9 January



I’ve never actually seen the proper dance  version of The Nutcracker before, though several TV versions growing up. Interestingly, it set up certain expectations…



  • I was vicariously super happy for the kids performing on stage. What a cool opportunity at that age to be in front of such a huge audience! Their dancing and acting was enthusiastic and a joy.
  • Loved the set for the house and the visual way the kids spying on the living room was done with a skrim.
  • The tree is a wonderful way of transitioning into a dream, and it felt surreal even in the audience to watch an already-large tree ‘grow’ to 10x its size. I was grinning like a schoolboy through the whole sequence.
  • Some really lovely dancing. My wife, as a dancer, enjoyed it like a fine wine. I enjoyed it like a juice box.
  • The snowflake forest set was gorgeous and cold and magical.
  • The Land of Sugar had a lovely dream-like quality to it.
  • The rat costumes, particularly for the rat king, was disturbing as all heck and worked like gangbusters.
  • Also really liked the sugar land ballerina costumes with stiff tutus. I gave a different quality to their dancing.
  • The music! I love the music in the Nutcracker, though was surprised to note that I recognized very few pieces in the first act but nearly all from the second.



  • Beyond not recognizing the music in the first act, I also just found it surprisingly bland and unmemorable.
  • The outfits for the Mirliton dancers, who were clearly the leads of the second act, made them look as bland as could be. Mint green? Really?
  • Narratively, there’s no conflict after the death of the Rat King, so there aren’t any stakes through the entire second act. Everything is happy! It’s meant for kids, so fine, but I guess I was spoiled growing up watching Mickey’s Nutcracker, in which the Rat King follows them to the Land of Sugar and momentarily wreaks some havoc there before being transformed into a character from the original party.
  • This is really nitpicking, but it struck me as odd that the show ended with the kids flying in a sleigh off stage. Yes, it was beautiful, but don’t we need to see the girl waking up? Don’t we need subtle confirmation that this was indeed all a dream? Can’t we have a moment of melancholy where, just for a moment, she’s sad the whole thing wasn’t real?
  • Since we never get that confirmation, I’m just going to assume that her godfather put her in cryosleep, and 5000 years later she awoke to a dystopian world full of human-size rats, cities made of candy, and anthropomorphic nutcracker dolls.


Tales from intermission:

  • Very unclassy, but I had dollar pizza in my bag that I hadn’t gotten a chance to eat before the show since my wife’s train was delayed. I struggled to find subtle ways of ripping off chunks of it, but managed.
  • My wife pre-ordered me a whisky, though it was so smoky it reminded me more of the scotches I’m familiar with. I’ve decided that scotch is a gateway scotch for me; when I drink scotch, it makes me want more scotch.
  • I was sad to find no drinks were allowed in the theater. The amount of scotch/whiskey I had would usually last me over an hour, but I had to drain most if it in about a second. Sad sad.

8 January



Synopsis: Hugh Jackman hangs out in a cabin in the woods, alternating scenes between two different women in what seems to be a linear story. Spoilers to follow.



  • Maybe halfway through the show I caught onto the notion that we were probably actually watching two separate stories from the cabin, but that Hugh’s character just had a ‘system’ for taking women to the cabin… hopefully not involving murder. It was a fun revelation. Shortly after, Hugh talks about his uncle, who used to take women to the cabin all the time, but really just for a lay, and had a whole routine for getting their pants off. Hugh’s character says he never wants to be like that, and that he reserved the cabin for the great love of his life. Well… there’s two women so… how’s that work? There’s a lovely moment where you think the second woman is his ‘great love’ (because we see her in a red dress) and the first woman was brought some time later out of a desire to recapture some spirit of his great love lost through imitation, asking her to wear that same red dress. But then that woman also makes a comment about the picture of a woman in a red dress that confirms that she’s not the original. It was a fun puzzle working all of this out during the show– certainly kept me attentive.
  • Reminded me a little of a great short story by Adolfo Bioy Casares called ‘The Invention of Morel’ which also deals with a repetition of sequence and romance in a similar way.
  • I always love when a character speaks confidently and with enthusiasm about something they know a lot about. So Hugh Jackman talking about fish, especially the stuff about sea trout and how strong they get, was awesome. Also seemed to serve as an analogy for how every time he brings a woman here, maybe it makes him a little bit stronger or the pain a little bit less. Not overt though.
  • Section of the play clearly designed around lady boners: Hugh takes the fish the woman caught, prepares it, cooks it, serves it. Mmmmm is what all the ladies thought. Apparently he cut his thumb pretty bad one night and it wouldn’t stop bleeding! Yikes. That must have been rough show to be in the audience for.
  • Great simple set — really felt like a cabin, and I love the theater! Circle in the Square has a really brilliant thrust stage that provides intimacy and a natural intensity.
  • I’m a sucker for a good sound design. I don’t recall much in the way of music cues (though those certainly could have gone a long way toward clarifying some of the more ambiguous aspects of the show), but the rain and nature sounds definitely helped transport me to this remote cabin near a river.
  • I’m also a sucker for accents. Sure, it seems a little strange to have an Australian, a Brit, and an Irish character all supposedly living near the same location, but I enjoyed all of their accents (and the natural effect those accents had in shaping their characters) that I didn’t mind.
  • Hugh is known for really going big, so it was nice to see him restrained… quieter, more of an enigma. However, I think there was a missed opportunity in that one really powerful blast of his natural energy could have gone a long way toward providing a peak to contrast with the valleys of energy in the show. Anger? Elation? Discovery? It wouldn’t have mattered– just give us something.
  • The singing was a nice touch– I liked the poem. Another missed opportunity though– why not have Hugh ever join in the singing? His character’s obviously familiar with the song/poem, and he has a beautiful voice. It could have shown a moment when he’s syncing up with the memory of his dead/lost/forgotten love in a potentially beautiful fashion.



