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The other side of the story

Nearly two years ago, Virginia became the first Southern state to abolish the death penalty. Before then, the commonwealth had executed over 1,300 people—more than any other state.

As the head chaplain on Virginia’s death row, Reverend Russ Ford ministered to men sentenced to capital punishment throughout the 1980s and ’90s, and walked 28 of them to the death chamber. In his new book, Crossing the River Styx: The Memoir of a Death Row Chaplain, Ford recounts the strong relationships he built with more than a dozen condemned men, and the drastic spiritual transformations many experienced before they were put to death. With co-authors Todd and Charles Peppers, Ford details the men’s horrific crimes and their numerous victims, but also exposes injustices within the prison system, making a strong case against capital punishment throughout the book, published by University of Virginia Press.

“We did everything we could to bring to the reader the worst that these men did,” says Ford, “[but] also showed the human sides of these men.”

Ford immediately pulls readers into the 240-page memoir with a horrifying memory—almost becoming the 245th person killed by Virginia’s electric chair. When Ricky Boggs’ execution was delayed, Ford, after receiving permission from a prison official, went to comfort Boggs while he sat in the electric chair, putting his hand on the condemned man’s hand. A prison official, his back turned to Ford, soon pulled the chair’s activation switch. If someone had not shouted Ford’s name, causing him to lift his hand in the nick of time, he could have been electrocuted along with Boggs on July 19, 1990. Nightmares haunted Ford for weeks after the execution, something that would become a normal occurrence throughout the 13 years he served as a death row chaplain at Virginia State Penitentiary and Greensville Correctional Center. 

Born in Richmond in 1951, Ford grew up in poverty in Chesterfield County, where his parents instilled a strong Christian faith in him. At 18, a powerful spiritual experience at a youth camp inspired Ford to become a minister. While attending Southeastern Seminary, he interned as a chaplain at Hanover Learning Center, a now-shuttered juvenile detention center. “It was tough … [but] I enjoyed it a lot and was successful with it,” and it led to prison ministry, Ford says.

After he graduated with a master of divinity in 1977, Chaplain Service, a nonprofit ministry that served Virginia’s prisons, appointed Ford and senior chaplain Marge Bailey to replace the VSP’s former head chaplain. Ford worked at VSP—where riots, assaults, beatings, fires, murders, and other horrors were rampant—for a year, before accepting a residency at the Medical College of Virginia and serving as a part-time chaplain at HLC. Ford was working at Southampton Correctional Center when Bailey was diagnosed with cancer in 1984. He returned to VSP, where he served as a spiritual advisor for every man on death row.

In addition to leading worship services, Ford visited men in their cells, and built a rapport with them, aiming to understand their crimes and help them reform themselves. Many were neglected, abused, and impoverished as children, and had mental, intellectual, and cognitive disabilities.

“There was a lot of need and suffering. … I listened with compassion,” says Ford. Though he was not able to help every man change, “I got along with a large group of the men, and had success in relating to them.” 

During the final days and hours of their lives, Ford stood death watch with more than two dozen men, praying with them and administering last rites. He hoped to help them achieve “a certain calmness and sense of wellbeing” before they were executed, he explains.

“We had men who … while they were getting ready to be executed, they treasured where they were,” says Ford. “In death, they were fully alive for the first time.”

Crossing the River Styx was decades in the making. In 1994, Ford began doing research in partnership with another writer, and completed a 180-page manuscript, but later paused working on the book. In 2001, he suffered a traumatic brain injury, and spent the next four years in rehab. Then, in 2015, Todd Peppers, a law professor and former lawyer, reached out to Ford while working on his book about death penalty activist Marie Deans, who Ford worked closely with for years. Ford did multiple interviews with Peppers, and shared portions of his unfinished manuscript. After Peppers and co-author Margaret Anderson published A Courageous Fool: Marie Deans and Her Struggle against the Death Penalty in 2017, Peppers, moved by Ford’s story, offered to help the chaplain finish his book, and recruited his child Charles, then a high school senior, to assist with research and editing. 

Each chapter shares Ford’s experiences with a specific man, or, in a few chapters, several men with similar traits or cases, including exact dialogue from the chaplain’s conversations with them. Ford “took a lot of notes” during and after these meetings, and referenced his stacks of notebooks throughout the writing process. The chapters also shed light on the men’s crimes and their victims, including accounts from family members who wanted their loved ones’ murderer to be executed—and those who did not.

Throughout the book, Ford vividly describes the horrors of capital punishment. He argues there is no such thing as a “humane” execution, and that capital punishment fuels a continuous cycle of violence. 

“Really no one needs to be killing other people like that. That’s just wrong,” says Ford. “There were people there [in the prison] doing these things to the men who were professed Christians, and I have a hard time seeing Jesus pulling a switch and sending 2,000 volts of electricity through someone’s body, or sticking a needle in someone’s arm and shooting them up with poison.”

