Students dig archaeology professor

It began as a childhood experience cracking open shale on the side of a mountain in Monterey that started a lifelong love affair with history.

“I was mesmerized that evidence of the past could be found hidden in the ground around us,” Seth Mallios, longtime San Diego State anthropology and archaeology professor said. “That delight has never left me and led me to the fields of archaeology, anthropology and history.”

His students, who cite his immense passion for uncovering things and his interesting perspective on the past, see him as an inspirational figure. Amethyst Sanchez, an anthropology and sociology major, credits him and their many chats to changing her perspective and giving her the drive to achieve her goals.

“Without him, I probably would only have minored in anthropology, which is now the field I want to spend my life working in,” Sanchez said. “I would have missed out on so many incredible opportunities to do actual anthropological work before even earning my degree.”

Long before he called SDSU his home, Mallios’ career as an anthropologist started in Virginia, where he taught the introductory anthropology and the Jamestown Field School in Historical Archaeology courses at the University of Alabama. After his move to San Diego, he noticed the stark contrast between the ways regional history was looked at between the two cities.

“I also know that seeing different areas of the country where, in some places, the past is revered and you would never think of developing over a cemetery,” Mallios said. “You can’t go into a grocery store without someone telling you that they are a descendant of John Smith or Pocahontas and then coming out here and it being just the opposite.”

His first major project in San Diego was a gravestone project where he discovered many of the graveyards were intentionally paved over for freeways, buildings and roads.

“I wasn’t expecting too many surprises and the joke was on me because 75 percent of San Diego’s cemeteries have been developed over and I had just come from Jamestown,” Mallios said. “Everybody there is so into talking about the past, thinking about the past.”

In the classroom, Mallios’ passion for history is passed on to his students. One of his fundamental teaching philosophies is that students need hands on experience in the field to really understand what excavating is like in the real world, compared to the glamorized version of it that appears on TV.

“Dr. Mallios lets the students go through every process of a dig,” Shannon Farnsworth, an anthropology and history major, said. “We measured the units, we dug the dirt, we screened the dirt, we mapped the walls of our unit, we filled out the paperwork, we took soil samples and we were able to experience a real dig.”

Recently Mallios was named official university curator, a title he takes just as serious as his studies or excavations.

“It is rewarding to see the university formally acknowledge the importance of its own history and culture,” he said. “I believe that these distinctive aspects should be celebrated and preserved, and this position allows me to do that.”

Jamie Lennox, an associate professor of anthropology and one of Mallios’ former students, is the current interim director of SDSU’s collections management program and has assisted him with numerous projects over the years.

One of the major projects was co-authoring the five-volume book set titled “Let It Rock!” which was a retrospective of all the live events hosted at SDSU.

“It’s a very meticulous process – you cast a wide net and literally go through everything very slowly and carefully,” Lennox said. “You take copious amounts of notes, as you frequently will need to revisit something or retrace your steps.”

Together with Lennox, Mallios has preserved artifacts from SDSU’s colorful past including multiple WPA mementos such as benches, plaques and murals — some of which are preserved in the campus library.

“These clues to an earlier time when the campus was much smaller, when there was no city around it,” Mallios said. “That gets to a deeper understanding of not only San Diego State’s place in the community, but the hundreds of thousands of people that experienced it here on campus.”

Mallios sees SDSU’s history as more of a grey area than just black and white. He cites well known places on campus like Hepner Hall as examples of how buildings that have been seen as divisive have underlying meanings like the Muslim influence on the construction of SDSU’s iconic hall.

“I never knew about the history of SDSU,” Farnsworth said. “In class we read his book ‘Hail Montezuma’ and then went on a scavenger hunt to some of the historical places on campus. It makes me really proud to go here and I feel more connected to the school and my fellow classmates.”

Mallios’ current passion project is working on a book on the history of Nate Harrison, San Diego’s first permanent African American resident and frontiersman. He brought four of his students with him to excavate on Palomar Mountain during spring break to uncover new artifacts about Harrison and explore San Diego’s history back when it was known as the “Selma of the south.”

He hopes his book will be slated for release at the end of 2019.  

After all these years, Mallios says he still gets the same feeling when he discovers something new – the same one he feels when uncovering new things at the Nate Harrison site and the gravestones he explored when he first moved to San Diego.  

