• "‘sdfsdf ‘means, I would argue, ‘I am testing’, or even more specifically, ‘I am now testing what can be seen’. It’s another performative expression because there is no semantic distance between typing this string and doing what it says, in the same way that there is no semantic distance between saying ‘I do’ in your marriage vows and actually performing your marriage vows. Saying is doing."
  • "But in truth you don’t get to choose the games that make you. Rather, these are the ones that time and circumstance pair you with. You don’t get to pick your DNA." I think Simon's short fragment was my favourite by a mile of the RPS "Gaming Made Me" features.
  • "Whenever is a Ruby gem that provides a clear syntax for defining cron jobs. It outputs valid cron syntax and can even write your crontab file for you. It is designed to work well with Rails applications and can be deployed with Capistrano. Whenever works fine independently as well." Pretty DSL for generating crontab in a rubyish manner.
  • "William Petersen as Gil Grissom, David Caruso as Horatio Caine, Gary Sinese as Mac Taylor, Mark Harmon as Jethro Gibbs, Anthony LaPaglia as Jack Malone. These guys are the franchise players of primetime TV. But they are also role models. Each represents a different management style." I'd work for Grissom instead of Gibbs in a flash, personally, but I'm an eccentric and I like eccentric managers.

Text In The World

07 July 2009

After a long period underground, Ubisoft’s Splinter Cell: Conviction emerged at E3 substantially different to its previous incarnations. And whilst I, for one, am grateful for the removal of Sam Fisher’s trampy hairdo, the new feature that got me really, really excited seems to have passed with relatively little fanfare. Here it is:

Mission objectives – or, at least, reminders thereof – written into the environment, mapped over space, appearing to the player along; subjective and stylistic, but never part of a HUD. It’s classy and striking, and not something people are playing with in games nearly enough. Prior to this, easily my favourite type design in games came from Codemasters’ GRID:

which placed text into the world as first-class 3D objects, and let the player spin and pivot the camera around it, as if to emphasise both its subjectivity and genuine 3D-ness.

But this has been a thing in movies and TV for a while, now. Here’s JJ Abrams’ Fringe:

which even nails the reflections in the water. And, of course, one of the earliest points of reference for this in genuine 3D is David Fincher’s Panic Room:

which, as Ben has pointed out, owes a great debt to Saul Bass’ titles for North by Northwest:

which makes quite a nice list.