In addition to denouncing the terrible conditions, inadequate medical care, and poor management he witnessed, Ford criticizes the death penalty system’s failures. Without help from death penalty activists like Deans, three men he worked with would have been executed for crimes they did not commit.

It remains difficult for Ford to read his chapter about Morris Mason, the first person he saw executed. Morris—who raped and murdered 88-year-old Ursula Stevenson and 76-year-old Margaret Keen Hand, as well as raped a 12-year-old girl and shot her 13-year-old sister in 1978—“suffered from paranoid schizophrenia [and] had the mental capacity of an eight-year-old,” writes Ford. The chaplain claims Morris did not understand death or execution.

Ford, along with fellow chaplains and Mason’s attorney (now Charlottesville mayor) Lloyd Snook, petitioned then-governor Chuck Robb to lessen Mason’s sentence to life in prison due to his disabilities. Still, Mason was executed on June 25, 1985.

“[Mason] had the biggest impact on my psyche seeing him executed like that,” says Ford. “The blistering of his face, the smell—he was being cooked inside out.” 

Albert Jay Clozza also had a significant impact on Ford. Though he initially did not want to work with Clozza—who raped and killed 13-year-old Patricia Beth Bolton in 1980—due to his heinous crime, Ford later forged a strong relationship with the man.

“[Clozza] had such difficulty. At first he numbed himself [with] the drugs they gave him in prison. … Then all at once, he cleaned himself up and started working on himself,” says Ford. “He died happy.”

Death row took an immense toll on Ford. Dealing with post-traumatic stress, he found himself withdrawing from friends and family because he “could not relate.” The executions stayed with him “like a shadow,” he says.

Coleman Wayne Grey, who died by lethal injection in 1997, was the last man Ford walked to the death chamber. “I got to where I couldn’t handle it anymore. I could not go back,” he says.

Ford hopes readers will come away from the book staunchly opposed to the death penalty, and urges those already against capital punishment to remain vigilant.

“I would like for people to know the other side of the story,” he says. “Even those who may support [the death penalty] may learn something and may even be changed.”

Crossing the River Styx: The Memoir of a Death Row Chaplain will be published March 1.

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Taking action

Since the fall, Charlottesville and Albemarle County have seen a significant spike in shootings—several involving juveniles. On January 23, a male juvenile was injured in a shooting in the area of Sixth and Garrett streets. Three months earlier, Charlottesville police arrested three teenage boys, ages 14 to 17, in connection with an October 15 Omni Hotel parking lot shooting that left two male juveniles injured. After a middle school student Daniel Fairley works with was shot multiple times on Hardy Drive on November 12, he and Fernando Garay wondered how they could help stop gun violence among young people. 

“We had just both felt that pain for the city,” says Garay, owner of House of Cuts Barber Studio, located on the UVA Corner. “[We thought], ‘What can we do to create preventative measures and an impact?’”

“[We wanted] to address the issue right here, right now,” adds Fairley, president of the 100 Black Men of Central Virginia.

After securing a large donation from the Charlottesville Alliance for Black Male Achievement, House of Cuts and the 100 BMOCV offered 100 free haircuts to Charlottesville High School students in December, aiming to provide young Black and brown men a safe space to open up about their feelings and struggles—and receive guidance and advice from men who experienced similar challenges. Now, all Charlottesville and Albemarle County public school middle and high schoolers can come into the shop for a free cut, thanks to the over $3,000 in donations the program—dubbed the #100Cuts Initiative—has received from local organizations and residents.

“When you look clean, that really just helps you with your day-to-day life,” says Garay, pointing to young men who get teased when they don’t have their hair cut. “When you look better, you feel better. When you look cleaned up, you perform better.”

“There’s almost an air of invincibility that comes from the kids when they step out of the barber’s chair,” says Fairley, who is also a youth opportunity coordinator focused on Black male achievement for the City of Charlottesville. “When you come out of the chair, no one can do anything but lift you up.”

The free cuts have been a big help for students whose families cannot afford to take them to the barber shop—a cut typically costs $40 at House of Cuts. (Each sponsored cut costs a discounted $30.) 

“Some of these students … only received a haircut previously during our free back to school bash [in August],” says Garay. “This is a need for the community—not a want for the community.”

To serve students who may not have a way to get to the barber shop, the initiative leaders have partnered with CCS and ACPS to bring barbers into schools. On January 24, barbers gave more than 30 free haircuts at CHS, and on February 13, provided 30 more at Buford Middle School. Teachers and administrators have also volunteered to bring students to appointments at the shop.

