AX 2010: Post Bubble

From July 1 through 4, 2010, we attended one of the two big annual Southern California conventions we frequent: Anime Expo. AX has been going through a number of changes over the last few years, as the industries it celebrates (Japanese animation and manga) have themselves changed. Specifically, anime and manga exploded in the early to mid part of the 2000's, spurred by imports of anime shows to cable stations like Adult Swim and the rise of DVDs. That bubble burst in the late part of the decade, as it ran right into the recession, the decline in the home video market, the shrinking of retail outlets (driven by the bankruptcy of the Musicland chain), a lack of super-popular franchises from Japan, and the growth of Internet piracy of new material from Japan.

Since AX functions in large part as a promotional arena and marketplace for the industries, it has had to roll with the punches. Many of the companies that once sponsored AX and had big exhibitor booths there have disappeared. AX once hosted large numbers of American dub actors for the Japanese shows; but in recent years, the dubbing market has shrank and the actors are less visible.

Nevertheless, the convention has continued, as its other leg -- fandom -- has remained strong. The fans still enjoy coming to the con, making and dressing up in costumes, playing arcade games, buying import items from Japan, watching the latest anime, and meeting guests that AX imports from Japan.

Guest imports this year were strong. A new administration took charge of AX's parent company, SPJA, for this year; and I speculate that the administration sought to show its chops a bit by spending lots of money for guests. Hence, there were numerous Japanese musical performers (including AKB48, a 63-member girl band -- although I don't think the entire franchise was at the con); creative folks for projects such as EDEN OF THE EAST (to be released on video here this fall), BLACK LAGOON (manga creator Rei Hiroe came to celebrate the continuation of the TV series, shown in the U.S. on Starz, as a series of original videos), and TRIGUN (the movie for which was premiered at Sakuracon a few months ago, and premiered in a subtitled form at this con); and such reliable guests as "Nabeshin," the flamboyant director of the popular "Excel Saga" series.

The changes, unfortunately, are reflected in the prices. The preregistration for all 4 days was $75 a person; and there were separate charges for events such as the masquerade ($20!), the Meet the Guests reception (in previous years, around $20 a ticket; this year, a steep $50 a person for a continental breakfast), and concerts. In part this is likely because the con had use of the Nokia Theater and Club Nokia, which are high-class venues. Still, the charges added up, particularly for younger attendees; and likely cut into the attendees' spending in the dealers' room.

No matter the problems, we had a fun time. We attended the opening ceremonies, the closing, various anime premiere, and the masquerade. We saw lots of beautiful and inventive costumes. We participated in the Steampunk gathering on Saturday, and Amy participated in the Hellsing photoshoot on Friday.

As in previous years, my favorite event was the Meet the Guests reception. The attendance was small (likely because of the price), which was a mixed blessing as it allowed us to have exclusive audiences with creators. I had a 10 minute conversation with BLACK LAGOON creator Hiroe (he was surprised to have a Los Angeles lawyer as one of his readers), and we had a terrific talk with the creators of EDEN OF THE EAST.

Although AX's changes have not been met with critical acclaim, and the industries themselves are changing, I don't see AX itself going away anytime soon. Lots of people went; and as long as they do, AX will continue.

Here are some photos:




There were a lot of Guests of Honor. This doesn't even include the 16 members of girl band AKB48 who attended.



Speaking of AKB48 . . . .



One of the friendliest guests from Japan was Masakasu Morita, the voice actor for Ichigo Kurasaki in BLEACH. He made a point of shaking the hands of numerous attendees.



Here are the director and the producer of EDEN OF THE EAST, an anime series Funimation will release in the U.S. on DVD in September. We saw the first three episodes, and it looked top-drawer.



Lots of people in hallway costumes were cosplaying as characters from DURARARA, an anime TV series that wrapped up its run shortly before AX. The series was simulcast in the U.S. on Crunchyroll.com, so it got lots of exposure. The most popular costume was Shizuo Heyajima, the guy in the waiter outfit -- possibly because the costume would be relatively easy to make.



