I finally saw Frozen last week. Somehow I managed to avoid spoilers, detailed critiques (I’d file them away to read once I’d seen the movie), or even — believe it or not — hearing “Let it Go” before I had a chance to watch the scene and get the full context.

It was a lot of fun, very energetic, and I liked the music. For a lot of reasons, I couldn’t help but think of Tangled, and found myself tracking down both soundtracks.

Frozen Songs

I’m not sure which was a bigger surprise: That Kristen Bell can actually hold her own opposite Idina Menzel, or that one of the songwriters of Avenue Q won an Oscar for a Disney movie. Seriously: I’d forgotten the composers’ names, and I was trying to place the style while watching. Somewhere in the first half hour, something reminded me of Avenue Q, and I thought, “Nah, couldn’t be” and moved on. Now, I can’t unhear similarities.

After listening to the songs from both Tangled and Frozen a lot over the past week, I feel like Alan Menken’s score from Tangled is better overall, and more consistent, but the song list is very sparse and very reprise-heavy. Frozen is much more uneven, but the stand-outs are great, and much more catchy.

I’m going to be weird for a moment and say that the most perfect song in the movie is “Do You Want to Build a Snowman?” It captures Anna’s determination and optimism in the face of the sisters’ disintegrating relationship and their lonely circumstances, and there’s not a moment of awkwardness in the whole thing (except where it’s intentionally adorable).

“For the First time in Forever” and “Let it Go” are 90% fantastic. The former has a few clunker moments, and the latter IMO could have done with just one more pass-through on the lyrics. I love the way the performance in the movie starts out buttoned-up, then releases all that tension from the opening verse, and then turns into an anthem of self-discovery. And on second viewing, the links between the two songs add an interesting layer.

The other songs are serviceable, but nothing really stands out.

Tangled Music

Going back to Tangled, “When Will My Life Begin?” and “Mother Knows Best” are solid, and “I See the Light” is a beautiful mix of a madrigal sound on the verses with a more modern, sweeping chorus. The music is gorgeous, including the score (which is also fun to listen to for echoes of other Menken Disney scores), but the lyrics don’t have quite the same zing that the better lyrics in Frozen do (though they’re considerably better than the low points).

Still, I found myself compelled to learn the lyrics to “I See the Light,” partly to have something more complete running through my head, and partly for the lullaby value. (I do have a three-year-old, after all.)

Update: One Year Later….

A year later, a lot of the songs from both movies have grown on me. I’ve come to appreciate the lyrics in Tangled more, particularly the wordplay in “I’ve Got a Dream” (though the tune is basically “She’ll Be Coming ‘Round the Mountain”), the exaggeration in “Mother Knows Best” and the dissonance in “When Will My Life Begin.” And while I still think Tangled has a better score overall than Frozen, I can hear how well it’s constructed now. A lot of the tracks bring to mind the scenes immediately on hearing them, and everything is connected musically.

“I See the Light” did, in fact, become one of my go-to lullaby songs last year. After a while I started to regret it, when he began singing shrilly off-key fragments of songs in nonsense syllables at the top of his lungs all day, but thankfully he’s since cut down on frequency, learned to sing on-key and control his volume, learned more than just two lines of each song and started actually singing words. When he wants to. He still drops into the other mode of “singing” from time to time, but it’s not constant anymore.

WickedI’ve been catching up on last year’s movies. I finally saw Frozen last week, which prompted me to track down the soundtracks to both that movie and Tangled (more about that later), and listening to those prompted me to dig out the cast album for Wicked for the first time in, well, forever.

I was reminded of why I hadn’t listened to it much. Aside from a handful of songs (“Corner of the Sky” and “Colors of the Wind” come to mind immediately), something about Stephen Schwartz’s music just doesn’t stick in my head, and Wicked isn’t an exception. No matter that I like the story, that I like the characters, that I like Idina Menzel and Kristin Chenoweth…the songs just don’t stick. Not even “Defying Gravity,” except for the title refrain.

But remember how I mentioned I was catching up on last year’s movies? I had a disc out from Netflix of Oz: The Great and Powerful, and several episodes of Once Upon a Time on the DVR…the ones introducing the Wicked Witch as the villain for this half of the season. And it was weekend of Emerald City Comicon.

It seemed appropriate to continue catching up.