“All those kids [at CHS] were looking rough and joking on each other … but as soon as those shape ups were put on them and the fades were done, they were like, ‘Oh my gosh, you look so good,’” says Garay. “Just that in itself is so important.”

To date, barbers have provided more than 150 free haircuts at schools and House of Cuts. Later this month, they will head to Albemarle High School. And next month, Lugo-McGinness Academy students will take a trip to the Corner shop. 

Soon, the initiative will go beyond haircuts—in partnership with Charlottesville-Albemarle Technical Education Center, 100 BMOCV and House of Cuts are working to develop a barber program, which the center has not had since 2015. 

“[The program] will allow kids to be pulled out of these circumstances [and] see themselves in a different way [and] a future for themselves,” says Fairly. “The things you think you may be wanting or getting in the streets, it’s not the same as what you can be getting legally through barbering.”

Some students who have received free haircuts have already shown interest in becoming a barber, says the initiative’s Community Engagement Coordinator Amanda Burns. A teacher shared with Burns that one student “never talked about anything that he wants to do in the future,” but after he came to the shop for a cut, “we had to start googling clipper sets.”

Longtime barber Will Jones—Garay’s mentor—will lead the new program, which will allow both high schoolers and recent grads to participate, and offer night classes “to keep kids out of trouble” after school, says Fairley.

In addition to training students to earn their barber license, the program will partner with local nonprofits to teach students entrepreneurship skills, and with Black therapists to provide them with counseling and mental health training.

“Barbers often act as confidants, and are trusted with important sensitive information from their clientele,” says Fairley. “We want to prepare them for those experiences.”

This summer, the organizations plan to start fundraising for the barber program, something that will cost between $30,000 and $40,000 to get off the ground. They aim to launch next year.

To donate to the #100Cuts Initiative, visit linktr.ee/100cuts.

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Arts Culture

Black History Month Gospel Concert

Gospel musician Jonathan McReynolds isn’t a fan of church clichés and “Christian-ese.” According to the Grammy Award winner, his albums “are about being authentic and genuine, pure and transparent.” His latest full-length, Make Room, is an exciting addition to the genre with powerful vocals and candid songwriting. McReynolds is joined by fellow musician and collaborator DOE for an uplifting Black History Month Gospel Concert. DOE got her start in a gospel septet before going solo and releasing the eclectic, vulnerable, neo soul EP, Brighter. Monique Steele-Griffiths and Chosen open.

Friday 2/17. Free (registration required), 6:30pm. The Paramount Theater, 215 E. Main St., Downtown Mall. theparamount.net

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Arts Culture

Billy Strings

Billy Strings’ live shows are guitar shred-filled fever dreams that feature all the improv aspects of bluegrass while totally rocking out. His 2021 release, Renewal, is an ambitious 16-song collection that infuses acoustic bluegrass with elements of heavy metal, jam bands, psychedelia, and classic rock. On Me/And/Dad, Strings leans into tradition for a collaboration with, and tribute to, his father, Terry Barber. The father and son trade memories, vocals, and licks on tunes from Doc Watson and Bill Monroe, as well as hymns and classics.

Tuesday 2/21 & Wednesday 2/22. $35 and up, 8pm. John Paul Jones Arena, 295 Massie Rd. johnpauljonesarena.com

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Arts Culture

NNAMDÏ

Nobody’s doing it like NNAMDÏ. Mere months after releasing his genre-fusing LP Brat, the Chicago-based do-it-yourselfer released Krazy Karl, a brain-tingling tribute to Looney Tunes composer Carl Stalling. NNAMDÏ pays homage to Stalling’s iconic style on songs like “Coochie Cannon,” “The Lord is My Glock, I Shall Not Want,” and “Milkshake made my tummy hurt! It must be poisoned!” NNAMDÏ took a brief period of rest before forging on to the next release, Please Have a Seat. “I wanted to be present,” he says. “Each song came from a moment of clarity.” NNAMDÏ also wrote, produced, and performed all 14 of the album’s songs.

Sunday 2/19. $15-17, 8pm. The Southern Café & Music Hall, 103 First St. S. thesoutherncville.com

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Arts Culture

In writing

John Kelly is a writer. Sometimes, he’s a songwriter. And with “Three Bright Stars,” he proves he’s a pretty damn good one.

Best known for his work as the Virginia Film Festival’s PR pointman, Kelly has been writing for decades—penning reams of corporate communications along with songs. 

Before moving to Charlottesville in 2001, Kelly started his journeyman music career playing shows around his hometown in Connecticut and in New York. In 2000, he released his first EP, Brighter Days. It was a promising early effort, a kind of Leonard Cohen-meets- Springsteen nugget of earthen salt.

Family life—particularly Kelly’s two children, small at the time—slowed the songwriter’s gigging through the aughts. But he never completely gave up the strings and singing lifestyle, and around 2010, he went back to it.

