Oh, awesome: a Pinboard Share extension for iOS 8.

New Danny Macaskill video: off-road (off ALL the roads) in Skye. Remarkable. Also: so much dronecam in biking videos now. (Nicely shot, thoguh).

Really, really useful: a tool from @mnot to test headers, caching, and responses to webpages. Will be using this a lot in future, am sure.

"The water that falls on you from nowhere when you lie is perfectly ordinary, but perfectly pure. True fact. I tested it myself when the water started falling a few weeks ago. Everyone on Earth did. Everyone with any sense of lab safety anyway. Never assume any liquid is just water. When you say “I always document my experiments as I go along,” enough water falls to test, but not so much that you have to mop up the lab. Which lie doesn’t matter. The liquid tests as distilled water every time." A truly lovely short story from John Chu.

The most useful tips in here: set the right headers; set the body of the response to an enumerator and it'll iterate over it, streaming it.

Some great Chess writing from Slate.

"‘If all that survives of our fatally flawed civilization is the humble paper clip, archaeologists from some galaxy far, far away may give us more credit than we deserve,’ the design critic Owen Edwards argues in his book Elegant Solutions." An excerpt from a Joe Moran essay on the paperclip.

"pup is a command line tool for processing HTML. It reads from stdin, prints to stdout, and allows the user to filter parts of the page using CSS selectors.

Inspired by jq, pup aims to be a fast and flexible way of exploring HTML from the terminal." That looks great.

"Something that journalists sometimes do is publish a disclosure statement. It’s sort of like an About Me page except it’s a listing of all their conflicts of interest—all the areas of coverage where you might have good reason to think they should not be trusted. It’ll say things like I once worked at Google or I’m married to an employee of Microsoft. I have never written one of these but I have fantasies about doing a comprehensive one. It would be the length of a novel, I think. An endless and yet incomplete litany of all the blood, privilege, history, and compromise on my hands." I could have quoted lots of this, but I chose this. It's good. It encapsulates the beginnings but not ends of lots of thoughts, and reminds me why, right now, I'm afraid of assuming anything about anything, why stereotyping "big companies" as being identical isn't just inaccurate but also unhelpful, and why the point of boundaries is that they always exclude _somebody_.

"Hatoful Boyfriend is the Fifa of pigeon romance and you should buy it for that reason alone." I'm loving the attention Hatoful Boyfriend is getting in the media; this review by Grant Howitt is charming, informative, and on the Guardian website. Brilliant.

Cracking interview with George Saunders, from 2011 (so pre-Tenth of December). Lots about the craft of writing, and about what Just Turning Up looks like. Also, his imaginary writing class in which Hemingway punches everybody out made me laugh out loud.

"Of course this is pure anthropomorphization. Bits don’t have wills. But they do have tendencies." This piece by Kevin Kelly is great – though this line neatly explains my suggestion that 'things' sometimes have 'desires' better than I ever have before.

Good to know SES can just be integrated as an ActionMailer delivery method.

"In recent years we've seen plenty of criticism (including mine) leveled at video games that rehash old ideas; games that rely on genre formulas; games that ape the language of film. Games, we're often told, need new ideas. Games need to grow up. Games should leverage their defining interactivity. Cutscenes are lazy. Let movies be movies. Players want to write their own stories. Games don't need authored narratives. Games don't need linear stories. Games don't need stories. All games should be fun. No they shouldn't.

The problem with these reductive arguments is they fail to account for how art rails against boundaries; how artists inevitably seek to situate their work in the margins no one can own. Artists instinctively push back against "don't," "shouldn't," and "must." This is why we give them genius grants. It's also why we put them in prison. The real action is in the margins." Good stuff from Michael.

"It's true that Wyndham's preference is for no-nonsense, brisk, wry narrators, and the horrors that visit the books can seem like opportunities to show off good old British pluck. But the books are surprisingly unheroic, and often (notably in the cases of Kraken and Triffids) peculiarly open-ended. And if you look closely, you begin to see that there's something very uncosy, persistently unsettling, about these books, that continues to ask profound questions about the limits of our culture and the foundations of the post-war world."

"We’re happy to confirm the news today that the sale of the company is complete. We appreciate all of your support, comments and warm wishes in the preceding few weeks.

Viacom and MTV Networks have been an amazing home for us over the past 4 years. It’s where we launched both Rock Band and Dance Central, worked with The Beatles, Green Day, AC/DC, The Who and thousands of other artists. We want to take a moment to thank everyone in that organization who helped make these awesome games possible.

We’re excited to be returning to our roots as an independent and privately owned studio."

Brilliant news.

Stanford's iPhone development course.

