• "We drove about for another hour or two after that, and by this point dad was hooked. Not hooked on L.A. Noire's narrative, perhaps, or caught up in the complex chains of missions, but hooked on the city, on the fascinating, insightful job that Rockstar had done in stitching the past together. Even though I can't actually drive, and the car we were in wasn't a real car anyway, I had a strong sense that I was in the front seat, turning the wheel beneath my hands, and he was riding low in the back, face pressed to the glass. Role reversal. It happens to all fathers and sons eventually, I guess. Why shouldn't it happen because of games?" Chris Donlan takes his Dad – who grew up in late-40s/early-50s LA – on a tour of LA Noire's Los Angeles, and what happens is a remarkable piece of virtual psychogeography. Perhaps my favourite piece of games writing this year.

I did a few days working with the Good Night Lamp team this week, on some interaction design explorations. A couple of days of talking, thinking and sketching with Adrian and Alex led to some writing, wireframes, storyboards, and animatics.

Alex asked me to write a bit more about the work, for the Good Night Lamp blog, and there’s now a post over there about it.

Out of all this work, common strands emerged; in particular, a focus on the vocabulary of the product. One of the things I find most important to pin down early in projects – and which design exploration like this helps with a lot – is the naming of things. How are core product concepts communicated to an end-user? How are they made explained? Making sure nomenclature is clear, understandable, and doesn’t raise the wrong associations in a user’s mind, is, for me, a really core part of product design. Even though many of the core concepts of GNL were clear in our head, by sitting down and drawing things out in detail, I started having to discover what to call things, often bringing Alex and Adrian back to my screen to discuss those ideas.

This kind of design work initially appears very tactical. It focuses on small areas almost in isolation from one another, exploring the edges and seams of the product. But by forcing oneself to confirm what things are called, confirm what interactions or graphic language are repeated throughout the product, it turns into a much more strategic form of design, which impacts many areas of a product.

You can read more at the Good Night Lamp site. It was a pleasure working with Adrian and Alex. If this kind of work is something you’re looking for, do get in touch.

Week 0

15 October 2012

I have totally failed to finish updating my vanity domain to be more than just a holding page, so my weeknotes for freelance work will have to start here, for the time being. And as for indexing them from zero – well, why not. And as for doing them at the beginning of Week 1 rather than the end of Week 0: well, I was out, and Late Weeknotes seem to be the trend.

A gentle week to kick off with, mainly focused on some business development (ie: having lunch or coffee with people), administration (setting up accounting software, picking project codename schemes, and beginning to maintain a pipeline) and working on the project I’m doing for the Royal Shakespeare Company.

That’s developing really nicely. I’ve still not written much about it at length because it’s evolving a little as I work on it. Still, rather than being cryptic, now’s a good as time as any to start talking about it.

The project is called Spirits Melted Into Air, and it’s a piece of work about logging actors’ positions on stage during performance and turning that data into secondary artworks. It arose from the idea that many people’s many interactions with Shakespeare are with the text, when, in fact, the RSC’s work is about performance: performance which is shaped not by a text (given how few stage direction we have in the printed versions of Shakespeare) but by an actor, a director, a motion coach, perhaps a fight choreographer, and (crucially) the audience on a given night.

I’m producing this data through a piece of software I’ve written – in Processing – which allows me to trace motion (by hand) from video. It’s a little crude, but is producing valuable results. Then, I’m writing more software to output that into useful formats, and turning that into art.

I am developing it in the open, albeit somewhat cryptically, over at Github, where you can find several Processing experiments and some diary notes. But really, it probably won’t make much sense until I write it up properly.

The big leaps forward this week were acquiring some source material from Stratford, whittling it down to size with some ffmpeg voodoo, and making my simple 2D demo work in skewed 3D space. Oh, and beginning the graphic design of the output.

Lined up for next week (it’s this week really): two days design work, sketching and exploring an interaction space with the Good Night Lamp team, two days thinking about the RSC, a little business development, and Playful on Friday.

Good week 0, really.

  • "Riders pass through openings in a waterfall created by precisely monitoring their path via axel-housed encoders, creating the thrill of narrowly escaping obstacles." Brilliant.
  • A Redis-based queueing system for ruby; much more efficient than Resque, from the looks of things, and really nice deployment configuration (ie: someone's bothered to write cap recipes and similar). Definitely going into the toolbelt, I think.
  • A huge, fascinating, braindump from Bret Victor, mainly on the state of how programming is being taught (especially in the "learn to code, live" idiom that's popular at the moment). A lot of it is very good; I'm not sure it applies everywhere, and I'd like to see examples not about geometry (which I think are entirely possible, given Victor's idioms). But still: it's huge, and dense, and well-reasoned, and has lots of jumping off points. Good to see someone thinking about this stuff like this.