More Durarara cosplayers. In the show, Shizuo often rips vending machines out of the ground and throws them. So a few cosplayers made their own cardboard vending machines to heft.



As always, the craftsmanship on several of the costumes -- like this one of Fai from Tsubasa -- was amazing to behold.




On the first day, Amy attended in the astronaut suit she embroidered for her recent birthday. Here she is with our friend Christy.



Our friends Sarah and Natalie.



HELLSING, the manga and the anime adaptation, remains popular with costumers. Here's one of the photos from the Hellsing photoshoot, with Amy in costume.



The TRINITY BLOOD manga and anime adaptation also remains a popular subject for cosplayers, in part because of its elaborate outfits.



On Saturday, we took part in the Steampunk photoshoot. No photos of me in this set - yet -- because I was taking the photos.





The gathering packed a punch!



A view from above of the food court shows the blend of cosplayers and attendees in mufti.



A sampling of the dealer's room -- somewhat diminished from previous years, as anime licensor booths have disappeared.



And so the sun sets on another AX. We'll be back next year. We'd better -- we've already bought our memberships.

So Cal Cons are Steaming Away

If you're attending Anime Expo in Los Angeles or Comic-Con in San Diego next month, and you enjoy viewing outfits and gadgets from the future of the past, check out one of these steampunk gatherings, just scheduled this past weekend:

Anime Expo: Saturday, 5:00 p.m., outside West Hall of L.A. Convention Center. (http://www.cosplay.com/showthread.php?t=208336)

Comic-Con: Saturday, High Noon, on the back steps of the San Diego Convention Center. (http://www.facebook.com/?ref=home#!/event.php?eid=139542939389760)

Barring ill fate, I'll be at both, so see you there!

Leading Man

Having watched two high-profile mid-sixties films in as many weeks -- first TO SIR WITH LOVE, and then COOL HAND LUKE -- I have a renewed appreciation for the current sentiment (which has probably been around since the early days of film) that there are no leading men now of the caliber seen in times past.

TO SIR WITH LOVE is a slight film with a less-than-credible premise and an uncomfortable atmosphere of encouraging teacher-teenager flirtation. COOL HAND LUKE is a well-written, well-directed, beautifully shot movie with a great ensemble cast. Neither movie would have worked nearly as well (and TO SIR would not have worked at all) without its charismatic leading man: Sidney Portier in TO SIR, and Paul Newman in LUKE.

How many current leading men (or women) can take a mediocre movie and make it memorable, or take a good movie and make it a classic?

The Theme Parks Took the Kodachrome Away

Well, actually, Kodak took the Kodachrome away -- the company doesn't make that film anymore. But that's not my point.

Yesterday, Amy and I spent a delightful afternoon behind the Orange curtain. We went to our grand-niece's 6th birthday party (which included some Wii Sports Resort playing for the adults). Since the Southern California Quilter's Run is on, Amy then visited three Anaheim - Garden Grove area quilting stores in quick sucession. Quilting stores generally have a spouse-depository area to park whichever spouse is not into quilting, and I brought my Nook along, so I passed the time polishing off the pilot script to "The Glades" (smart marketing move, to give away the script as a free ebook to promote the upcoming TV series) and worked on Patricia Briggs's first Mercy Thompson story.

We finished up our Orange-tinged afternoon by visiting the chicken restaurant at Knotts Berry Farm (http://www.knotts.com/public/park/marketplace/index.cfm), where the fried chicken is just as good as advertised. Afterward, we hit the souvenir shops. When I was a kid, the souvenir shops at theme parks were as much fun as the rides. They don't hold quite the same wonder to an adult, but I did find the two we visited impressive. The first was Snoopy Headquarters, which featured a dazzling array of Peanuts collectibles -- comparable to the collection I saw at the Snoopy Town store in Yokohama, Japan, but with different merchandise. (Where else can you get stuffed animals not only of Snoopy, but also of his brothers -- not to mention the rarely-seen Franklin?) The other was a general gift store that had collectibles that spanned pop culture -- Elvis, Disney, Harley-Davidson, Lucy, Hello Kitty, Harry Potter, etc. We didn't buy anything there, but the browsing alone could consume hours.

