"Making entertainment media is a bit like telling a joke; you really can’t tell whether it’s going be funny until you’ve told it." A really good synthesis of many years of work and process from Jack and Timo. Reading this I remember how I'm somewhat shaped by this thinking.

"She is omnipotent. She can conjure up an army of parkour chimney sweep ninjas! But she also has to come and go with the weather, and where there is technology, if you like, it does not always do what it should. It plays up. The umbrella handle is a bit shitty with her. The toys don't always clean themselves up at her command." I always like Schulze on Mary Poppins, and whilst it's quotable, it's probably not the most representative quote of this marvellous article. The main reason I use it is this article, more than many I've read, explains what being in a room with Jack at work is like. It's also lovely to see all the threads, some of which I saw beginning, come together. Good photos, too, of what work looks like.

Charming. My favourite thing about this is that it's a picture of home, and, weirdly, it arouses the same emotions in me as it would if it were a poster of a real place.

"The film Nearness explores interacting without touching. With RFID it’s proximity that matters, and actual contact isn’t necessary. Much of Timo’s work in the Touch project addresses the fictions and speculations in the technology. Here we play with the problems of invisibility and the magic of being close." God, I work with brilliant people.

"I missed this earlier in the year. In their issue 923, Domus magazine published this hidden illustration of ‘Miss Web 2.0’. Imagine planning it." I daren't. That's amazing.

Jolly good, that man; speaking sense and pointing out the hypocrisy of the media talking this all up. And: how is this different to the hoo-haa over expenses in any other year? No, I don't know, either.

"Classic records lost in time and format, re-emerged as Pelican books. Just for fun." The Penguin thing is a bit over-done, but there's a care and attention to detail here that really sets them apart.

"…there’s no real hope for the Survivors. Each trip through a campaign is different, but it begins with them knee-deep in the undead, and ends with them escaping to an uncertain future. We never see the Survivors truly safe. Between chapters, they rest in Safe Rooms, but they can’t hide there forever. Most unsettlingly, there are signs that the Survivors themselves remember doing all this before." Francis, incidentally, hates Beckett.

"Design is about risk. We all fear authentic public response to our work, but we have to be brave enough to overcome." Jack gets interviewed by Jennifer over on the Kicker blog. And: "Always have nice pens".

More on the phenomenon that is Ken Fighter Ken.

This is a pretty accurate explanation of the state of the majority of SF4 online. It's also quite funny, and is the reason the phrase "Flowchart Ken", used to described a particular kind of player, is already entering the SF4 Lexicon.

"Ryanair can confirm that a Ryanair staff member did engage in a blog discussion. It is Ryanair policy not to waste time and energy corresponding with idiot bloggers and Ryanair can confirm that it won't be happening again." Ryanair's social media strategy is pretty much on-brand, it seems.

'A morose-looking guy stood at the bar talking to his friends, wearing a Flashbang Studios t-shirt. Emily leaned across the bar next to him, and shouted giddily over the music: "hey, I like that developer."' A lovely piece of speculative writing from Duncan Fyfe.

A first, rather long, post on the S&W Blog, in which I talk to Jack about a project he's been working on for a while.

"This summer will you be, or not be? It's Resident Evil meets House of the Dead, IN DENMARK." Epic Eegra thread taking the Dante's Inferno-shaped ball and running a very, very long way with it.

Full version, no out! The beta was lovely, so I'm looking forward to this a lot.

"[Wrestle Jam is] completely playable. There was an intro screen, character select, win / loss conditions, opponent AI, eight different attacks," Furino explained. "It was as close to a genuine old-school wrestling game as I could make it in the time allowed. I even mapped an old Nintendo controller to the input system so they could play it that way." Gosh, that's lovely, if not totally unexpected from Arronofsky. Lovely interview, too.