After going through the latest trailer for The Dark Knight Rises frame by frame, we only have one question left in our minds: Why isn't this movie called The Dark Knight Falls?
Check out our detailed look at the Gotham City horror, with in-depth analysis of screencaps plus some wild speculation, below. Beware: Major spoilers!
Note: Where possible, we're going to skip over scenes that were in last December's trailer, or other stuff you've already seen. Where scenes are a different version of stuff we saw in December, then we'll try and draw the connections. Thanks to Meredith for the suggestions!
The trailer begins with a shot of the Gotham City skyline that was in the previous trailer. Then we see a bearded Bruce Wayne — so he clearly hasn't been dressing up as Batman in quite some time, because only Hugo Strange can pull off the "Batsuit and beard" look. In this scene, Bruce moves as though he's got a limp — so this probably comes from the same sequence we saw in the previous trailer, where Bruce is using a cane. In fact, if you look at the reflection in the shiny dish cover in the "walking with a cane" scene, it's the same outfit, black except for a brownish scarf. Bearded Bruce looks angrily at someone, and then turns away to face the window, signifying the conversation is over. (This scene almost certainly takes place in the newly rebuilt Wayne Manor, and probably early in the film. The real pain for Bruce is yet to come.)
This is followed by the first of several snippets from the film's opening sequence, which was shown at IMAX theaters ahead of Mission Impossible: Ghost Protocol last December. (Click here for our complete rundown.) This is the part where Bane is held captive by the CIA aboard a plane, but he attacks it with another plane and basically kicks tons of ass, before absconding with the CIA's prisoner, a doctor. We'll skip over the other bits from this prologue, for the sake of time. You already saw it, right?
Alfred carries something to Master Bruce in Wayne Manor — probably that covered plate we saw Bruce's reflection in in the previous trailer.
Bruce Wayne and Selina Kyle dance, while they have a conversation — which we've already been hearing over the rest of the trailer. We heard part of this conversation in the earlier trailer. Selina: "You think this is all going to last. There's a storm coming, Mr. Wayne. You and your friends better batten down the hatches. Because when it hits, you're all going to wonder how you all thought you could live so large and leave so little for the rest of us." Bruce: "You sound like you're looking forward to it." Selina: "I'm adaptable."
Notice that Bruce has no limp in this sequence, so either the limp was something he's gotten over (a leg injury, maybe) or this is earlier in the film.
Here is actor Ben Mendelsohn, whose appearance in the film was a surprise to everybody. (Hat tip to Celluloid and Cigarette Burns and First Showing for identifying him.)
We don't know who he's playing, but the natty tie and suit suggest perhaps a banker. Or a spy, maybe. He certainly looks freaked out to have Bane's hand on his neck. "What are you?" he asks. "I'm Gotham's reckoning," says Bane, who is certainly much, much easier to understand than he was in December. Chances are, Mendelsohn's character is dead a few seconds after this moment, which takes place in a nice office somewhere.
We see a glimpse of Bane hitting the detonator in the "football game implosion" sequence from last December's trailer. And then we're looking at Nestor Carbonell, once again playing Gotham Mayor Anthony Garcia. (Assuming he's not an ex-mayor by now.) In December's trailer, we heard people saying the Mayor wanted to dump James Gordon as Police Commissioner, because Gordon was a war hero, and this is peacetime. In any case, the Mayor looks calmly at a set of big windows — until the windows explode in his direction. The light is almost blinding. Is this the stadium thing or a totally different explosion? Does the Mayor survive this time?
A huge squad of police are running down an access road or tunnel at night, until they turn in response to a loud noise of some sort. And then they get buried under a cave-in. This is intercut with the stadium disaster, but that takes place during the daytime and this is apparently at night. And this sequence is obviously part of the same sequence in which James Gordon gets nearly buried under debris from a tunnel collapse, that we saw in December. Some of the shots are almost the same. There are also some shots later in the trailer of cops caught in a tunnel explosion, which may or may not be the same incident.
A group of thugs with machine guns come into a nice building, with gold trim and wrought-iron balconies. It looks very similar to the place where Ben Mendelsohn was having his meeting of the minds with Bane. Note the trash can fire, temporary lighting and makeshift cots. Best guess: this is a nice hotel or office building, which has been converted into a refugee center during the collapse of Gotham City's normal order. We saw a lot of this sequence in December's trailer.
This leads to a sequence where someone tries to hide under a nice bureau while everyone else is fleeing, but then gets yanked out from under there by the thugs, which we saw more of in December's trailer. The suffering of ordinary wealthy people during Bane's onslaught appears to be a major theme here.
Our first look at Joseph Gordon-Levitt as Gotham police officer John Blake. He's standing on a bridge during a snowstorm, watching something in total horror. Behind Blake, a schoolbus has been crashed into the side of the bridge, effectively blocking it off.
Bane has blown up two major bridges leading into Gotham City simultaneously, thus cutting the city off from the outside world. (Except for the subway, of course. But see above — there are some scenes of tunnels being collapsed too.) The trailer implies this is what Blake's looking at, except that it's not snowing in this bridge demolition sequence — plus why would the bridge Blake's standing on be left undamaged?
A group of kids watch something terrible, with dazed expressions. Once again, it's snowing. Almost certainly the same sequence where we saw John Blake staring a moment earlier. The kid in the center is probably Blake's son, since a moment later we see him talking to Blake.
