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"…never, in all those years, did I imagine the day would come where he would sing from the prospective of a frightened and lonely Toad, quivering breathlessly in his underworld holding cell, hoping for rescue." Delightful.
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"Scientists brought in to evaluate the game for potential education projects recoiled as it became increasingly evident that the game broke many more scientific laws than it obeyed. Those unwilling to comment publicly speak privately of grave concerns about a game which seems to further the idea of intelligent design under the badge of science, and they bristle at its willingness to use words like "evolution" and "mutation" in entirely misleading ways." Rather fine SEED cover article from Margaret, on Spore and just how scientific it is (and if it really matters). Some lovely stuff in here (and a cracking conclusion).
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"You have 1 point. 1 point is rubbish. You want more." Beautiful, fun-looking trailer for an XNA title due out next sure – that simultaneously captures what games are basically about. Or, at least, what points are all about.
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"Wells has received insufficient credit as a writer of rhythmic, incantatory prose, long-breath paragraphs to cut against his tight journalistic reportage. The War of the Worlds makes the journey from sensationalist incident to moral parable. Wells predicts an era when fiction and documentary will be inseparable." Fantastic writing from Iain Sinclair on HG Wells.
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"When a sospeso is ordered, the customer pays for two coffees, but only receives one. That way, when a person who is homeless or otherwise down on their luck walks into the café, the person can ask if there are any coffees held in suspense, and can have one as a courtesy of the first customer." Wonderful.
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Wikipedia quotation of the day: "Variations of the red eye based on the number of espresso shots include the black eye, which is made with two shots of espresso, and the dead eye, which is made with three shots of espresso. A 'fight club' contains four shots of espresso." A "fight club"!
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"You forgot one thing, Dr. Roberts. You forgot that people are dicks." Aheheh.
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"Perhaps then what people object to, whether they realize it or not, is an ideological and theological issue with religious gaming, rather than any particular distaste as the idea Christian gamers might simply want games that explore their faith and service their community."
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"So why am I mentioning this now? Because Alternity has just started. This is a new Harry Potter game, and it starts from the beginning — September 1, Harry's first day at school. Only not as in The Philosopher's Stone. In this scenario, Voldemort, er, won." Fanfic-cum-alt-universe-RPGs in the Potterverse being run solely on Livejournal. Amazing.
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"An almost-real-time, behind-the-scenes look at the assigning, writing, editing, and designing of a Wired feature."
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"Brands are built…out of culture…out of meanings from culture. In the Volvo campaign, the meaning was safety and symbol for this safety was a little girl. Pretty standard. But this book is interested in new ways to source meaning. Let's look at new, emerging brand tactics." More excellent posts from Grant.
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"The current browsers, including Firefox, just can’t cut it. JavaScript isn’t fast enough (thereby limiting the UX), browsers are single threaded and they aren’t stable enough. If Google want to challenge Microsoft (or anyone else for that matter) in the desktop space they needed a better platform… Google’s solution is I think much neater – build an open source browser that supports multithreading, fast JavaScript execution and stuff Google Gears into the back end so it works offline." Now that's a good explanation.
Burning Chrome
03 September 2008
I’m sure this is the zillionth post on the internet about Google Chrome, but a thought struck me and I’ve not seen it articulated like this yet.
Tom Scott makes an excellent point about one reason for Chrome’s existence in his blog post on the topic:
Google want to offer much richer and, more importantly, faster web applications.
The current browsers, including Firefox, just can’t cut it. JavaScript isn’t fast enough (thereby limiting the UX), browsers are single threaded and they aren’t stable enough. If Google want to challenge Microsoft (or anyone else for that matter) in the desktop space they needed a better platform. Of course others have sought to solve the same problem – notably Adobe with Air and Microsoft with Silverlight. Google’s solution is I think much neater – build an open source browser that supports multithreading, fast JavaScript execution and stuff Google Gears into the back end so it works offline.
I think that’s all very sensible, and very true. But there’s also a much simpler strategy at work – a strategy around their brand.
Google need users on decent, standards-compatible browsers, to make the most of the rich web; they don’t want to be working around IE all the time. Forgetting the advances of a much better, JIT-compiled Javascript engine, they just need people to stop using IE.
The greatest coup Microsoft pulled with Internet Explorer was putting the word “Internet” in its name. It sits there, on the desktop of every new Windows computer, and it says “Internet”. So you click it.
Chrome is a browser from Google – Google, who, for many people, are now the Internet. It’s their first port of call, it’s their homepage; many user-testing surveys comment on users typing URLs straight into Google.
What better way to beat a browser with the word “Internet” in its name – a browser that seemingly can’t be beat no matter how hard we try – than the Internet Company itself making a browser?
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"So we decided to treat Availabot as a world probe: it was decided that we would take Availabot through to the position of being factory ready, and in the process learn as much as possible about the processes of manufacture, and how to develop these kind of complex products with so many moving parts." And, best news of all: Availabot will be coming to market. Excellent.
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"…this leads up to a discussion of two things: the OAuth protocol which aims, amongst other laudable goals, to help safeguard users’ passwords, and the distinctly unnerving trend which Jeremy Keith has christened the password anti-pattern, which really doesn’t." A clear, articulate explanation of the issues around authentication.
