"When I was about a year old or so, my father took me into his office for the day. My father was a computer scientist, and he worked for a weird little startup that didn’t make any money. I remember going in there as a kid and thinking the people dressed strange.
At some point during that day, my dad played with me with a tennis ball. John Lasseter, an artist who worked with him, watched us, and suddenly the short film he had been trying to figure out was right in front of him. Using my actions, proportions and personality as a model for his main character, Lasseter created the short film “Luxo Jr.”" Via Jason Kottke; this is a touching story. I always love watching this film.

"I did a set of four walks in Austria; two long ones, two short ones. I did some "daystreaming" where using bits of technology I was updating my location, status and pictures as I walked." Ambient information gathering, whilst taking in the outdoors, and all for charity. Lovely.

And it just worked first time. Awesome!

"The list is the origin of culture. It's part of the history of art and literature. What does culture want? To make infinity comprehensible. It also wants to create order — not always, but often. And how, as a human being, does one face infinity? How does one attempt to grasp the incomprehensible? Through lists, through catalogs, through collections in museums and through encyclopedias and dictionaries." Eco on lists.

"Today, the UK government's Department For Transport unveils a new browser-based MMOG, created by New York-based developer Area/Code. Designed for early teenagers to learn principles of traffic safety, it's probably the largest 'serious games' project ever to be created for the UK. Code Of Everand is the result of over two years of work with the Department For Transport by Area/Code principals and designers Frank Lantz and Kevin Slavin, not only because of its size and ambition, but also because of the complexities of developing it for a government body… We spoke to Lantz, Slavin and Simon Williams, who led the project at Carat, the Department For Transport's media agency, about what Code Of Everand is, how they pulled it off, and why they think it could prove that games can be a powerful platform for learning." Edge interview.

Wonderful, wonderful interview with Eggleston. So much care and attention in the work and the way he describes it; so many lovely illustrations. The "color scripts" alone are great, but really, it's all worth your time.

"Even the platform holders are excited about the potential for social networking to tie into games. At E3, Microsoft proudly announced integration of Facebook, music network Last.fm and Twitter with Xbox Live. The latter pair are fairly irrelevant, admittedly. Last.fm is solely a music service, while Twitter isn't actually a social network at all – it's a one-to-many broadcast system, which isn't quite the same thing." Oh. But that's where you're wrong, Rob. Sorry.

'“The degree to which you can engage your customer base in creating value for your other players” is key, says Newell. “When people say interesting or intelligent things about your product, it will translate directly into incremental revenue for the content provider.”' Masses of good things in here – think I've quoted it elsewhere – but it's not on my Delicious, so in it goes.

"DFC's main takeaway from the study is that the flexible, quickly-adaptable nature of online distribution services like Steam allow for developers to use a broad variety of promotions and incentives to keep their game communities fresh; individual promotions like the Survival Pack had a positive effect on both platforms, but it was the one-two punch of that DLC plus the followup free weekend through Steam that had the most meaningful impact on the game at any point on either platform."

Art of the Title interview the chaps behind Wall-E's end credits, which knocked me out the first time I saw them, and still give me the loveliest buzz to this day.

Generates a tiny file to do the most basic things, from the looks of it.

"…what I'm hearing is the actual drum line recorded by the song's drummer, and I'm triggering those sounds by playing notes within the designated timing window. And that timing window, even on Expert, is quite a bit more generous than real life. It's the difference between truly playing a beat and merely invoking a beat. When I play Rock Band, though, that difference is camouflaged so subtlely and so well that I never even notice. That's a beautiful bit of design, isn't it?" Yes, it is. Bill Harris on the magical quantize that you forget exists in Harmonix' games. This, incidentally, is something I'm convinced Neversoft never got right, especially in the horrendous Guitar Hero 3.

"Introducing the Dice-O-Matic mark II, now generating the dice rolls on GamesByEmail.com. It is a 7 foot tall, 104 pound, dice-eating monster, capable of generating 1.3 million rolls a day." They roll real dice. They roll lots, and lots, of real dice.

"This is my dedication to the creative team behind Pixar's movie The Incredibles. I loved the depth of the world, the buildings, the gadgets and most of all I loved the chairs. Enjoy!" Collecting things is important. This is lovely.

"Master of the mix Jaguar Skills provides a special soundtrack to round off Radio 1's Gaming Weekend. " Available until June 2. It's epic. Get it.