etgar Keret: The Bus Driver who Wanted to be God, and The Nimrod Flip-out. Last time I checked, The Nimrod Flip-out was only available from an Australian publisher named Picador, but this should pose only the most minor of challenges to Slashdot readers. Keret is a young Israeli writer who has also done some work in film and graphic novels.

Nonfiction:

Skeletons on the Zahara by Dean King
The Lincoln-Douglas Debates and Lincoln's Cooper Union address
Battle Cry of Freedom by James McPherson

6) storygramming -by Doc Ruby

You programmed computers before you wrote novels. Greg Egan shares that hyphenated career, and continues to illustrate his stories with Java applets [netspace.net.au]. Do you still program, possibly targeting the same subjects with your word processor as your compiler?

As _Snow Crash_ was originally designed as an interactive game, and such landmarks as _Myst_ have regenerated as (usually bad) novels, do you see the arrival of a truly multimedia story, delivered simultaneously in multiple media, anytime soon? By whom, specifically or generally?

Neal:

It has already happened in the form of the I Love Bees alternate reality game, which, as many of you must know, is a promotional campaign for Halo 2. I know the people who did it, but I have lost track of what I promised not to reveal publicly, and so will shut up for now.

I still program, but I tend to do it as a diversion from writing, and so there is little crossover between it and fiction writing. Modern programming is hairy and difficult for me to get a grip on. This is because (1) there is so much user interface code, which kind of makes my eyes glaze over, and (2) GNU type code is crammed with macros, compiler directives and switches that make it very difficult for me to read the source files. Lately my platform of choice has been Mathematica, which is expensive (compared to gcc) but makes it easy to do anything with a few lines of code. Mathematica makes it easy to do proper documentation, in that you can mix narrative material freely with executable statements.

For Cryptonomicon I needed to generate some illustrations of a cutaway view of the mountain where Goto Dengo was building his tunnels. It needed to have a rough, natural-looking profile that maintained its roughness, but still had the same overall shape, when I zoomed in on it for more detailed illustrations. I did this with a Mathematica notebook that used the classic fractal technique of midpoint displacement.

For the Baroque Cycle books I needed to convert my manuscripts, which were all TeX files, into a Quark format used by the publisher. So I wrote an emacs lisp program that churned through the TeX files looking for TeX escape codes and converting them to their equivalents in Quark. This was nasty and tedious but, in the end, reasonably satisfying.

7) Money - by querencia

One of the major themes in Cryptonomicon that carried over (in a big way) to The Baroque Cycle is money. You introduced some "futuristic" views of currency and of where money might be going in Cryptonomicon, and you skillfully managed to do the same thing, while explaining some of the history of modern monetary systems, in the most recent books.

You've obviously spent a lot of time thinking about money lately. Is there anything going on in the modern world with monetary systems (barter networks, for example) that you find particularly interesting?

What do you see on the horizon with respect to money?

Neal:

Actually, what's interesting about money is that it doesn't seem to change that much at all. It became fantastically sophisticated hundreds of years ago. Back before people knew about germs, evolution, the Table of Elements, and other stuff that we now take for granted, people were engaging in financial manipulations that seem quite modern in their sophistication. So if I had to take a wild guess---and believe me, it is a wild guess---I'd say that money and the way it works is going to be a constant, not a variable.

8) BeOS - by Coryoth

When you wrote "In the Beginning was the Command Line," you were very much in love with BeOS. As nice as BeOS was, it is now mostly gone. Do you still use BeOS 5, or have you acquired YellowTab from Zeta? Or, instead have you embraced the new UNIX based MacOS X as the OS you want to use when you "Just want to go to Disneyland"?

Neal:

You guessed right: I embraced OS X as soon as it was available and have never looked back. So a lot of "In the beginning was the command line" is now obsolete. I keep meaning to update it, but if I'm honest with myself, I have to say this is unlikely.

9) Travel tips for modern primitives? - by timothy

Mr. Stephenson:

I greatly enjoy your travel stories, both non-fiction (Mother Earth, Motherboard) and in particular your descriptions of the Philippines in Cryptonomicon.

Can you share some of the ideas you've developed for savvy trav'lin? For instance, how do you deal with carrying sufficient technology (whatever level you deem this to be) while minimizing the risk of theft, breakage, or loss by other means? Do you dress native or carry your entire wardrobe? [And broader, do you travel with something close to nothing, picking up necessary items as the need arises? What do you not leave home without?]

