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This is very good stuff from Kars: from the challenges of designing with machine learning through to Value Sensitive Design and the complexity of good work.
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Somewhat annoying website. But: really impressive new Markdown app – its view/hide source mode is in some ways nicer than Macdown/Mou, and it has detailed support of the Markdown 'spec'. Going to keep trying this whilst it's in beta.
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I've loved Alan Warburton's work for a while, but this is superb: a talk, and a film, and it made me laugh and it's really on-point and just this, yes.
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"Software is a spidery, ambiguous apparatus that reaches through society and culture at all levels to shape our behaviours, practices and beliefs. CGI itself is complex, expensive, time-consuming and difficult to master. The impenetrable CG image masks a complex reality of representational bias, human-computer collaboration, software politics, soft power tax incentives, 24/7 render farms, international trade deals, mineral extraction, gender imbalances, bankruptcy and wage fixing. It’s far more than nerds clicking buttons, it’s a multi-billion dollar industry whose influence continues to proliferate." This is fantastic stuff from Alan Warburton.
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Well that fixes one of my main problems with that funtionality.
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Normalizing the exceptional; the way the "control room" in films mirrors attitudes towards the control of technology – and control in its more general senses. This was good.
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"The tragedy of Nico Belic is that, narratologically and in terms of the game mechanic, he can never stop using people as a means rather than an end."
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"Instead of aiming to elevate the medium by making games that are more socially responsible – which by my estimation reduces quickly down to a feature driven approach that ultimately offers little more than cheap didactic moralizing, our aim should be instead to empower our creative visionaries to explore the human condition through their work." In a nutshell: rather than explicitly trying to make 'worthy' games, why not just let people make games about, you know, the human condition – ie, what every other artform does – than just about shooting dudes? (Disclaimer: sometimes, shooting dudes is fun. But I like Clint.)
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Very simple; very effective.
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"Golden Hook is an innovative fashion brand which allows you to create made-to-order beanies by choosing your beanie style, material, and color. You also choose the authentic grandmother who will knit your beanie from our gallery of grandma photos." Awesome.
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Some of these are very nice; many are likely to end up on posters for dubstep nights in Shoreditch soon, I fear.
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"Need a little excitement? Snap into a little Flickr game I just discovered called Noticings!" Noticings is on the internet telly.
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"Over the weekend, I wrote a web application that takes advantage of the new [EchoNest] APIs to make it easy to get a click plot for just about any track. Just type in the name of the artist and track and you’ll get the click plot – you don’t have to find the audio or upload it or wrestle with python or gnuplot." Echonest is bloody magic.
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Eric Kaltman is blogging the Cabrinety Collection, and he's doing a great job so far.
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"The Stephen M. Cabrinety Collection in the History of Microcomputing at Stanford University consists of several thousands of pieces of computer hardware and software. Dating primarily from the 1980s and 1990s, the collection chronicles the formative era of personal computing, specifically computer gaming." Amazing.
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"Psychologists know that torture causes, among other horrid things, lasting mental-health problems. But 24's frantically violent fairy tales are typical of what passes for mass-cultural debate about torture. We're not encouraged to think about what happens next, so we don't. It is a massive failure of the public imagination. Which is why we need more torture in videogames." Clive Thompson responds to Richard Bartle's issues with that WoW quest, and he makes some sensible points, although I still have some issues with the Blizzard implementation.
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Lovely – and, amazingly, free – shmup for the iPhone. Move the ship up/down with the direction of your finger; drag over enemies to lock; release to fire. Pretty, fast, and not crippled despite your finger being in the way.
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"The problem I have with the note is not that he was having a party and didn't invite me, it was that he selected a vibrant background of balloons, effectively stating that his party was going to be vibrant and possibly have balloons and that I couldn't come." David Thorne knows how to wind people up.
Bike Hero-gate
21 November 2008
A lot of the content on Infovore is these days is in my links; I try to make sure that I’m not just chucking out URLs, but at least providing some kind of commentary or annotation on them.
You might have seen a Youtube video entitled “Bike Hero” in my links yesterday. I believe I said that “there is nowhere that this is anything less than awesome”.