A dirty, ragged figure is dragged along by two men, and he's apparently either A) unconscious or B) too badly injured to walk. At one point, the man tries to put one foot on the ground, so B) seems more likely. This is probably Bruce Wayne, after being horribly beaten by Bane to the point where he's barely able to move.
John Blake, wearing a nicer outfit, asks Selina Kyle if "they" killed him. Almost certainly meaning Batman/Bruce Wayne, although it could also be Jim Gordon — who we know winds up in the hospital in this film, too. But it's probably Bruce.
Skipping ahead slightly, Selina responds that she's not sure if "they" killed him. She looks like Hell, and it's the total opposite of the gloating Occupy Wall Street spokeswoman who danced with Bruce Wayne and taunted him about the storm that was coming. She probably joined Bane's crusade, or tried to profit from it, and now she's grief stricken. She's in some kind of hospital or doctor's office, with a box of tissues, flowers in a vase, and magazines on a table's lower shelves. Is she sick? Or visiting a sick person? (Visiting James Gordon, even?)
Bruce Wayne looks up from the bottom of a deep well. Notice that he's wearing the same outfit and light beard that he had in the scene we saw in December's trailer, where he's visiting the Monastery of Ten Thousand Stairs. He's uninjured, too. This is probably not where Bane sticks him after he's beaten to a pulp. In December's trailer, we saw Bruce (wearing this outfit) ask an older man in the room full of staircases what it meant. The older man responds, "Rise." Bruce is probably on a fact-finding mission here. Chances are the Monastery of Ten Thousand Stairs is where Bane came from, and Bruce is there to learn about his enemy. Or it's something to do with Ra's al-Ghul, who's strongly rumored to be in the film.
Bruce climbs up out of that well. He has a rope, so he's got help from the outside. Or supplies. Again, highly doubtful this is where Bane imprisons him.
A severely injured Bruce Wayne regains consciousness, to see an ultra-blurry Bane staring at him. This is a sequence we glimpsed in last July's teaser, and again in December. Bruce asks why he's not dead. "Your punishment must be more severe," says a deeply earnest Bane. Chances are, this is followed by the bit where Bane tells Bruce: "When Gotham is in ashes, you have my permission to die." This scene definitely takes place in some kind of prison — you can glimpse bars in the background — but it's not the place with all the staircases and stuff. Probably, it's in Gotham, since Bruce has to be able to see Gotham reduced to ashes. It could even be the prison where Bane busted out all the inmates.
Oh, and a side note. I never miss an opportunity to quote from Denny O'Neil's novelization of Knightfall, in which Bane fantasizes about keeping an injured Bruce Wayne prisoner and feeding him rats:
Bane could see it. Batman, pale, blinded by light, smeared with filth, dressed in tatters, so thin his ribs almost burst from his skin, his arms and legs flopping, drool leaking down his chin. "Give him a cockroach to eat," Bane says. "Give him a live mouse. Then put fire to his feet. I want to hear him scream."
A lone figure lowers him- or herself into what appears to be the well that we see Bruce climbing out of. Could this be Bruce descending into the Monastery of Ten Thousand Stairs to do some recon? Bear in mind, in December's trailer, we saw a whole bunch of ninjas lowering themselves into this same well, and also attacking the staircase chamber. Bruce Wayne could have some ninja visitors during his stay in the Monastery.
That kid we saw earlier looking out the window draws a bat symbol on his own jeans leg, using a piece of chalk. "Do you think he's coming back?" he asks John Blake, who's sitting next to him, wearing a police uniform.
"I don't know," Blake responds, looking furrow-browed. Again, assume they're talking about Batman, especially since the kid just drew a Bat-symbol.
That's interspersed with a shot of Bane holding a shattered Batman cowl, which he drops on the ground. It's raining and Bane is standing next to an overflowing water tank.
Catwoman, looking extremely upset, looks down at something through a barred window. It's implied she's looking down at...
...a Tumbler painted in camouflage colors, rolling down the snowy streets of Gotham. Notice that it's now snowing again. We're guessing that Bane's takeover of Gotham takes place in December, and coincides with winter falling on the city, since most of the harshest scenes feature snow. Last December's trailer showed this camouflaged Tumbler shooting at the crowd during the big fight scene between Batman and Bane on the steps of what looks like City Hall.
Also in this new trailer, we see that there are actually two camouflaged Tumblers attacking the crowd during the fight between Bane's men and the cops on the steps. Later in the trailer, we also see a few more shots of the melee on the steps, with Batman and Bane punching each other and Bane charging towards the camera — but it's all pretty similar to what we saw in December's trailer.
John Blake tangles with a big bald man wearing paramilitary gear (who is not Bane, just some random mook)... and gets tossed into a hole full of snowy debris.
The Gotham Stock Market explodes! This is worse than Sarbanes-Oxley.
Then we hear an exchange, which I'm guessing is still from the scene where Selina is talking to John Blake. It sounds like their voices. John Blake says: "How'd you run, eh?" To which Selina replies: "You should be as afraid of him as I am." Selina's always telling people what they should be afraid of. Meanwhile, we see Selina riding on a Batpod along a city street — notice, no snow, so it's probably earlier — and this is probably her running away from Bane.
John Blake runs into an overflowing pool of splashy water, towards something pretty terrible, judging from the look on his face. This appears to be the same place where we saw Bane dropping the broken Bat-cowl earlier, so chances are Blake is running to try and save Bruce. Too late.
