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As a frequent player over many years of GMT's "A World At War" and "Gathering Storm", and as a play-tester for "Storm Over Asia", I have been very impressed with the depth of this new game focused on the Pacific Theater. It provides superb historical context for the very different starting situation in 1935 as compared to Europe. The "problem of China" dominates Japanese planning, but they cannot ignore preparations for the greater conflict to come in AWAW. The historical context in China concerning a little known period for most Western game players is amazing. It is a true window on that period of history without sacrificing playability. A difficult balance but very successfully accomplished! The similarities with Gathering Storm are striking. However, there are differences in the game play, such as the "United Front" between the Communist and Nationalist Chinese that accurately reflect the differences in the situation. Although, I am biased by the depth of effort exerted by Bruce and other developers, anyone who enjoys the Pacific Theater in AWAW MUST play Storm Over Asia!"

That pattern changed a bit in March, with a few good storms to help replenish the previously-anemic Sierra snowpack. And one of our largest storms since last spring is moving into California right now, with forecasters predicting three to four feet of snow above 7,000 feet. Our precipitation for the water year (October 1st through September 30th) will still be below average, but these early-spring storms should, at least, leave us with a decent snowpack for this time of year, with closer-to-normal runoff in our rivers and creeks over the next couple of months, and a more typical summer in the high country.

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Interesting weather certainly helps, in any location. One afternoon a couple of weeks ago Claudia and I watched a beautiful parade of clouds stream past our house, bringing intermittent showers. The day called to us to get out somewhere to watch, and maybe photograph, the weather. So we packed our car and drove to a nearby spot with a view to the west over the San Joaquin Valley.

I had a deep conviction that the often-told story of the May 1996 tragedy could be more vivid, powerful and real with interviews from the survivors using motion picture and sound. So much of what happened that fateful year emanates from the stories of the survivors caught in the dark by that ferocious, fast-moving storm -- a storm that could be described with words, but whose power needed to be seen and heard in order to fully comprehend it.

I knew most of the storm's survivors that we would be interviewing, and I also knew them to be articulate, thoughtful individuals who had been profoundly affected by the storm and its aftermath. For me, to see and hear direct testimony from a person who has overcome such adversity, has survived such a difficult and stressful event, is very powerful. There is something so much more poignant about seeing a person's face and looking into their eyes and hearing their voice than just reading about them on a written page.

Early on, I made the decision to focus almost entirely on interviewing the individuals who were caught out in the storm that night, so it wasn't something we particularly pursued. Jon Krakauer is a good friend whom I have known since the late 1970s. I did not videotape an interview with him, but he was very cooperative and helpful during the production of the film.

We interviewed seven people from Scott Fischer's climbing team and seven people from Rob Hall's team. Six members from each team appear in the film, made up of fellow climbers, guides and Sherpa. We also interviewed two people from the Taiwanese climbing team and one person from a team climbing Pumori a short distance from Everest, who was on the radio with Rob Hall and came to Everest Base Camp for the days following the storm. Only two of our interview requests were declined.

I learned several things. I learned that I knew a lot less than I thought I did about the people who were caught in the storm that year. Before making the film, I had little knowledge of the climbers' reasons for going to Everest -- some of which surprised and astonished me -- and the reasons why some of them kept climbing that day and the reasons why some of them turned around.

I have always thrived on the tremendous challenges of filming at extreme altitude, and many times have found myself in rather difficult and trying situations. In those particular moments, sometimes I found out things I liked about myself and sometimes things I did not. But that is not what draws me to high mountains. For me, it is the idea of the rewards that come with preparing oneself over a long period of time to face great risks, challenges and hardship.

On the night of May 10, 1996, I had a profound feeling of dread and disbelief. These feelings were rooted in the death of the Taiwanese climber Chen Yu-Nan on the Lhotse Face. The day before, Chen had been injured at Camp Three and had later died suddenly amidst a group of Sherpa who were trying to bring him down the mountain to safety. But it had been up to Ed Viesturs and myself to bring Chen's lifeless body down to the bottom of the Lhotse Face [and] then into Camp Two, where we were met by other climbers. It had disturbed me considerably to grapple with Chen's dead body as we lowered him with a rope over a steep ice cliff.

