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An open letter to hoarding shopperson April 14, 2020 at 7:58 pm

Windy City Legal Geek

An open letter to hoarding shoppers

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An open letter to hoarding shopperson April 14, 2020 at 7:58 pm Read More »

NBA lookback: Michael Jordan’s ‘The Shot’ over Craig Ehloon April 14, 2020 at 9:46 pm

ChicagoNow Staff Blog

NBA lookback: Michael Jordan’s ‘The Shot’ over Craig Ehlo

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NBA lookback: Michael Jordan’s ‘The Shot’ over Craig Ehloon April 14, 2020 at 9:46 pm Read More »

Chicago Bears 2020 NFL Draft: 7th Round quarterback optionson April 14, 2020 at 11:00 am

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Chicago Bears 2020 NFL Draft: 7th Round quarterback optionson April 14, 2020 at 11:00 am Read More »

Chicago Cubs: Cole Wilcox is risky choice with 16th overall pickon April 14, 2020 at 12:00 pm

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Chicago Cubs: Cole Wilcox is risky choice with 16th overall pickon April 14, 2020 at 12:00 pm Read More »

Chicago Bears 2020 NFL Draft: 5 players to avoid at pick 43on April 14, 2020 at 1:00 pm

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Chicago Bears 2020 NFL Draft: 5 players to avoid at pick 43on April 14, 2020 at 1:00 pm Read More »

Chicago Blackhawks: Three trade packages for Dylan Stromeon April 14, 2020 at 2:00 pm

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Chicago Blackhawks: Three trade packages for Dylan Stromeon April 14, 2020 at 2:00 pm Read More »

Chicago Blackhawks: Patrick Kane’s comments should cause changeon April 14, 2020 at 3:00 pm

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Chicago Blackhawks: Patrick Kane’s comments should cause changeon April 14, 2020 at 3:00 pm Read More »

Chicago Cubs Draft: Cade Cavalli picking up steam as potential aceon April 14, 2020 at 4:00 pm

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Chicago Cubs Draft: Cade Cavalli picking up steam as potential aceon April 14, 2020 at 4:00 pm Read More »

Lane Moore knows How to Be Aloneon April 14, 2020 at 5:30 pm

I purchased How to Be Alone sometime last year when my partner and I were taking a break. I remember sitting in the bathtub tearing up, sinking in my bubbles, and tweeting to Lane Moore, the author of the book, that she was getting me through a rough time. I’ve never known how to be alone. I still don’t. I’m a serial monogamist, and even now, my partner (we reconciled six months later) is isolated here with me (like, right next to me). Yes, being alone is something I enjoy–on walks, at the grocery store, in the shower, for a few hours while writing–but overall, I’m a shit person without my buds, family, and lips to kiss. Moore’s book helped me gain some confidence in aloneness.

The award-winning comedian, writer, musician, and actor writes in her book, “I am working every day, tirelessly, like you wouldn’t believe, on being fine, fucking finally, can we get this over with, I’m so tired and I just want to travel and eat and smile and move through the world with a semblance of peace.” These words coincide perfectly with our world right now. Right now, if we are alone or together, we are working, working harder than ever before to remain afloat, to try and manage some sort of normalcy in a time when everything is twisted upside down and backward.

I had planned to either meet or phone-chat with Moore (who is based in New York) when she came to Chicago for her Tinder LIVE! tour. During the show, Moore pulls up her Tinder onstage and the crowd decides if she swipes left or right. Her scheduled Chicago dates were in April, but then the pandemic happened. So Moore had to get creative. At first, she was devastated. “So I thought wait, wait, there’s got to be a way to stay connected with my audiences, and be alone together right now, and still do live shows, because artists and audiences need each other,” she says. “Well, I literally wrote the book on how to be alone, and now I make my living doing live comedy and music, so I created this livestream show.”