Bane looks down at someone on the ground, and then kneels down to finish inflicting grievous harm. Notice that Bane is wearing his same fleece-lined jacket that he had on during the stadium implosion sequence from December's trailer. This is probably part of that same scene, and those fancy columns behind Bane are probably part of the stadium. We glimpse a man standing behind Bane — probably one of his men. The trailer sort of implies that Bane is about to fuck up Bruce Wayne, but this is probably a totally different "Bane fucks someone up" scene.
This is actually a great blink-and-you-miss-it sequence in the trailer. Two of Bane's machine-gun wielding thugs are standing in a concrete tunnel someplace, shooting at something inside a dark tunnel. The machine gun flashes briefly light up what they're shooting at — it's Batman! He leaps out and takes them both out before they can hit him with their wild shots. Notice there's a lot of water flooding down there. Possibly soon before the scene where Batman gets taken out by Bane.
Batman stands at a wire fence, in what looks to be the same underground facility, and slowly turns to face...
...Bane, who is waiting for him at the other end of a walkway.
Bane advances towards Batman, adjusting something noticeably on his vest. The supply of drugs? Or something else?
Alfred declares that he won't bury Bruce. He's buried enough members of the Wayne family already. This is from the same sequence in the earlier trailer, where he tells Bruce that he promised Bruce's parents that he'd protect Bruce, and he hasn't. They're in a shabby blue hallway, not Wayne Manor, and Bruce is clean-shaven — so this isn't the same period as the "Bruce has a beard and a limp" era. Alfred is trying to talk Bruce out of doing something foolish — like become Batman again, maybe.
James Gordon lights a flare, and Batman appears. This is probably early in the movie, since Gordon is uninjured — or late in the film, after he's miraculously recovered. Chances are, now that the Bat-signal has been destroyed and Batman is officially a fugitive from justice, this flare-lighting business is something they've worked out, that allows Gordon to contact Batman in secret. Batman steps forward into the smoke from Gordon's flare. (See first picture.)
Badass shot of Batman standing on top of a building looking down at Gotham City.
Selina tells Batman, "You don't owe these people any more. You've given them everything."
Skipping ahead slightly, Batman responds, "Not everything. Not yet." And it's noticeably not the typical Bale Batman growl. Which means either that Batman is letting down his guard a bit with Selina, and no longer trying quite so hard to do The Voice. Or that this isn't Bruce in the Batsuit any more. Take a look at Batman's mouth in this shot — it looks a lot like Joseph Gordon-Levitt's. Don't believe us? Check this out...
Batman saying "Not yet" is juxtaposed with John Blake raising his hands in surrender, while closing his eyes in pure agony. He's wearing the same outfit he has on in that snowy "watching Gotham fall" sequence earlier in the trailer. And notice how his lips are fuller than Bale's? And his chin is more jutting? We could be imagining things, but that's how Bats looks in that previous shot, too.
Lucius Fox controlling some high-tech interface in a subterranean concrete tunnel...
...perhaps the same one with the flooding pool, where Batman is getting his ass kicked by Bane, just prior to the "shattered Bat-mask" segment.
After a quick shot of Batman racing along on a Bat-cycle, we cut to this shot of James Gordon, looking the worse for wear, with an apparently dead body behind him. Notice it's snowy again, which seems to be the sign of "Bane in charge of Gotham."
An unidentified prisoner grabs another prisoner's hands and does a weird cartwheel inside the prison, while a bemused guard and warden watch. This is probably the prelude to the prison break we saw in the last trailer.
Cops and criminals rush towards each other in an all-out street fight, with two camou tumblers standing by.
Bruce Wayne kisses Miranda Tate, a Wayne Enterprises board member who's rumored to be Talia al-Ghul.
An armored truck drives through explosions, looking vaguely military — can anybody make sense of those markings? Later in the trailer, we see one of Bane's camouflaged Tumblers crash into it and flip over, bursting into flames. So it's definitely running a gauntlet. This might be the same sequence as the bit we see in both trailers, where the Bat-plane gets into a skirmish with a couple of Tumblers.
Batman and Catwoman team up to fight a bunch of thugs. Probably around the same time as the conversation where Catwoman tells him that he's already given them everything.
A shadowy figure faces a hole in a wall underground, where an explosion has just gone off. (A rocket launcher, maybe?) This appears to be connected to the tunnel cave-in that hurts a bunch of Gotham cops, probably including Gordon, since we see lots of shots of cops caught in a tunnel where a fireball is going off. The sheer amount of destruction in this film is going to be staggering, as Bane takes the city apart piece by piece. Around this time in the trailer, we get another glimpse of Batman raising his high-tech gun.
We finish out with Catwoman getting into Batman's vehicle and saying, "My mother warned me about getting into cars with strange men." To which Bats replies, "this isn't a car." And this time, he certainly sounds a bit more like Bale's trademark growl, although still more whispery than growly. So perhaps we're off base about it being John Blake in the Batsuit in that other scene — or perhaps this is just earlier in the movie.
In any case, it definitely isn't a car — the Bat-Plane lifts off and zooms over Gotham, leaving confused police officers eating its fumes.
They're both really good in ways you might not be expecting at first and use the digital platform to good effect. It's theground floor of a big gamble but, since it's Mark Waid, it'll probably pay off in spades.
The centerpiece of the show, programmed by the Hand-Eye Society, is a series of games created by comics artists and game-makers. You can get glimpses of the games in the trailer above. And all of the artwork will be available as prints, too. You can find out more about the show at Fort90, the site run by friend-of-Kotaku Matt Hawkins.
