This might come in handy sometime.

"Restore harmony by clicking the tiles until no open end is left over."

Excellent interview with Yoshi Ono on some of the design challenges and nuanaces of Street FIghter IV. The stuff about when to skip frames (and when not to) is particularly interesting.

"Maybe it's the tusks, and the horns. Running with a dangerous crowd. You have to admit, dark elf boys are kind of wuss. And let's not even talk about gnomes. Or maybe it's part of the separation process. Getting away from your parents. For sure I can't ever visit her in the Undercity."

"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.

"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.

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!

"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.

Man, SIGGRAPH papers have the best titles. This is a lot of seriously hardcore, cutting edge, graphic-programming nous. Also: "jiggly fluids".

"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

"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.

Yes.

A blog from Tom, Flora, and no doubt shortly et al, about life in Hackney.

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.

"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.

Great selection of posts on how brands need to behave (and how they sometimes fail to do so) from Grant McCracken.

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.

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.

"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.

You're a little robot. You're also indestructible. Use bombs to bounce yourself around the level, but don't run out. Lovely little flash game.

In which an entertaining man plays a hacked, super-hard Super Mario map, swears at his TV a lot, and still manages to be pretty good at it. It's a nice illustration of the problem-solving process, and it's rather funny. "This is worse than Panic At The Disco. This is worse than Ann Coulter."

"The No Game is a party game with only one real rule."

This looks like it could be interesting/fun; if anything, worth watching as a slightly more attractive option for lifestreaming…

"Sequel Pro is the perfect tool for working with database-driven websites and applications." Leopard-only MySQL management application; forked out of the long-neglected CocoaMySQL.

I need to think on this more; there's a lot of meat in it, and some interesting commentary, but suggesting that "the entire bachelor’s degree in English is all about bullshitting things" I find somewhat insulting. I'm frustrated because it feels like Blow is pushing for people to find the "correct" interpretation, rather than any valid criticism they can back up. Still, there's also some excellent stuff in here, but it's the first thing he's said that's rubbed me the wrong way a little (and I'm not just talking about the 'bullshit' comment).