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Thinking for Ourselves and Rethinking Work


Thinking for Ourselves
Economic Future
By Shea Howell
Last week President Obama addressed a joint session of Congress to press for the adoption of the American Jobs Act. He called for a combination of tax cuts and targeted spending designed to intervene in the continuing deterioration of our economy. He advocated incentives to businesses to hire veterans and people who have been out of work longer than 6 months. He proposed spending on infrastructure, including rebuilding roads and bridges, repairing schools and hiring teachers, police officers and fire fighters. He argued the proposed $447 billion package could be paid for without adding to the deficit. Many people who support President Obama greeted the speech with joy and relief. 

Paul Krugman of the New York Times who was bitterly disappointed in the last stimulus effort said: 

“First things first: I was favorably surprised by the new Obama jobs plan, which is significantly bolder and better than I expected. It’s not nearly as bold as the plan I’d want in an ideal world. But if it actually became law, it would probably make a significant dent in unemployment.” 

Another commentator noted that this was “an enlivened President Obama…impassioned, indignant, non-professorial.” Others still called the speech “politically dexterous” and were glad it expressed “a fairly unquiet anger at Washington’s—meaning Congress’—failure to act.” 

The Republican leadership, perhaps attentive to the polls that show their approval rating is lower than the President’s, greeted the speech with restraint. By the beginning of the week the opposition had rallied. House Majority Leader Eric Cantor slammed the recommendations on closing loopholes for oil and gas companies and tax breaks for the wealthiest. He called this a “massive tax increase.” Speaker John Boehner claimed the plan lacked “bipartisan spirit” and vowed to break it into several parts. 

I welcomed the speech. We are facing a crisis unlike any since the Great Depression. Here in Michigan we are on the brink of a catastrophe. As a state we account for nearly half of all jobs lost in the country as a whole. Now we have a republican governor and legislature who are tearing apart the basic supports for the most vulnerable among us. 

I applauded when the President said: “What we can’t do -- what I will not do -- is let this economic crisis be used as an excuse to wipe out the basic protections that Americans have counted on for decades. I reject the idea that we need to ask people to choose between their jobs and their safety. I reject the argument that says for the economy to grow, we have to roll back protections that ban hidden fees by credit card companies, or rules that keep our kids from being exposed to mercury, or laws that prevent the health insurance industry from shortchanging patients. I reject the idea that we have to strip away collective bargaining rights to compete in a global economy. “ 

But more important than the fate of this specific proposal is the long term concern that President Obama raised. He said: “Now, the American Jobs Act answers the urgent need to create jobs right away. But we can’t stop there…We have to look beyond the immediate crisis and start building an economy that lasts into the future … 

We now live in a world where technology has made it possible for companies to take their business anywhere. If we want them to start here and stay here and hire here, we have to be able to out-build and out-educate and out-innovate every other country on Earth.” This is the question we all need to urgently address: how do we create an economy that sustains our people, our communities and our planet? What do we think that future should be?






Rethinking Work


We are the children of Martin and Malcolm, 
       Black, brown, red and white, 
Our birthright is to be creators of history, 
Our Right, Our Duty 
       To shake the world with 
       A new dream! 

At this time of mass unemployment and foreclosures, failing banks and failed states, floods, tsunamis, tornadoes, hurricanes and global warming that threatens all life on this planet, I often find myself recalling this poem and wanting to share it. I helped to write it in the spring of 1982, nearly 30 years ago. 

Three of us, one African American, one Polish American and me, were sitting in my car following a National Organization for an American Revolution (NOAR) meeting. We were talking about and planning to participate in the June 12 March for Unilateral Disarmament in New York’s Central Park. Out of the blue one of us (I don’t remember which one) came up with the first line. The other lines then followed as naturally as water from a faucet. Our poem was published on the front page of the broadsheet that NOAR distributed at the Central Park March. A million people, about one out of every 250 Americans, participated. 

Many historians believe it was the numbers and energy of these Americans that inspired Mickhail Gorbachev, the General Secretary of the Communist Party of the Soviet Union, to initiate glasnot and perestroika at the 28th Congress of the party in 1986, thus contributing to the collapse of the Soviet Union five years later. 

As T.S.Eliot put it, “History has many cunning passages.” 

I share this poem now because it seems to me that we are at a time on the clock of the world when the children of Martin and Malcolm are beginning to shake the world with a new dream. 

They/We are doing it in cities all over the country by growing our own food and by bringing the neighbor back into the ‘hood to create beloved communities.’ 

We/they are beginning to make a life, not just a living. We are also doing it by Re-imagining and Re-defining Work, so that in the words of Matthew Fox, our Work is “an expression of the spirit at work in the world through us.” 