And if you're in Toronto, be sure to go to the closing reception on Thursday at Magic Pony so you can check out the games firsthand. If you miss the Magic Pony happening, all of the Comic vs. Games art and games will also be at the Toronto Comics Art Festival this weekend.
Kotaku: I think the announcement of Earth 2 really threw people for a loop because people were not expecting any kind of hint of the previous multiverse structure in the New 52 reboot. Can you walk me through how that came about?
Robinson: Well, how it came about was clearly fans wanted a book featuring the Justice Society. And it was the best way to bring that about and show the Justice Society, while being true to the new rules and the new story that's set up in the DC Universe with heroes being on Earth for a relatively short period of time. Which, of course, eliminates the whole concept of a first older generation of heroes.
So, from there we went through different ways, we could show the Justice Society on a different Earth. Ultimately, this was the one that seemed to have the most original, freshest feel to it, and the one that had the most potential for new, exciting stories that weren't rehashes of stories that had already been told, or ideas that we've seen before.
I don't think we need another Per Degaton story. Not to say you won't get one in the future. Maybe you will. But my point is, no one is really asking for that. Or yet another time that the Ultra- Humanite appears. Again, maybe you'll see that. Maybe you won't.
But, more importantly, it's freed us up to create fresh heroes and a fresh viewpoint with the Earth 2 heroes, while at the same time trying to keep the spirit of those characters the way they were originally in terms of the heroism, the idealism, and all the other things they carried with them back in their original incarnation when they were young heroes in the 1940s. To bring that into the present day, so these are fresh young heroes in a real world.
But they are still likable and heroic, and all the things that we love about those original Earth 2 characters from then, and as we've seen them age and mature throughout their prior incarnation of the DC Universe.
Kotaku: So, is the conceit here that we have these established characters like Alan Scott, Jay Garrick and other who've been heroes for a long time, and then we have the Superman analogs, the Batman analogs coming up, and picking up the mantle from them? Timeline-wise, can you break it down for me? Who are the old guys? Who are the young guys?
Robinson: Well the first guard of Earth 2 are going to be the Trinity [of Superman, Batman and Wonder Woman], Robin, and Supergirl. We'll see those characters. We'll also see the next wave of characters coming after that, learning from them and drawing inspiration from them.
Kotaku: OK. Fair enough. In the older incarnations of Earth 2, older versions of the characters, what did you admire the most, and what are you trying to preserve from that older stuff, the Roy Thomas, Paul Levitz, all that stuff. What are you trying to keep from that?
Robinson: Well I grew up as a fan of Earth 2. When I was a boy I used to collect Earth 2 appearances in the way that some fans collect mainline superhero appearances. I would collect all of those DC Presents backups, "Whatever Happened to Dr. Mid-Nite?" Or whatever happened to this character or that character. Eagerly await every year's JLA/JSA crossover that would happen.
When Paul Levitz took over writing the Justice Society from Gerry Conway, he was the first writer to bring them back into present day. And then followed on from that with Roy Thomas. There was such a love and affection for those characters.
I feel in love with those versions of the characters as I saw them being written. But with the version that we're trying to do now it really is me trying to say, "What is the essence of Jay Garrick? What was the essence of him in the 1940s? What was the essence of him as he aged?"
Try to distill that and put that into the new Jay Garrick. So that while he's a new character with a new backstory, he's young in the present day. But still those iconic elements to who he was and how he acted as a person, his integrity, his likability are still there. Hopefully, readers will pick up on and fall in love with his character all over again for the first time.
In the same way, I'm trying to distill what first I got from Alan Scott when I first met him as a little boy. Seeing Alan Scott for the first time was so strange. He was also called Green Lantern but was so different from Hal Jordan. He was much more colorful. His origin was different.
Even the oath with his ring with different. Also, he seemed this epic, heroic character to me, this green knight, for want of a better term. I'm trying to bring that to the character in the present and brand him as is the epitome of heroism.
I'm trying to find those key aspects of the characters and bring them into the new characters so there is a degree of familiarity. Even at the same time other aspects of these characters are new and fresh and different from anything people have seen or done before.
Kotaku: A lot of the advance chatter has indicated there is going to be a higher level of violence and probably emotional stakes too with this incarnation of the characters. Will the action be rougher?
Robinson: These are aspects of characters that drive them on and make them the characters that they are. There are elements to what motivates these characters based around the loss of loved ones. In the same way that in the main DC Universe it's the violent death of his parents that motivates Batman.
It's still the destruction of Krypton that motivates Superman. There are obviously things that motivate these characters and make them want to rise to the occasion, and be the heroes that they should be. But for some reason there is this feeling by people putting two and two together and perhaps making four and half, that this book is super, super violent.
It's a big superhero book, but it is no more violent than an issue of Superman, or an issue of The Flash, or Green Lantern, or any of the books that are being published at the moment. It isn't some gory horrific thing.
Kotaku: Which character would you say diverges most from the way he or she has previously been portrayed?
Robinson: That's actually very hard. Because I actually feel I've been very faithful to how the characters have been portrayed. Some of the backstories are different. But I guess possibly Hawkgirl might seem divergent in that she has a little bit of a different backstory. There are some marked differences to her visually that readers will see.
I think readers will be surprised by how true I am to the core basic feel of the original characters while also making them young and hopefully feel fresh for readers who want a new version of those characters.
Kotaku: There was a little bit of editorial subtext at the end of your most recent Justice League run. Should people go looking for that kind of statement here in the new Earth 2 book?