Which brings me back to the title of this post. One thing that was ubiquitous at the park souvenir shops I visited as a kid, but was absent at the Knotts stores: Film. Just a few years ago, you could get all sorts of still and movie film at theme parks (although always with a single brand, Kodak or Fuji, throughout the park). Now the Kodak displays at both stores we visited had a couple of single-use cameras, some AA batteries, and nothing else. I wonder how much damage the prevalence of cellphone and other digital cameras has done to the bottom line for souvenir shops (and film companies).

E-asy Reader

The e-reader/ebook market is going in some interesting directions. The Borders chain is having financial problems, and one of the issues appears to be that it doesn't have an associated e-reading device, as Barnes & Noble does with the Nook. (It does seek the Sony Reader devices in it's stores.). Amazon and Barnes & Noble have expanded the points of sale for their respective devices; while a short time ago you could find them only at the respective stores, now Best Buy carries the Nook and Target carries the Kindle. Meanwhile, the Nook has expanded its functions. It now provides simple games (chess and sudoku), and a bizarre rudimentary web browser that is in black and white except for the small portion in the color touch screen. B & N has also been bribing Nook owners (and others with the B & N reader app) with free book downloads and food goodies at B & N stores.


The main force behind these changes is likely the iPad, on which I'm typing these words. According to Steve Jobs, the iBooks online store now accounts for some 22% of ebook sales -- rather surprising, because the selection in the iBook store is smaller than that on Amazon, and the prices often higher. Both Amazon and B & N have released apps for the iPad that enable folks to read any kind of ebook, whatever the seller, on the iPad. I'm quite impressed with the B & N reader app, which allows readers to select not only the font but also the margins of their books; see large-sized color covers; look up words on Google and Wikipedia; and share books between the Nook and iPad, as well as lend them to others with the app.

One of the biggest advantages of the iPad is color. Books with color photos show up in color on the iPad. So far, few graphic novels have appeared to exploit this capability. (Some manga creators and other GN publishers have also created standalone apps for the iPad that contain a single GN, along with special effects such as multilingual settings.). And magazines and newspapers look far better on the iPad than on other ereaders.

I'm not ready to ditch my Nook. It's still lighter and more portable than the iPad; has a longer battery life; and is easier to read for an extended period. But I'm interested to see where the ebook market goes -- especially when other tablet computers with features similar to the iPad begin to compete.

The Marvel of Bronze

In the early 1970's, Marvel Comics, enjoying success with its license of Robert E. Howard's pulp-magazine hero Conan the Barbarian, licensed another pulp hero: Lester Dent's Doc Savage, the Man of Bronze. Now, in a strange twist of licensing fate, Marvel's short run of Doc Savage color comics has been reprinted for the first time by the current holder of the license -- DC Comics.



DC's paperback collection of the Marvel series shows how a license that would seem to be a natural for comics can fail. Doc Savage seems tailor-made for a Marvel series; after all, he is one of the prototypes of the comic-book superhero who would come along just shy of a decade after Doc's debut. Although Doc had no superpowers per se, he was a physical and mental marvel who had an origin story (a father who had a squad of scientists raise him to be the pinnacle of human development), a warehouse full of crime-fighting vehicles and gadgets, a Fortress of Solitude (which Superman would appropriate), a life mission of selflessly vanquishing evil, and a horde of weird super-science ne'er do wells to battle. He influenced Superman, Batman, and any number of four-color folks.

Moreover, although Doc's pulp magazine died in the post-war era (during which he was already becoming an anachronism), Doc, like Conan, had a revival of popularity in the 1960's paperback market. Conan's sales were fueled by Frank Frazetta's book covers; Doc's can be attributed to James Bama's stunning cover paintings, which transformed the wavy-haired Doc of the pulps into a Lee-Marvin-like bronze giant with a crewcut and widow's peak.