Moore describes her livestream, How to Be Alone, as a “late-night show” where she talks about how she’s doing, how she’s feeling, and then opens up the chat to viewers. “Then we watch funny videos from the 50s/60s and I make jokes throughout them, like Mystery Science Theater,” she says. “Then we play an ’80s board game I have, Heartthrob, and the audience guesses who I’m gonna pick, which is a lot like Tinder LIVE! in that way. Sometimes I do Tinder LIVE! as well.” Moore ends her shows with a “musical guest,” where she covers songs in a karaoke-style performance of whatever artists she chooses (viewers can offer up suggestions, too). I had the pleasure of hearing Moore cover Fiona Apple’s “On the Bound”–she belted out a perfect pandemic tune that made one of the viewers say that they may consider becoming an Apple fan.

Moore’s band, It Was Romance, is releasing their second album this year so the livestream is a way for Moore to promote it. “And right now every show is donation based, either through Venmo, Paypal, or Patreon, so it’s really supported by the viewers,” she explains. Throughout the stream, the cha-ching noise from her Venmo goes off and Moore gleefully thanks her kind donors via video.

Though during the livestream it seems like Moore is simply chatting with an old friend, she does say some preparation is involved. “I choose the videos for the night, and the songs, and often will prepare to talk about a certain question people had on loneliness/isolation during this time, but the show is totally improvised otherwise, which is really fun.” And you can see the excitement Moore has when watching videos for the first time with her viewers. Improvisation is sort of Moore’s thing, it seems, as she gets a thrill from spontaneity.

What I especially appreciated as a viewer was how I could be invisible if I chose to be or I could enter the chat room (like the good ol’ AIM days) and chat with Moore’s fans if I was craving some Internet connections. Moore agrees. “Dude, the How to Be Alone viewers are so connected it’s magical.” Although she doesn’t get to directly participate in the chat because she’s performing, she thinks it’s exciting and special to watch her fan base grow and get to know one another at the same time.

Future shows for Moore may look different than these beginning stages. She may bring on video gaming, as Twitch is a platform typically used for gamers, and she may start up her idea for a children’s show called Strawberry Milk. But for right now, Moore is just trying to hang on. “Like most of us right now, it’s gonna take me a minute to get used to a completely new world,” she says. “I’m still grieving so much, and trying to help people through it who are grieving too. I’m trying to tell myself to just keep taking it one step at a time, but I’m really excited to see where the How to Be Alone livestreaming show can go.” v






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Jackbox Games is sweeping the nationon April 14, 2020 at 5:55 pm

Quiplash. Zeeple Dome. Trivia Murder Party. What once might have looked like just a nonsense string of words is now recognizable as a list of games being played on Zoom meetings, Google Hangouts, and Twitch streams in isolation thanks to Jackbox Games. The Chicago-based company has seen a record number of downloads of its six different party packs over the last month, providing many at a discounted price and offering tips on how to organize remote games on its blog (they even lay out how the games can be used for homeschooling). And the company has found itself in the spotlight outside of our Instagram stories thanks to initiatives like Broadway Jackbox, a weekly livestream game started by Dear Evan Hansen‘s Andrew Barth Feldman that features Broadway stars and raises money for out-of-work performers across the country through the Actors Fund. I hopped on a Google Hangout with Jackbox Games CEO Mike Bilder to check in with the company, dive into its history, and learn a little more about what goes into creating the games we’re now playing daily.

Brianna Wellen: Based on my personal experience playing so much Jackbox in the past few weeks, I can imagine this is a crazy time for you guys.

Mike Bilder: Yes, it’s been very busy for us. We’re happy about that because it brings some social interaction and some fun and levity to what is a very stressful and anxious time.

Do you have any numbers on how many more games have been downloaded in the past few weeks?

What I can tell you is just about every day as far as traffic is concerned, with games played on our servers and that type of thing, it’s equivalent to Thanksgiving. And the weekends are equivalent to New Year’s Eve. The holidays are typically the biggest time of year for us, when everyone’s back at home and together. Right now, no one is together, but they’re all together playing over video conferencing and finding a way to still socialize.

Many of the people I’ve been playing with didn’t realize Jackbox was based here. How did the company get started here?