“Since then, it’s just been steadily building,” Kelly says. “It’s a matter of me recognizing again where that fits in my life.” 

Where exactly does it fit? Like many singer- songwriters dotting Charlottesville’s live music scene, it’s no longer about making it big for Kelly. He’s at a point in his life and career where if he weren’t happy making music for his own reasons, he wouldn’t do it anymore.

Since 2010, Kelly’s found more and more reasons to keep writing songs. He’s grown some critical musical relationships, played lots of shows, and consistently released tunes and tidbits on his social media channels. His second album, In Between, came out in 2020. 

John Kelly. Supplied photo.

“I have watched the songwriting scene here evolve for a long time, and there is a great history here that we all know very well, but there are also the people that work behind the trade,” Kelly says. “I’m continually impressed with the art makers in Charlottesville and the singer-songwriters that come from so many different approaches. In this region, I think you have to speak in your own language.”

Helping rekindle Kelly’s love for making music has been local guitar legend and band shapeshifter Rusty Speidel. The pair hit it off when they met over 10 years ago and soon began discussing an album. For In Between, they went into the booth with James McLaughlin, and the result was a ringing tone and clean production under Kelly’s earnest vocals and bittersweet lyrics with spiritual underpinnings.

Kelly and Speidel have continued to collaborate in the three years since, and Kelly says he has nine songs in the bank for when they decide to record again. 

“Three Bright Stars,” an ode to the UVA student-athletes shot and killed last November, is likely to be on any forthcoming John Kelly record. The pop gospel dirge, which has drawn nearly three times more streaming listens than any other track Kelly’s produced to date, tells the story of the student vigil on UVA’s South Lawn shortly after the shooting.

The song’s first verse describes the crowd arriving on the Lawn: “There had been microphones and TV lights, till the kids said take ’em down.” The second verse follows the students on their way home: “There’s a man who sits beside the bridge—he’s there most every day and night; tonight the only thing he’s asking is, ‘Is everyone all right?’”

After arriving home himself, Kelly saw a photo of the event on social media. He said it clearly showed “three bright stars shining over the proceedings.” He had his chorus.

With the blessing of Matt Weber, UVA’s chief creative officer, who took the photo that inspired the song’s title and refrain, and Jody Kielbasa, vice provost for the arts, Kelly headed back to McLaughlin’s Mountainside Studio with Speidel, as well as Michael Clem, Chris Holden, and Richmond-based keyboardist Daniel Clarke.

They laid down the track, but Kelly felt it was missing a beat.

Sensitive to the tragedies Charlottesville’s endured in the past several years and feeling his own tangential position in the student shooting, he’d had some reservations about putting “Three Bright Stars” out in the world. It was the students dealing with the tragedy whose story it was to tell, and he wanted them represented. “I asked myself, ‘Does there need to be another voice, and does it need to be mine?’” Kelly says. “I made a pact with myself to make sure I only recounted what I saw and what I experienced. It wasn’t going to make a statement about what should be done or assume any understanding of the way that these students felt or the way that these families felt.”

Kelly asked Michael Slon, director of UVA’s University Singers, to help complete the song. Slon gathered eight students to record a choral backing vocal, and “Three Bright Stars” was ready for release.

As for his own future, Kelly’s small kids have grown into young adults—and musicians themselves—and he has more time for writing these days. There’s that third album possibly coming soon, and he’s found a niche in local live performances, particularly on the winery and brewery circuit.

“I’m just really delighted to be any part of this incredible music community and to be able to release a song that seems to be resonating with people,” he says. “It was almost like it was supposed to happen in the way it did. And I feel honored that anyone is taking the time to listen.”

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Arts Culture

Color forms

For artist Janet Bruce, the forced isolation of the COVID-19 pandemic was an opportunity to turn inward, to seek solace in nature and delve into a deep exploration of color. Directing her attention to the color theories of Goethe and Eugène Chevreul, as well as modern and contemporary colorists, Bruce produced over 360 color studies. This extensive foray is recorded in both a binder thick with diagrams, notes, and photographs, and the astonishing 13- by 8.5-foot installation “Color Study: On a Southern Horizon,” which features 247 of Bruce’s color analyses in a grid arrangement. These provocative artifacts are on view at Les Yeux du Monde in Bruce’s luminous show, “Locus Amoenus.” Latin for a place of safety and comfort, the title references not just a physical place—in this case, Bruce’s studio and the natural landscape she inhabits—but also a state of mind.

Hard work and introspection is evident in Bruce’s thrilling “Tree,” in which she pulls out all the stops. Bruce uses pigment and brushwork to describe the effects of light and shadow and delineate the features of the landscape, like the shape and texture of the vegetation or the crooked progress of a stream, but also to impart a sense of energy. Lavender and white zig-zagging lines buzz across the surface with fervid exuberance. 