The Marvel Doc Savage comics did not want for creative talent. The writers included Marvel second-in-command Roy Thomas; Steve Engelhart, who wrote some of the best-remembered comics stories of the seventies, for both Marvel and DC; and Gardner Fox, who actually wrote pulp and comics stories in the '30's and '40's. Artistically, the comics boasted knockout covers by Jim Steranko; and the interiors of most of the issues combined the fluid, cartoony art of Ross Andru with the dramatic finishes of Tom Palmer.

So why did the comic last only eight issues, plus a giant-size reprint (done to tie-in with the abysmal 1975 Doc Savage movie)? It's hard to say nearly forty years (eep!) after the fact. The pacing of the issues (which adapted some of the Doc Savage novels in two-to-three-issue arcs) seems clunky, with lots of exposition mixed haphazardly into the action sequences. One problem was likely the editorial choice to deliver a lot of the exposition through Doc's dialog (even when no one else is present), likely to prevent the comics from becoming masses of narrative captions. The result turns the taciturn Doc of the pulps into a nonstop chatterbox. Or perhaps he merely fell victim to the chaotic world of 1970's comics publishing, in which rising paper and printing costs threatened to destroy comics, and Marvel and DC published tons of reprints in an effort to force each other off the newsstands.

This certainly wasn't the end of Doc's adventures in comics. Marvel ran a black-and-white Doc Savage magazine (tying into the movie) from 1975-1977; and numerous other comics companies have licensed the Man of Bronze since then (including DC, in a prior attempt in the late eighties). But it's interesting to see comics from 38 years ago adapting stories from 30 years before that.

A World of Hurt

We watched "The Hurt Locker" on Video on Demand last night. (And parenthetically, I can see why movie theaters are having a lousy summer. Last weekend, we saw "Kick-Ass" at the upscale Arclight Theater in Hollywood. It's a great viewing experience, but tickets for two set us back a total of $32. Using the Time-Warner Video on Demand service, we downloaded "The Hurt Locker" to our cable box, and were able to watch it in high-def -- and even pause and rewind it -- without leaving our house. Total cost: $5.99. Between VOD, Netflix, and Redbox, it takes something Avatar-nifty to get people into theaters.)

"The Hurt Locker" makes an interesting bookend to the recently ended miniseries "The Pacific." "The Pacific" depicted brutal warfare, but we could feel some distance from it; after all, it was set in 1942-1945, and was filled with the atmosphere of the 1940's. "The Hurt Locker," on the other hand, is set in 2004; and involves a war that is still going on (although it has dropped from news coverage). It's hard to distance yourself from the mayhem when the soldiers are watching DVDs, playing Nintendo videogames, dealing with bombs planted in Hyundais, and fighting in an urban landscape that doesn't look that different from American cities.

The movie is a terrific piece of low-budget filmmaking. It elevates story over showmanship, character over special effects, and tension over slam-bang action. The set pieces in which the protagonists in the bomb squad encounter and deal with a variety of IEDs are all riveting, especially as the explosive devices become more and more horrifying. If the film has a flaw, it's the one my wife pointed out: Several sequences are so realistic that the scenes of obvious "drama" -- such as the soldiers' interaction in their downtime, or various character monologues -- stick out as artificial.

Spitfire Brunch

We celebrated the second day of the holiday weekend with a brunch at the Sptifire grill, accompanied by Uncle Arny, Aunt Carol, and family friend Anne Epstein.

Lost

So it's over, and people are frustrated that they didn't explain everything (despite the producers saying, in multiple interviews, that they weren't going to explain everything); and a complicated series boiled down to a rigidly-simple ending.

But (spoiler warning) I found rather comforting the thought of Hurley as the guardian of light, with consumate betrayer Benjamin Linus as his assistant (whom he insisted on calling his, er, "number two").