Robinson: Basically in the last issues of Justice League, knowing that everything was going to change, that what I had written really wasn't going to matter because it was all going to be vacated[? 12:39], I basically wrote an issue which told readers what the next year and a half of the Justice League was going to be, and I also knew that Donna Floyd was going away, so I had the chance to write what I thought was a nice eloquent farewell to her readers and her fans basically.
So that was a very specific thing that I had the opportunity to do based on a specific moment in time. This is a new ongoing book, so I'm not going to be making lots of in-jokes and references to editorial and things like that. No. This is very much a new exciting venture for me and I'm not trying to be too clever-clever about things.
Are we still pretending that comics and video games don't have anything to do with each other? Not anymore, we're not. Welcome to Panel Discussion, where the focus will be on comic books and sequential art, whether they connect directly to video games or not. Confused? Read this.
Turns out not everybody is Tim Schafer.
Though the creator of Grim Fandango set Kickstarter records earlier this year, raising over $3 million for his point-and-click adventure game, most crowdfunded gaming projects aren't nearly as successful.
In fact, according to a Kickstarter representative who spoke to Kotaku yesterday, only about 25% of video game projects reach their funding goals. In contrast, about 45% of all projects reach their funding goals, the representative said. So gaming Kickstarters aren't doing very well at all. Established games like Wasteland and Leisure Suit Larry may have reached their goals, but they're more exception than rule.
In other words, Kickstarter ain't a revolution in the gaming industry just yet.
Photo: SeanPavonePhoto / Shutterstock.
Skyrim's first piece of downloadable content, Dawnguard, will be out this summer for Xbox 360, publisher Bethesda said today.
Dawnguard, which Bethesda trademarked earlier this year, could refer to a museum located in the city of Dawnstar that is dedicated to the "Order of the Mythic Dawn."
A recent patch also hinted at potential future content such as frost elves and crossbow weapons.
Bethesda has promised that Skyrim's DLC will feel like expansion packs, so it's safe to expect a hefty amount of content in this release.
Although Bethesda has only announced Dawnguard for Xbox 360 so far, previous so-called "console exclusive" downloadable content from the publisher has made its way to other platforms on future dates. In other words, it could just be lagging on the PlayStation 3.
Update: Bethesda has confirmed that Dawnguard is a timed exclusive for the Xbox 360.
Dawnguard [Bethesda Blog]
On the corner of Brannan and Embarcadero streets in San Francisco, CA., an entire block is dedicated to what appears to be a Mediterranean-style condo complex.
I recently attended an Electronic Arts event there showing Crysis 3 and Battlefield 3: Close Quarters, and the unassuming architecture and building front had only one way in, through an electronic black gate. It took me a while of walking up and down the street to realize this was the entrance and the place.
It would be easy to pass by. And it would be normally safe to assume that wealthy, upper class people live the good life there. The valuable real estate faces the East Bay Bridge right across the street from the Embarcadero piers.
That assumption would be flat wrong.
The 600 Embarcadero Street address is home of the Delancey Street Foundation, a unique self-help organization designed to turn around the lives of former substance abusers, homeless, ex-convicts, and gang members. "The Average resident has been a hard-core drug user and alcohol abuser, has been in prison, is unskilled, functionally illiterate, and has a personal history of violence and generations of poverty," states the site's FAQ.
And, it appears, it's an excellent location to demo video games.
"Delancey Street is a great venue," said Peter Nguyen, director of PR, EA Games Label. "There are only so many venues with theaters in San Francisco. There is Dolby, the Metreon, which is a big theater but nothing else, and Delancey Street. We showed off Bulletstorm there about three years ago, and with Crysis 3, we wanted an intimate setting, easy access, and we needed that theater setting. We have that at EA, but we wanted to spice it up."
Delancey Street started in 1971 with four people. For more than four decades, it has been an award-winning, widely acclaimed social organization that's received hundreds of civic, social, and educational awards, as well as having appeared on The Oprah Show, The Discovery Channel, and in The New York Times, Hope Magazine, the San Jose Mercury News, and The San Francisco Chronicle, among others. During its 40-year existence, more than 14,000 men and women have graduated from it to become lawyers, firemen, salespeople, truck drivers, mechanics, and realtors.
The unique social program takes in the disenfranchised and, in either a two- or four-year program, educates, trains, and graduates them back into mainstream society as functioning, non-violent, drug and alcohol free citizens. Graduates, many of whom cannot even repeat the alphabet, or are lifetime gang members and murderers, or have been reared as prostitutes over several generations, will earn a minimum high school equivalency degree (GED) and receive training in three marketable skills. Four-year graduates can earn an in-house B.A. achieved with accredited universities. Those accepted into the program live on the premises and work for free—and remain drug, alcohol, and crime free.
The "three marketable skills" comprise one interpersonal/sales skill, one clerical/computer skill, and one manual skill. There are current 15 vocational programs. They include accounting and bookkeeping; automotive and truck mechanical repair and painting; Christmas tree sales and commercial decorating; coach and paratransit transportation services; coffeehouse, art gallery, and bookstore retail; construction and property management; digital printing and banners, silk-screen, and framing; film screening; handcrafted wood, terrarium, iron works, and furniture work; moving and trucking; retail and advertising specialities sales; restaurant, catering, event and wedding planning; upholstery/sewing; warehousing, and welding.
