• "As I have grown as a person and as a maker-of-things, that question has come back to me again and again. I have learned how and when to stop  talking and start doing. To other more-talker sorts of people, that can  look like a magic trick. I have better learned to recognize when someone is frustrated by communicating-in-words about a plan instead of performing the plan. These are learnable skills; and I have seen that there  are commensurate skills that have to be hard-won for doers.

    Instead of an accusation or a challenge, it’s become a gentle reminder:  you’re more of a talker than a doer. Keep an eye on it."

    Writing from Sam Bleckley on talking, making, thinking, and doing. Moving from one state to the other, and back again. This struck a chord.

  • I always love developers showing their working, and none more so than Valve. Here are ten dense minutes on the teleportation mechanics in Half-Life: Alyx. I like this because you're not just seeing some opinions; they're showing glimpses of the research and testing that informed those opinions, as well as early prototypes, coupled with being a studio with some really deep time invested in VR; it's fascinating seeing them come to their conclusions. Also, as ever, I love seeing how bit a role sound is in presence.
  • "The two points I want to focus on here are about Ricky’s initial attitude about this warehouse idea and about the fact that he made this prototype ‘to surprise me’

    Earlier I said that Ricky and Nate were sick of hearing about this idea. That was an understatement. In reality they openly mocked it. They had a running joke that I should call it ‘Clown Warehouse’ and make all the things in it clown paraphernalia. I wasn’t particularly hurt by this. It was good banter. It’s kind of how we talk about game ideas a lot of the time. 

    But then Ricky made a prototype to surprise me. (Not to mention spending months taking it from a prototype to a finished game.) And my point is that this is how friendships work. These expressions of good natured antagonism and affection, Winding someone up one day and giving them a nice surprise another, are the hallmarks of real friendship.

    If you make games and your game development process isn’t like this you are doing it wrong. In my opinion."

    This whole article from Dick Hogg, on making Wilmot's Warehouse, is a delight. On making parts and working out what a game is later; on friendship; on playtesting; on games with endings. Just great.

From Phil’s weeknotes:

Last night I came across a Lime e-bike, dead on its side in a disabled car-parking space. I set about rescuing it, thinking that its conventional home, annoyingly littering the pavement, would be less bad.

As soon as I picked it up it started beeping, loudly. Then a computery woman’s voice began saying, “Please unlock me to ride me or I’ll call the police!”

I set the bike upright on its stand but the beeping and the verbal warning repeatedly alternated. I continued walking home, quickly, while the once quiet street was filled with the alarming noise, which slowly faded as I turned a corner. Maybe it’s still going.

First Person Things. Genuine People Personalities. The age of Surveillance Capitalism. The “Smart City”. Alexa-as-cop. Join the dots, write your own blogpost.

Somewhere deep at the intersection of “everything is tech” (tech, the all-consuming industry, rather than technology), “everything is a service” (and thus somebody else’s property you pay to rent), and “everything is increasingly awful in order to service a minority” (in this case: the owners of the bike, frankly, who are interested in preserving their property whilst acquiring new customers).

We joked that the future was rubbish because we still don’t have a jetpack; it is, in fact, more rubbish (and made up of more rubbish) than we perhaps could have imagined. We are all Joe Chip.

  • "So much of design culture is occupied by people that take themselves so very seriously. When thinking about our conversations in the Newsbar about magical realism and surrealism, it became apparent to me that the level of imaginative freedom allowed in the world of experimental fiction, would struggle to exist in contemporary design culture (and academia) because there’d be some form of backlash about how it wasn’t ‘real’… that the work didn’t address the world’s real issues or problems… that it would never succeed in the ‘real world’. We are a discipline that is reliant on our creativity and imagination, but have become terrified of the imaginary."