And I wonder if I'm the only viewer in America who watched the ending and thought of the climax of "The Ideon: Be Invoked." (http://en.wikipedia.org/wiki/Space_Runaway_Ideon)

Ridin' Against the Wind

Sometime's a man's reach, and all that. On Saturday, Amy was working in Redondo Beach, and I decided to ride my bike over there. It worked fine -- even spectacularly -- on the way over (where I shot these photos). The weather was in the '60's, it was sunny, and when I rode south along the beach bike path, there was a soft breeze blowing behind me. So riding 17 miles to Amy's workplace was not much of an issue.

The issue arose on the way back. The soft breeze had turned into something out of the opening of WRATH OF KHAN -- and this time, it was blowing in my face. I soldiered on until I reached a parking lot in El Segundo; and then did the mature thing, and gave up. I called Amy to pick me up. So I ended up riding only 22 out of 34 miles round trip.

Someday, perhaps, when the wind is becalmed, I shall return . . . .

The Taylor and the King

The Los Angeles Times dinged the Hollywood Bowl concert last week by James Taylor and Carol King as tired and uncreative. It's a pity that the concert the reviewer wanted to see wasn't the concert that the two performers delivered, because Amy, I, and the rest of the folks in the sold-out Bowl concert on Friday had a terrific time. Some folks are annoyed by aging rockers; but I'm impressed by voices from my past that can still deliver the goods. Carol King's voice may not be as strong as it was 40 years ago, but she still sprints, dances, and Loco-motions across the stage with amazing energy and agility for someone who started writing hit songs in the late 1950's. Taylor's voice and guitar playing are still as smooth as fine bourbon, and both can still mesmerize an audience. A particular treat was a duet by the two on "You've Got a Friend," the song King wrote that produced separate hit singles for King's and Taylor's versions.

With this concert, and the Eagles concert last month, we've had two great Bowl experiences before the official Bowl season has even started.

Iron Man 2: Pump It Up

IRON MAN 2, as numerous reviews will tell you, lacks the just-opened effervescence of the first movie -- which ranks as one of my favorite comic book adaptations. And there's some sequel-itis: The producers feel the need to pump everything up, with more locations, more characters, bigger battles, more bombastic special effects, and louder music. So I'm grateful that despite all this, the movie doesn't lose its sole -- or its capacity to entertain.

As with the first movie, the anchors are Robert Downey Jr.'s terrific performance as Tony Stark, and Jon Favreau's witty and human direction. Whenever the film strays from these tentposts -- when, for instance, a night-time aerial battle turns into a bunch of streaking lights in the sky -- the movie palls. So it's a good thing that Downey is onscreen in nearly every scene, playing Stark as alternatively charming in his wit and brilliance, and grating in his narcissism, self-destructiveness, and willingness to take endless advantage of those who care about him.

I was impressed that the filmmakers were able to tie together so many storylines from Iron Man's nearly fifty-year-long comic book run into a semi-cohesive film story. (It draws most from the Stan Lee-Gene Colan stories from the sixties, and David Michelinie-Bob Layton's run in the late seventies and early eighties. Fortunately, all of these creators are named in the closing credits.) There were also many fun bits for comics fans, including meaty scenes with Samuel L. Jackson as Nick Fury; Scarlett Johansen underplaying The Black Widow (a villain-turned-hero who got her start in the early IM comics stories); Favreau expanding his own role from the first film as Stark's ex-boxer chauffeur, "Happy" Hogan; an antagonist who pays tribute to the Cold-War Iron Man stories in which IM repeatedly faced off against armored Russians; and the now-traditional post-credits scene, which ties the movie to the next upcoming Marvel Studios adaptation. The movie also benefits from a scenery-chewing turn by Mickey Rourke as Stark's Russian mirror image; and from John Slattery's portrayal of Stark's father as a cross between Howard Hughes and Walt Disney.

Overall, this is a nicely entertaining summer film. And it looks to be one of the few; this summer seems rather bereft of "tentpole" films (although the trailer to Christopher Nolan's "Inception" looks intriguiging). The IRON MAN series remains the most Marvel-like of the Marvel movie adapatations.

