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Comment Re:welcome to the new microsoft (Score 1) 74

Because it's not what they're good at. That's a built-in component of how a market works - if you're not productive with a technology you own, see if someone else thinks they will be, and then sell it to them. Licensing is like selling, except you get to be owner as a service, which is, you know, better.

Comment Re:Same as S7 Edge (Score 2) 116

I don't think using the S Pen is an edge case. I bought a Note 2 and a Note 4 specifically to have a built-in stylus. I would suggest that given the number of high-quality large phones out there, yours is much closer to the edge case, for exactly the reason you stated - the Note is the only flagship device with a stylus.

Comment Re:Man, animation must _really_ be evil then. (Score 0) 304

Directors being sociopathic dicks aside, the fact that you *can* get reactions is entirely outside my point. Those actors could certainly have given those performances without those stimuli. What you're describing is called "The Method", except because these directors are stupid sociopaths, they don't trust their actors to use the method in the appropriate way. See, the normal way that shit works is that you find a piece of yourself that maps to the moment in question, and then you work on that mapping internally until it fucking clicks. You don't use shit off the cuff, and you don't fuck around with things you're not ready to use. Putting the stimulus into the real world eclipses any hope of actually doing that work.

I've cried in productions. Cried to break my worthless little heart. It's not fucking hard. It's hard not to when you get the work done and you get into the scene. There's nothing interesting about taking the option of doing the work out of the actor's hand; it's quite simply something that caters entirely to someone's worthless ideas about what they want.

Comment Re:Man, animation must _really_ be evil then. (Score 1) 304

Sorry, this is a complete misunderstanding of how acting works. The way that an actor expresses surprise - or shock or fear or love - is very different from the way their character does so. Making a moment surprising or shocking or horrifying for an actor is anathema to the process of creating a moment using an actor. If you want that, just do documentaries and reality TV. You don't need to hire someone whose entire life has been spent refining their empathetic muscles if you just want the person onscreen to display their own feelings.

Comment Writing for comics (Score 1) 58

I'm writing my own material and learning to draw because I don't see another way to make what I want to make. I look at your body of work and I wonder: How you were able to slide these incredible missives from the Gonzoverse under the brane, and was there anything you did early on that allowed you to make the incredible defining works in your bibliography (Transmet, Planetary, Authority)?

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