#Fast Product Development

[grafic01]

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[bookshelf-in-progress]

There's always a danger of caring too much about a story, and then getting paralyzed by the need to do it justice, so it never gets written.

I've solved this problem in the past by writing stories so fast that I don't have time to get too invested, or writing stories that I'm not that attached to.

But maybe the trick is to love the story so much that I want to share it any way I can, even if it's imperfect. To feel that any version of this story is better than the story never getting written at all. To get out of my own way and stop worrying about what other people will think of my writing, or even what I think of my writing, and love the story for its own sake, love the readers enough to want to have the joy of sharing the story with them.

Maybe it'll work. Maybe it won't. But so far it feels like a much better approach.

[freshthoughts2020]

[c0smiccom3t]

So.... I heard a version of Crash 5 never saw the light of day and got canned.

And now people are thinking Crash 5 as a whole got canned....

I need a moment.

[rjzimmerman]

Excerpt from this story from DeSmog Blog:

With its unparalleled purchasing power and exacting demands, fast food has long shaped agricultural systems in the United States, Europe, and China. But as major American fast food brands, like KFC, expand into so-called “frontier markets,” taxpayer-funded development banks have made their global expansion possible by underwriting the factory farms that supply them with chicken, a DeSmog investigation has found. 

In all, the investigation identified five factory-scale poultry companies in as many countries that have received financial support from the International Finance Corporation (IFC, the private-sector lending arm of the World Bank Group), the European Bank for Reconstruction and Development (EBRD), or both since 2003, and that supply chicken to KFC. A sixth company has benefited from IFC advisory services but has not received financing. 

A review of press accounts, financial disclosures, and the companies’ websites shows this support aided these firms’ KFC-linked operations in up to 13 countries in Asia, Africa, and Europe. 

In Kazakhstan, both banks helped a Soviet-era poultry factory become a KFC supplier. In 2011, the IFC lent poultry company Ust-Kamenogorsk Poultry (UKPF) invested $2 million in refurbishing housing for chickens, among other projects. In 2016, the EBRD made a $20 million equity investment in the company’s parent, Aitas, to finance the construction of a new facility to raise and process poultry. In 2018, two years after announcing the financing deal, UKPF revealed it had become a supplier to KFC in Kazakhstan. The EBRD sold its stake in the company in 2019. 

In South Africa, the IFC helped one KFC supplier bolster its operations across the region. In 2013, the bank loaned Country Bird Holdings $25 million to expand existing operations in South Africa, Botswana, and Zambia. Country Bird supplies KFC in all three countries, as well as Mozambique and Zimbabwe. Three years later, in 2016, Country Bird also became KFC’s sole franchisee in Zambia.

In Jordan, the EBRD’s technical support and a 2015 loan worth up to $21 million helped poultry company Al Jazeera Agricultural Company upgrade its facilities and expand its retail presence. Al Jazeera claims to produce half the country’s restaurant-sold chicken. It includes the local franchisees of KFC and Texas Chicken (known by its original name, Church’s Chicken, in the U.S.) as clients. 

With this Global North-financed fast-food expansion comes a host of environmental, social, and health concerns in regions often unprepared to field them.

“It’s so clear that these investments are not consistent with any coherent notion of sustainable development,” Kari Hamerschlag, deputy director for the food and agriculture program at Friends of the Earth US, told DeSmog. 

Providing Financial Security for Fast Food Suppliers 

Both the IFC and the EBRD are financed primarily by the governments of developed countries for the benefit of developing countries. The IFC was founded in 1956 under the umbrella of the World Bank Group to stimulate developing economies by lending directly to businesses. Founded in 1991, the EBRD was formed to support Eastern Europe’s transition to a market economy. Since then, it has extended its geographic reach to include other regions. 

Development banks often finance companies and projects in regions that more risk-averse commercial banks tend to avoid. The idea is to help grow a company’s operations and lower the risk for private sector investors. 

Both of these development banks’ investments cover a range of sectors, including manufacturing, education, agribusiness, energy, and tourism. Because large agro-processors, such as poultry companies, can transform bushel upon bushel of local crops into more valuable products, like meat, they make especially attractive clients. 