"Is writing ever NOT collaboration? Doesn’t one collaborate with oneself, in a sense? Don’t we access different aspects of ourselves, different characters and attitudes and then, when they’ve had their say, switch hats and take a more distanced and critical view — editing and structuring our other half’s outpourings? Isn’t the end product sort of the result of two sides collaborating? Surely I’m not the only one who does this?" Something else that's been on the pile (to link) for a while now.

"The craftsman as hero is a consistent motif in Ruskin’s artistic and social theories. To him, mechanisation and division of labour dehumanise workers, enslaving them to execute exactly the specifications of others. The only way to recapture the humanity in labour is to put the designer back in touch with the tools of the craft and to unleash the creativity of the maker." A lovely metaphorical piece from Matt Edgar, reminding me of how much I need to brush up on my knowledge of the Arts and Crafts movement, if only because of how much I appreciate their sentiments.

"At some point, I begin to feel that I am carrying entire Latin American forests home with me. Also, I am afflicted with a terrible need to stop and write things down, at almost every corner, slowing my passage through the city and impeding motion. I am locked in this ridiculous two-step, unable to travel more than half a block before sitting down and writing out more, papering over the last thirty feet, dripping more ink onto the street: this absurd project, this incomprehensible, incompletable urge, this terror of forgetting and compulsion to record." Beautiful writing from James, which has been sitting on the "to link" pile for far too long.

"Here is an extraordinary piece of film. It is a live outside broadcast of a British army simulation of an attack on a train in Britain. It went out at prime time on a BBC programme called Saturday Night Out. And it happened in 1956."

"Maps are having their F-64 moment, right now, which is important and wonderful but I don't think anyone really wants to live in a world with an infinite depth of field. It's an appealing idea but then something like the Hipstamatic comes along and we all get irrationally weak in the knees, all over again." As usual with Aaron, I could quote most of the article, but in this case, I'll pick my favourite piece of writing, rather than perhaps the most succint quotation; just read the whole thing. (And: I wish I could code or even write like this).

Lots of (large) images; detailed, wonderful. A post to go back to and pore over

"I must admit that I would have loved to get this richness of backstory into the actual game itself, but the longer pipeline of game asset development and integration made that impossible." Clint Hocking explaining the background behind the fictional blog for Far Cry 2.

The blog of Reuben Oluwagembi, the fictional journalist you meet in Far Cry 2.

"A few weeks ago we released our shapefiles via the API, and while most people were excited, some folks were a bit confused about what it all meant. Which is why Tom Taylor’s beautiful Boundaries application is so exciting. It helps you visualize the Flickr community’s twisty changing complex understanding of place." Tom is on code.flickr.com! Hurrah!

"Renaissance ‘lace books’ have much to offer the modern digital designer, who also faces the challenge of portraying clear and replicable images in a constrained environment." A brief history of pixelfonts.

"Obama's FCC transition co-chair is a WoW player, and has played in two different endgame guilds, including Joi Ito's famous We Know guild." This is exactly the kind of thing I was banging on about at Gamecity. Presentation online soon!

"We're still going through the stats, but at the time of writing there were almost 170,000 messages on the Strictly [Come Dancing] board." Holy hell. Poor moderators. (And: for such an uninteresting story, as well!)

"If the Barack Obama presidency fails to unite us as a country, I'm going to hold out for a fast-zombie apocalypse." Iroquois on co-op, and the way Left 4 Dead sees online co-op – and the bad behaviour of players online – as design problems to solve, rather than to ignore.

"Who designs a character for gamers to never go near? Who spends the time to create the most terrifying creature imaginable, and doesn’t impose it on players? Well, clearly Valve. The temptation to have her be aggravated from great distances, to force her to attack when encountered, must have been there. But then she’d have lost her power. Her power comes from just sitting there. It’s that benign, ragged, vulnerable form. It’s the combination of singing and crying. Oh God, the singing *and* crying." John Walker examines the horror of Left 4 Dead's Witch. A little over-written perhaps, but he totally nails the fear the character instills, and the way you always notice her a split-second too late.

Mitch just isn't inspired by user-generated content, no matter how charming a core game might be. The comments thread on this one is really good.

"The next generation on from them – e.g. Jonathan Smith, Doug Church and of course Greg Costikyan (from whose classic essay on developing such a critical language the title of this post is lifted) are always eloquent, passionate and insightful speakers and spokespeople for their medium. Unlike Molyneux." Not too annoyed I missed this, given Matt's comments.

"…the players are there for their character, not for your story. Your story is just the path for their characters, the medium through which they can play their persona. Once the GM realizes this, they should then realize that respecting the player and the character is paramount to their story. And it’s a surprisingly easy skill to master, because it really is as simple as recognizing what the players and characters want, what they came to do and then give it to them."