The next day, now May 10, we knew many of the climbers had reached the summit of Everest much later than is normal and outside the window of safety. But most alarming was when we learned that Rob Hall and Doug Hansen had been on the summit unusually late at 4:30 in the afternoon. Soon after discovering that, we were informed by way of radio calls from Rob Hall that Doug had collapsed above the Hillary Step.

It was an extremely difficult situation that only worsened as the storm swept up the mountain, and all through the night we listened to the fearsome wind battering and punishing the mountain high above us. We were aware that many climbers had not returned to camp, and it was unthinkable to conceive they were outside, exposed to that vicious storm away from the shelter of their tents. A Sherpa woke me early in the morning requesting that I come to Rob Hall's communication tent. From the look in his eyes, I knew things were not good.

But I do feel that there should be the highest expectation that anyone attempting to climb Everest, or any great peak, should have sufficient high-altitude experience. Climbers should have the training -- but more importantly, the moral obligation -- to know they can look after themselves not only on a sunny, windless summit day, but also in the unforgiving fury of a dark and unexpected storm. The biggest reward isn't in just reaching the summit, but in the deep, personal satisfaction that you have brought the skills and experience to the task in a safe, disciplined, self-reliant and dignified manner.

One of the more exciting and challenging parts of making this film was designing and shooting the storm recreations that we shot at Snowbird in Utah. Although we climbed Everest with a 35 mm camera while making this film, it was my fifth time to the summit following the same route as I had done before, so there wasn't much new in that experience for me personally.

I wanted the storm recreations to be as accurate as possible. I am proud because I feel as though we achieved that in this film. I had the advantage of 11 expeditions to Mt. Everest on my side. I have thoroughly experienced high winds, blowing snow and freezing conditions many times on Everest since I first traveled there in 1981. In 1983, I had descended from the summit and I was caught high on the mountain in the dark in a snowstorm. So I had a clear vision of what the mountain would have looked like and what 80-mile-per-hour winds would have felt like.

Another advantage was that we had 62 hours of videotaped interviews with the survivors of that storm, of which only a fraction appears in the film. In the remaining unused interviews there are hours and hours of direct testimony from the survivors recounting what it was like to be in that storm -- what it was like to feel the intense cold, shaking uncontrollably, their hands and feet going numb, their faces stinging and frozen by wind-driven ice and snow. We used the detailed interviews to make certain the storm was recreated as they had actually experienced it. We also put much of the remaining interviews on the FRONTLINE Web site.

To recreate the intense wind, we used two 6-foot diameter wind machines each powered by a 250-horsepower six-cylinder airplane engine. The wind machine could blow the wind at speeds of 75 to 80 miles per hour. Crew members shoveled ice and snow in front of the wind machines to emulate the blizzard. Neal Beidleman, one of Scott Fischer's guides in 1996, flew in from Aspen to assist us in recreating "the huddle." I could not imagine anyone more qualified to assist with the recreation of the storm and the huddle than Neal, as he experienced it firsthand in 1996.

On the first night we were shooting in Snowbird, it was 10 degrees Fahrenheit, but with the wind machines blowing at 75 miles per hour, the wind chill factor was minus 21 degrees Fahrenheit. This meant the body doubles were extremely cold and wind-battered as they were positioned in the huddle, and this brought tremendous authenticity to the recreations. I had never shot a recreation before, and I was very pleased when some of the survivors from 1996 who screened Storm Over Everest commented that the storm scenes were disturbingly real. In fact, two of the climbers found it hard to watch.

The worst of the rain for the Northeast will be overnight Tuesday into Wednesday. Flash flooding is possible along the Interstate 95 corridor, so those driving to reach their Thanksgiving destinations should exercise extreme caution.

The top image shows a cloud of tan-colored dust south of Beijing, just beginning to pass over Bo Hai. The dust is thick enough to completely obscure the land surface below. The ripple pattern near the western edge of the plume results from midair waves of dust. The bottom image shows the dust plume continuing its eastward journey over the Yellow Sea, toward the Korean Peninsula. In this image, the dust plume has thinned somewhat, but remains a coherent mass of dust. e24fc04721