“There is the thrill of finding something that has been lost or forgotten,” Mallios said. “The contentment of seeing how this missing piece helps make sense of the chaos of today’s world.”

Originally published in the Daily Aztec in April 2018.

New Spider-Man video game impresses

Coming off the massive hits at the box office, the folks at Marvel decided to dust off the controller and team up with Insomniac Games and Sony PlayStation to revisit the world of gaming. What could have been an insufferable, generic superhero gaming experience was made into an immersive, nearly flawless game that’s sure to be the textbook superhero game for years to come.

At face value, “Spider-Man” feels like just another chapter in the epic of Peter Parker’s life. Donning his signature blue and red suit, you weave through the streets of New York stopping villains and saving civilians from harm.

What the player gets is an immersive experience that just doesn’t compete with any one of the myriad of “Spider-Man” games, or even films, that have been released over the past two decades.

Where this games succeeds the most, and what most of the games and films in the series failed to do, was capture the essence of what it is to be Spider-Man. It takes off the proverbial spider mask and shows the iconic superhero for who he truly is: a guy trying to balance his life out and do the right thing. On one hand he’s a tough crime fighter taking down New York’s criminal elite; on the other he’s dealing with things that everyone struggles with: love, family, career and mortality.

The game starts with your friendly neighborhood Spider-Man, equipped with his signature sassy comebacks and a popular social media account, taking selfies at death-defying heights and mingling with the people of New York, all while keeping the city safe. His day job is working as an assistant for Dr. Otto Octavius, a scientist experiencing a fall from grace due to immense jealousy and guilt from his former friendship with Mayor Norman Osborn.

Other well-known characters from the franchise’s past include Peter’s beloved aunt May, former-Daily-Bugle-editor-turned-conspiracy-theorist-radio-host J. Jonah Jameson and Parker’s love interest Mary Jane Watson, who’s a reporter with a penchant for getting caught in Spider-Man’s web of enemies.

The boss fights are something to behold. They don’t feel like a series of standard ones from past video games. It feels like an actual fight, not a series of code that reacts to a particular attack. While the first major boss fight, featuring an angry and charging Kingpin, was a generic combat tutorial at best, the rest bring an atypical experience, which highlights the game’s fluid combat system.

The momentum doesn’t stop when you move from the fan favorite villains to common street criminals. The way the player moves from villain to villain is an excellent exhibition of flawless fluidity that the game captures so well.  This style of combat feels more at home in “Spider-Man” than it did in another stellar superhero gaming classic, “Arkham Knight.” While Batman is just as idolized as Spider-Man, the parkour laced combat moves feel more at home with Spidey than they do with the Dark Knight.

The inclusion of Mr. Negative is a welcome surprise and interesting turn from the usual selection of Spider-Man’s cavalcade of villains. In this incarnation, Mr. Negative, AKA Martin Li, is aiming to take over Kingpin’s territory and using the deadly Devil’s Breath virus to do it. While our web-slinging hero stops him, the effects the virus leaves has consequences felt throughout the rest of the game concluding with an epic rooftop fight against Spider-Man’s mentor-turned-madman Otto Octavius, now known as Doctor Octopus.  

Aside from the main missions, sleuthing with MJ and the next incarnation of Spidey, Miles Morales provides a refreshing break from beating up bad guys. Another high point is stripping off the iconic spider suit and playing as Peter Parker, the scientist. The mini games include gene splicing, chemical arrangement and circuit puzzles that range from absurdly easy to so difficult you’re practically close to throwing your controller across the room.

Where the game falls flat, is when it comes to innovating the open-world format. “Spider-Man” utilizes age-old tropes and while they are familiar to anyone who has played any open-world game, they become repetitive fast. The side missions could become monotonous after a while, but they don’t take away from the overall enjoyment of the game.

However, while the open world doesn’t provide any groundbreaking features, it’s the perfect medium to highlight the stellar web-swinging. It’s your main mode of transportation and it’s the best way to navigate from mission to mission around the vast landscape and tall buildings.

Despite its few shortcomings, “Spider-Man” succeeds in providing an in-depth story which immerses the player in every aspect of Peter Parker’s world.. With the fluid combat system, multitude of mission and stellar graphics, this game is well worth picking up the controller for a few hours and swinging through the city.

Originally published in the Daily Aztec in September 2018.