Bruce’s color choices and pairings are beautiful in themselves, but they also have a distinct veracity. This is notable in her treatment of sun versus sunlight. Low on the horizon, the sun has a golden cast, but when it hits the forest floor, Bruce adds green to yellow to achieve the peculiar, almost day-glo, effect of sun raking across moss.

“Tree” alternates between representation and abstraction. We perceive a woodland scene with foreground, middle ground, and background, while admiring the dazzling stew of pigment and gesture that roils across the surface and elevates an ordinary scene into an extraordinary painting.

The perfectly calibrated composition “All Four Seasons in One Day” draws on all of Bruce’s talent. Though a more abstract work, it shares with “Tree” a similar organization with a kind of Y shape taking the place of the central tree. Bruce balances the work chromatically with lavender passages in the upper left and lower right, and gray in the opposite quadrants. At the center, cinnamon and rosy purple converge to form the Y. A calligraphic swish of black meanders in and around its periphery, concluding in a squiggly flourish at the bottom. 

To say Bruce uses pale yellow and white to compose her sun does a disservice to the complex passages she comes up with. The eye causes these mélanges of hues to coalesce into an impression of a particular color, but make no mistake, the artist’s colors are the sum of many parts. To suggest wind-tossed branches fleetingly obscuring the sun, she adds flicks of paint—cream, pale green, and brown. Her rosy aura of rays staining the sky perfectly captures how the heavens look at sunset when it clears after rain. The pigment’s application throughout the work conveys the effects of weather and atmosphere—sheets of rain, blustery wind, raw temperature. Gray and lilac suggest a front pushing across the sky or the unrelenting gloom of heavy cloud cover. 

“High Sun Day” may be a small work, but it grabs your attention. The bold, yet lyrical brushwork and nuanced palette of yellow and a tantalizing green strikes the perfect chromatic and gestural chord. Within the tangle of yellow strokes, you can see the speed of application and get a sense of brush moving paint along the surface. The areas where the pigment is more thickly applied act like highlights, with the thinner areas appearing to dissolve into the background.

Bruce’s inspiration for her series “Four Seasons” comes from Nicolas Poussin and Cy Twombly—she embraces both the pastoral landscape tradition of Poussin and Twombly’s formal approach to materials and technique. Bruce has synthesized and distilled her seasons so that what we really get is sense memory impressions. Whether it’s winter’s frosted suspended animation, summer sun on greenery, a tawny scrawl suggestive of fall foliage, or the shimmering luminism of “Spring,” each painting summons up a distinct time of year through abbreviated means.

A handful of the artist’s “Materiali/Immateriali” prints hang in the show, but there are others available for viewing in the gallery’s flat files. These are well worth your time. Produced using color viscosity and silk aquatint (printmaking techniques), you can see the ravishing effects in the ink’s movement across the plate—drizzly in some places, vaporous in others—as well as the riveting interplay between the different hues. 

Like so many of us, Bruce had very different plans for 2020. According to gallery director Hagan Tampellini, Bruce had been accepted into the Virginia Center for the Creative Arts residency program in Auvillar, France, but due to the pandemic, the program was canceled. Undeterred, she moved on to plan B: finding her locus amoenus in her own backyard.

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News

Planning ahead

The Charlottesville Climate Action Plan is 97 pages long and chock-full of graphs, charts, and infographics. While the plan will affect everyone who lives in the city, the document can hardly be considered digestible for the average resident. 

On February 8, the Piedmont chapter of the Virginia Sierra Club attempted to rectify this. The nonprofit hosted a Zoom meeting with city employees to help demystify the Climate Action Plan.

“The point of this presentation is not to bore you for 45 minutes with slides and talking,” said Kristel Riddervold, the environmental administrator for the city. She said her goal was to “have a productive question-and-answer session.”

The objective of the Climate Action Plan is to reduce greenhouse gas emissions by 45 percent by 2030 and achieve carbon neutrality by 2050. The plan, formally adopted on January 17, is still in its early stages. Riddervold described it as “a high-level strategic roadmap” and a “dynamic document.”

“We are working to develop measurable success indicators for each key action,” explained Emily Irvine, climate program specialist for the city. “It’s not cut and dry … each action has a sort of different success indicator that we are trying to figure out and also learn how to share with our community because reporting and accountability is a big part of this,” she said.

Kirk Bowers inquired about tax credits from the federal government for residents who purchase sustainable products like e-bikes and solar panels. “A lot of the guidelines are pending … so as soon as we know those, we want to connect people with them,” said Riddervold. “And it’s frustrating, because there was a lot of excitement built up around that these things are going to become available. Well, they kind of are, they also kind of aren’t.”