Do you carry any sort of self-defense means in some places, and if so What and Where?

Neal:

I haven't done that much in the way of adventuresome travel lately. Even when I was doing so, I was never the sort of hardened third-world travel geek that you are imagining. The thing is that when you go to such countries you can typically get a room in a five-star hotel for less than a hundred bucks a night. At that rate, it's easy to be a sellout and wallow in luxury. Staying in a dive is more romantic, but makes it harder to write. My excuse (if I need one) is that typically I'm not writing about backpackers and rural people in those countries; I'm writing about well-heeled expats whose natural habitat is airport bars and Shangri-La hotels. So that's where I tend to end up.

Re "self-defense means:" I am reminded of a history book I read recently entitled "Skeletons on the Zahara" by Dean King. It is about some American sailors who get shipwrecked on the Atlantic Coast of Africa and go through hell. Eventually most of them make it back to freedom with the help of some Arab traders based in Morocco. These traders range across the Sahara on incredibly arduous journeys. They are just about the toughest and meanest hombres you can possibly imagine. They've been through all kinds of fights and ambushes, plagues of locusts, sandstorms, etc. and come out on top. Because of their success they have acquired camels, horses, and weapons: not only swords and daggers but rifles and shotguns too. After having rescued the Americans, these guys go out on another journey in the desert, and find themselves surrounded by a few dozen people who are wretched even by the standards of the Sahara: no animals, little in the way of clothing, and no weapons except for bags containing stones. A fight breaks out. The traders discharge their weapons and kill everyone they shoot at: maybe half a dozen. Then before they can reload they are all killed by flying stones.

The best "self-defense means" when you are surrounded by a hundred million people of some other culture is to avoid dangerous places and figure out some way to get along with the folks around you.

10) Confidential Proposal, Off shore data haven (Score:5, Funny) - by SlashDread

Greetings to you in the name of the most high God, from my beloved country Nigeria.

I am sorry and I solicit your permission into your privacy. I am Barrister Leonardo Akume, lawyer to the late Dr. Koffi Abachus, a brilliant Nigerian mathematician.

My former client, late Dr. Koffi Abachus, died in a mysterious plane crash in the year 1994 on the way to a scientific conference to make an announcement of the utmost importance to mankind.

He was planning to present a paper regarding his extensive work on data storage. It is said the data storage device he had developed, would be roughly ten times more secure compared to the latest quantum excyption techniques. The device was about the size of a steamer trunk, and stored on a privately owned island close to the coast of Nigeria. Dr Koffi Abachus is also the King of the local tribe by heritage...

Neal:

Your proposition sounds quite reasonable. In order for me to provide you with the support that you need, I will need for you to wire $100,000 into my Swiss bank account...

Oh well.. Should there BE a data haven? If so, where?

Neal:

At this point, that is probably a technical question that I might not be competent to answer. I can carry a gig of encrypted data on a thumb drive now, and it doesn't cost much. Soon it'll be smaller and cheaper. Millions of people in different countries carrying gigs of data on thumb drives, iPods, cellphones, etc. make for a pretty robust distributed data storage system. It is difficult to imagine how one could build a centralized, hardened facility that would be more robust than that. But perhaps there's some technical or regulatory angle that I'm failing to appreciate here. I have not kept up to speed on this since Cryptonomicon.

11) Blue Origin - by Concerned Onlooker

The Wikipedia lists you as a part-time advisor for Blue Origin [blueorigin.com], a company that is working to "develop a crewed, suborbital launch system." What is it that you do for them and has the recent winning of the X-Prize by the Spaceship One team had any effect on Blue Origin's plans? What are your visions of future private space flight?

Neal:

Like Spock on the deck of the Enterprise, I sit in the corner and await opportunities to jump out and yammer about Science. Unlike Spock, I don't have anyone reporting to me and I never get to sit in the captain's chair and aim the phasers. This is probably good.

Though the X-Prize is cool and good, Blue Origin never intended to compete for it. Consequently, it has had no effect, other than destroying productivity whenever a SpaceShipOne flight is being broadcast.