  • I really can’t stand it in theater when someone monologues uninterrupted for a period of time, especially when the monloguing individual is accusing someone of something that they clearly want to rebut. No one sits in silence during something like that, and it takes me totally out of the reality of the show. This happened a lot.
  • Not sure if this was a directing or acting choice, but whenever Hugh was being asked a question he didn’t want to answer like ‘how many women have you brought here?’ or ‘who’s the woman in the red dress with her face scratched out’, all I registered on his face was dumbfound confusion. That kind of ambiguity was frustrating, because it had me wondering if he was crazy and really didn’t remember the other women, or it was simple a painful memory he was trying to suppress. Showing some genuine, specific emotion in these moments would have been far more powerful and effective at drawing empathy from the audience.
  • Why didn’t Hugh’s character just move the picture of his first love with her face scratched out? Did he want the other women discovering this secret? Was that part of the routine? I mean, that would be kind of interesting, but that’s not the kind of thing best left ambiguous.
  • In the final scene, we have a third woman (one of the understudies) who comes gathers water and asks Hugh if he really thinks she’ll be able to learn to catch a fish. And Hugh smiles and says something like ‘oh yeah. the trout are really racing today.’ I’m not sure what I was supposed to take from that. It seems silly to introduce a third ‘imitation’ woman to the mix, so she must have been the original woman he loved. But why show us this? It might have made me tear up a little if I really felt the connection between Hugh and his long-lost love throughout the show, but again, whenever she was being evoked, all I got from him was a kind of ‘duh-doy’ blank face. Furthermore, it’s tricky to give someone who is supposedly his ‘perfect love’ a physical form, as there’s too much opportunity in the short time seeing them together to question if there was really anything between them and if there was actually anything special about her. Seems better to just leave that relationship up to the audience’s imagination.


Tales from after the show:

As is wont to happen at Broadway (and West End shows), the actors came out after the show to raise awareness (and money) for Broadway Cares, a wonderful charity that provides all manner of support to families living with HIV/AIDS. I did a bowl-a-thon for them a couple weeks ago! Anyway, Hugh ended the show covered in water, and so has some fun getting the audience, right then and there, to bid on his shirt. Very quickly he identified two individuals who had the money to make a sizable donation (one man and one woman). Playing them off each other, he upped the donations by talking about how they’ll get to spend time with him in his dressing room after the show and “we’ll do whatever you want. Within reason of course!” The woman bidding had a man next to her who, after the bid reached about $7000, buried his face in his hands. Hugh called him out apologizing, asking if that was her husband. Her answer “No, he’s my financial advisor.” Awesome. Finally, the bidding leveled out at $11,000, at which point Hugh announced that actually, he had to change his shirt, so there are two shirts. “So how about we make a really sizable donation to a really excellent charity tonight, boh of you donate $11,000, you’ll both get a shirt, and you’ll both get to come backstage.” In a final perfect moment, the woman asked “When?” Hugh said “Now!” and finally, from the woman, “Hold on, I have to pee!”



8 January



Full disclosure: I was given free tickets to this through Jules Fisher, the lighting designer and one of the partners at my design firm.