Linda Goldstein asked about the link between pedestrian safety and climate change. Riddervold said the plan “emphasizes the need for improved walkability, bikeability, and alternate transportation,” but acknowledged that she “does not have the answer today” on how to assure personal safety.

Riddervold, who admitted there were other questions she could not answer, said she was “not 100 percent sure” when the alternate fuel study would be completed for the possible electrification of the CAT fleet. When discussing the importance of maintaining tree canopies, she emphasized there were “a number of things in the plan that are connected to the tree canopy,” but conceded “there’s only so much space, and there are so many things that everybody wants in that same space.”

Executive Director of Community Climate Collaborative Susan Kruse told C-VILLE the plan is an “important step forward,” but said “there is still work to do.” Kruse mentioned that the city still owns a gas utility and that First United Methodist Church was blocked from installing solar panels by the Board of Architectural Review.

“We want to make sure we get that rectified and remove those barriers as quickly as we can,” she said.

Matthew Gillikin, co-chair of Livable Cville, echoed that the plan is “an important step in the right direction for the city,” while noting that “it will need fine-tuning over time.” 

Other outreach events are planned, including a community gathering on March 15 at Carter Recreation Center. The city is also working on publishing a condensed version of the Climate Action Plan.

Riddervold said the city will “continue to talk about what we are doing with community members, organizations, and partners, and [we] hope they can help with the education and supporting residents to take action and get involved.”

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Welcome to the jam!

Video games are complicated. Even a game as deceptively simple as Pac-Man is composed of a delicate concoction of level design, character art, artificial intelligence, and audio/video signals, all powered by lines upon lines of code. Today, the biggest games in
the industry, which draw revenue eclipsing Hollywood blockbusters, take years to develop and can involve hundreds of artists, designers, and programmers. The Last of Us took four years to make; a project as small as an iPhone game can take months. So when a group of University of Virginia students decided to make two games in just 48 hours, they were shooting for the moon.

Despite such a daunting challenge, students were relaxed as they trickled into UVA’s Rice Hall, home of the Department of Computer Science and the computer engineering program, on a chilly Friday evening. The occasion was the 2023 Global Game Jam, and it was the first that the Student Game Developers would participate in since the beginning of the COVID-19 pandemic. 

A game jam can take all sorts of forms, from a massive formal competition to a creative exercise in a small office. The annual Global Game Jam, which was founded in 2008 and is managed by the nonprofit of the same name, is among the largest of its kind in the world. But no matter the size, the general idea remains the same: Game jams are about creating an entire video game in an extremely limited amount of time. It’s similar to a hackathon, or the 48 Hour Film Project held each year across the country—solo participants or teams register for the jam and are faced with a singular challenge, like a common theme, and a set deadline to submit their work.

“It’s always fun to just spend the weekend losing all my sleep and making whatever I can.” Ian Harvey, SGD club officer. Photo by Tristan Williams.

Game jams tend to be makeshift affairs—anywhere you can plug in a laptop will do. For this year’s Global Game Jam, around a dozen UVA students gathered in a conference room with two whiteboards and a writable wall. They formed one of hundreds of sites, across more than 100 countries, with participants whose work would sit alongside thousands of others’ creations.

The Global Game Jam kicks off with the announcement of the year’s theme. This time, it was “roots.” Club president Jimmy Connors wrote the word in the center of one of the whiteboards.

How do you turn “roots” into a video game? You start, like with any creative project, by brainstorming.

So, Connors asked, what do we think of when we think of roots? 

“I have no idea where to take that,” he said.

But ideas came fast from around the room: family roots, square roots, trees, plants, linguistic roots of words, root canals, hair roots, rooting for a sports team, musical roots of chords. The board filled up fast as participants played off of each other’s suggestions.

“You could do a game where you control a plant whose roots are continually growing, and you have to steer it into nutritious deposits.”

“The farther down you go, the rockier it gets and the harder it gets.”

“Well, there’s that restaurant, Roots.”

“So, trees can communicate through mycorrhizal networks, which are just root networks. So we could do some tree communication game that involves roots and networking.”

“Game that teaches you the basics of networking.”

“You control the roots of a tree and you can then discover things like fossils, like an archaeology game. You can pass by bones or discarded items.”

“A mystery deduction game where you’re trying to trace back the roots of what led to whatever event.”

“You want to guide the tree roots towards water, you want to guide them towards mineral deposits.”

“There are pollution spills that you have to steer away from.”

“And your score at the end is how deep your roots got.”

“A genealogy game?”

“The root of a computer. Think plants growing on a computer chip.”

“You have a little character that’s navigating in the computer file system, and you’re trying to get to the root of the computer so you can hack it.”

“Oh, trying to get root access!”