As for my visions of future private space flight: here I have to remind you of something, which is that, up to this point in the interview, I have been wearing my novelist hat, meaning that I talk freely about whatever I please. But private space flight is an area where I wear a different hat (or helmet). I do not freely disseminate my thoughts on this one topic because I have agreed to sell those thoughts to Blue Origin. Admittedly, this feels a little strange to a novelist who is accustomed to running his mouth whenever he feels like it. But it is a small price to pay for the once-in-a-lifetime opportunity to become a minor character in a Robert Heinlein novel.

12) Do new publishing models make sense? - by Infonaut

Have you contemplated using any sort of alternative to traditional copyright for your works of fiction, such as a flavor of Creative Commons [creativecommons.org] license? Do you feel that making money as a writer and more open copyright are compatible in the long term, or do you think that writers like Lessig who distribute electronically via CC are merely indulging in a short-lived fad?

Neal:

Publishing is a very ancient and crafty industry that existed and flourished before the idea of copyright even existed. When copyright came into existence, the publishing industry dealt with it and moved on. My suspicion is that everything that's been going on lately will amount to a sort of fire drill that will force publishing to scurry around and make some new arrangements so that they can get back to making money for themselves and for authors.

You can use the brick-and-mortar bookstore as a way to think about this. There was a time maybe five years ago when many people were questioning whether brick-and-mortar bookstores were going to survive the onslaught of online retailers. Now, if you take the narrow view that a bookstore is nothing more than a machine that swaps money for books, then it follows that there's no need for a physical store. But here we are five years later. Some bookstores have gone out of business, it's true. But there are big, beautiful bookstores all over the place, with sofas and coffee bars and author appearances and so on. Why? Because it turns out that a bookstore is a lot more than a machine that swaps money for books.

Likewise, if you think of a publisher as a machine that makes copies of bits and sells them, then you're going to predict the elimination of publishers. But that's only the smallest part of what publishers actually do. This is not to say that electronic distribution via CC is just a fad, any more than online bookstores are a fad. They will keep on going in parallel, and all of this will get sorted out in time.

Wannabe Code Monkey writes "This article on National Geographic describes how scientists have observed chimps using different sticks for different tasks when retrieving termites from nests. Scientists had previously only seen chimps using one kind of tool, this switching back and forth based on the task at hand is the first such behavior witnessed. Three videos in Real format of the chimps are linked from the article as well."

Thanks to the BBC for their articles on the near future of Bungie. With Halo 2 ready to ship, it appears the company is stepping back from the Halo series for the moment. While they have over 100 years of plot fleshed out for the gameworld, plans for the future are in flux. For now, "Most people will take a week or two, some up to a month, but almost everyone will be back here in time for the game launch, to witness it first hand."

neutron_p writes "An international team of scientists announced today, they observed a nearby head-on collision of two galaxy clusters. The clusters smashed together thousands of galaxies and trillions of stars. It is the most powerful events ever witnessed. Such collisions are second only to the Big Bang in total energy output. The event was captured with the European Space Agency's XMM-Newton observatory. Scientists are calling the event the perfect cosmic storm: galaxy clusters that collided like two high-pressure weather fronts and created hurricane-like conditions, tossing galaxies far from their paths and churning shock waves of 100-million-degree gas through intergalactic space."

Thanks to an anonymous reader for pointing to the official 'The Ship' website, featuring "a free downloadable [multiplayer] Half Life 1 mod" described by a forum poster as "a twisted version of Agatha Christie meets Clue." The welcome page details: "You've just won a free ticket to a dream cruise onboard a spectacular, replica 1920's cruise ship!", and the official play guide explains some of the intriguing game mechanics, which involves each player needing to "find out the name [of each fellow 'passenger' on the Ship], eliminate unknown passengers, and find out which one is your quarry", then "kill them without being caught by security or too many witnesses." There are also additional wrinkles in the recently released mod, since: "To curb excessive killing, players are traumatised by committing murders", and "Each player has basic needs [including going to the bathroom] which must be taken care of."

theodp writes "For thrilling competition, Slate says the Tour de France pales next to the 25-game reign of Jeopardy! supercontestant Ken Jennings. The 30-year-old software engineer has won a total of $788,960, beating the previous record-holder by a margin of over $600,000. Watching KenJen play is like witnessing any great athlete in top form: He's the Michael Jordan of trivia, the Seabiscuit of geekdom, and his antics have once again made Jeopardy! required viewing. (Update: 26 wins and $828,960: 'When Jennings ran the Marvel comics category during the second round, host Alex Trebek asked: Have you done anything besides read comics? It pays to be a nerd, Jennings responded.')"

tverbeek writes "InfoWorld has released the results of their Salary Survey for 2004 [pdf], and in the intro they declare that there's less bad news and more optimism, as IT budgets and salaries in particular are starting to creep back up. So now we get to witness the curious phenomenon of Lake Anti-Wobegone, as all the techies we hear from complain that their salaries are still below 'average'."