Unfortunately, I’m going to have to retract that statement, because there is one way it could be somewhat less than awesome. And that’s if it isn’t quite what it purports to be.
Bike Hero, it turns out, is a “viral” ad for Guitar Hero World Tour, filmed by an advertising agency.
I’m disappointed not because it’s fake, but because they felt the need to disguise it as a real piece of footage. Derek Powazek puts it nicely:
Longer answer: It’s not that it’s a commercial, it’s that it’s a hidden commercial. It’s not the art, it’s the ruse.
Why don’t marketers and advertisers understand that, sometimes, the target audience for this kind of thing will like it just as much if it’s honest about being advertising? It’s a lovely piece of footage, and it ties into the garage-band, DIY ethos well; it’s a good fit for the Guitar Hero brand. As it is, I’m disappointed because I now know this wasn’t the product of hard-working fans, wanting to promote a product they love; it was the product of a lot of time/effort from people with money to spend on time/effort.
My other disappointment comes from another thing it pretends to be: it’s not one take. The CG staff that Gamecyte highlights were responsible for compositing the LED-handdlebar rig, and might well also have been involved in stitching together multiple takes. One of the things that had value in this ad was that it was real – why else would the cyclist turn his camera to the window he drove by other than to prove this isn’t some kind of fakery?
In the MTV Multiplayer blogpost linked above, Brad Jakeman, Activision’s Chief Creative Officer comments:
“This was always created and put out there to engage the creativity of our gamers. It didn’t take people very long, as we expected it to, for them to unlock the first of the codes, if you like… We wanted people to first figure out that it was something in the marketing realm and then dig in and have more of the conversation that we’re having about how it was done, have people figure out where all the cutting points were, where there was potentially CGI, and engage with that. It’s not meant to be deceptive. It’s meant to be fun.”
And what about people who aren’t “your gamers”? The point of viral videos is that they become viral; they have a life outside their initial target. Will that secondary audience be as inquisitive as the gamers you describe – and, to be honest, will even all those gamers engage in the manner you describe? I’d linked the thing up before I considered it might be marketing material. I enjoyed the video, and I assumed this was a product of effort rather than trickery simply because I’m not as cynical as Activision would like; if there’s one thing the Internet has taught me, it’s that people have a lot of reserves of creativity within them. Why assume that putting out trickery is OK just because you believe that your audience assume everything is trickery?
Sorry if I misled you. It’s still a great video, but it’s an advert, not a fan-made video, and you should probably know that going into it.
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"On this definition, obediently following a game’s narrative or challenge-reward structure is nothing but work. Only when the player does something that isn’t mandated by the system can she be said to be playing." Some good writing from Steven Poole on games and chores.
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"My talk was on building an application that rescued princesses. The goal was to give interaction designers some insight into how game design might be applied to the domain of more utilitarian applications." Some really good insight, presented in a very clear manner. DanC is, as usual, on fire. Need to digest this slowly, but it certainly overlaps with a lot of my thinking.
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"…the game tries to define a set of rules and an environment in which memorable experiences are likely to happen, and simply lets the player loose in its world — a fascinating prospect." This captures a lot of the great things about FC2 well, and in an even-handed manner. The lack of handholding is jarring, but the possibilities it opens up are wonderful. For a tense, hectic, genre, it's interesting to see an entry that's by turns soothing and surreal, amidst the malaria, bushfires, and wholesale slaughter.
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Just like magic. Lovely.
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Spot-on, as you'd expect.
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"This week’s 1UP FM is a fascinating round table/interview with Jonathan Blow, David Hellman, Rod Humble, and Sean Elliott and Nick Suttner from 1UP… If you’re at all interested in Braid, experimental game design, or the ethics of games you should go listen now." In the meantime, Ben Zeigler has provided some excellent annotation for us all.
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"Over the last few years, there has been a big shift in power and success away from independent studios, and towards in-house, publisher-owned studios. This has been driven by several things, sound economic reasons, competitive reasons, and because the strong independent studios had done a good job at creating a slew of new IPs (which publishers were eager to snap up, as always). In my experience relatively few people in the games industry realise this… So, what’s next? What’s going to happen over the next 3-5 years?" Adam on the business of the games industry, and what's facing it next.