A Double Dose of Ditko

This past week I picked up two books issued this year that celebrate some of the more obscure work of Steve Ditko, co-creator of SPIDER-MAN and one of the most individual stylists in mainstream comics.

THE ART OF STEVE DITKO (http://www.amazon.com/Art-Steve-Ditko/dp/1600105424/ref=sr_1_2?ie=UTF8&s=books&qid=1272835924&sr=1-2) is a beautifully-designed book, created by graphic designer and comics historian Craig Yoe, that reprints Ditko stories done for Charlton Comics in the '50's, '60's and '70's in oversized color format, combined with key Marvel and DC comics pages shot from the original art and essays from the likes of Stan Lee and John Romita.

Althoug the title is misleading, in that it's not really a thorough survey of Ditko's art, it's a great volume at quite a low price for such an impressively-put-together hardback



THE CREEPER is a collection I didn't think I would see. It's a hardcover compilation (on rather cheap paper, unfortunately) of one of the few superheroes Ditko worked on at DC Comics. There's little to set the Creeper apart from other superheroes in regards to powers -- he's superstrong, and can change in and out of his secret identity by pushing a button -- but he still stands out as aggresively weird. After all, his costume consists of a yellow body stocking, green briefs and wig, yellow makeup, and a red sheepskin rug around his neck; he creeps around, using the type of bizarre body language that highlighted Ditko's work on Spider-Man; and he tries to creep crooks out by talking weird. That's enought to support a short-lived comics series in the late sixties, and some backup strips in the seventies. Despite the shortcomings, the stories are memorable; and having them all in one volume is an unexpected delight.

Last Weekend

Last weekend was busy enough that I'm blogging about it this weeked.

On Saturday, April 24, I turned 45. I marked the day with an energetic bout of yardwork and housework, and then a delightful party that Amy and I hosted.

Among the terrific gifts I received was a PS3, along with various games and a Blu-Ray Disc of "Kingdom of Heaven," from Amy. A PS3 was a device that I had been contemplating for a while, but had shied away from buying since, just by circumstance, I bought some other gadgets (a Droid phone, a Nook, and an iPad) within a short time period. But the PS3 proved propitious. I find it a fascinating "convergence device," as the kids call it nowadays, in that it brings together hi-def videogames, Sony's Blu-Ray video format, and various Internet-connectivity features.

On Sunday, April 25, we made our traditional journey to the Los Angeles Times Festival of Books that is inevitably held on or around my birthday. (In 2008 and 2009, we took advantage of that by holding the birthday party at the Festival.) Two notable, and seemingly contradictory, points about the Festival: First, it was enormously crowded -- more so than in previous years; and second, the major bookseller chains, Borders and Barnes & Noble, have eliminated their presence at the Festival. The first point seems to indicate a strong interest in books, even here in the land of TV and motion pictures. Sure, many of the guests at the Festival were TV, movie and musical folk who had one toe dipped into the literary world; but people there were definitely buying, talking, and savoring books. The second point indicates that the chains that dominate bookselling (increasingly forcing independent booksellers to the periphery) don't find renting space at the festival and pitching their wares worthwhile.

Although in past years I've brought home stacks of books, this year I purchased only two: the graphic novel "Hunter's Fortune" (http://www.amazon.com/Hunters-Fortune-Andrew-Cosby/dp/160886006X/ref=sr_1_1?ie=UTF8&s=books&qid=1272835540&sr=1-1); and the literary short-story collection "You Must Be This Happy to Enter" by Elizabeth Crane (http://www.amazon.com/Must-Happy-Enter-Planet-Books/dp/1933354437/ref=sr_1_1?ie=UTF8&s=books&qid=1272835621&sr=1-1), which the publishers seem desperate not to label as "fantasy," "slipstream," or even "magical realism" despite zombies, time travel, and buildings turning transparent. I view this less as disenchantment with print than as a recognition of the piles of physical books in our house, and the appeal of ebooks as a no-clutter alternative.