The world’s largest restaurant company, U.S.-based Yum! Brands, owns KFC, and calls the fried chicken powerhouse, which oversees more than 30,000 locations across the globe, a “major growth engine.” 

[gemharvest]

Seeing people getting worried about the FNaF 2 movie having a release date of fall 2025 and like. I'm not gonna lie I'd feel weird if they got a sequel out only a year after the FNaF movie released.

[frog707]

https://www.fastcompany.com/90907757/train-brain-into-flow

While the article (from June) is from the perspective of writing prose, it seems to me the strategy described ("parking on a downhill slope") might also work for writing software.

When coding, I strive to focus on each task for as long as it takes to complete. It seems natural to end each session with the project in a "good" state (building successfully/cleanly, all changes committed/tested/pushed). I expect it will be difficult for me to break that habit.

[unproduciblesmackdown]

oh the broadway world review of summer stock (a) loved it as much or more than anyone (b) has as much or more info than anyone and (c) generally has the most vivacity thus far

Summer Stock made its world premiere at The Goodspeed Opera House to a most deserving enthusiastic standing ovation. Based on the 1950 MGM film starring Hollywood legends Judy Garland and Gene Kelly, Summer Stock is a spectacular production with phenomenal dancing, feel-good music, and a sweet story, all modernized for today’s audiences.

Audiences will recognize and love hearing classic songs by Irving Berlin and from The Great American Songbook, including “Happy Days are Here Again”, “Accentuate the Positive”, “I’m Always Chasing Rainbows”, “It’s Only a Paper Moon”, “Me and My Shadow”, “Red Hot Mamma”, “’Til We Meet Again", and “You Wonderful You”. Summer Stock’s writer, Cheri Steinkellner, takes the original film story to a whole new level that both contemporary and classic theater goers will absolutely adore. Steinkellner provides additional lyrics to upgrade the story to first class. It’s hard to believe that she “got the call” to write Summer Stock in October, completed the workshop draft by March, and had the rehearsal draft ready by June for a July opening. Steinkellner clearly works well under pressure - Summer Stock is a diamond.

In the Writer’s Notes, Steinkellner elaborates on the restrictions of bringing the film to stage (like how heavy farm machinery wouldn’t fit up on the Goodspeed stage) and how she tackled answering the many questions that the original film glossed over: “Why is a Shakespearean matinee idol starring in a musical in a barn? What happens when you make show-people wake up at sunrise to muck out the stalls?” and more. She repositioned and repurposed the film’s original songs like “Howdy Neighbor” and “Dig for Your Dinner”, so the classic elements that film fans are looking for are still there - only, frankly, much much better. Lastly, she addresses the challenge of “crafting a [contemporary] story to support a diverse cast of characters with intention, authenticity, and care.” Steinkellner rose to the challenge, knocked it out of the park, and created a great musical in record time.

The story is simple and sweet. Set just after World War II, we meet Jane Falbury (Danielle Wade), a doting daughter working the family farm with her father, Lt. Henry “Pop” Falbury (Stephen Lee Anderson). The Falbury Farm is in trouble thanks to the devious and ambitious Margaret Wingate (Veanne Cox), who has grand aims for a monopoly over the Connecticut River Valley. Scheming with her naive son, Orville (Will Roland), they will stop at nothing to own the farm. Meanwhile, Jane’s showgirl sister, Gloria (Arianna Rosario), has moved to The Big Apple to make it on Broadway. She wins a spot in the chorus line of Joe Ross’ (Corbin Bleu) brand new show. With his sidekick and music director, Phil Filmore (Gilbert L. Bailey II) in tow and a Shakespearean star, Montgomery Leach, ready to take center stage, they hit a snag when they lose their rehearsal space. Gloria suggests uprooting the show to rehearse in her family’s barn. Jane, who is fresh out of farm hands, reluctantly agrees to let the actors stay in exchange for earning their keep. The company’s tight harmonies might not charm Jane at first, but they certainly had us swooning. I won’t spoil the entire plot, but will say that hilarity ensues, hearts flutter, dreams are realized, and it’s wonderful.