Grammy-winning musician Bill Yeager leads SDSU jazz studies through experience

The generic phrase “be prepared for anything” is often met with a sigh and eye roll from those who hear it. In the case of San Diego State’s Director of Jazz Studies Bill Yeager, it’s the advice he credits for his success as an award-winning musician and a lifelong educator.

Yeager started at SDSU in 1985 after founding and running the Los Angeles Jazz Workshop for 10 years. In just a few short years, he accepted a full-time position and has led the jazz studies program to be one of the most prestigious in the country, including an upcoming trip to Montenegro for Jazz Appreciation Week slated for next semester.

Justin Joyce, an SDSU graduate student and drummer in the jazz ensemble led by Yeager, cites his passion as a driving force behind his students succeeding in the field.

“His constant desire for his students’ success is very apparent,” Joyce said.  “There (are) too many ways he’s influenced my life, but every one of them ultimately has improved my sense of awareness, work ethic and enjoyment of life and how music is one of life’s necessities.”

Yeager’s journey to becoming SDSU’s director of jazz studies wasn’t a rocky road filled with bumps and dips; but rather, a winding path of unexpected twists and turns.

“My advice to you is to be prepared for any and all opportunities that are offered to you in life,” Yeager said at SDSU’s 2017 Professional Studies and Fine Arts commencement ceremony. “You don’t always end up doing exactly what you think you will be doing for your life’s work.”

His resume reads like that of a seasoned studio musician rather than an educator. The lifelong trombonist has played in bands for Tony Bennett, Frank Sinatra and Ella Fitzgerald, and has been featured on recordings for Ray Charles, various organizations and record companies. He’s also received multiple Grammy nominations, including a win for a record he did with Charles.

Yeager, 66, says it all started in elementary school when he had to pick out an instrument to learn. He started out wanting to play drums as his first choice and the trumpet as his second, but a savvy sales associate convinced him otherwise.

“I think the guy at the music store wanted to sell a trombone and he said that my lips were too big for the trumpet, which, of course, is absurd,” he said. “It was this guy who’s just trying to see a certain product, but that’s how I picked trombone.”

His love of jazz, however, didn’t come until high school. Yeager was a natural at playing classical music, but  jazz became an obstacle for him. His high school band director would play him jazz records and have him pay close attention to their characteristics.

“Jazz has come hard for me,” Yeager said. “It was something that I had to really work at. Maybe that’s why I think I’m a good teacher in the jazz area, because I had to really work on it. It didn’t come as natural to me as playing sonatas and concertos.”

After getting acquainted with his new instrument, Yeager took to music like a fish takes to water. According to him, it was music that helped him go from a straight-C student to getting A’s throughout his academic career and creating a positive chance that has stayed with him all his life.

“I got C’s in everything except music and physical education,” Yeager recalls. “Music gave me self-confidence where I didn’t have any.”

Upon graduating high school in 1970, Yeager enrolled in the University of North Texas, which, at the time, had the largest music department and the most prestigious jazz program in the country. He completed his bachelor’s degree in ’74 and his masters of music in ’76, with an emphasis on performance and a minor in conducting and jazz.

While still an undergrad, he started getting jobs in recording studios in Dallas, which at the time was known as the “jingle capital,” Yeager said.

“The studios were run by alumni of the University of Texas, and that’s how I got my foot in the door,” he said. “I’d travel 30 minutes to and from Denton to Dallas for sessions, it helped me tremendously as a musician.”

Prior to founding the Los Angeles Jazz Workshop in ’79, Yeager became the director of instrumental music at Grove School of Music, founded by jazz pianist Dick Grove, whom he was introduced to when Grove did a clinic at the University of Texas. He received the job while playing in a night band conducted by Alf Clausen, best known for his composition work on “The Simpsons.”

“(Clausen) was getting so busy that he didn’t really have time to conduct that band anymore,” Yeager said. “So, Dick (Grove) came to me and said, ‘We’d like you to be the director of the band.’”

Eventually, being the conductor of a jazz band was only one of a multitude of responsibilities he had at the Grove School. Yeager became the conductor of two other bands, founded the Professional Instrumental Music Program and became an instructor.

However, two years into his time at the Grove School, he and Grove had a major disagreement involving repertoire that led them to part ways.