TheTXLibra writes "Robert Roy Britt reports on Space.com that we may now be witnessing the earliest stages of black hole development. Star SN 1986J, began to collapse in 1983 into a neutron star, resulting in a supernova explosion in 1986. If the mass of the neutron star reaches 1.4 times the mass of Earth's Sun, it will theoretically collapse into a black hole, if not, it will stabilize as a neutron star."

KjetilK writes "Venus is just about to cross the solar disc. Direct from the control room in the Frogner Park in Oslo, I'm pleased to inform you that we have a great webcast, and as far as we know, it is the only webcast that still stands upright... Slashdotters, do your worst! ;-) A Venus transit is one of the most unique astronomical events in our time, in fact, no living person has witnessed it before today. And today, more people have seen it from the park where I'm sitting that in the rest of human history. Also, it had tremendous importance for the development of science, as it gave the first absolute measurements of distances in the solar system. Especially in 1769, a transit made science take huge leaps forward. And BTW, New Zealand and Australia were 'discovered' in the process" Some nice photos from the UK, photos from vt-2004.org, and if you missed it, it'll be eight short years till you can try again.

Thanks to The Magic Box for relaying the unconfirmed rumor that "Capcom is planning to release the popular court simulation game Gyakuten Saiban for Game Boy Advance in US later this year, as they have applied for a [trademark] for the title in US." Searching the USPTO database certainly reveals a U.S.-specific "Trademark 78416207... [filed] May 10th, 2004" by Capcom for the Japanese courtroom adventure title with intriguing handheld gameplay, which is helpfully explained in a recent InsertCredit review: "Listen to witnesses speak; at the right time, use the L button to question them... [which] may reveal holes in their stories... Point to the right pieces of evidence at the right times (hey! you can see the victim's watch in that picture with the bottle of pills!), and look really good to the judge as the witness stutters out a confession." Although the game's release is distinctly unconfirmed, would you buy this title if Capcom opted to translate it?

Mikey writes "The Australia Senate currently has a committee investigating the Free Trade Agreement (FTA) between the USA and Australia. The draft proposal for the FTA will bring DMCA style laws to Australia. Here is the public parliamentary record (the Hansard) from Monday's hearing. The witness list includes Linux Kernel hacker, Paul "Rusty" Russell and other interested parties. Rusty was well received and it seems we have some support from opposition (Labour and Democrat) Senators (FYI Oz currently has a Liberal government). We are getting there, but we need to keep fighting."

This almost turned into a "State of the Wine Project" discussion, but that's where your highest-moderated questions led, and Jeremy responded with his usual wit, wisdom, and candor. 1) Moving Target - by andrew_j_w

Do you ever get disheartened when Microsoft announces a new API, as that means you've suddenly got a whole load of new code to replicate? DirectX would seem to be a prime example of this. How do you see .Net/Mono in relation to Wine? Do you think they will ever become the prime method of running Windows applications under *nix?

Jeremy:

We really don't care what APIs Microsoft publishes - the only thing that matters to us is what APIs are used by the applications we want to support. In fact, Wine only implements about half of the Windows APIs. Now some (like my wife) might argue that's because we're just lazy, but the truth is that over half of the Windows APIs have never been used!

So we certainly do have a moving target, but it's a target that moves at a relatively slow pace. We'll begin to feel some serious pain when applications are released as 'Longhorn only', particularly if those applications are dependent on some form of DRM or on some technology that is locked up by patents.

But luckily for us ISVs move much more slowly than Microsoft, so we should have plenty of time to keep up.

In fact, we get more pain from Linux distributions, who work at break neck speed to break Wine.

2) Educational Software - by north.coaster

It seems like most of the effort so far has been to get office productivity software (ie. Microsoft Office) to work on Linux. However, there is a market for low cost home computers that Linix could help to fill if the educational software that kids use (such as the Reader Rabbit series) could run on Linux. Why is this potential market being ignored?