When I first heard about Summer Stock, I cynically thought that it felt too familiar. The show is set on a Connecticut farm whose owners have fallen on hard times and risk losing their livelihood. They turn to their Broadway friends, who are amidst the usual uphill battle of making it big in show business, and agree to put on a brand new production in the barn to raise funds to save the farm. It’s based on the film of the same name, features music by Irving Berlin, and includes incredible tap numbers, and spotlights America’s sweetheart Corbin Bleu. Hearing that alone, I’d think this was a copy/paste of Tony Award-nominated Holiday Inn: The New Irving Berlin Musical, which opened at The Goodspeed in 2014 and went to Broadway in 2016. We’ve seen a number of Irving Berlin musicals, including White Christmas, and the most recent Broadway production Nice Work if You Can Get It, starring Kelli O’Hara and Matthew Broderick. So, what more is there to add to this Broadway subgenre? If you’d asked me before, I would argue there’s “Nothing More to Say”. I was very wrong. Summer Stock raises the bar with phenomenal choreography, clever storytelling and humor, beautiful orchestrations, and unparalleled performers.

Speaking of unparalleled performers, the cast is perfection. There’s not a single throwaway line or character. They’re all exquisite gems and I’m running out of words to compliment them all. The “city mice” dancers and ensemble features Erika Amato, Hannah Balagot, DeShawn Bowens, Ronnie S. Bowman Jr., Emily Kelly, Francesca Mancuso, Tommy Martinez, Corinne Munsch, Gregory North, Kaylee Olson, Jack Sippel, and Cayel Tregeagle. Danielle Wade sweetly croons just like Judy Garland and swept audiences off their feet. As I left the theater, I overheard two ladies praising Wade for her stupendous performance, saying it was perfect likeness of Garland, yet even more meaningful. Arianna Rosario, as the sugary sweet sister, is absolutely delightful. Stephen Lee Anderson, as  the veteran and father, tugs our heart strings. Gilbert L. Bailey II and Will Roland had the crowd roaring with laughter as the feisty music director and innocent corporate heir. Veanne Cox, as the melodramatic mother and CEO of Wingate Agricultural Corporate, had the crowd roaring with laughter from the moment she spoke her first line. Not to be outdone, J. Anthony Crane, as the over-the-top Shakespearean star, brought down the house with his entrance alone. Together, Cox and Crane generate instant heat, which is especially appropriate since they rock the stage with Red Hot Mamma. The cheeky, interspersed Shakespearean innuendo is fast-paced, clever, and had the audience hooting and hollering. I would see the show again for this duo.

Last, but far from least, Corbin Bleu, as the show’s director, gives the performance of a lifetime. Bleu radiates pure joy and leads with heart, inviting his scene partners to shine with him. Audiences instantly fell in love with his gorgeous, velvety voice, and, understandably, swooned. Bleu previously won the Chita Rivera Award for Outstanding Male Dancing in a Broadway Show for his portrayal in Irving Berlin’s Holiday Inn, and his transcendent tapping in Summer Stock shows he’s not stopping there. Bleu’s dancing is out of this world! You can’t miss his charming and virtuosic spin on Gene Kelly’s iconic solo dance, featuring the world’s most unexpected dance partner. Corbin Bleu is a national treasure.

The 8-piece orchestra, lead by Goodspeed’s resident music director Adam Souza, performs the remarkable orchestrations, by Doug Besterman, beautifully. The score is demanding, but the musicians don’t let us see them sweat. As much as I’m gushing, I would recommend shifting the show to one hour earlier and give it a little trim. Not a haircutter’s inch, but a discreet tidy-up. As it turns out, I was in slight agreement with the obnoxious subscribers behind me, who disrupted a precious moment to voice their complaints, “This is two hours and forty minutes? Way too long!” I nearly turned to fisticuffs in defense of this phenomenal cast, but chose to deliver an icy, yet effective, glare. I digress, but Goodspeed subscribers are truly spoiled with top-rate performers straight from the Broadway stage. In any case, we could use a couple more developmental scenes to fully flesh out the plot, and I’d be willing to sacrifice by shaving a bit off some of the longer dance numbers (“Everybody Step” and “Dig For Your Dinner”) and songs. (Not too much! Just an inch! And don’t dare recast any characters!)