Over the last weekend in October the Boggs Center, together with over 15 community organizations, is hosting a gathering in Detroit to re-define and re-imagine Work. Individuals and groups from all walks of life will be showcasing and discussing the many ways in which we are being challenged by our “wounded Earth, the one billion unemployed, the billions of despairing young people who see no guarantee of either work or jobs, and the needs of other species around us to, as Fox writes, “shake the world with a new dream of Work.” 


reIMAGINGING Work 
October 28-30. 


Rethinking Work - Taken from posting 'Rethinking Work' 9/19/2011



We should be making more of what we consume.

http://www.detroitmakeithere.com/article/20110901/DM01/110909997 
Nathaniel McClure went to school in New York and launched a successful career in Los Angeles. But for the past two years, it's been metro Detroit that his video game development company has called home.
McClure, 36, left New York after school to pursue work in film and television. Once he got out to Los Angeles, though, he discovered that a childhood love of video games was turning into a new career path.
He began working at Activision Blizzard Inc., a video game publisher in Santa Monica, Calif., in 2001. After leaving in 2007, he formedEpicenter Studios, which he ran until 2010, when he sold it to Floor 84 Studio LLC in North Hollywood, Calif.
Incentives offered by the Michigan Film Officeare what inspired McClure to make the move to Michigan in 2009. He started Farmington Hills-based Scientifically Proven LLC that year.
"Man vs. Wild," based on the Discovery Channel show, was the first game Scientifically Proven produced.
An application for a $400,000 incentive for the "Man vs. Wild" game was initially denied based on the state's argument that the studio did not own all of the intellectual property rights to all of the material in the game. Scientifically Proven sued the state and won in Oakland County Circuit Court, but the state has appealed. (Look for a story in Crain's Detroit Businesslater this month on a proposal in the Michigan Legislature to allow incentives for projects of which all the IP rights are not held by the applicant.)
The studio was recently approved for an incentive of more than $400,000 to produce "Ghost Game." Scientifically Proven wrote the entire storyline for this game and therefore owns all of the intellectual property rights.
McClure said he tries to take different approach to the stories in his games. Instead of involving killing, games like "Real Heroes: Firefighter," which he created while at Epicenter, have the gamer saving lives.
The studio is also working on titles for medical, educational and military markets. Its educational titles will help children track their caloric intake and exercise minutes, while the military titles will train pilots to fly virtual drones.
Last year, McClure and his staff ventured into the realm of film and television production. One project, a low-budget horror movie, is in post-production right now, and McClure said viewers may see it within a few months.
"We wanted to do something and not break the bank up here to really test out" the availability of talent in the local area, McClure said. "It was kind of our first foray to figure some stuff out and it turned out really cool."
McClure shared more of his story in a conversation with Michelle Muñoz.
How did you get the funding to start Scientifically Proven?
It all came from my pocket.
Really?
Absolutely.
How much did it cost?
A good amount. A good amount. That was a huge part of the incentive. ... Typically we are a service industry. We have a product and then we have a royalty percent on that product, depending on how it does. Other than that, our margins are relatively tight. It's, here is a product for $1 million; $990,000 of that is my cost. So it's not a lot of profit.
The goal is to make good products that you can get royalties on. So here is an opportunity where I can come up here, develop these products for my clients, publishers or individual investors, and now have this incentive to either offer my investors or my publishing partners, or I can internalize and take after the project is done and use it to develop new IPs, develop new properties, hire more staff, all that good stuff.
When you look at my family moving, and I bought a house, all that stuff on my private side, it was relatively significant. ... Significant enough that I'd advise anyone to make a good plan and double check it but not significant enough where it's like, "Oh my god, no one can do that." I'm just another jerk just like everybody else. Just put a little knowledge and apply it.
Do you think it's easier out here in a less crowded environment?
It depends on how you look at it, I guess. Is it easier to run a business that has a proven clientele? Absolutely. Because as long as the money is coming in, the cost of living is cheaper up here for my employees, the cost of doing business is significantly cheaper for myself, so in that aspect absolutely, the real estate is cheaper and more available. You have much more options in that aspect, but also on the flip side of that, the talent pool is much smaller for what we do. And I don't have direct access to all my clients that I did in Los Angeles. ... There is the potential to be easier if you have some sort of installed base of clientele. Otherwise, I think it would be very tough to do what I do out of the gate up here.
What kind of people do you not have here that you need to make these games, and do you see more coming?
Just our core skills. Essentially we have producers, which are the managers, more or less ... We have art, which they create all the physical assets that go into the game. ... We have our designers who come up with core concepts, core design principles and ideas on how the game is going to work. Then we have our programmers that build the actual architecture that puts it all together.