Jeremy:

Yes! I would dearly love to support schools and the use of Linux. Especially when you consider LTSP, Linux is just such a great fit for the educational environment.

Unfortunately, the reality of Wine and economics makes this hard. See, we do our best when we can focus in on a small number of applications (e.g. Microsoft Office) for which a lot of people are willing and able to pay money. Schools, unfortunately, have the reverse situation - they need support for tons and tons of applications, and they have no money .

Now the very first thing I'm going to do when I win the lottery is go buy a stack of kids games and pay some Wine hackers to get them to work (seriously; you can ask my co workers, they're sick of me talking about this pet project). Unfortunately, the last lottery ticket I bought was a bust.

But I am really encouraged in a variety of ways. First, we always hope that our paying customers will help us to do enough 'collateral damage' that more than just the applications we focus on will work; that seems to be really happening now. Second, there is a real growth in the games/DirectX support in the Wine project. There is a great group of games hackers on the Wine project - volunteers all - and their work is really helping Wine to run a lot of games (the fact that Half-Life now works in CrossOver has somehow made the proportion of QA time to development time go up around here *grin*).

Finally, we are starting to get some support for educational software; we have a very meaningful pledge for Acclerated Reader on our compatibility center (http://c4.codeweavers.com). We hope to get to that soon, and we're told that will help unblock a lot of educational organizations.

3) Isn't this effort endangered by software patents? - by rben

If the EU really does pass the software patent law under consideration and the U.S. adopts that treaty that Bush is pushing, won't MS just be able to sue any compatibility products out of business?

Jeremy:

Yes, I think that all xGPL software is seriously threatened by patents.

Wine, I think, is safer than a project like Mono, in large part because Microsoft has only really started an aggressive patent process recently. I am not aware of any patent that the Wine project infringes upon, and no such infringement has been brought to our attention in the 10 years of the projects history.

That doesn't mean that the patent laws cannot be used as a club against Free Software projects, particulary when you realize that volunteer projects and smaller companies like CodeWeavers generally cannot afford to even fight for a dismissal of a ridiculous claim.

With that said, I think that there is a large number of very determined people in our community, myself included, that will fight strenously to see that any such abuse of the patent system will be challenged.

Further, Microsoft making the choice to use patents as an offensive weapon will be a clear sign that they are becoming desperate. It is fairly rare for a large company to use patents offensively against a smaller entity; it is generally frowned upon by the courts, and would also play very poorly in PR circles.

So, yes, it's a worry, but there will be reasons to rejoice should Microsoft try to wield that hammer.

4) LGPL Licensing - by Stealth Dave

How has the switch to LGPL affected contributions to the project, both positively and negatively? When the switch happened, there was a lot of noise from groups like Transgaming who needed to license proprietary technology from third parties, and the formation of the ReWind project. Has there been a noticable effect on contributions to WINE from outside groups as result of the licensing change?

Jeremy:

Okay, I'm biased on this one. I am a strong advocate of the LGPL.

However, I think the effect has been extremely positive. For example, here is the historic count of lines of code added to Wine each year:

2003: +247,471
2002: +159,393
2001: +104,641
2000: +119,796
1999: +164,910
1998: +132,235
1997: +48,566
1996: +56,748
1995: +19,345
1994: +42,746
1993: +36,487

1998/1999 was when Corel's involvement in Wine was at its highest (and Wine owes Corel a debt of gratitude; they were great to Wine).

2003 was the first full year of the LGPL. You do the math.

Further, prior to the LGPL split, game development in the public Wine tree was pretty well dead. Everyone was waiting for Transgaming to return their changes, and nothing was happening.

After the split, it became clear that those changes weren't coming back to the public tree. This led to a number of volunteers taking up the challenge and improving Wine's DirectX and other game support. This has led to a resurgance in Wine's activity on games. Historically, Wine has always been focused on games, so I am personally gratified to see it return to those roots, since it's not an effort we've been able to help on much (because folks don't buy large corporate support contracts for games :-/).

Additionally, a number of people seem to prefer the LGPL; we seemed to get an influx of new blood to the project as a result of the change. Further, our cooperation with other xGPL projects like ReactOS improved, and so we got some further energy from there as well.

5) MS Security Updates Apply? - by PSaltyDS

I can see that security holes that come from Windows OS code shouldn't effect the CrossOver Office Win98-like implementation of the APIs. Security holes that come from the MS application's code may or may not be present in that environment, but how do I know? What types of MS security updates apply to my CrossOver environment, and which don't? Are any of the security houses (like e-Eye) testing for vulnerabilities in the Linux/CrossOver (or Linux/WINE) space?

