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"Alien is a great example of the importance of seeing movies on big screen. For any director reliant on frequent long-takes, compositions naturally become less didactic: greater scope in field-of-vision grants greater freedom to the explorative viewer’s eye. For a filmmaker like Scott, compositions are so enlarged that it is as if the audience is looking at the film through a microscope." Cracking article on Alien over at MUBI.
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“What Bella doesn’t know is that this is no ordinary home, and the Cullens are no ordinary family. By rescuing an innocent girl from where she fell, they have set her upon a path that could change all their lives for ever. And when Bella emerges from the other end of that path, she may find that things are not what she expected in… the Twilight Zone.” This is priceless.
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"Yes, we could have started with the placeholder structures and made them more elaborate and better-looking, in a general video-game-level-design way, but that’s different from having well-thought-out ideas subtly embodied in the structures of the areas, which is what we are going for." The Witness used real architecture and landscape architecture firms to help design its world.
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"The point isn't nostalgia, that things were better in simpler times, but that the conditions we create (deliberately or accidentally) for and around the practices we pursue have a tremendous influence on the ways we carry out those practices. In the case of computer programming in particular, the apparent benefits of speed, efficiency, accessibility, and other seemingly "obvious" positive virtues of technical innovation also hide lost virtues, which of course we then fail to see." Culture as a byproduct of conditions.
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"Type words to interact with Fireplace or just sit back and enjoy. The logs burn down to ashes in about 30 minutes each." Charming, delightful.
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"The (for now) final end product seems incredibly obvious. And popular.
Yet it took decades of iterative innovation, from some of the cleverest minds in the field, to make something so apparently simple yet powerful.
And every step was astonishing." This is great stuff from Francis.
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"So, as some of you may know, the old shrine got re-activated as a working shrine a few days ago, and the Church classroom cleared away for meditation and contemplation, led by Fa Zang (Rinpoche), the guy in the buddhist monk robe who has been doing a lot of sewing in the craft area recently." I love mailing lists. And this is a remarkable post.
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"Using vim is like talking to your editor in ‘verb modifier object’ sentences, turned into acronyms." Which is a good way of thinking of it.
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"Calepin reads Markdown-formatted, plain-text files stored in your Dropbox and converts them into blog posts for you." Which is pretty clever.
Kill Screen: To Shape The Future
20 December 2011
My latest Game Design of Everyday Things column is now up at Kill Screen. It’s about the relevance of landscape gardening to game design.
We talk a lot about the influence of architecture on game design. Indeed, it’s something Kill Screen asked me about in the original formulations for this column. We can all see the influence on games of a medium in which geometric form and structure is used to influence behavior and manipulate the movement of people through space. It feels like there’s an obvious comparison between architecture and the design of three-dimensional game levels.
But I think landscape gardening is perhaps a much more interesting comparison point for the structure of game spaces, and one that is oft-neglected.
Landscape architecture shapes the behavior and intent of its observers without walls or markers. Instead, it focuses on surprise and delight: as your eye follows the gentle slope of a path down to a lake, it should feel like you discovered this. It feels like a coincidence of marvellous proportions, a secret that you discovered, that the eye is led so gracefully. In fact, it’s a carefully designed experience.
Also, it’s been illustrated by Trip Carroll with an illustration of John Marston in front of Broadway Tower, which is really quite something.
Anyhow: rather pleased with this. You can read the full column at Kill Screen.
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"I've now stopped accumulating stuff. Except books—but books are different. Books are more like a fluid than individual objects. It's not especially inconvenient to own several thousand books, whereas if you owned several thousand random possessions you'd be a local celebrity." Books as a fluid!
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"…one of the things I learned in attempting to produce 50 interesting variants on the text is that it is very, very hard. Whatever is done to the text, it is virtually impossible to extinguish Dickens’ intention without extinguishing the whole work (as in the case of the copies which read simply “Fancy fancy fancy fancy…” or “Facts facts facts…” for 300-odd pages). The text stands; it is greater than paper." This is brilliant.
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"Brogue is a Roguelike game for Mac OS X, Windows and Linux by Brian Walker." It's REALLY good: stripped-down and straightforward, as Rogue was, but with nice mouse implementation and a lovely auto-explore mode. Really rather nice.
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"There are 1868 cars on the highway right now. You can watch them drive by, or draw your own and it will join the front of the line. Where are they going? The journey is yours." Progressive's annual report is done vy an artist each year; this year's is a lovely Aaron Koblin piece.
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"The choice for light as a medium is the result of a systematic exploration of what kinds of stimuli pigs respond to. We were aware of some evidence indicating pigs enjoy light. But when we saw how they reacted to a laser pointer, we knew we were on to something." Kars' frankly crazy game for pigs and people is in video form now, but he's deadly serious about it existing. I'm quite excited for him.
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Really good look at getting your head around vim from Mislav. Especially on the money with regard to starting slow, and adding things as you need them. The worst thing you can do is _start_ with somebody else's .vim files.
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Great profile on Tim Sweeney from Stephen Totilo. Again, part of my childhood gaming, especially ZZT, which was a brilliant editor and one of the first play/create tools I messed around with. Striking to see how much impact the shareware creators of my youth – Carmack, Sweeney, and all the Apogee/id/Epic crews – have gone on to have in the modern industry. Also: striking to be reminded how much of those early PC gaming days were about borderline geniuses writing terrifying graphics engines.
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Useful reference material! (And: he's totally right about the Nikka).