This remarkable organization mixes idealistic concepts with hard, realistic practices. But its social model—"each one teach one"—which focuses on self-reliance, family, and community, is what makes it run. Designed as an educational rather than therapeutic paradigm, Delancey is a life learning center. People start from the bottom up and learn to work together as a unit. Each person must teach the other: older residents guide younger ones, and more experienced residents educate newer ones. For example, new residents are responsible for guiding the next new resident. Perhaps even more important—there are no paid staff members, and everyone works.
So just exactly how do former drug addicts, criminals, and gang members live and work together peacefully? In addition to the "each one teach one" principle is another one: any act of violence, or threat of violence, is cause for immediate removal from the program. Over time, the facility starts early entrants in dorm-rooms and moves them up to their own apartment rooms.
Delancey Street's economic model is also impressive. Neither the residents nor the president of the foundation are paid. The group pools its resources and has never accepted government funds for its operations. Its 12 ventures, which range from the Crossroads Cafe, Bookstore and Gallery, its catering service, private car service, moving and trucking operations, landscaping, and screening room services—including the $150/hour theater we sat in—fund about 55% to 65% of the operation.
About 25%-35% of funds come from corporate donations of product or services, and approximately 5%-15% of funds come from financial donations. The most recent audit shows 98.6% of Delancey Street's expenditures were allocated to programs, with 1.4% to administration and funding.
It's hard to imagine such an idyllic place even exists—and just how many successes its founders and residents have experienced. The 400,000 square foot facility currently houses more than 500 residents, was built in 1990 in the south of Market Street area (known as SoMa), where then-Mayor Diane Feinstein dug the first shovel-full of dirt at the foundation's groundbreaking ceremony, and Pulitzer Prize winning architectural critic Allen Temko has called it "a masterpiece of social design."
Since its humble beginnings of a $1,000 loan in 1971, Delancey Street has expanded its operations beyond San Francisco. It runs similar facilities in Los Angeles, New Mexico, North Carolina, and New York. All this built on the idea of taking down-and-out people deemed unfit for society, and empowering them with a sense of community and family, giving them work—and a sense of dignity.
The screening room where we saw Crysis 3—and where three years ago EA debuted Bulletstorm—is a 150-seat, THX certified screening room offering Simplex 35mm projectors and digital video projection, a stage, and a 24' X 11' screen. It's considered one of the three best screening rooms in San Francisco.
It's the place where the Director's Guild holds monthly screenings, where the Academy of Motion Pictures holds screenings, and where singer Bonnie Raitt, director Ron Howard, and actors such as Sean Penn, Robin Williams, Dennis Quaid, and Charlize Theron have held private parties.
"I always knew about the [Delancey Street] restaurant because I used to live close to it," added Nguyen. "So when we started looking for places to show Bulletstorm [in 2010], we saw the great menu and their social cause. It's an added bonus. More power to them. We like working with them: they are very professional and accommodating."
I can tell you that learning about, and experiencing, the property and people at Delancey Street was touching. I'm generally a positive guy, but The Delancey Street experience inspired me to look into its amazing story. Every one of the people in the Cafe and in the theater was positive and professional. It made me feel hopeful about humanity.
To my knowledge in this industry, only EA has used this venue to show off games. Compared to the dozens of often dirty, sticky, cramped bars and saloons in San Francisco, it's not only an ideal location due to its proximity to CalTrain and the Embarcadero piers, but spending money to better humanity—a theme similar to the many games themselves, despite the violent means of getting there—seems like the kind of good will we could all get used to.
On the corner of Brannan and Embarcadero streets in San Francisco, CA., an entire block is dedicated to what appears to be a Mediterranean-style condo complex.
I recently attended an Electronic Arts event there showing Crysis 3 and Battlefield 3: Close Quarters, and the unassuming architecture and building front had only one way in, through an electronic black gate. It took me a while of walking up and down the street to realize this was the entrance and the place.
It would be easy to pass by. And it would be normally safe to assume that wealthy, upper class people live the good life there. The valuable real estate faces the East Bay Bridge right across the street from the Embarcadero piers.
That assumption would be flat wrong.
The 600 Embarcadero Street address is home of the Delancey Street Foundation, a unique self-help organization designed to turn around the lives of former substance abusers, homeless, ex-convicts, and gang members. "The Average resident has been a hard-core drug user and alcohol abuser, has been in prison, is unskilled, functionally illiterate, and has a personal history of violence and generations of poverty," states the site's FAQ.
And, it appears, it's an excellent location to demo video games.
"Delancey Street is a great venue," said Peter Nguyen, director of PR, EA Games Label. "There are only so many venues with theaters in San Francisco. There is Dolby, the Metreon, which is a big theater but nothing else, and Delancey Street. We showed off Bulletstorm there about three years ago, and with Crysis 3, we wanted an intimate setting, easy access, and we needed that theater setting. We have that at EA, but we wanted to spice it up."
Delancey Street started in 1971 with four people. For more than four decades, it has been an award-winning, widely acclaimed social organization that's received hundreds of civic, social, and educational awards, as well as having appeared on The Oprah Show, The Discovery Channel, and in The New York Times, Hope Magazine, the San Jose Mercury News, and The San Francisco Chronicle, among others. During its 40-year existence, more than 14,000 men and women have graduated from it to become lawyers, firemen, salespeople, truck drivers, mechanics, and realtors.