That isn’t to say that the dance performances weren’t epic: Summer Stock has the best dancing I have ever seen, hands down. The virtuosic ensemble, lovingly called “city mice”, perfectly deliver wildly acrobatic displays all with impossibly high-energy and make it look easy. Director and choreographer, Donna Feore, has made an unforgettable, magnificent Goodspeed debut. Feore makes use of every inch of the stage, making it feel larger than life, and her attention to detail is unsurpassed. The choreography is out of this world! Wilson Chin, scenic designer, set the stage beautifully. The Technicolor New England farm-turned-theater is framed with classic red-sided barn, delicate florals climbing the walls, and hurricane lanterns lovingly displayed as accent pieces. Summer Stock is Goodspeed’s best original production ever. The 12, which opens next, has very big shoes to fill. Summer Stock has its eyes set on Broadway. Does Summer Stock deserve a Broadway run? Absolutely. In this critic’s opinion, it couldn’t get there soon enough.  Perhaps my favorite aspect of the production were the many comedic theater flourishes. Broadway audiences will cry with laughter when they watch the city mice (actors) learn how to play the part of farmhands: “What is the farmer’s motivation?��� “E-I, E-I!” Frankly, I want an original cast album yesterday. Finally, when it opens on Broadway, you’ll wish you had seen it at The Goodspeed first.

[lizzybeeee]

In light of recent developments, while I absolutely believe that EA have contributed to the mess that is current day BioWare, I think it's important to not just ignore BioWare's actions as a company and how that has contributed to this entire mess. The last few years have indicated that they have major problems internally with how they manage their workplace. EA is a predatory, vile company that chokes out creativity and treats their developers and customers like trash - you will not catch me defending them - but the news coming out in the past few years has not painted BioWare in a good light at all.

BioWare, as a company, from everything that has come out from ex-developers and interviews, has cultivated a toxic work culture that deserves scrutiny - that needs scrutiny. They don't value their creatives, they don't value their customers, and they think that 'BioWare magic' is an acceptable development mindset, never-mind the strain it puts on their staff.

Perhaps most alarming, it’s a story about a studio in crisis. Dozens of developers, many of them decade-long veterans, have left BioWare over the past two years. Some who have worked at BioWare’s longest-running office in Edmonton talk about depression and anxiety. Many say they or their co-workers had to take “stress leave”—a doctor-mandated period of weeks or even months worth of vacation for their mental health. One former BioWare developer told me they would frequently find a private room in the office, shut the door, and just cry. “People were so angry and sad all the time,” they said. Said another: “Depression and anxiety are an epidemic within Bioware.” “I actually cannot count the amount of ‘stress casualties’ we had on Mass Effect: Andromeda or Anthem,” said a third former BioWare developer in an email. “A ‘stress casualty’ at BioWare means someone had such a mental breakdown from the stress they’re just gone for one to three months. Some come back, some don’t.” 'How BioWare's Anthem Went Wrong, Kotaku

"Depression and anxiety are an epidemic within BioWare" -> and yet, they didn't look to fix this. Instead they kept course, trying to make that 'BioWare Magic' work.

Among those who work or have worked at BioWare, there’s a belief that something drastic needs to change. Many at the company now grumble that the success of 2014’s Dragon Age: Inquisition was one of the worst things that could have happened to them. The third Dragon Age, which won Game of the Year at the 2014 Game Awards, was the result of a brutal production process plagued by indecision and technical challenges. It was mostly built over the course of its final year, which led to lengthy crunch hours and lots of exhaustion. “Some of the people in Edmonton were so burnt out,” said one former BioWare developer. “They were like, ‘We needed [Dragon Age: Inquisition] to fail in order for people to realize that this isn’t the right way to make games.’” Within the studio, there’s a term called “BioWare magic.” It’s a belief that no matter how rough a game’s production might be, things will always come together in the final months. The game will always coalesce. 'How BioWare's Anthem Went Wrong, Kotaku

This is the same company that fired 50 of their staff and gave them severance less than the industry standard - to the point where they had to sue to get what they deserved. Not to mention that these employees had NDA's that didn't allow them to show off their most recent work on Dreadwolf which would have hurt their ability to find new employment.

“In light of the numerous recent industry layoffs and the fact that BioWare’s NDAs prevent us from showing any of our recent work on Dragon Age: Dreadwolf in our portfolios, we are very concerned about the difficulty many of us will have finding work as the holiday season approaches,” said one of the employees in the press release. “We are struggling to understand why BioWare is shortchanging us in this challenging time.” Seven Former Bioware Employees Are Suing the Company For Better Severence, IGN

The same company that on Dragon Age Day '24, released the Hawke Armour, passing it off to their players as a 'thank you' while the individual who worked on it was fired the same day.

