Waikiki Sunset

Waikiki Sunset

Settings: Nikon D3300 – 18mm – f/10 – 1/2500s – ISO 200

Hey, folks. If you’re into photography, you’ve probably heard of the golden hour. It’s those fleeting moments just after sunrise or before sunset in which light is seemingly redder, casting everything in a wonderful, warm glow. This effect is a combination of how human eyes perceive the visible light spectrum, and how sunlight is filtered through Earth’s atmosphere based on its location relative to a given latitude. It’s pretty awesome when you take a step back and think about it. So many aspects of our world come together just long enough to produce something so brilliant every day. As a science, astronomy, and geography geek, I understand and appreciate this phenomenon in terms of the sheer mechanics involved.

As a world traveler, however…

One of my longstanding travel habits is photographing sunsets. Beaches, bridges, piers, etc. Whatever it takes, I will capture at least one before I leave. I could wax poetic about the virtues of enjoying a sunset: basking in the dying warmth, the slight breeze on your neck, the hum of a street lamp turning on, everything seemingly slows and quiets down, and that unspoken understanding that you’re one day older. But I’m sure you already get it. Sunsets are among those few, great experiences that transcend language and culture. That’s not just some cheesy sentiment, by the way. If you don’t believe me, try visiting a major tourist destination or beach during the golden hour.

I did exactly that during my recent trip to Oahu. Waikiki is one of the most famous beaches in the world, and for good reason; it’s got excellent water, sand, and skyline, all just across the street from the amenities of a major city. On the other hand, it’s horrendously crowded and noisy. It’s not the kind of place I’d normally stay. But I found myself there on what would be the most beautiful evening of the entire week. I and about a couple dozen other photographers crowded onto Waikiki’s iconic Kapahulu Groin, then eagerly waited for the inevitable.

I crouched on part of the ledge, wary of the waves thundering just a few feet below. I browsed through my camera’s options and set them to capture more reds at a higher speed. If I timed it perfectly, I’d be able to get both the sunset and a wave just as it would crash into the wall. Silently, I regretted leaving my tripod back at the hotel. I hadn’t planned to be in Waikiki when I had left that morning. Looking back, I now wish I’d known about Light, a new company that have designed a new compact camera that excels in low-light conditions, has adjustable field depth, and built-in editing features. As much as I love my DSLR, crouching precariously over a sea wall while holding a huge camera to your face isn’t easy.

It was worth the effort, of course.The images I captured were gorgeous, though they came at a cost; just after the last glimmer of sun vanished over the horizon, an especially large wave swept up to the pier and drenched several of us. We all exchanged a few sheepish glances and a laugh. For that brief stretch of time, we left the rest of the world and its problems behind. There were only us and that pier. When it was over, we looked over each others’ shots, did a little networking, and parted ways. One by one, our shared experience ended, each person walking off into the night. Yes, it felt a little tragic. But thanks to my camera, the memory of that golden hour will never be forgotten.

Advertisements

The Grand Reopening Of SFMOMA

It finally happened. After years of renovations, the San Francisco Museum of Modern Art (SFMOMA) reopened to the public on May 14th, 2016. To call the event “highly-anticipated” would be a huge understatement. When their new website went live and offered free, exclusive tickets for the reopening, thousands of potential visitors flooded and completely overwhelmed its database. And I was one of them; I spent two hours navigating the perpetually-crashing site, hoping that my clicks would finally register and get me into the event. I wasn’t the only one, either. After I live-tweeted this 21st century exercise in futility, the museum’s staff actually reached out to me and offered tickets as an apology. A month and some a few emails later (thank you very much to Christopher at Visitor Experiences, and the unnamed hero running the SFMOMA Twitter), I finally got the go-ahead to come to the event.

Upon entering, I was immediately struck by the sheer size. The lobby and staircase have long been a staple of the museum, but they’ve been revamped in order to keep the flow of visitors steady and focused. Aside from the gift shop (which is more than double the size than that of the Exploratorium), much of the entrance hall is free space for people to either stand, sit, or walk to the elevators. Or you could be like me and spend several minutes gaping up at the massive, cylindrical atrium that cuts through the first four floors of the building. It’s beautiful from the bottom, but it looks much better once you get up to the suspended walkway overhead. The ground floor isn’t the only part with huge floor space; the museum now has additional 235,000 square feet with which to accommodate visitors. As someone who despises crowds, I was quite grateful for the extra space. I’ll admit that I’m more of a classic art and history kind of person; The Legion of Honor has a special place in my heart, but SFMOMA does spacing and crowd control so much better. Despite being incredibly busy, it always felt like there was enough room to breathe.

