Daniel Azuma's posts in his "georails" category are really good.

"The GPS looks forward for me, projecting all my future successes and failings. Every bit of information helps to optimise my path. Contour maps spring out of the hills surrounding, and round the corner ahead. It took a space shuttle and an army of volunteers to help me shift down a gear, and hopefully the data exhaust I leave behind will help someone do it better next time." Tom is brilliant. I miss him.

"Code-Point Open is a dataset that contains postcode units, each of which have a precise geographical location."

"This is a proposed draft of the Don't Be a Dick license for open source projects. The purpose of this license is to permit the broadest feasible scope for reuse and modification of creative work, restricted only by the requirement that one is not a dick about it." Much to recommend here.

"…we haven’t been able to find the right publishing partner for Quarrel.  Despite the game being finished, super polished, and everyone who plays it having great fun with it, we’ve slowly been remembering why we got out of the traditional games industry for so long and escaped to Interactive Television in the first place: this industry doesn’t value good games.  Players do, but the games industry doesn’t.  Instead it values low risk games – not even “calculated” risk games, just low risk." Such a shame; Quarrel has been looking great, and Denki know their games; it's absurd that this is the outcome facing Denki in 2010.

"Eons ago, in 1996, Next Generation magazine asked me for a list of game design tips for narrative games. Here’s what I gave them. Reading it today, some of it feels dated (like the way I refer to the player throughout as “he”), but a lot is as relevant as ever. I especially like #8 and #9." Jordan Mechner is a smart chap; nice to know he was on the right lines so long ago.

"A rain-proof planetarium machine could be installed in public, anchored to the plinth indefinitely. Lurking over the square with its strange insectile geometries, the high-tech projector would rotate, dip, light up, and turn its bowed head to shine the lights of stars onto overcast skies above. Tourists in Covent Garden see Orion's Belt on the all-enveloping stratus clouds—even a family out in Surrey spies a veil of illuminated nebulae in the sky." This is lovely, though no idea if it'd, you know, work.

"Noticings is possibly one of the first services to integrate the Yahoo Geoplanet Data deeply". Tom explains how we're using Geoplanet inside Rails. Really good stuff if you're interested in that geo malarkey

"if the Choose Your Own Adventure books are just another Finite State Machine, it should be possible to use some of the same techniques to examine their structure." And so begins a lovely, lovely post on data visualisation, and what visualisation can tell us about the changing editorial strategy of CYOA books. Be sure to check out the "animations" at the top of the page. It's all very beautiful.

"The point here, is that the flickr team did not wake up one morning and think: “You know, if we captured THIS kind of data, we could create this mashup; so let’s create an application.” Instead, they re-used data they were already capturing, and brought out something very interesting indeed. By creating tools which match their data (and could be used with other data of the same kinds), flickr is able to expose layers of value from the rich-pickings of their own data-cloud. The good stuff is where the data are." Yes, it is.

"Some people love this kind of aggregation. Good for them. I, however, am human and my eyes glaze over when trying to comprehend a chronological stream of equally-weighted events, a format only robots could love. This is rubbish… There must be better ways of showing such “here’s what I’m up to” information." Phil talks about some problems he's been trying to solve with dashboard displays.

"A magnificent, huge orca-like beast, swimming calmly through the vast ocean beneath my smoke-belching craft. She was a beauty. And she instantly became my Moby Dick. “I’m coming back for you”, I thought. Big Shirl is a reason to reach level 80. I have no doubt the grind will get to me before too long, or that the thought of repeatedly running the same dungeons or battlegrounds come level 80 will turn me off all over again… In these early days though, before everyone in it knows everything, it’s an explorer’s paradise. That’s why I play MMOs." A nice, thoughtful article from a first look at WotLK from Alec Meer

"Wow. Ever get the feeling you've been thrown for a loop? I did just that, when I worked out that GSW commenter and erudite game blogger, PixelVixen707, appears to be not just a smart game blogger, but a fictitious front for some kind of damn weird ARG/online story." Down the rabbit hole we go, again.

"SourceForge is about projects. GitHub is about people… This is a pivot of the traditional open source project website. A pivot from project to programmer. I love the pivot."

"At the start it seemed reasonable to think that Mirror's Edge could stand entirely on the merits of its brilliant core concept, and not need to include extraneous and negligibly attractive features to appeal to as many people as possible. But, no, this is the video game business." This is the stuff that's scaring me most about Mirror's Edge.

"…in recent years, [the stage has] moved away from those practices. Today, we better understand the importance of offering kids the very best we can do. They are no different from the rest of us. They respond positively to quality, and they quickly grow bored and restless with mediocrity… We might consider a similar approach to video games. If we want our kids – heck, if we want all of us – to enjoy quality games, we must pay attention to and promote those games that deliver quality."

From Duncan Harris; postcards from post-apocalyptic DC.

Course notes from Stanford's Cocoa programming course.

"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.

"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.

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!

"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.

Man, SIGGRAPH papers have the best titles. This is a lot of seriously hardcore, cutting edge, graphic-programming nous. Also: "jiggly fluids".

"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

"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.

Yes.

A blog from Tom, Flora, and no doubt shortly et al, about life in Hackney.

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.

"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.

Great selection of posts on how brands need to behave (and how they sometimes fail to do so) from Grant McCracken.

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.

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.

"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.