Jeremy:

Actually, much to our great surprise, the Windows Update service runs fully and completely in CrossOver. Further, we go to great pains to make sure that Office service packs apply cleanly (and we mostly succeed :-/).

We also go to all kinds of interesting lengths to avoid problems with viruses and worms. For example, we have a hack in our flavor of Wine*, in the CreateProcess call (the code to start an executable) that basically checks to see if the parent process is outlook.exe, and if it is, we crash and burn, preventing many of the worms and such from running. We also have customers that have set up chroot environments, and since Wine runs in user space, that is a theoretically perfectly secure environment.

Finally, one advantage of Wine/CrossOver, is that any infection is cleaned quite quickly with rm -rf ~/.cxoffice (and easy backup/restore methods exist).

But, for all of that, I don't want to dismiss this issue. I think anyone using Outlook (anywhere, not just CrossOver) should use a strong server side scanning product. Further, I think that the use of IE in Wine should be constrained to only those cases where it absolutely has to be used. The real truth is that when you're running Linux, you're inevitably going to be less paranoid about updating and securing any Windows environment, and that sort of neglect can lead to trouble.

* Changes such as this hack to Wine are internally referred to as 'Proprietary advantages'. We are seeking patents on such methods of gaining a market advantage (grin).

6) Viral Licensing Question - by KlomDark

Aren't you worried that you'll corrupt Linux with the viral Windows licensing scheme?

Jeremy:

Now you've learned my dirty secret, and I'll have to kill you all. I've actually been hired by Microsoft to poison this little communist enclave you have going here. You'll note that since our introduction of CrossOver Office, OpenOffice has withered and died on the vine, clear proof that we do great harm to open source projects. The dissolution of Mozilla into Firefox was a clear gesture of despair on their part over our support for IE.

Further, our use of 'proprietary advantages' to create lock in has clearly emboldened companies such as Novell to preserve and extend their proprietary lock ins on products such as the Ximian Connector...

Bwahahahaha. You're all doomed!

[grin]

7) Source-level Compatibility? - by cgreuter

I hear a lot of talk about binary compatibility with Windows, but not so much about source-code-level compatibility. What sort of efforts, if any, are being made toward letting people trivially recompile existing Windows programs to run natively under Linux/X? Have any commercial software vendors considered taking this approach?

Jeremy:

My original passion for Wine had nothing to do with running existing code. I've always loved the source porting angle much better than binary compatibility (hence my ill fated affair with TWIN aka Twine).

The good news, is that after seeing the error of my ways, we put a lot of energy into making source compatibility work extremely well. Francois did a lot of work on this, and Dimi and a few others have picked it up and really made this process sing.

I understand that the Windows build of Abiword now compiles and runs cleanly in Wine. I know that simple applications, like all of the Petzold examples, build and run in Winelib.

What's interesting (to me, anyways, the rest of you can yawn and skip to the next question) is that I've come to realize that source compatibility really isn't that important. The difference to the end user between a gcc compiled Winelib app and a Visual C++ build Windows app running with Wine is...nothing, except maybe the Visi C compiler builds slightly better, faster code.

Corel realized this; they spent an enormous amount of energy working towards a source port, and eventually just shipped a binary solution. It wasn't popular, but it was wise, imho.

However, what Winelib does allow, that *is* wicked cool, is that you can port a Windows app to a non x86 platform quite easily. I don't really know of anyone that really values this (i.e. is willing to pay big bucks for it), but it's cool, nonetheless.

8) Microsoft Source? - by NinjaPablo

If Microsoft were to release more source code (legally, not the leaked source from a while back), or if Microsoft approached the Wine team and offered access to portions of the Windows source code, would you accept it? What if it involved an NDA or adding non-GPL portions to Wine?

Jeremy:

Well, I would refuse any kind of legal agreement that would jeapordize the ability of Wine to move forward openly and free of any MS license entanglements.

But that doesn't mean we couldn't use further help; there are certainly large areas of the Windows API that we struggle to understand, and we could certainly use some help. I, for one, would like to have seen the consent decree put in place an oversight board; while Microsoft has opened their documentation considerably since that decree, we have no one to turn to to ask for further clarifications and further information.