  • Great performances from everyone, particularly the two lead women playing Daisy and Violet.
  • Some memorable, genuinely catchy music.
  • Stylish, functional set from David Rockwell.



  • Missed opportunities at the ending for feeling more full circle — since we go from them in a sleazy freak show to them in a high-paying freak show, a reprise of ‘Come Look at the Freaks,’ maybe in a minor key, would have been fitting.
  • I would prefer a more daring, darker look at this material versus the sanitized, quasi-glamorized, Lifetime-movie version of it.



5 November




  • Very cool, well-executed concept– the first act is separated into three stories at three different points in a single marriage. Based on which ‘room’ you start in, you see the order of events as (1,2,3), (2,3,1), or (3,1,2). I saw it as 2,3,1. Interesting to have your information/questions dependent on the order in which you take in information– definitely a tightrope walk, but it works. The second act opens the three mini-theaters into one large theater-in-the-round and we see all the actors together carrying on the rest of the story. Seems symbolic of the dissolution of the marriage ‘opening up the world’ to them.
  • Exceptional acting all around.
  • Elegant use of ‘their song’ being played at the same time during Act 1 in both scene 1 and scene 3, but with different a effect on each of those moments.
  • A few times, though not as many as I would have liked, the dialogue from a scene in a different room had a wonderful poignancy in the room you were currently in. This was all the more effective if you had already seen the scene of the ‘ghost dialogue’ and therefore could imagine the character actually remembering that moment in their lives. If the scene was in the future, it became a strange bit of foreshadowing. If you as the audience hadn’t seen the scene yet, the dialogue you were overhearing became a tantalizing mystery.
    • Because we heard in a couple scenes about how much Marianne’s mother affected the relationship, it was a lovely choice to give us a conversation with her. Mia Katigbak playing her (who also did a wonderful job in Act 1 Scene 2 as Mrs. Jacobi), brought across the perfect mix of a loving mother that’s always wanted to see her child behave in a certain way.
    • ‘You disgust me!’ from scene 1 during a quiet moment in scene 3, well timed.
    • Seeing the end of a the relationship in a kind of flash forward– the scene 3 version of the couple at the end of the marriage walking by the scene 1 version of the couple. Particularly fitting after Johan brings up the notion that he couldn’t ever imagine cheating on her.
    • I liked hearing first in Scene 3 that Peter and Katrina are still together, then seeing Scene 1 and seeing that they seemed on the verge of divorce.
  • Whether it was intentional or not, I enjoyed interpreting the second act as an exploration of memory. We get three different ‘ages’ of Johan and Marianne interacting with all the different ages of the other one (sometime to orgiastic effect). I like to think that even when you’re older, you might still vividly remember what the younger version of both you and your partner were like, and that’s what I took from this.
  • Again, with my wife and I’s interpretation of this having a large ‘memory’ component, opening the second act with everyone on stage and the lines being repeated 3 time by the 3 different actors for each part–  I thought this worked beautifully. People remember their younger selves, so even though this was all taking place after the 3 events of the first act, it felt right to have the youngest iteration of Marianne and Johan played right alongside the oldest version of them. Having some of the more emotionally charged moments repeated 3 times in a row actually brought me to the tears at one point, each repetition bringing a new wave of that emotion on top of the old one.
  • It was 3.5 hours long, yet never dragged, and always kept me engaged. In fact, I would have loved to see additional scenes. That’s a good sign.




  • There’s a weird final ‘interpretative dance’ thing at the end to a song from the original Thomas Crown Affair soundtrack, and it just didn’t do anything for me. So the ending felt odd.
  • Confusing timeline– in Scene 1 we’re told that they’ve been married for 10 years, and they seem to both be at most, 35 years old. In Scene 3, we can assume it’s five years later since, in the second act they celebrate their 20th anniversary and that’s supposed to be an additional 5 years. But actor playing the oldest iteration of Johan is 60 years old. So if they got married when they were about 25, then the very oldest we ever see Johan is 45. And in Scene 3 he should only be about 40. Hm. Not a huge problem to have a 60 year old man playing a 40 year old man, but I did find it distracting since the duration of their relationship is important.
  • Some missed opportunities in the first act where the volume levels of the scenes you’re not witnessing drowned out the action of the scene you’re watching, to the point of not being able to focus on the moment.
  • While in the spirit of the play it makes sense to have the actors of different ages interacting with the older/younger versions of the other, there was a noticeable lack of chemistry between all of the ‘mismatched’ pairings.
  • Strange set design choices, mostly for scene 2, which looked like a day care. Also the shared center area was strange. It just looked so technical in there, like there’s some kind of sci-fi component to the whole story (which of course there wasn’t) and I’m not sure what we were supposed to get out of seeing the characters from all three scenes occupy the same space offstage.