For the record, so far I much prefer Zelena (OUAT) to Theodora (Oz:TGAP) as far as characterization goes (she has some), though I haven’t seen enough to decide how she stacks up against Elphaba.

I was reading up on wearable computing today, and with the SDCC badge presale looming, I found myself wondering whether a smart watch would be useful for Comic-Con.  (No plans to actually buy one, I’m just thinking.) I don’t normally wear a watch these days, but it does get annoying to have to reach into my pocket when I want to check the time. For this reason, I make a point to wear a watch at conventions so that I can see the time at a glance and avoid missing events or meetup times.

So, keeping in mind that the current generation of smart watches (Pebble, Galaxy Gear, etc.) mostly pair up with a phone to do the heavy lifting…what might a smartwatch do better for a con than a phone (or a regular watch)?

1. Messages. Between the noise and the walking, it’s already too easy to miss calls or even texts when you’re out on the floor of the convention. It’s easier to notice a buzz on your wrist than a buzz in your pocket, and less intrusive to glance at your wrist to see if it’s something urgent when you’re interacting with people in the real world. You can also tell instantly when you’re crowd-weaving to meet someone whether that text they just sent is “I’m here,” “Running late,” or “Change of plans, meet me at Hall G lobby.”

2. Schedule reminders. Put the event, time, and room number on the screen. How to make it more awesome: pull down the floorplan and use your location to calculate how long it’ll take to get there, and notify you far enough ahead of time that you can make it, Google Now-style. This is more useful for smaller conventions or at least smaller panels at SDCC, since the big ones require you to line up way ahead of time anyway.

3. Wi-Fi hotspot detector. Even if the watch doesn’t support wi-fi, your phone does, and it can ping the watch to let you know.

4. Breaking news alerts. Ironically, I feel like I miss more news when I’m at Comic-Con than when I’m following along from home. This would have to be very well filtered in order to be useful without pulling you out of actually experiencing the convention.

A step counter would be interesting, but I can probably find an app for my phone.

I doubt I’d use a wrist-mounted camera like the one on Samsung’s Galaxy Gear much. Google Glass would be more practical for the blink-and-you’ll miss-it moments, and if you have time to compose a shot, you have time to pull out a phone or dedicated camera. OTOH, a wrist camera is probably a little less creepy than Glass. (On the gripping hand, maybe not.)

Of course the absolute best use of a smartphone at Comic-Con:

5. Get one that can actually handle calls, and wear it with a Dick Tracy costume.

What uses can you think of?

SDCC is moving to lottery-based pre-registration for 2014 to even out the crush of everyone hitting the site in the first 10 seconds after launch. Instead of first-come first-serve, you sign in anytime within a window and it randomly assigns your place in line.

Looking back, the turning point for crowds and being able to get into SDCC and specific events was in 2007. That’s the first year that large numbers of people were shut out of major panels, and camping became a big issue, and line management became a total nightmare.

Or maybe 2006, the first year that hotels sold out in a single day.

Originally published in a Reddit discussion on the new pricing and limits.

I think we’re at the point where there just is no good way to handle the demand. A lottery — or rather, a pair of lotteries, one open to past attendees and one open to everyone — may very well be the least-bad option for now.

Originally published as a comment on SDCC Blog’s discussion of the change.

The recent approval by the EU of King.com’s trademark on the words of their own title “Candy Crush Saga” for use in game and app titles, and the resulting flurry of infringement allegations, is of particular interest to me. Not as a CCSaga player, although I am one. (Level 491, used to comment on my levelup posts with helpful advice for other players, have accidentally spent real money but never won a level by using purchased powerups.) Not because I think it’s ridiculous, although I do. Not because I’m outraged about one more case of the big guy going after the little guy (“All Candy Casino Slots – Jewels Craze Connect: Big Blast Mania Land” excepted and notwithstanding), although I am. Not because I think CCSaga has used underhanded tricks to winkle money out of its players, or because I dislike the deliberate manipulation of addiction mechanisms by game developers, or because I resent the social gaming model for making participation as much a responsibility to your friends as a pastime for yourself. All relevant and true, but the real reason I’m following this story is that I’ve been involved with King.com since before CCSaga existed. I know where it came from, I’ve been watching its evolution, and I’m interested to see what this episode does for (or to) the company as a whole. Continue reading

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