“He would have 30 people write a television excerpt based on, let’s say, ‘Frère Jacques,’ and so, here are my guys paying money to be in this band and they would come to a rehearsal and we’d play 30 versions of ‘Frère Jacques,’” Yeager recalled. “And it was like, you know it’s not fair. That’s not what they came here for. So, we basically had a parting of the ways, and I knew I was right.”

Yeager founded the Los Angeles Jazz Workshop in 1979 so jazz musicians could have the opportunity to showcase their skills rather than play “30 different” TV jingles. In a remarkable move, all 30 musicians from the Grove School moved to Yeager’s rival institution which helped his new endeavor start off with a bang.

Before he knew it, Yeager’s workshop grew at an exponential rate to include instruction in composition and arranging, led by some of the best musicians in Los Angeles.

“I had a complete full band, the very first day,” he said. “And then that grew into two bands, then three. Eventually I had five full 18-piece big bands. That essence of having that number one Grove band 100 percent leave and come with me made it to where I could pay the rent.”

In the meantime, Yeager took up piloting a small plane that once belonged to a dear friend in Los Angeles who suffered a stroke and could not fly alone. During his final years at the Los Angeles Jazz Workshop, he was hired as an instructor at SDSU, commuting back and forth from Los Angeles to San Diego in his Cessna 172 airplane before securing his tenure and settling in Cardiff-By-The-Sea.

“I have become very attached to my SDSU students and totally committed to San Diego State University,” Yeager said in the commencement speech. “The SDSU Jazz Studies program has flourished into becoming one of the best in the country.”

Yeager’s last statement rings true. He has led the Jazz Studies program to a multitude of awards and numerous performances with great jazz musicians such as pianist Matt Hall and students from his Los Angeles Jazz Workshop and Grove School days.

After knowing him for the past six years, Joyce looks back fondly about how Yeager has gone the extra mile, providing more than just instruction to his students.

“To be honest, I’ve never really thought of him as a professor, he has always shown more guidance and advice to just be considered a professor,” Joyce said.  “He’ll tell you directly what you need to hear to help you succeed as a professional.”

Yeager has no plans on retiring just yet. He says he wants “at least another five years” at SDSU. After some reflecting, he harkens back to a modified version of his old saying that he told the 2017 PSFA graduating class: “Be prepared for anything, because nobody knows what can happen.”

Originally published in the Daily Aztec in October 2018.

GAMING REVIEW: ‘Sonic Forces’ brings a new twist to an old classic

Following the events of the 16-bit masterpiece “Sonic Mania,” SEGA and Sonic Team have bounced back from a slew of epic 3D failures with “Sonic Forces,” a fun, action packed, multi-console platformer that is one of the best Sonic the Hedgehog games that has been released in recent years.

The plot of “Sonic Forces” sounds like it comes straight from a Sonic fanboy’s fanfiction. After a plethora of attempts the hilariously evil Dr. Eggman has finally taken over the world and it’s up to the resistance, led surprisingly by Knuckles, everyone’s favorite endangered echidna, to stop them and bring peace to the world. Sounds like a somewhat typical “Sonic” game right?

Not necessarily.

The one element “Forces” brings that is unlike other games in the franchise is that Sonic and pals are helped out by a very unusual and unexpected character–you.

The introduction to the player’s custom character, aptly named the Rookie, is rather interesting. After playing through the first level of the game Sonic is captured by Dr. Eggman and his ruthless regime of antagonists from games past, along with new resident bad guy Infinite. Resident tech geek Miles “Tails” Prower tells the rest of the resistance that a new member is joining and that’s when the player is taken to the customization screen.

Adding “you” as the third playable character was a bit of a hit-and-miss. While it’s great that SEGA added this element to the game, at times it feels as if it’s just playing as an off-brand third-world knockoff of Sonic blasting through stages with various accessories. The accessories, called “Wispons,” can make the original character overpowered, which takes the Rookie and turns them into the overpowered MVP of the entire game.

Along with the same ragtag group of fan favorites of games past in the resistance, Classic Sonic comes from his dimension to aid them in their hour of need. For most of the game users play as Classic Sonic, Modern Sonic and the Rookie and face-off against villains that include Zavok from “Sonic Lost World,” masked newcomer Infinite, and perhaps the most unsuccessfully hilarious video game villain of all time, Dr. Eggman.