Assuming, of course, that the exhibits don’t leave you breathless. There are well over 10,000 works of art at SFMOMA, in all shapes and sizes. It was good to revisit works like Ruth Asawa’s metal wire sculptures, the dramatic brush strokes of Jay DeFeo’s The Verónica, and the massive prayer beads that comprise Zarina’s Tasbih. It felt great to come across familiar names like Diego Rivera’s The Flower Carrier, Henri Matisse’s Le serf, Bentley’s Snowflakes, as well as works from pop culture giants like Andy Warhol. There was also a surprising amount of photography on display. Most of it depicted local histories, like the view from the top of partially constructed Golden Gate Bridge circa 1935, the twisted routes of Los Angeles freeway system, and some fascinating portraits of Patty Hearst.

What I found most interesting were the works that implemented modern technologies. Richard Serra’s Sequence is a two-story labyrinth that absolutely dominates one corner of the museum, and it was crafted with weatherproof steel at German fabrication plant. Anthony McCall’s Slit-Scan uses a rapidly-shifting slide projector to convey his message. The cafe on one of the upper floors has selfie booths, but you have to put objects on the machine’s illuminated surface to create the necessary contrast. There’s also a whole gallery devoted to the development of type settings, including old typewriters, posters, and keyboard technologies. One particularly stylish display was the Computer House of Cards, which utilizes some old IBM tech from the 1970 World’s Fair in Osaka. I’ve got to admit, it was pretty baffling to see a vintage ’76 Apple computer on display; I remember using one years ago in grade school! That also goes for the Palm Pilot, one of which I happened to own. My personal favorite, however, is Takeshi Murata’s Melter 3-D, which uses flashing strobe lights to create an illusion of a constantly churning and flowing ball of metal. Seriously, it looks like something out of Terminator 2!

If you’re getting overwhelmed by the sheer awesomeness of such exhibits, catch your breath at the outdoor Living Wall and Sculpture Garden. Imagine a forest floor, dense with flowers, plants, moss, and grass. Take that image and graft it onto the side of a two-story building, and you’ve got the Living Wall. It’s as pleasant as it is unusual; no one expects to find a miniature forest in the middle of downtown San Francisco. It’s reminiscent of the Living Roof at the California Academy of Sciences, but this is far more spacious and relaxing. It’s so easy to just sit down for few minutes and watch the leaves in the breeze. I you want something a little more urban, try the balcony up on the seventh floor. The view isn’t quite as grand as those of the Exploratorium or the Legion of Honor, but the skyscrapers and offices in the area make for some interesting architecture photography.

There’s plenty more to write about, but I don’t want to spoil everything. If you’re in San Francisco and have any interest in art, design, technology, and 20th century history whatsoever, you should absolutely visit this place. The variety and creativity of these thousands of works are nothing short of amazing. A lot of work went into revamping the building, and it’s now arguably the finest museum in the city. I’m incredibly grateful to have been able to come to the grand reopening, and I hope to do so again soon. Glad to have you back, SFMOMA. It’s been far too long.

Takeshi Murata: Melter 3-D

Caution: Don’t view this if you’re prone to epilepsy. I was lucky enough to attend the grand reopening of the San Francisco Museum of Modern Art this weekend. While there will be more writing of that coming soon, thought I’d give you a look at one of the museum’s coolest exhibits. Takeshi Murata’s Melter 3-D uses strobe lights to create this amazing optical illusion sculpture.

Soundtrack Saturdays: Hyrule Warriors – Solidus Cave

As you might’ve noticed, I’ve been playing a lot of Hyrule Warriors Legends since it came out last month. By no means is it a perfect game – I’ve covered it in my recent review – but the music undeniably awesome. I never expected that an official Zelda game would feature rock remixes of its iconic music; its themes have generally gravitated toward classical and instrumental works. However, these versions fit perfectly with the game’s style. When you’re outnumbered a thousand to one in an battle against evil and still winning, you’d want to accompanied with some epic music.

If you want more Hyrule Warriors, you can find the full OST here.

Good gaming, good music.