Scenes from a Real Marriage:

During Act 2, there was an older gentleman sitting in front my wife and I who needed the help of a hearing aid. However, his device was malfunctioning, and starting early in Act 2 it began to give off a high-pitched screech. His wife told him to turn it off, and he ignored her. A gentleman behind him tapped him on the shoulder, and was promptly ignored. The older man fumbled with the thing a bit but had no luck. Finally, his wife began hitting him on the shoulder with the program, punctuating each hit with words: “You! Are! Disturbing! The entire! Theater!” Scene 2 Johan, Dallas Roberts,  took on the heroic task of trying to help the man while staying in character, but ultimately had to give up. this continued a couple times throughout the act, and it was distracting/frustrating/enraging/sad.



21 October

Wow! I have not updated this in a while. How embarrassing. This is going to be a general post, and then hopefully soon in the future I can do a couple specific deep dives: a Dystopiapiapia post-mortem, and a ‘what I learned’ post regarding my experience making my first short film, ‘If Sims were self aware.’ Hmm… listing what I learned I believe is also the description of a post-mortem. So that.


So the summer of 2014– busiest summer of my life. There’s a lot non-theater stuff here, but this blog is near and dear to my heart so I’m happy to post about my life ‘as a whole.’ Here’s a ‘quick’ timeline of the past few months:



  • Found house that my wife and I want to move into up in Garrison/Phillipstown, NY. So begins three months of crazy paperwork, money-scrounging and fulfilling weird last-minute paperwork requests.
  • My friend and co-WhAT founder Danton Spina decides he wants to put on a little one-act festival in Philadelphia and asks me if I’ll write a short little play for it. I do, calling it “If You Were the Last Man on Earth,” basically with the premise ‘what if the human race died out because the last potential couple on earth made the seemingly arbitrary decision to not reproduce?’
  • ‘To the Table’ posts a thorough and fantastic video review of my board game, “Rum Run”
  • My play “Dystopiapiapia” is accepted into the Thespis NY Theater Festival with 3 productions set for July 9, 12, and 13. I will be directing.
  • I keep working on our Global Game Jam Unity game, Walkabout. On the one hand, I want to improve it. On the other hand, working on it serves as a great Unity/scripting tutorial, teaching me techniques I find myself using at work with the Oculus DK1.
  • Liz’s brother has been living with us since March, and will continue to do so until mid-September.


  • I begin casting my play. I’m nervous about hiring ‘professional’ actors since I know we’re going to be doing this on a near-nothing budget, and I didn’t know how they might feel about rehearsing in my apartment/parks/whatever we could find. Ultimately I (happily) settle on a WhAT-based cast. I’m particularly thrilled to be working with all 3 generations of WhAT, from original parents (Ian, Morgan, myself) to our ‘children’ (Sarah, Julianne, Dan King) to one of the current heads of WhAT at Syracuse (Alice Blank). I also get to cast Nick Douglas (head of Slacktory) in the excellent role of Colonel Gotye. We do a readthrough at Ian’s with Sarah joining us via skype. I’m excited to work with all of them.
  • Based on a Breaking Bad office mashup video I made over Christmas, Jules Fisher (9-time Tony Award-winning Broadway Lighting Designer) hires me to make six introduction/portfolio videos for his Broadway Lighting Design Masterclass at the end of the month. The videos are for Twyla Tharp, Jennifer Tipton, Mark Barton, David Weiner, Don Holder, & Japhy Weideman.
  • In a mad sprint, I spend a plethora of hours trying to use my new Unity knowledge to craft an interactive sightlines model for the Park Avenue Armory, who are about to put on their very epic and very expensive production of Macbeth in a couple weeks, but are just now realizing that there’s a lot of terrible views in the current layout. I make a super cool (non-Oculus) Unity model determined to squelch all doubt in our design. It squelches most, but not all doubt.
  • I start to realize how busy the summer is going to be and try to start performing basic editing on my Sims video, which I have promised to have done before The Sims 4 is released, the date of which is yet to be determined. Maybe early 2015?
  • Toward the end of the month, I’m struggling to complete a potential breakthrough freelance job for Screen Junkies, a youtube channel known best for their excellent Honest Trailers series. I contacted them after learning that Slacktory could no longer accept copyrighted content, and it turned out they were a fan of my Breaking Bad/Weird Al “Albuquerque” video and happy to see what I could do for them. Unfortunately, I’m so busy that I can’t quite get their idea of a ‘giant superhero battle mashup video’ there. I send some ‘draft’ footage, including a battle of Wolverine with Doctor Octopus, the Fantastic Four fighting Voldemort, Storm doing Thor stuff, Spiderman and Batman falling on Max’s taxi from Collateral (the title for this video should be ‘a better Electro origin story than the one in Amazing Spider-man 2), and an Avengers/Batman/X-Men mashup at Grand Central Station, but none of it is quite cohesive enough to fulfill the task at hand. Despite a nagging sense of unfulfillment all summer, it doesn’t get any further.



