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"I still consider glass to be an extreme craft – you’re working with and fighting gravity and momentum in those 60 seconds before it starts to harden – but you learn to take your time, even if there are lots of moments of extreme concentration to keep a piece from disintegrating." Chris writes up his glass-blowing course; sounds great.
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"Perhaps the problem is that we so deeply rely on reference points like film, which require stories progressing over time, when we could be referring to things like sculpture or painting, which require no timescale and people find just as moving." Some good thoughts from Jonathan Blow; I think his point about games' unique ability to challenge is an important one.
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"Rohrer is trying to make art in a medium that most people don't even think is capable of art. He can create this space of pure freedom, as artists have done in the past — isolation, introspection, ascetic poverty. But ultimately he has to send these works out into the world, and people have to respond to them. And right now the audience doesn't know what to do with them." Fantastic writing from Esquire; mature, sensible, and at no point apologist.
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"The 'better sequel' mentality is damaging both to the games industry and to the quality of games journalism. It is a deferral of critical responsibility, a patronising pat on the head for the developer who dared to dream and fell short in some mythically vital way. I don't want to be frustrated by dodgy controls either, but then I'm willing to blunder through if I'm going to get an experience I never had before." And this is why I've been sticking with it; I think Keith is on the right lines with this quotation.
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I really like the dot/tab/pad/board delineation, and the fraction/inch/foot/yard scale that accompanies it. A nice way of framing these issues.
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"Someday I hope game designers really are seen as trusted personal trainers, and that we have the chance to take people through proven processes that pay off in the long run. More gamesight, a surprising social safety net and support system, a more engaging environment, a higher quality of life." You trust a good designer to deliver good experience, regardless of the pain they put you through.
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"Unknown games are always the best ones… They are always stronger, funnier, cleverer and better-executed than their realities and so that walk home from the store, when the game is tangible in your hands but still imagined in your mind, is oftentimes the most potent moment in the videogame experience." A lovely piece from Simon on what the end of a certain kind of retail experience will really mean.
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"Steve Rose notes that the recent films have seen Bond visit and destroy as much villain-architecture as ever ("The villains are the creators; Bond is the destroyer. He's basically an enemy of architecture"), and suggests this can be traced back to Fleming's difficulties with Modernist architects." Rod on Bond is always good, and bonus points for the punning title.
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"A series looking at different aspects of guardian.co.uk's rebuild and redesign project, which ran from October 2005 to September 2008." Looks like there's going to be some good stuff emerging from this; great to see the Guardian making it so public.
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"The technology will probably improve, but in lieu of the promised emergent web AI, we need to build more small tools, more games to bootstrap datasets, and more simple ways of encouraging people to play their part in the semantic web without ever having to explain what it is." tt++.
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Fantastic presentation from Giles Bowkett, which is about generative music, art, shipping, Ruby, and building things for yourself.
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"Paine does have a descendent, a place where his values prosper and are validated millions of times a day: the Internet. There, his ideas about communications, media ethics, the universal connections between people, the free flow of honest opinion are all relevant again, visible every time one modem shakes hands with another." Fantastic article
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"At its core, what should this product be best at? When users think of this product, what is the central feature(s) that should spring to mind? Everything else is distraction, clutter, cruft."
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"I think this vision of artistic expression as a form of collaboration is a truer description of the nature of game design than of any other medium, because video games are inherently interactive." Pliskin on Steve Gaynor, and the gap between the screen and the gamepad.
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Portal-inspired homebrew game for the DS. Looks rather sweet, although not keen on collect-em-up mechanics.
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"So we decided to treat Availabot as a world probe: it was decided that we would take Availabot through to the position of being factory ready, and in the process learn as much as possible about the processes of manufacture, and how to develop these kind of complex products with so many moving parts." And, best news of all: Availabot will be coming to market. Excellent.
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"…this leads up to a discussion of two things: the OAuth protocol which aims, amongst other laudable goals, to help safeguard users’ passwords, and the distinctly unnerving trend which Jeremy Keith has christened the password anti-pattern, which really doesn’t." A clear, articulate explanation of the issues around authentication.
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In 2000, a group of seventh-graders were asked to draw what they thought scientists looked like and describe their pictures. Then, after visting Fermilab, they were asked to repeat the exercise. Some of the quotations are genuinely excellent, cf "Some people think that (scientists) are just some genius nerds in white coats, but they are actually people who are trying to live up to their dreams and learn more." Aren't we all?
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"At GDC 2006 Sony’s Lead Programmer – Tim Moss had talk titled “God of War: How the Left and Right Brain Learned to Love One Another”. I read it, remembered mainly that it was interesting they had used Maya as main tool and kinda forgot about it. Only recently I’ve found out that recording from this session has been made available (for free) as well. You can download it here. Combined together they’re really interesting and I recommend everyone to spend few minutes and listen to it while reading slides." Some interesting stuff – God of War pre-scripts a lot of things that other people might want to do in real time, and as such, makes some stuff simpler, and makes controlling the players' experience easier.