The unique social program takes in the disenfranchised and, in either a two- or four-year program, educates, trains, and graduates them back into mainstream society as functioning, non-violent, drug and alcohol free citizens. Graduates, many of whom cannot even repeat the alphabet, or are lifetime gang members and murderers, or have been reared as prostitutes over several generations, will earn a minimum high school equivalency degree (GED) and receive training in three marketable skills. Four-year graduates can earn an in-house B.A. achieved with accredited universities. Those accepted into the program live on the premises and work for free—and remain drug, alcohol, and crime free.
The "three marketable skills" comprise one interpersonal/sales skill, one clerical/computer skill, and one manual skill. There are current 15 vocational programs. They include accounting and bookkeeping; automotive and truck mechanical repair and painting; Christmas tree sales and commercial decorating; coach and paratransit transportation services; coffeehouse, art gallery, and bookstore retail; construction and property management; digital printing and banners, silk-screen, and framing; film screening; handcrafted wood, terrarium, iron works, and furniture work; moving and trucking; retail and advertising specialities sales; restaurant, catering, event and wedding planning; upholstery/sewing; warehousing, and welding.
This remarkable organization mixes idealistic concepts with hard, realistic practices. But its social model—"each one teach one"—which focuses on self-reliance, family, and community, is what makes it run. Designed as an educational rather than therapeutic paradigm, Delancey is a life learning center. People start from the bottom up and learn to work together as a unit. Each person must teach the other: older residents guide younger ones, and more experienced residents educate newer ones. For example, new residents are responsible for guiding the next new resident. Perhaps even more important—there are no paid staff members, and everyone works.
So just exactly how do former drug addicts, criminals, and gang members live and work together peacefully? In addition to the "each one teach one" principle is another one: any act of violence, or threat of violence, is cause for immediate removal from the program. Over time, the facility starts early entrants in dorm-rooms and moves them up to their own apartment rooms.
Delancey Street's economic model is also impressive. Neither the residents nor the president of the foundation are paid. The group pools its resources and has never accepted government funds for its operations. Its 12 ventures, which range from the Crossroads Cafe, Bookstore and Gallery, its catering service, private car service, moving and trucking operations, landscaping, and screening room services—including the $150/hour theater we sat in—fund about 55% to 65% of the operation.
About 25%-35% of funds come from corporate donations of product or services, and approximately 5%-15% of funds come from financial donations. The most recent audit shows 98.6% of Delancey Street's expenditures were allocated to programs, with 1.4% to administration and funding.
It's hard to imagine such an idyllic place even exists—and just how many successes its founders and residents have experienced. The 400,000 square foot facility currently houses more than 500 residents, was built in 1990 in the south of Market Street area (known as SoMa), where then-Mayor Diane Feinstein dug the first shovel-full of dirt at the foundation's groundbreaking ceremony, and Pulitzer Prize winning architectural critic Allen Temko has called it "a masterpiece of social design."
Since its humble beginnings of a $1,000 loan in 1971, Delancey Street has expanded its operations beyond San Francisco. It runs similar facilities in Los Angeles, New Mexico, North Carolina, and New York. All this built on the idea of taking down-and-out people deemed unfit for society, and empowering them with a sense of community and family, giving them work—and a sense of dignity.
The screening room where we saw Crysis 3—and where three years ago EA debuted Bulletstorm—is a 150-seat, THX certified screening room offering Simplex 35mm projectors and digital video projection, a stage, and a 24' X 11' screen. It's considered one of the three best screening rooms in San Francisco.
It's the place where the Director's Guild holds monthly screenings, where the Academy of Motion Pictures holds screenings, and where singer Bonnie Raitt, director Ron Howard, and actors such as Sean Penn, Robin Williams, Dennis Quaid, and Charlize Theron have held private parties.
"I always knew about the [Delancey Street] restaurant because I used to live close to it," added Nguyen. "So when we started looking for places to show Bulletstorm [in 2010], we saw the great menu and their social cause. It's an added bonus. More power to them. We like working with them: they are very professional and accommodating."
I can tell you that learning about, and experiencing, the property and people at Delancey Street was touching. I'm generally a positive guy, but The Delancey Street experience inspired me to look into its amazing story. Every one of the people in the Cafe and in the theater was positive and professional. It made me feel hopeful about humanity.
To my knowledge in this industry, only EA has used this venue to show off games. Compared to the dozens of often dirty, sticky, cramped bars and saloons in San Francisco, it's not only an ideal location due to its proximity to CalTrain and the Embarcadero piers, but spending money to better humanity—a theme similar to the many games themselves, despite the violent means of getting there—seems like the kind of good will we could all get used to.
On the corner of Brannan and Embarcadero streets in San Francisco, CA., an entire block is dedicated to what appears to be a Mediterranean-style condo complex.
I recently attended an Electronic Arts event there showing Crysis 3 and Battlefield 3: Close Quarters, and the unassuming architecture and building front had only one way in, through an electronic black gate. It took me a while of walking up and down the street to realize this was the entrance and the place.
It would be easy to pass by. And it would be normally safe to assume that wealthy, upper class people live the good life there. The valuable real estate faces the East Bay Bridge right across the street from the Embarcadero piers.
That assumption would be flat wrong.
The 600 Embarcadero Street address is home of the Delancey Street Foundation, a unique self-help organization designed to turn around the lives of former substance abusers, homeless, ex-convicts, and gang members. "The Average resident has been a hard-core drug user and alcohol abuser, has been in prison, is unskilled, functionally illiterate, and has a personal history of violence and generations of poverty," states the site's FAQ.
And, it appears, it's an excellent location to demo video games.