Then we get to what was one of the biggest teases in the game that sort of delivers: Shadow the Hedgehog. What makes Shadow such a great character, especially in “Forces,” is that players actually get a backstory. The free downloadable content, titled “Episode Shadow,” acts as a prequel for “Forces,” letting the “you” play through three stages of storyline that adds some context to the game.

Ironically, “Episode Shadow” actually provides players with more of a challenge than “Forces” does. Even though the downloadable content is somewhat harder to play than the main game, it’s really fun, especially since this is the first time in several years that the fan favorite has been a playable character in a “Sonic” game.

A highlight of the game is that players get an introduction to “Forces” main antagonist, Infinite, and see what became of Shadow’s closest, albeit reluctant, comrades Rouge the Bat and robot E-123 Omega.

One of the biggest flaws of “Forces” is that there is no epic Shadow vs. Sonic boss fight. Instead players get Shadow defeating a clone of himself that Dr. Eggman created to aid in his world domination. It’s not the worst thing in the world but if SEGA and Sonic Team were going to tease this battle-for-the-ages boss fight then they should have delivered.

The levels are gorgeous to look at. The vibrantly colored Green Hill Zone that was once filled with flora and fauna is now reduced to sand dunes and crumbling structures, which was a nice break from the norm. However, after playing title after title with Green Hill Zone as the first level, it’s time for a shake up from the usual nostalgia and have something a little different to kick off the game.

Most of the stages, including the beautifully designed Metropolis, flow seamlessly from the standard Sonic 2D side scrolling to 3D without making the transition awkward.

Initially, the gameplay is relatively short if players just doing the bare minimum of simply completing the game. However, the addition of SOS missions, daily missions and the thrill of getting trophies, or achievements on XBOX and PC, makes “Forces” prime for long-term replayability, especially after players complete the main storyline.

Completing daily missions is also a great way to get more accessories to deck out one’s custom character to give them more power-ups and generally make them look as cool as possible.

The mechanics of the games are straightforward: complete the stages, 37 total, as fast as one possibly can, pick up rings along the way and defeat the enemies. It’s that simple.

Taking one’s time with stages is fine if the player is new to the series or are obsessively trying to 100 percent the game, but it’s a Sonic the Hedgehog game—the objective is to complete the stage as fast as possible.

His theme song has the lyrics “fastest thing alive” for a reason. An awesome bonus is that depending on how fast one completes a stage, they get ranked with players from all around the world to see how they stack up to other fans playing the game.

Another difference from other titles in the series is that the rings, which are normally used to help players not die during stages, are used as a means to boost one’s score as well as serve the function of not losing a life.

What that means is there is technically no system for how many lives you have with this game and that there is no “game over.” Players can technically can keep playing a stage until they beat it or gather all of the bonuses, although it will affect one’s ending score in a negative light and turn what would have been an S-rank to a C-rank in just a matter of seconds.

Each level has recommended Wispons, items that correspond to various colorful alien power-up from “Sonic Colors,” to use for that particular stage. Its basic function is to help the player find an alternate route, collect rings and other non-essential items. However, even though the Wispons are there for the players use, they are not essential to complete the stage.

Although the game is really fun, it can be heavily automated and repetitive at times. At its core “Sonic Forces” is just like any other “Sonic” game.

Players finish stages, beat down bad guys, collect rings and, spoiler alert, defeat the “A for effort” antagonist Dr. Eggman and Infinite to save what remains of the world from complete destruction. There is also the issue of the stages being really short. There are certain stages where players can really get sucked in, only for it to end a few short moments later.

The boss fights are also hit and miss. With the exception of Zavok and Infinite boss fights the rest of them, particularly the ones with Dr. Eggman, feel somewhat repetitive and like players are rehashing a boss fight from a previous game rather than providing the gamers with a new experience. Then there’s also the issue of not fighting fan favorite villains like Chaos from “Sonic Adventure” or Shadow, which was heavily teased before the game’s release.

Despite “Forces” being just another “Sonic” game, it’s a really entertaining and enjoyable experience that both hardcore Sonic fans and non-Sonic fans would appreciate.

Is it perfect? No, far from it, but it does give players hours upon hours of mind numbing enjoyment that Sonic Team has been lacking with previous titles.

The story, gameplay, soundtrack and characters provide gamers with a visually dynamic and amusing experience that can extend way beyond the main storyline and provide gamers with endless hours of fun.

Originally published in The Daily Aztec in November 2017.

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