When I first moved up here, I brought five guys with me that moved from Los Angeles who are now all full-time Michigan residents and have been for the past year and a half. And the rest are all locals. So I wanted to get a couple core guys because when I first moved up here I brought one guy, and we were like, "Ok, we need to find some veterans here. We can't go all green."
We stumbled a little bit, we found one and we decided there were a couple of guys in L.A. who really liked the opportunity to come up here. It's a better quality of life, better schools, potential to raise family ... so they came up.
For the rest we went to Michigan State, which we have a great relationship with. We actually sponsored their capstone program for the past two years working with all of their students. (University of Michigan), (Center for Creative Studies), Wayne (State University), you name it. There is an incredible feeder system up here between the major universities.
So is there a growing pool of talent?
Absolutely.
Do you think it's fueled by the Michigan Film Office incentives?
Absolutely. ... Just since I've been here in the past two years I've seen probably five or six startups pop up, some that I've had direct interaction with. And it's in large part due to the incentive. Now that the incentive is finally working for me I can go aggressively out there and look for development funds, opportunities with publishing partners and investors to start bringing money in here to grow even more. Unfortunately due to the lawsuit and that nonsense I'm behind in my original plan up here, but now that's finally starting to click and go, I feel much better we'll be able to gain ground quick.
Have you interacted with a lot of people who are thinking about moving away from Michigan and weighing the options?
Pretty much all of my employees. That was in almost every interview. When I originally hired, everybody was (saying), "If you weren't here, I wouldn't live here." Because they want to make games, they want to do what we do and there are very few choices up here. You apply to a couple, and if you don't get them, you have to go. In February, after Gov. Snyder's speech (regarding capping of the incentives at $25 million), that became another possible reality really quick because it kind of just tore the floor out of the incentive. All of our backers, all of our publishing partners, all of our out-of-state investors were like, "Well, the incentive is broke; why do we need to go there anymore?" Let's go to Louisiana or Georgia or North Carolina or something. But, with a lot of blood, sweat and tears, it's finally starting to get back on track.
Why don't you tell me a little about "Ghost Game"? I know it's based in Detroit, but where did the idea come from?
We're huge fans of the ghost-hunting genre. It's funny, we were just talking at lunch about how many believers and non-believers we have in the paranormal here. It's pretty even actually. But there are a lot of cool horror games that have existed over time — "Resident Evil" and all these great horror games — but there's not one that really represents the true ghost-hunting genre like a lot of television shows right now. There have been 20 shows in the last five years on television just about this aspect of it.
It's approached from an arguably scientific perspective of, "Hey, let's really try and debunk and figure this out. Do they exist or not exist?" ... It's not traditional in the fact that you are out there hunting in the form of killing or doing something like that. But there are a lot of investigation elements of it and a great murder-mystery that weaves between the whole thing.
It sounds fun to us. We sat down and ... the guys are brilliant, they come up with new ideas every day for games to make, and we try to match a great idea with what we think is a commercially viable product. It's like what's out there in this space? Alright, that's not a game in this space, but there's a huge following in terms of televisions shows. Three out of four people believe in some sort of paranormal in America. And that essentially generates a huge gap in this space — that wow, we can fulfill that need. And then we start coming up with a couple core ideas and a couple core concepts. And there you go, we get to work. Get some money and get to work.
When you first got started in the video game business, what were some of the games you worked on?
When I joined Activision I was particularly skilled in first-person shooters. So I went on "Return to Castle Wolfenstein" and worked on that for a while. And I got on the early evaluation team for "Call of Duty," the first one, before we ended up buying "Infinity Ward," the developer. Then I did "Call of Duty 1," 1 and a half, 2, 3, 4 and a million side mobile projects. ... It was pretty much "Call of Duty" for about five years straight, (and) "Wolfenstein," "True Crime," "Star Trek." I have a laundry list of them. What kind of games did you play as a kid? What was your favorite?
Oh, you name it. I was a huge Sega nut. Genesis was hands down my favorite. My first console was the Odyssey 2 and the "Pac-man" clones and all that stuff. But "Ghouls 'n Ghosts" was one of my favorite ever, "Mario" of course ... "Alex Kidd," "Wonder Boy," there's laundry lists.
I was never a Genesis kid. I was all Nintendo.
It's weird to see the split. There was a definitive split. My buddy, he was a Nintendo guy so he had (Nintendo Entertainment System), (Super Nintendo Entertainment System), all that, which was perfect. ... He had all his stuff and I had all my stuff.

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