Connors went around the room again and again, whittling down everyone’s ideas. One by one, different roots were crossed off, until they had two promising concepts to pursue: a game about growing roots in a pot, and a game about exploring a computer as if it were a dungeon. The group would need to split up and complete both of these games by Sunday at 5pm.

But so many questions still lingered. How are they going to manage two projects? Who in the room can program? Who can create artwork, like characters and backgrounds, for the games? Who can write background music? And, most importantly, who has time to devote to the game jam? When can people drop in over the weekend to work?

Some people had homework and exams to prepare for. Others weren’t experienced in Unity, the popular game development software the club used for the jam, which meant they’d need to spend time learning it.

There was so much to deliberate over. But first: pizza. They’d begin working in earnest Saturday morning.

Day two started with a Bodo’s run, which Connors considers crucial to the success of the game jam. “Food is big and good,” he says. “As an SGD president, sometimes it’s hard to get people to show up to make games for 10 hours on a weekend. Bodo’s helped a lot with getting people in the room.”

It was heads-down work in the conference room as the two teams set about designing and coding each game. The first, titled Overgrowth, would be about carefully drawing roots in a planter as they get longer and longer. It was inspired in part by Snake, a game famous for coming pre-installed on Nokia phones, in which the player controls an ever-growing snake in a constrained space. The second game, Root Access, would be about exploring a maze-like computer system resembling a dungeon and cleaning out the viruses mucking up the place. This was inspired by another game jam game, The Binding of Isaac, which tasks players with navigating a procedurally generated series of rooms.

Oliver Mills, a third-year computer science student, worked on the textures for the roots in Overgrowth. This was his first game jam with the Student Game Developers, which he joined so he could learn to make his own game. “I’m working on a little self-project right now that reflects the weather, that has some realtime reflection of the weather in a game,” said Mills. “And I realized that I had no clue how to do anything with games.”

Fellow third-year CS student Ian Harvey is an officer in the club, and designed the computer terminal for Root Access, where players can input slash commands that trigger various effects. “We’re basing it around the idea of what is a computer’s structure, what the traversal may be in a theoretical world where you’re trying to get to the root of the computer,” said Harvey. A challenge his team faced was in filling the game with things to interact with. “It comes down to assets, or actually making a dungeon that feels like it’s fun to traverse. Assets are one thing, being able to [code] a bunch of enemies to do specific things.”

Harvey is a seasoned game dev for an undergraduate, having directed a game in the club and worked on many others. Though he’s participated in other game jams, this is his first with the Student Game Developers. “I typically do one game jam a year in the summer,” he said. “I never do well in it, but it’s always fun to just spend the weekend losing all my sleep and making whatever I can.”

Catherine Xu, a second-year CS major, joined the event as her first game jam. On Root Access, her focus was on character movement and designing “mobs,” or mobile objects, like enemies. Some of the programming already existed for these elements; her job was then to assign them animations.

“The challenging part is trying to balance where we want the player to explore, but then also the necessary set path of actions they need to take to unlock the rooms [and] get to the destination,” said Xu. “So, we want it to be somewhat challenging, we want them to have fun exploring, but we also don’t want it to be too easy to figure out how to open doors and passwords and stuff.”

The final projects, available to play on the Global Game Jam website, reflect the project management skills, prioritization, and quick thinking of both teams.

In the finished version of Overgrowth, the player is presented with a cross-section of a houseplant as it first starts to take root. The player’s job is to click and drag the snaking roots to fill the limited space in the pot. Once each root reaches its maximum length, two more roots will sprout from it, which can also be dragged and drawn out to fill the pot. A bar rises on the right side of the screen to track the player’s progress, and at specific intervals the plant will be repotted and a new larger level will begin.

Root Access took shape as an action game, where the player navigates a virus-riddled computer as if it were a treacherous dungeon. Using the WASD keys to move from folder to folder, the player needs to eliminate bugs—represented as flies and spiders—from files. A computer terminal can be brought up with the forward slash key, where the player can input various commands that allow them to teleport to different locations or switch weapons.

Both feature all sorts of sensory flourishes, from the colorful hand-drawn aesthetic of a growing plant in a sunny greenhouse to the gritty pixel art representing an infected computer. Pensive music accompanies the leisurely atmosphere of Overgrowth, while pounding techno thumps behind the intense gameplay of Root Access.

As president, Connors was most concerned with making sure the Global Game Jam was a fun and worthwhile event for everyone involved. But, personally, he was nervous about how developing a game as a team would play out. He’d only ever jammed by himself. How would splitting up roles work? Would the files all break each other if they were separated between different computers? 

To his surprise, everything worked out fine.