It was known as Jellyvision [when the company started in 1995], and it was best known for a successful trivia game called You Don’t Know Jack. There were a number of versions of that on PC CD-ROM played on PCs and Macs at the time. The company ultimately fell on hard times in the early 2000s: there was a rise in home gaming with consoles, and a lot of the CD-ROM market–the bottom fell out of it. I joined in 2008 to restart the company’s gaming initiatives. In 2014 we did our first game where you use your mobile phone as a controller, that was Fibbage. It took some iteration to get to that idea, but the impetus behind it was we recognize that most people have one controller on their console–multiplayer gaming played over a console, you play over the Internet. You have your PlayStation, I have my PlayStation, and we connect and play a game together. We want to make party games, social games that happen in the same room, that make social interaction occur and make laughter and levity occur.

So the games that everyone is playing right now are actually fairly new to the whole company’s history.

Yes, but they’re kind of still built on the DNA of what the original You Don’t Know Jack is about, which is bringing people together. Back then it was three people had to gather around a keyboard and they each had a button to buzz in. There was interaction with the game: it was talking and would talk with you and there were jokes and irreverence and humor, so the same kind of DNA of what that [intellectual property] was is definitely in all the games and the direction for creativity that we put into all our games.

What is the process of coming up with and creating these games?

We’ve got a very, very talented staff. We employ full-time and some contract writers; a lot of them have cut their teeth in the Chicago comedy scene, so Second City, iO–they’re comedy writers at heart. Anyone at the company can pitch games. At this point, we’ve done this kind of annual cycle: we ship the party pack in October and then we immediately start concepting and pitching and prototyping internally to figure out what the games will be in the next year’s pack. It’s a very open process.

We’ll help assign teams or resources to a concept if it gets some traction, so we want to build a digital prototype of it. There’s a lot of paper-and-pencil testing where we can, and then sometimes you have to make a digital prototype based on the function of the game. Then those are evaluated and we have a green-light committee and a process where we go through approving and disapproving games. It’s a very fun process, it happens very quickly, but it’s neat because, like I said, a lot of people have opportunities to pitch, and I think that’s what keeps it fresh. We’ve done 30 games now over the last five years or so, and you can easily fall into a rut of, “Ah, it’s kind of the same game with just a different coat of paint.” We always try to push the envelope where we can.

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Are there any rejected games that you still love or ones that get pitched over and over again until they finally make it through?

There’s both. There are a few internally that I really like that just aren’t quite ready for prime time, and I’m hoping in coming years they’ll get there. We have a few games as well that actually have that path. If you’ve played Fakin’ It, that’s the hidden-identity game where you have to be the faker and try to blend in, then we have another game in a similar tone called Push the Button, which is another hidden-identity game that’s more strategic, a bit more like Werewolf or Secret Hitler, those kind of games. But both of those were very challenging to crack in a digital form. We knew we wanted to make these kinds of games because we love playing games like that, but Fakin’ It was pitched for two years and Push the Button was pitched for almost three years before it was finally green-lit.

It feels like the Chicago gaming community, both people playing the games and people creating them, has really grown in the past ten years. What have you noticed in that time?

It used to be more large established companies. We had Midway Games, they did a lot of coin-op, they did a lot of consoles, we had EA Chicago for a while. Neither of those kinds of big entities exists anymore, but out of the kind of disruption of them going away, a lot of people formed companies or built up teams. So there is still a very vibrant community in Chicago of game development. No one is a hub of big publishers, but there’s a lot of little people. It’s a neat community.

What’s happening now is affecting a lot of businesses very differently and you guys are obviously benefiting from it. How has this affected your staff and how does that change things in the future?

We have brought on a number of temporary workers in the last three weeks just to handle customer service tickets–we’ve had this influx of new customers that just kind of happened overnight–so that has pushed some efforts into other areas for us where we’ve had to staff up. So that’s one good thing that’s come out of this, we’ve been able to hire people. How it changes in the long-term, I really don’t know. Eventually things will settle down when the world gets back to normal. What that means for us moving forward as far as our customer base and our usage, I don’t know, I suspect it will decline as the world goes back to work, but I do think it’s leveled up from where we were before. I think we’re fortunate for that and we’re happy to have new people in our ecosystem wanting to play our games. v

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