  • At E3 2014, it’s revealed that The Sims 4 will be releasing on September 2nd. Crap. I’ve had long-term projects often enough to realize that it is going to be a struggle to get this done by then.
  • Bob Campbell, a project manager in my office and I give my first public presentation of the work I’ve been doing with the Oculus Rift for my company at the ‘Intersections’ Symposium at the Metrotech Center in Brooklyn. The way everyone fights over ‘their turn’ to play with the Rift after my talk amuses me to no end.
  • Dystopiapiapia rehearsals start in earnest every weekend, with Sarah commuting from Baltimore and Julianne from Connecticut. That’s dedication!
  • Danton, Ian, Lindsay, Morgan, Dan, and I learn we’ve been accepted to compete in the World Championship of Gameful Architecture in Witten, Germany. We launch a Trevolta campaign (like Kickstarter), I edit a video of Danton and the work we’ve done together, and we manage to raise enough money to fund almost our entire trip. Some people are crazy generous.
  • I venture to Philadephia to see Danton’s production of my play “Last Man” and enjoy it, though am confused by the main male character being transformed from an uptight, quiet, awkward guy to an athletic, charismastic, high-energy guy. Still very interesting to see one of my plays done entirely without my input during rehearsals.
  • Later in the month our marketing director Alexa and I venture to the Opera America Conference in San Francisco where I give my second public Oculus presentation (and have a booth set up for a few days). Because now we’re speaking to Opera donors and producers, I adjust the discussion from a focus on theater design and more to ‘how this technology can get people excited to go to/donate to the Opera.’ I’m proud of the 4 models I’m showcasing for the Oculus: 1) XIQU Cultural Center 2) Utah Performing Arts Center 3) The New Rose Theater (based on the set of Shakespeare in Love) and an Oculus version of: 4) Kenneth Branagh’s Macbeth at the Park Avenue Armory. This also gives us the opportunity to get FDA to purchase a new work laptop, which I end up using a lot in the future (though I was scared to bring it to Germany).



  • July 4th weekend is spent feverishly rehearsing, preparing costumes, making fun/weird youtube videos, and watching Dan King struggle with a terrible new Adobe program called Edge. It’s intended as a Flash replacement since it outputs HTML5, but is super counter-intuitive and a certified mess.
  • Opera America interviews me for an article they’re writing about new technology.
  • Finally the show opens and hey! We’re at the Times Square Arts Center at 43rd and 8th, right off the C train. That’s rad, especially since it was supposed to be up in Washington Heights. Now I can tell people I’ve had a ‘surprisingly-not-far-off-Broadway’ show. I’m super happy with the resulting performances and super proud and super grateful of my cast. We have a beautifully fitting cast party at Nick’s house– fitting because I finally got the play into fighting form after editing it during a writing night at his place.
  • The week before going to Germany, I’m off to San Antonio, Texas for work to ‘punchlist’ the Tobin Center. Basically I shake a lot of seats and make sure the theater is being built to our specifications. It’s always great to see our theaters in the flesh, and I learn a lot from this trip.
  • Right after that, Ian, Morgan, Danton, Lindasy and I all take off for Germany for 10 days. It’s an incredible experience and for our prompt ‘create a space for intercultural communication,’ we build a giant epic 5-tiered foosball table. We receive awards for ‘Best  Community Engagement’ and ‘Best Craftmanship’ because, well, we made 5 freakin’ foosball tables in 72 hours. Of particular note is one that needed to be assembled on site because it wrapped around a tree. Really didn’t think it was going to happen in time– but then it did!