9) Tax Software? - by mengel

Every year I end up having to boot MSWindows in order to run Tax software. It's pretty much the only time I boot MSWindows anymore, and I end up doing a lot of work to keep that environment around and running just for that one, annual, task. And it's not just me, we have had several [slashdot.org] articles [slashdot.org] here at Slashdot discussing this topic at great length.

Are you guys working on a deal with any of the tax software publishers to ensure their software runs under Wine each year?

If not, would you consider it?

Jeremy:

Well, we're working very hard to encourage ISVs of all kinds to work with us to bring their products to the Linux market.

And we've had some very positive responses, but I can't really tell you much more than that just yet. However, I will tell you that we are not working with any of the Tax software providers.

Candidly, that's a pretty tricky one. Because each version of Tax Software is so ephmeral, and because we get such a short time window to test and work on it, they're really hard to nail. Further, it's not clear to me that we'd really make enough money to begin to cover the costs involved. If we could, I'd do it in a heartbeat.

Feel free to assemble a possee of interested folks at http://c4.codeweavers.com; we will absolutely listen to customer demand.

10) Project David - by mfh

We've heard that Project David could be a CrossOver Office rip-off. To what extent is David a fraud and what are your options to combat those who would misrepresent themselves using your products for VC or even illegal/infringing sales revenue?

Jeremy:

Well, I don't know anything more about Project David than anyone else who reads Slashdot, but imitation is the sincerest form of flattery, I always say. It's clear from Mike McCormack's research that it uses a version of Wine that we've released. Note that that's not necessarily fraud or a rip off of any kind - our Wine is LGPL, and it allows for just that sort of thing.

My opinion is much like others on Slashdot - they're clearly in the early stages, and don't really have a particularly impressive set of web pages. Further, they haven't really described their technology in any meaningful way.

However, this is one of the great things about the LGPL. It allows for us to have competitors spring up and try to build on our work. This is - heaven forbid - good for customers. We have to work harder and better to make sure that we continue to give our customers what they crave.

The only thing that bothers me when folks like the Project David guys come along is when they don't honor the work of those that have gone before.

I am only here today because I am able to use the hard work of many, many people who have generously given their work to us all to use. I think Alexandre has successfully eradicated the last line of my code in Wine (and he stubbornly rejects my patches, too), so nothing is Wine is anything I have built. And yet my entire livelihood and that of my family is built on Wine.

I am deeply grateful to the people that let me sell their work - even though I have paid them nothing - and the least I can do is respect and acknowledge their work.

So it bugs me when people like Project David (and others like it) come along touting their wonderful Windows compatibility without giving any props to the people that have worked so hard on Wine.

Ain't illegal, ain't fraud, but it just isn't cool in my book.

[/soapbox]

At any rate, I think that's it. Thanks for asking!

Cheers,

Jeremy

An anonymous reader writes "Burt Rutan's privately-built SpaceshipOne is one step closer to winning the X-Prize after zooming to what witnesses say was somewhere around 200,000 feet on only its third powered flight. (See also the partial update from Scaled Composites.)"

An anonymous reader writes "There's an Astrobiology.net interview up with a Vatican astronomer, Guy Consolmagno, who also curates one of the world's largest meteorite collections. On the possibility of a non-terrestrial lifeform, he says initially 'I don't know', followed by three scenarios. First, he argues: 'We find an intelligent civilization and there's no way in creation we can communicate with them because they're so alien to us. We can't talk to dolphins now. In which case, we'll never know.' Secondly, he suggests: 'We find the intelligent civilization. We can communicate.' As agents of free-will, the aliens are self-aware of good and evil, thus convertible to some terrestrial religion. Thirdly: 'We find a dozen civilizations out there, and a bunch of Jehovah's witnesses go up and convert them all.' The question of whether an alien civilization might convert Earth to their religion, or become a religion unto themselves, is left unconsidered. This compares to the many reasons people give for hosting a SETI@home client, including that ET contact would unite humanity, challenge religion, or all of the above."

mgoulding writes "IBM is expected to announce a software bundle targeted to business users that will challenge the Microsoft Office package. Unlike Office, the email, word-processing, spreadsheet, and database products will be accessible to Linux, Unix, and heldheld users through a web server. NewsFeed posts the story from CNET." It's certainly something that's been tried before - witness sites like MyWebOS (no longer existing).