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A detailed look at various techniques for greebling Lego models.
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"To me, these bizarre sequences represent adaptations of classical Brechtian stagecraft to video games. The way we interact with a game is different than the way we interact with a staged fiction, and by manipulating the tools specific to game-interaction– the interface and the mission-delivery system– Kojima delivers that sense of alienating weirdness that's the hallmark of the Verfremdungseffekt." I like Pliskin's commentary here – the absurdity of Arsenal Gear was great, and much preferable to the boss-rush that followed it.
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"The dissertation builds on available sociological approaches to understanding everyday life in the networked city to show that emergent technologies reshape our experiences of spatiality, temporality and embodiment. It contributes to methodological innovation through the use of data bricolage and research blogging 1, which are presented through experimental and recombinant textual strategies; and it contributes to the field of science and technology studies by bringing together actor-network theory with the sociology of expectations in order to empirically evaluate an area of cutting-edge design." Anne Galloway's PhD thesis, now online.
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A remake of "You Have To Burn The Rope", in the style of an Intellivision game. They've changed an important play mechanic and given the game an entertaining twist ending. Fun.
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"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.
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"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.
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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!
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"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.
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Man, SIGGRAPH papers have the best titles. This is a lot of seriously hardcore, cutting edge, graphic-programming nous. Also: "jiggly fluids".
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"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
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"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.
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Yes.
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A blog from Tom, Flora, and no doubt shortly et al, about life in Hackney.
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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.
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"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.
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Great selection of posts on how brands need to behave (and how they sometimes fail to do so) from Grant McCracken.
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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.
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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.
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"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.
It’s taken a long while to put together, mainly because I wanted to write up my very sketch notes into something approximating what I said, and also because I wanted to experiment with a more representative way of publishing presentations online.
Anyhow, I’m very pleased to share Playing Together: What Games Can Learn From Social Software with you.
It went down pretty well at both NLGD and Develop, and I really enjoyed some of the thinking that went into it. I’m working out what to do about that, obviously, but in the meantime, I thought it deserved a wider audience. Do enjoy, and I’d love to hear your feedback on it.
Skillswap Brighton – tonight!
09 July 2008
Just a quick note to say that I’ll be talking at Skillswap Brighton tonight. The talk is a re-work of a talk I gave at LRUG in London a month or two back; it’s called “Settling New Caprica“, and it’s about how to get that pet project off the ground:
Pet projects: everybody’s got them. But how many of them never see the light of day? In this talk, Tom Armitage looks at some of the obstacles that impede such projects, and how to get over them. The talk also considers some ways to streamline the process of releasing software when you’re your own client, and perhaps might give some ideas to improve not only your personal projects, but your work projects as well. There should be plenty enough time for a healthy Q&A session after the initial presentation.
The talk isn’t hugely long – about 30 minutes – but I’m hoping there’ll be some healthy discussion after it, on topics as diverse (to give you an idea of what’s coming) as personal project management, version control, deployment, and building Twitter bots for fun and profit.
Once the talk’s done and dusted, I’ll try and get a copy of it online by this weekend. Many thanks to Nat and James for the invitation to talk!
Slides now available for my LRUG talk
11 August 2006
To cut a long story short: the slides for the talk I gave earlier this week are now available. You can find out more about the talk on the talks page of this site, or you can download the PDF (1.5mb). It should be fairly self-explanatory.
(A brief summary for those of you unable to scroll or click: it’s a client-side-developer’s perspective on Rails, and how to integrate client side development into the build process).
Ruby on Rails from the other side of the tracks
08 August 2006
I’m going to be speaking tonight at LRUG. The talk is called “Ruby on Rails from the other side of the tracks“, and it’s about how client-side developers fit into Rails, and how you (as a back-end developer) can work with them rather than against them. If that sounds interesting (or, more to the point, you want to hear Tiest talk about Domain Specific Languages, which should be great), do come along.
Reboot 8: Telling Stories – talk now up
07 June 2006
A PDF transcript of my Reboot talk is now live. It’s essentially a tidied-up version of the wadge of paper I spoke from, so excuse the conversational tone. Hope you enjoy it.
Reboot 8: Telling Stories
03 June 2006
So, my talk – Telling Stories turned out alright in the end. If you saw it, I hope you liked it. If you’re interested in obtaining a written copy of it – which I have, because I wrote it longhand – then email me. I slightly deviated from the written version, and am not sure I want to put it online directly in its current state – it needs tidying – but I’ll happily send you a PDF.
Reboot8 is over, now. For me, it was awesome. I’ll write a little bit more about it later today or tomorrow. There’s lots to digest, and lots of people to thank. To everyone I met, it was a pleasure; to those I’ve met before, a pleasure to see you again. And thanks for vaguely shepherding me. I get a little lost at these things, you know.
So: more concrete thoughts, a bit of a wrap-up, and a stack of photographs later.