  • Hey-o! On the 11th Liz and I finally close on our house. We spend the rest of the weekends in August (3 day weekends because my office is awesome and gives us ‘summer Fridays’ in August) traveling to the house to unload stuff then going back to Brooklyn for the work week. Unfortunately for my wife, I don’t help with packing much at all because I’m working on…
  • My Sims film. Where did the time go? I have almost nothing done. I finally buckle down on this and end up with a lot of late nights. By the 14th I have a rough cut that I’ve sent off (no VFX) and get some very helpful feedback from Nick Douglas and Alex Schmidt. Despite the late hours, I feel energized, determined, and I’m having fun!
  • My friend and awesome comedian Alex Schmidt recommends me as a Macro-Video Editor for Cracked.com. They don’t have a macro video for me to make at the moment, but offer me a chance to make some money by doing some greenscreen editing on a web series they’re making called ‘Starship Icarus.’ I put together 28 shots, learn a bunch about ‘proper’ green screen editing, and then am thrilled to see when the web series comes out it garners all sorts of critical acclaim, notably from the NY Times and (to me) the AV Club.
  • Over Labor Day weekend we finally move into the house.


  • I finally finish my Sims film, unfortunately a solid 10 days after the Sims 4 was released. It doesn’t get a ton of views (just above 6000 as of now), but all the comments are glowing, and hey, 6000 views is way more than the actual play had! People seem to really like it, and I’m proud of it. I also learned a lot. Here’s a pro-tip either make tracking dots very large, or don’t use them at all!
  • Rum Run receives a thorough and fantastic review from noted board game critic Father Geek.



  • I host a three-hour lunch discussion with my office to talk about Revit. It goes well, and it seems like I’ll be leading the charge of this revolution.
  • Andrea Lackie, a friend of mine who I did a 3 day charette with back in 2008 (incidentally, Spring Semester of 2008 was the last time I felt as busy as I did this summer), asks if I would be interested in doing a freelance rendering for her company, Equinox. I do, and it’s simple, well-compensating, has a quick deadline, and the result is very satisfying. Would love to get more of these 🙂
  • I hit a new milestone with my Oculus Rift/Unity progress. We’ve received the DK2 and in addition to getting our models to work with its excellent motion-tracking feature, I manage to write some Unity scripts that allow for random audience generation– I fill the seats with legs, then from those legs sprout random torsos. Those torsos can then be given a random ‘height’. Next steps: individual audience member settings, and also randomizing hair across the 4 exisitng torsos I have set up (just needs more sprouting!).
  • After a screening of my Sims film during a ‘beer and pizza friday’ Charles Stone (one of the partners of FMS, FDA’s sister office) checks that I’m ‘the video guy’ and asks if I’d be interesting in moonlighting something for him. I assume he wants me to make a video, but he actually wants me to write a ‘narrative’ about a crazy LED system they’re building. I have no idea where to start, but when I ask him why he thinks I’m the guy to do this, he says ‘because I wouldn’t know where to start.’ A week later, with the help of Jeff McCrum in my office, I have something. He says it’s a ‘fine framework,’ which is what we were shooting for, so good.
  • A different partner from FMS now wants me to stay after work to give tutorials to different members of their team about using Revit. All as a freelance gig. Sounds good to me!


Whew! All that in addition to my standard 37.5 hour work week at Fisher Dachs Associates and keeping up with my daily ‘The Productive Commuter’ blog, which is about, well, you know, my commute time (which is now nearly 4 hours per day). The summer’s been undoubtedly fun, but I sure would like to lie down and turn my brain off for a while. I mean, I guess I’ve done a little of that. I beat Assassin’s Creed 2 and played a little bit of the new Tomb Raider as well as The Sims 2&3 (you know, as a reward for finishing my film). But now my current projects include more Oculus Rift craziness, editing Dystopiapiapia into a film, submitting Dystopiapiapia and other plays to various play events, adapting Cat’s Cradle into a play, writing a fun little Transparent/Six Feet Under mashup, writing a Firefly spec script with Danton, crafting a Game Crafter version of Masterplan, designing a new board game about meat-eating, finalizing the details of Rum Run so I can finally get a ‘final’ copy, color-correcting Terra Neo so I can finally get my first copy, and beginning to think about the 10 year anniversary of La Salle d’Or. Can my brain ever actually rest?


No. I think the answer is no. And I wouldn’t have it any other way.



Here’s links to a bunch of stuff related to this summer:

Now that the year’s over, it just seems right to finish off my crazy year of creativity properly, so I just wanted to add that Terra Neo Deluxe was released in December on the 2 year anniversary of Rum Run (December 8) and its gorgeous and I also started a one-man youtube review show! And here’s that ‘what I learned making my first short film‘ post! yay!!


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