Hyrule Warriors Legends Review

Hyrule is on the brink of annihilation. A seemingly endless horde of evil monsters is invading the kingdom. The castle’s walls are littered with the bodies of its defenders. Eldin Caves have been completely overrun, and something sinister lurks in its fiery depths. The trees in Faron Woods are burning down, and what’s left has turned poisonous. Princess Zelda is missing in action – again – leaving Impa and Link to lead what remains of the army to certain death.  Whoever is commanding the enemy forces is actively hunting the legendary hero. Is it a personal vendetta? A morbid obsession? No one knows. Regardless, the war won’t stop at just the borders of this Hyrule; its counterpart realms from Ocarina of Time, Twilight Princess, Skyward Sword, and The Wind Waker have all been dragged into the mess.

Even Link is going to need some help with this one.

At first glance, the story seems like a Zelda fan’s dream come true. After 30 years of games, worldbuilding, and diverging timelines, everything comes back together in the ultimate crisis crossover. In order to save his Hyrule, Link has to travel to the other versions and team up with the finest (and in some cases, most popular) warriors in the series. For those who grew up with the Nintendo 64 games, seeing Sheik, Darunia, Ruto, Young Link, and Skull Kid in action will be like a tidal wave of nostalgia. There are several nods to the mythology of respective games; Midna’s true form seen in Twilight Princess returns as a plot point, and Fi explicitly mentions that the current Link is not the same as his Skyward Sword iteration. Sheik’s true identity and Ganondorf’s involvement are foregone conclusions; the narrative indulges in those twists solely for the sake of newcomers to the series. It’s just enough fanservice to keep longtime players nodding along to an otherwise brisk pace and somewhat shallow story.

A narrative with such a grand scale is a double-edged sword. As awesome as it sounds, there’s no way to give every single character the same amount of focus and keep the story moving steadily. It only takes a few battles to liberate each of the respective Hyrules; there’s just enough time for character introductions, some banter, and a brief glimpses of the games by way of the battle maps. Beyond that, the majority of the warriors receive no development after they’ve joined the team. Despite being heavily promoted in the previews, Linkle has almost no impact on the story whatsoever. Link gets his usual arc of starting as a nobody and eventually earning the Master Sword, but now with a “power of friendship” moral tacked on. Even if it is cheesy, it makes sense; this game is all about banding together and making a combined effort to thwart a much larger force. Ganondorf is in an amalgam of the best aspects of his previous incarnations; he is intelligent, ruthless, overwhelmingly powerful, and seems like an unstoppable force of evil. His attempt to conquer Hyrule is one of the most entertaining parts of the game. The same cannot be said for Lana and Cia, the newcomers who drive the plot in their own ways. Their arcs are all about the dangers of obsession, and the emotional turmoil and unspeakable lengths that come with it. The big plot twist would’ve been more interesting had it not been so blatantly obvious, or at least had a slower build-up. Other games have handled similar subject matter, but with far better storytelling.

You’ll probably be too busy killing things to care, though. Rather than typical adventuring and puzzle solving of the Zelda series, Hyrule Warriors Legends is a straightforward musou-style action game. The overall goal is simple: conquer the battlefield and defeat the invading army. This is made slightly more complicated because, you know, you’re usually outnumbered a thousand to one. It’s easy to mow through dozens of minor enemies per second, but you’ll get trouble once you run into things like Icy Big Poes, Moblins, ReDeads, and other recurring enemies strong enough to block and take few hits. It’s even tougher when you’re facing off against a main character armed with a slew of signature moves and impressive durability. As a battle wears on, managing your army takes higher priority over your kill count. In order to stem the flow of enemy forces, you have to conquer their bases and outposts one at a time; doing so lets you control where and how powerful their presence will be. This typically involves running into an enclosed area and slaughtering everything until the game proclaims your success. You can try running blindly across the map and attempt to kill the opposing commander immediately, but you’ll probably get stopped by a locked door, thus leaving your bases unguarded, and your allies without backup. You’re left wide open for counterattacks and surprisingly fast losses. Side missions and objectives pop up frequently, forcing you to improvise your way to victory. The trick is learning to strike a balance between offensive and defensive tactics; steadily crush your enemies, but pay attention to your friends’ needs. Once you’ve gotten everything else out of the way, go for the final kill…

Oh, if only it all worked that well.