“Definitely both [games] were constrained,” says Connors, who will graduate this spring. “I think that’s basically always true for game jams. You always have to cut half the stuff you thought of. … But that’s kinda how game jams are. It’s all about doing stuff quick, learning a bunch, and working with other people, doing cool things.”

You can play Overgrowth at globalgamejam.org/2023/games/overgrowth-3 and Root Access at globalgamejam.org/2023/games/root-access-4-1.

Categories
News

In brief

Controversial conservative businessman Bert Ellis has been confirmed to the University of Virginia Board of Visitors.

On February 7, the Virginia Senate struck down a resolution brought forth by state Sen. Creigh Deeds to remove Ellis’ name from the final list of appointees. Democratic state Senators Lynwood Lewis and Chapman Petersen rejected the resolution alongside Republicans, bringing it to a 20-20 vote. Lt. Gov. Winsome Earle-Sears broke the tie.

Since Gov. Glenn Youngkin appointed Ellis, Ellis Capital CEO and Jefferson Council president, to the board in July, UVA students, faculty, and community members have called for his removal, pointing to Ellis’ recent actions against a UVA student, and his criticism of diversity, equity, and inclusion reforms at the school.

Bert Ellis Jr. Supplied photo.

In 2020, Ellis confronted Lawn resident Hira Azher in front of her room about a sign she put on her door that said: “Fuck UVA. UVA Operating Costs: KKKops, Genocide, Slavery, Disability, Black and Brown Life.” According to Ellis’ own account, he “was prepared to use a small razor blade to remove the [Fuck UVA] part.” (Two UVA ambassadors stopped him from cutting the sign.) In a 2021 Jefferson Council blog post, Ellis also wrote that replacing BOV members was Youngkin’s “only opportunity to change/reverse the path to Wokeness that has overtaken our entire University.”

Azher was “deeply appalled” and “infuriated” by Ellis’ confirmation. 

“It is clear that he is willing to endanger students, especially marginalized students, in the name of his own deeply racist values,” says Azher. “The governor [and] Senate … have directly chosen to not only disregard, but actually harm BIPOC students, and to continue the legacies of white supremacy at this institution.”

Though disappointed in his resolution’s failure, Deeds remains optimistic.

“We sent a message that there’s a whole lot of people concerned about Mr. Ellis’ behavior,” says Deeds. However, “I’m convinced Bert Ellis cares about the university … I know there will be conflicts, but I’m hopeful they will be worked out.”

Ellis faced even more backlash after an August Cavalier Daily article revealed that, as a UVA undergrad, he invited eugenicist William Shockley to the school for a debate titled “The Correlation Between Race and Intelligence” in 1974 during Black Culture Week, despite backlash from Black student groups. Ellis, then chairman of the University Union, also denied the school’s Gay Straight Union’s request to co-sponsor a 1975 event featuring gay rights activist Frank Kameny.

Since summer, the UVA Student Council, University Democrats at UVA, UVA Faculty Senate, Cavalier Daily editorial board, and Democratic Party of Virginia have called for Ellis’ resignation or removal.

Following Ellis’ confirmation, the University Democrats criticized Lewis and Petersen for ignoring student and faculty concerns, while the UVA Student Council Executive Board vowed to continue to stand up for marginalized students.

“The fight to make our institution a better place is not over yet,” said the Cavalier Daily’s 134th Editorial Board in a statement. “We will be watching the Board closely in the coming months.”                                 

Ellis will serve on the board until June 30, 2026.

In brief

On the run

As of February 13, the Charlottesville Police Department is searching for 40-year-old Demetrius Andre Brown of Palmyra, who has been named as a suspect in connection to a February 8 shooting at Wicket Hits on Harris Street, which left an adult male injured. Brown has been charged with five crimes, including malicious wounding and maliciously shooting an occupied motor vehicle. Anyone with information regarding Brown’s location should call Detective Ross Cundiff at 970-3280

CASPCA investigation

The Charlottesville-Albemarle SPCA Board of Directors has hired international law firm McGuireWoods to independently review “criticisms and complaints” about the shelter, and speak with “all relevant parties,” reads a February 8 press release. After the investigation, which is expected to be completed in May, the board will “assess the results and recommendations, [and] take appropriate actions.” Since last month, a group of more than 100 current and former staff and volunteers have made allegations of internal dysfunction and animal mistreatment at the shelter, and called for the removal of CEO Angie Gunter. The group, calling itself CASPCA Concerns, wants Gunter to be placed on administrative leave during the investigation, and the law firm to reach out to them. 

Shots fired

On February 12, Albemarle County police responded to a shots fired report in the Red Crab restaurant parking lot at around 11:30am. When officers arrived, they learned that an adult female had been injured, and was taken to the hospital in a private vehicle. Anyone with information about the shooting should contact Detective Garrett Moore at 296-5807.