They don't treat their developers well. They don't value their creatives. They don't see the merits of providing their employees with the respect and work culture they deserve. They don't respect their customers, either.

I have a lot of issues with the marketing for DATV and how they tried to blindside their customer base about what was in the game. The biggest example being how vague they were about world states, considering how important that is too many returning players. That information was leaked - they intended for players to not learn this till the game was in their hands. There are a dozen other statements made in interviews from devs that are misleading, considering the game I played and what they said was in it. The company found this to be acceptable behavior and it is not - it is extremely anti-consumer.

I am not saying that every issue can be handwaved away as 'bioware's workculture' as being the cause either, but it certainly would not have helped. There are lots of valid criticisms made about decisions regarding the writing, the lore/story, characters, gameplay mechanics etc...These creative and design choices should be engaged with critically by both developers and fans so they can learn and adapt for the next time - we all want a good game. I cannot imagine it would be easy to hear criticism when you work in an environment that puts crunch on a pedestal - it's a lose lose situation for the devs and the fans. This company desperately needed transparency and to earn consumer trust back after everything that happened in the past ten years - pretending things are all good and fine, waving off criticism, only to have half your staff leave or be laid off does nothing to foster confidence in your studio. It only makes me think that you're likely hiding more bad news under what was already bad.

Also, way to reassure us that 'well, we may have let go of dozens of people but Mass Effect is still coming!'. An absolutely tasteless comment and one that should have been in a separate message and not the same one addressing your 'restructuring'.

"Today’s news will see BioWare become a more agile, focused studio that produces unforgettable RPGs. We appreciate your support as we build a new future for BioWare."

How about you shift to a studio that doesn't work its employees to the bone and throttle its creatives? How about you examine how your workplace culture led to an incredibly chaotic development cycle that led to so many of your talent leaving? What about addressing the concerns of fans of your games when we talk about our criticisms with the quality of work being put out?

EA is a dumpster-fire but BioWare only added fuel to the flames. I have a lot of hang ups with DATV, especially writing-wise, but it was an uphill battle from the start. Joplin, Morrison, Dreadwolf, Veilguard...this game floundered in development hell and hemorrhaged talent with every step due to mismanagement and poor decision-making. In a string of poor decisions, Veilguard was just the final domino that led to all these built up problems crashing down.

I wish the best for the developers and writers who find themselves without a job - I hope they find a studio that values their talents and creativity far more than BioWare did. Dragon Age remains a series dear to my heart and it always will be, and I'm extremely grateful for all the people who contributed to making it that way. It's just very sad that this series has to end with Veilguard and all this ugliness.

Now that Veilguard is out, this feels like he was trying to warn us.

[pyrrhiccomedy]

so like I said, I work in the tech industry, and it's been kind of fascinating watching whole new taboos develop at work around this genAI stuff. All we do is talk about genAI, everything is genAI now, "we have to win the AI race," blah blah blah, but nobody asks - you can't ask -

What's it for?

What's it for?

Why would anyone want this?

I sit in so many meetings and listen to genuinely very intelligent people talk until steam is rising off their skulls about genAI, and wonder how fast I'd get fired if I asked: do real people actually want this product, or are the only people excited about this technology the shareholders who want to see lines go up?

like you realize this is a bubble, right, guys? because nobody actually needs this? because it's not actually very good? normal people are excited by the novelty of it, and finance bro capitalists are wetting their shorts about it because they want to get rich quick off of the Next Big Thing In Tech, but the novelty will wear off and the bros will move on to something else and we'll just be left with billions and billions of dollars invested in technology that nobody wants.

and I don't say it, because I need my job. And I wonder how many other people sitting at the same table, in the same meeting, are also not saying it, because they need their jobs.

idk man it's just become a really weird environment.

[beaniebitch69]

i wanna high jump kick like a lopunny, but its probs more natural to be indirect and odd like a butterfree

[pavitrapavi]

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[ai-innova7ions]

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[helielune]

[ganesh85465]

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