In certain respects, Hyrule Warriors Legends is technological marvel.  Taking such a huge Wii U game, adding even more content, and then cramming it onto a 3DS cart is nothing short of astounding. It’s far from perfect, though. There are still plenty of glitches to be fixed; I’ve had every enemy randomly freeze after using an Owl Statue warp, but then prevent me from conquering any bases. Some of the auto-saved checkpoints can re-spawn objectives you’ve already completed, refuse to unlock doors, or mess up your weapon’s hit detection. Your AI-controlled allies are borderline useless; the Hylian Captains fail miserably so often, they’re probably all secretly traitors. No matter how much you level up and develop the playable characters’ abilities, they will become utterly inept the moment you switch to another warrior mid-battle. The sub-weapon system, which includes arrows, bombs, and other Zelda staples, has awkward, lethargic controls and is poorly utilized. It’s used to defeat major bosses like King Dodongo, Gohma, and Manhandla, but little else aside from simple puzzles tacked on for the sake of battlefield progression or bonus items. The AI for those monsters are especially abysmal; it’s common for them to constantly recycle their animations instead of set attack patterns, which turns their fights into annoying, time-consuming games of chance.

The camera, which utilizes the C-Stick a la Monster Hunter 4 and Majora’s Mask 3D incredibly well, is barely responsive in certain directions. You’ll spend more time struggling with it than against any enemy in the game. It’s not uncommon for your view to get stuck in a corner or behind a wall, which is absolutely lethal in more difficult battles. That’s a huge problem when you have to rely on it to switch between targeted foes. Speaking of which, seeing all those dozens of classic Zelda monsters moving onscreen at the same time is amazing…Assuming you’re playing on a New 3DS, of course. The game runs decently on it, but you’ll still encounter foes that are invisible unless you’re standing right next to them. Some of the maps – Death Mountain and Valley of Seers come to mind – have intricate, cleverly-designed structures, but the draw distance is lacking, and the colors and textures are far below the 3DS’s usual standards. Even if you don’t care about the graphics and have are using an older version of the system, the poor camera controls, the sheer amount of processing, and their impact on the gameplay deserve some consideration.

The game tries to distract you from its shortcomings by focusing on its most important aspect: the combat mechanics. There are over 20 playable characters, each with unique movesets and abilities. While it’s easy to mash the X button and unleash a barrage of weak attacks, you can mix them up with stronger moves, and build up an energy meter for powerful specials. There’s no real challenge in terms of timing or technique; unless you’re trying to stun and kill a boss in a single combo, it all boils down to preference. The controls are wonderfully responsive and the attacks are flashy, and that’ll hopefully be enough to get you through the most tedious fights. There’s nothing quite as awesome as annihilating a small army by summoning Ganondorf’s giant demonic arm, or having Zant twirl and flail around like a maniacal blender. Stylishly juggling enemies with Linkle’s dual crossbows defies common sense, but it looks cool. Everyone gets unlockable alternate weapons, but the main characters get far more attention; aside from the Master Sword, Link can wield the Magic Rod, the Twilight Princess Spinner, and a few others, all with different uses and animations. Everyone can be further developed via the simple upgrade system, which allows you to improve combos, chip damage, item usage, and other stats. Combined with the character models, music (the Hyrule Field, Gerudo Desert, and Eldin Cave rock remixes are amazing), achievements, and Puzzle Swap-style artwork, there’s a ton of content waiting to be unlocked. No matter how bad the rest of the game seems, there effort involved in designing the moves and additional content is undeniable.

Since getting all of that extra stuff requires item drops, you’re going to be replaying. A lot. It’s easy to plow through the main story in a single weekend, but unlocking everything is a slow, arduous burn. You’ll spend the majority of your time on Adventure Mode, which has you tackle battles with specific win conditions and a grading system. You might have to kill a certain number of enemies with limited time, all while being chased around by a boss. Or you could slog through the laughably easy quiz missions, which give you a gauntlet of specific enemies to slay for your answers. Others, such as boss rushes and Cucco turf wars, can be surprisingly challenging. That’s especially true with the grading system; your score determines what mission you unlock next, so you’ll have to play exceptionally well if you want to get anywhere. Progression in Adventure Mode is further complicated by its layout; it’s a set of grids that resemble maps from other Zelda games. You’ll earn candles, whistles, and other old-school items that help you unlock new areas, characters, and equipment. It’s all about knowing when and where to use those items, just like the original game. Even if it is challenging and frustrating, it’s a clever, creative way to celebrate the franchise.