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In 2000, a group of seventh-graders were asked to draw what they thought scientists looked like and describe their pictures. Then, after visting Fermilab, they were asked to repeat the exercise. Some of the quotations are genuinely excellent, cf "Some people think that (scientists) are just some genius nerds in white coats, but they are actually people who are trying to live up to their dreams and learn more." Aren't we all?
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"At GDC 2006 Sony’s Lead Programmer – Tim Moss had talk titled “God of War: How the Left and Right Brain Learned to Love One Another”. I read it, remembered mainly that it was interesting they had used Maya as main tool and kinda forgot about it. Only recently I’ve found out that recording from this session has been made available (for free) as well. You can download it here. Combined together they’re really interesting and I recommend everyone to spend few minutes and listen to it while reading slides." Some interesting stuff – God of War pre-scripts a lot of things that other people might want to do in real time, and as such, makes some stuff simpler, and makes controlling the players' experience easier.
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A detailed look at various techniques for greebling Lego models.
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"To me, these bizarre sequences represent adaptations of classical Brechtian stagecraft to video games. The way we interact with a game is different than the way we interact with a staged fiction, and by manipulating the tools specific to game-interaction– the interface and the mission-delivery system– Kojima delivers that sense of alienating weirdness that's the hallmark of the Verfremdungseffekt." I like Pliskin's commentary here – the absurdity of Arsenal Gear was great, and much preferable to the boss-rush that followed it.
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"The dissertation builds on available sociological approaches to understanding everyday life in the networked city to show that emergent technologies reshape our experiences of spatiality, temporality and embodiment. It contributes to methodological innovation through the use of data bricolage and research blogging 1, which are presented through experimental and recombinant textual strategies; and it contributes to the field of science and technology studies by bringing together actor-network theory with the sociology of expectations in order to empirically evaluate an area of cutting-edge design." Anne Galloway's PhD thesis, now online.
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A remake of "You Have To Burn The Rope", in the style of an Intellivision game. They've changed an important play mechanic and given the game an entertaining twist ending. Fun.
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"Work out the system, then work within it to defeat it. This is how you win games." James weighs in with a pair of nice stories.
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"I've just added a new feature to the site: maps showing many places at once. They allow you to, for example, see all the churches in London Pepys has mentioned in one glance. Or London streets, or places outside Britain, and more." Some fantastic maps-and-pins from Phil and Sam.
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"The series "A New Taxonomy of Gamers" wrapped up last Friday. For your convenience, here are the links to all 11 parts in one convenient post." Oh, this looks good.
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Heard some of this last night; a superb BBC documentary about Brian Wilson and some of his production techniques that shaped the Beach Boys' albums. Some great interviews, and lovely musical deconstruction of harmony and voicing. Obviously, as a "listen again" programme, it's only around for six days – so get listening!
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"Hired as visual artist in the summer of 2006, my challenge was not only to clearly present Braid's mechanics and behaviors, but to help tell a story that was anything but literal: part anecdote, part artifice, part philosophy. This article explains the process of developing visuals for a nearly-complete game with a highly idiosyncratic identity, the challenges encountered, and some of the nuts-and-bolts of our methods and tools." David Hellman on his work on the art of Braid.
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Man, SIGGRAPH papers have the best titles. This is a lot of seriously hardcore, cutting edge, graphic-programming nous. Also: "jiggly fluids".
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"The negative side of this, as your experience illustrates, is that Braid just lacks any immediate sense of fun. It does not set out to entertain you, and with the exception of some pretty aesthetic moments it makes you earn the pleasure you take from it. (Portal, which makes for a good point of comparison, wants the player to like it and desires to be understood in a way that Braid does not.)" I think Pliskin is spot on, here
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"An interesting article at Rock, Paper, Shotgun tackles BioWare's tackling of issues tackling modern society, tackling one of my Mass Effect plots in the process. I responded in the comments, and after looking at how much I yammered on, I figured it was worth posting here as a look inside how these things get into the game, and why some things that seem dumb get done." Patrick Weekes follows up the RPS post criticising his own plot elements with some frank self-criticism, and some interesting explanations; a reminder of how hard creating any kind of meaningful choice can be.
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Yes.
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A blog from Tom, Flora, and no doubt shortly et al, about life in Hackney.
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Now this *is* interesting: a comments thread in which Michael Abbott's readers put questions to Iain Lobb, one of the designers behind Meta4orce… and he answers them candidly and informatively. Interesting stuff about the limitations of building games around TV shows for public service broadcasters.
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"I thought it was a parking ticket, and was annoyed. But up close, I saw it was just an empty envelope someone put there…" I'll let you click through for the punchline. Delightful, nontheless.
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Great selection of posts on how brands need to behave (and how they sometimes fail to do so) from Grant McCracken.
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Narrative-driven flash game from BBC Switch. Combines animated cut-scenes with minigames representing key plot aspects; as such, it's very linear. Script by Peter Milligan, though! It looks expensive; I'd be interested to know how successful it's been. As it stands, it's a little bit Freakangels-lite, a little bit Torchwood. And yes, I know how that sounds.
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A nice article about context, contracts, and a few other things related to game AI design. If you're interested in the field at all, it's a nice read.
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"I believe that the “auteur” school of game development is not only outmoded, but dangerous to the vitality of the medium. Instead, we must pursue deeply collaborative work styles and seek out diverse teammates if indie game development is ever to reach new heights and thrive beyond its current audience." I need to come to a better understanding about auteurship in this field; I'm not entirely convinced by this article.