In the Long Run

As someone who grew up in the '70's, the songs of the Eagles are as familiar as my own memories. That's why I found it both thrilling and disorienting to hear those songs of heartbreak and hope, disillusionment and dissipation performed live on stage by Glenn Frey, Don Henley, Joe Walsh and Timothy B. Schmit (along with a boatload of supporting players, including a very nice horn section) at the Hollywood Bowl.








I'm pleased to say that the gentlement put on a great show. Even though we were up in the nosebleed seats (as the photos show), and some distance even from the huge screens along the sides of the venue, we still had plenty to see. Whoever put the tour together took full advantage of the screen at the back of the shell, along with modern hi-def computer projectors, and put on some dazzling graphics that filled the entire shell.





The most impressive use of graphics was for Don Henley's number, "Dirty Laundry." A montage of up-to-the-minute TV footage of Tiger Woods, Octomom, Fox News, Dr. Phil, and various tabloids demonstrated that Henley's 27-year-old attack on the media was as timely as ever.

The band itself was tight (except when circumstances called for them to be loose -- as in Joe Walsh's deliberately-sloppy vocals during "Life's Been Good"). In defiance of the traditional criticism of aging rockers -- that the voice is the first thing to go -- the band started the show with the nearly a capella "Seven Bridges Road"; then, later in the show, they did another a capella piece from their current album. Their harmonies sounded as tight and sweet as they did in the '70's. And while the band performed some songs sitting down, they did not lack for energy. Walsh, in particular, duck-walked and ran around the stage as he ripped his famous chords from his guitar.

The audience certainly showed the lasting appeal of the band's music; it ranged from sixty somethings (in the same age range as the band members) to teenagers. The kids did not appear to have been dragged along; they rocked out to "Witchy Woman," "All She Wants to Do Is Dance," and "In The City" just like their elders.

Some may decry "geezer rock" and say there comes a time to stop acting like an angry kid. But as long as older rockers put on shows like this, I won't be one of them.

A week with my iPad

As promised, here are some thoughts on the iPad I bought last week (on which I'm writing this very post, using the onscreen keyboard).

Positives: The screen is gorgeous. Pictures and (non-flash) video are delightful on it. It's particularly useful for streaming video, such as the anime simulcasts on Crunchyroll using the Crunchyroll app (I hope the iPad optimized version of the app comes out soon) and ABC shows (again, using the ABC app).

Negatives: It won't replace a laptop or net book for creating content. The onscreen keyboard is nice and large, but still doesn't replace a physical one-- especially when you have to switch keyboards to pull up numbers or symbols, and when the device limits the keys available (such as when I type in the web browser window, and the device won't give me a spec bar). The limited multitasking and the Balkanization of the apps are also limiting -- each app has a different method for transferring data to and from the iPad and there's no guarantee that stuff pulled in through one app will be available for other apps. It's not as useful for book reading as my Nook; the Nook is lighter, easier to work while handheld, and has that e-ink display that can be read for a longer duration.

Overall, I'm happy with the iPad, and excited to see what app developers will come up with for this new platform.

Dragon Around

"How to Train Your Dragon" is an extremely entertaining 3-D computer animated feature from Dreamworks. The story structure is fairly familiar, but it works, mainly because the characters are, er, three-dimensional -- just what you'd expect from the folks who brought you LILO & STITCH. Plus, the dragon-flying sequences take full advantage of what 3-D at its best can offer.

The only downside: A ticket to the 3-D Imax presentation of the movie at AMC Century City will set you back $20.50 -- $3 more than a 3-D Imax ticket to Avatar. That's a fast way to earn your money back.

Bow a Deer

http://www.latimes.com/travel/destinations/asia/la-tr-deer-20100404,0,5729332.story

The L.A. Times travel section featured this story about the deer of Nara, Japan, who are considered sacred and are allowed to have their own way all the time. As a result, they're spoiled, and apparently mug visitors for food. They have learned, however, to bow.