"Delancey Street is a great venue," said Peter Nguyen, director of PR, EA Games Label. "There are only so many venues with theaters in San Francisco. There is Dolby, the Metreon, which is a big theater but nothing else, and Delancey Street. We showed off Bulletstorm there about three years ago, and with Crysis 3, we wanted an intimate setting, easy access, and we needed that theater setting. We have that at EA, but we wanted to spice it up."
Delancey Street started in 1971 with four people. For more than four decades, it has been an award-winning, widely acclaimed social organization that's received hundreds of civic, social, and educational awards, as well as having appeared on The Oprah Show, The Discovery Channel, and in The New York Times, Hope Magazine, the San Jose Mercury News, and The San Francisco Chronicle, among others. During its 40-year existence, more than 14,000 men and women have graduated from it to become lawyers, firemen, salespeople, truck drivers, mechanics, and realtors.
The unique social program takes in the disenfranchised and, in either a two- or four-year program, educates, trains, and graduates them back into mainstream society as functioning, non-violent, drug and alcohol free citizens. Graduates, many of whom cannot even repeat the alphabet, or are lifetime gang members and murderers, or have been reared as prostitutes over several generations, will earn a minimum high school equivalency degree (GED) and receive training in three marketable skills. Four-year graduates can earn an in-house B.A. achieved with accredited universities. Those accepted into the program live on the premises and work for free—and remain drug, alcohol, and crime free.
The "three marketable skills" comprise one interpersonal/sales skill, one clerical/computer skill, and one manual skill. There are current 15 vocational programs. They include accounting and bookkeeping; automotive and truck mechanical repair and painting; Christmas tree sales and commercial decorating; coach and paratransit transportation services; coffeehouse, art gallery, and bookstore retail; construction and property management; digital printing and banners, silk-screen, and framing; film screening; handcrafted wood, terrarium, iron works, and furniture work; moving and trucking; retail and advertising specialities sales; restaurant, catering, event and wedding planning; upholstery/sewing; warehousing, and welding.
This remarkable organization mixes idealistic concepts with hard, realistic practices. But its social model—"each one teach one"—which focuses on self-reliance, family, and community, is what makes it run. Designed as an educational rather than therapeutic paradigm, Delancey is a life learning center. People start from the bottom up and learn to work together as a unit. Each person must teach the other: older residents guide younger ones, and more experienced residents educate newer ones. For example, new residents are responsible for guiding the next new resident. Perhaps even more important—there are no paid staff members, and everyone works.
So just exactly how do former drug addicts, criminals, and gang members live and work together peacefully? In addition to the "each one teach one" principle is another one: any act of violence, or threat of violence, is cause for immediate removal from the program. Over time, the facility starts early entrants in dorm-rooms and moves them up to their own apartment rooms.
Delancey Street's economic model is also impressive. Neither the residents nor the president of the foundation are paid. The group pools its resources and has never accepted government funds for its operations. Its 12 ventures, which range from the Crossroads Cafe, Bookstore and Gallery, its catering service, private car service, moving and trucking operations, landscaping, and screening room services—including the $150/hour theater we sat in—fund about 55% to 65% of the operation.
About 25%-35% of funds come from corporate donations of product or services, and approximately 5%-15% of funds come from financial donations. The most recent audit shows 98.6% of Delancey Street's expenditures were allocated to programs, with 1.4% to administration and funding.
It's hard to imagine such an idyllic place even exists—and just how many successes its founders and residents have experienced. The 400,000 square foot facility currently houses more than 500 residents, was built in 1990 in the south of Market Street area (known as SoMa), where then-Mayor Diane Feinstein dug the first shovel-full of dirt at the foundation's groundbreaking ceremony, and Pulitzer Prize winning architectural critic Allen Temko has called it "a masterpiece of social design."
Since its humble beginnings of a $1,000 loan in 1971, Delancey Street has expanded its operations beyond San Francisco. It runs similar facilities in Los Angeles, New Mexico, North Carolina, and New York. All this built on the idea of taking down-and-out people deemed unfit for society, and empowering them with a sense of community and family, giving them work—and a sense of dignity.
The screening room where we saw Crysis 3—and where three years ago EA debuted Bulletstorm—is a 150-seat, THX certified screening room offering Simplex 35mm projectors and digital video projection, a stage, and a 24' X 11' screen. It's considered one of the three best screening rooms in San Francisco.
It's the place where the Director's Guild holds monthly screenings, where the Academy of Motion Pictures holds screenings, and where singer Bonnie Raitt, director Ron Howard, and actors such as Sean Penn, Robin Williams, Dennis Quaid, and Charlize Theron have held private parties.
"I always knew about the [Delancey Street] restaurant because I used to live close to it," added Nguyen. "So when we started looking for places to show Bulletstorm [in 2010], we saw the great menu and their social cause. It's an added bonus. More power to them. We like working with them: they are very professional and accommodating."
I can tell you that learning about, and experiencing, the property and people at Delancey Street was touching. I'm generally a positive guy, but The Delancey Street experience inspired me to look into its amazing story. Every one of the people in the Cafe and in the theater was positive and professional. It made me feel hopeful about humanity.
To my knowledge in this industry, only EA has used this venue to show off games. Compared to the dozens of often dirty, sticky, cramped bars and saloons in San Francisco, it's not only an ideal location due to its proximity to CalTrain and the Embarcadero piers, but spending money to better humanity—a theme similar to the many games themselves, despite the violent means of getting there—seems like the kind of good will we could all get used to.