That can be said for the game as a whole. Hyrule Warriors Legends is an impressive feat that ultimately falters under its creator’s ambitions. Porting one of the biggest Wii U games to a handheld console was never going to be perfect, and it shows. Even if you’re playing this on a New 3DS, be prepared for glitches and questionable camera controls. The developers rightfully focused on making sure the characters played smoothly and stylishly amidst a ridiculously huge amount of enemies onscreen, and sacrificed the rest of the visuals in the process. The AI leaves much to be desired, though slaying hordes of video game monsters with iconic heroes is quite fun. If there was any Nintendo game that would benefit from patches and DLC, it’s this. There’s plenty of room for improvement in many areas, and time will tell if and how it’ll happen. Much like the overall Zelda franchise, Hyrule Warriors Legends has had a rough start, but could be potentially brilliant. Despite having so many heroes, it still needs a savior.

Originally posted here.

What’s The Deal With Leap Year?

Hey, folks. Happy Leap Year!

*Crickets chirping*

…Yeah, okay, it’s not an actual holiday. But it does represent one of the most important and fascinating aspects about the Earth and our understanding of physics. It’s common knowledge that a year is 365 days; it’s what modern civilization uses to keep track of business performance, industry production, crop harvesting, population growth, radioactive decay, public transit, pizza deliveries, birthdays, Oscar acceptance speeches, and pretty much anything remotely affected by the passage of time. Needless to say, timekeeping is kind of important.

However, it’s inaccurate.

The 365 day per year model is based on the Gregorian Calendar, which was first instituted by Pope Gregory XIII in 1582. It was an update to the far older Julian Calendar, in an attempt to bring the actual day of Easter closer to the day the church thought it was supposed to be celebrated. It was shoehorned in at the end of February because, honestly, the Romans had a long history of treating the month like an afterthought. While altering the basis of time measurement must have been a huge headache for everyone involved – there are still several different calendars spanning various cultures, and Greece didn’t adopt the new calendar until 1923! – it also illustrated the big problem with timekeeping on Earth: it doesn’t divide into perfect increments. Earth’s orbit is 365.256 days. How do you add .256 of a day to a calendar? Hence why Leap Day happens every four years; the calendar skips over that .256, then multiplies by a whole number of those years to make up for it. .256 x 4 = 1.024, which is just enough to make an extra day and leftovers small enough that no one will really care…

For now, anyway.

Here’s the thing: How we measure Leap Years – and thus the passage of time – is going to have to change in the far future. The algorithm that the Gregorian Calendar uses is fine for our current civilization; it’s as accurate and easily applicable as it needs to be. But on long-term timescales – we’re talking tens of thousands of years – it won’t be able to keep up with the astronomy and physics it’s based upon. Thanks to the effects of the Moon’s gravity, Earth’s rotation is actually slowing down, creating longer days. We’ve already introduced Leap Seconds to make up for the discrepancies and inconsistencies in the planet’s rotation. That’s all assuming that nothing crazy happens with Earth’s orbit, or if it remains stable enough until humanity dies off and the sun goes red giant and destroys the planet in a few billion years.

…Happy Leap Year!

Soundtrack Saturdays: Pokemon Stadium Theme (SSBM Version)

Hey, did you know Pokemon turned 20 this week? Yeah, I was surprised, too. I remember when the series first came to America. I was in that perfect target demographic sweet spot; I had a Game Boy, watched weekday afternoon cartoons (Pokemon was technically my first anime, as Toonami hadn’t premiered yet), and still had the time to dedicate hours to catching ’em all. I can still recite the original PokeRap. I don’t think I need to elaborate on Nintendo’s brilliant marketing campaign; the fact that the series has survived this long – with two brand new games coming out this Christmas – speaks for itself. Nintendo definitely knew they were onto something by 2001, when they included this song in Super Smash Bros. Melee. A fully-orchestrated remix of the anime’s title theme, complete with an utterly epic choir? Yeah, that’ll blow any fan’s mind the first time they hear it. While I don’t play Pokemon anymore (an exercise in futility if there ever was one), I still remember the original games fondly.

If you want more SSBM, you can find the full OST here.

Good gaming, good music.