My iPad Adventure

As I mentioned in a previous post, when iPads became available for reservation at Apple stores, I reserved one at the Century City Apple Store. The e-mail informed me that I had to pick it up between 9 a.m. and 3 p.m. With the media whipping itself into a frenzy about the device, I decided to show up early if I woke up early Saturday morning. I did, and I did. I bicycled over and showed up at Century City around 7:15 a.m.

I headed to the Apple store, where an employee promptly showed up and informed me and the two other folks waiting outside that the actual line was elsewhere. She led us to the line, which was actually all the way across the shopping center plaza from the Apple store -- just west of the pedestrian bridge over Avenue of the Stars. She divided the people there into reserved and non-reserved lines. We in the reserved line had the advantage of a concrete curb (albeit a cold one) to sit on.

Almost immediately, there was a ruckus. Apparently a gentleman in a black sport coat took his place at the front of the unreserved line. Folks at the front of the reserved line stated that they had been there since 6:30 a.m., and this fellow was not there before those just behind him. I didn't listen to all that went on, but he purportedly said something to the effect of what are you going to do about it. The security guard who was present looked disinclined to step in unless blows were thrown, which seemed likely in light of the insults hurled by sleep-deprived, excited Apple fans. Eventually the man relented and went to the back of the line -- a mere seven people back.

A little after 8 a.m., Apple employees hauled out a table and some airpots with coffee, along with condiments, and invited line-folks to indulge. One fellow promptly filled his thermal mug, which earned him an admonishment from an employee.

During the wait, I read the novel BONESHAKER on my Nook. I had prepared myself for catcalls from the Apple faithful for bringing another tablet device to an iPad event. I had nothing to fear. The woman behind me was reading from her Kindle.

As we waited, a man and woman in front of me pulled out a stack of postcards and began distributing them to the crowd. The cards advertised a note-taking app to be released in the future for the iPad. Another fellow in line, who ran a tech blog, interviewed the app developer. Using postcards to advertise electronic apps seemed so, well, 20th Century.

As the 9 a.m. store opening neared, store employees stated they would take the reserved line up in groups of 10. At around 9:45, they would start admitting those in the non-reserved line. They said they had only a few non-reserved iPads, but would be getting a new shipment in mid-day.

I was #9 in line, so I ended up in the first group to be taken to the store. They marched us over. Several group members were taking videos with their iPhones as we walked. The employee charged with our group parked us in front of the store. The store windows, formerly blacked out, were now filled with demo iPads on pedestals, their displays spinning. As we waited, several people tried to join the back of our line; we had to gently tell them that the actual line was far to the east of us.

I joined the folks taking videos -- except that I was using a Droid. Once again, the feared catcalls failed to materialize.

As we waited, employees brought out a selection of cases, from Apple and third-party vendors. We passed these from hand to hand; the poor woman behind me ended up holding a stack of them, which she dutifully passed back to the employee.

Then, we were let in. (The Blogger version of this post has a video of our entrance, which I also posted on Facebook yesterday.)

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They let us past a rope one by one. An employee found my name on the reserved list, and pressed me to order accessories. I picked an Apple-made flat case, and a VGA adaptor. She then handed me my iPad, and another employee set it up on an instore computer. The employees directed me to download the iBook app, which is free but for some reason isn't included on the device. I then became the guinea pig for a trainer who was giving iPad tours; he sat me down while he gave his Keynote presentation on the device (complete with canned notes he was reading for the first time). As he talked, I heard repeated rounds of applause for each group of ten customers. The applause was getting less and less enthusiastic as the employees' initial glee started wearing off.

Once I was out of the store, I felt a creeping sense of paranoia about my new acquisition -- and the possibility that an iPad-crazed shopper might swipe it. I stuck it in my backpack and biked home.

How do I like the iPad? Well, I've been using it since yesterday, and I'd like to use it a bit more before I give my opinion. My preliminary take: It's fantastic for consumption; not as useful for creation. After all, I'm typing this on my desktop computer.