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Christian Nutt interviews Jesse Schell Lots of really interesting stuff in here – to be returned to, I think.
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Nice list of restuarants and pubs. One of my favourite things about The Trip is turning out to be the food.
Words appearing elsewhere
29 November 2010
Just a quick note to mention some words of mine that have appeared elsewhere.
Firstly, my Game Dev Story piece was republished over at Gamasutra. Thanks to Simon Carless for getting in touch about that; some nice comments, and a little more awareness around a bunch of things I’m ruminating quite hard on at the moment.
And secondly, I was interviewed – along with real games developers Nels Anderson and Manveer Heir – in this piece from Gamespot Australia’s Laura Parker. The articles starts by looking at Limbo (which I must admit, I am not as enamoured of as many) and going on to look at what “mainstream” games development can learn from what’s going on in the indie sector right now. My input mainly came around following some of my writing on games literacy. It’s a really strong article, and I’m sorry that it got buried on the staff blog, because it deserves a much wider audience, and I hope Laura continues to push this kind of feature writing.
That’s all for now. I’m currently writing up my talk from Interesting North which is, as usual, taking longer than expected. I mainly write longhand, but it’s amazing how long expanding on notes that say “now explain this” takes. I should have a transcript complete this week.
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"In principle, the pressure ought to be off, since you've got a infinitive lives and a stock of smart-bombs. In practice, the game quickly becomes so pulsingly busy that I not infrequently become blind to the position of my own ship. I'm still playing – still winning – but have no visual awareness of the bright white claw I'm actually steering. The bit of my brain that handles moving knows where it is, but the bit of my brain that does the thinking has no idea, and they very rapidly start screaming at each other." Margaret's new column for Gamasutra goes live (hurrah). Talking about this was one reason I got sucked back into Deadline very deeply a few weeks ago. Deep enough to edge beyond randomness, towards a semblence of mastery, and at least understand the system. At least enough to understand quite how fine it is.
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This is great. Brandon is smart. And: when he says "story", he doesn't mean story. He just means "show me something new".
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"…let's not kid ourselves. If you sell a game that's a first-person shooter, then no matter how many RPG elements you shoe-horn into the game, the shadow that hangs over every character interaction that you have, no matter who they are, is the question in the player's mind of "What happens if I shoot this person?" And that's our own fault! We've sold the player that; we've made a contract with the player that says it's okay to kill people. Why would we then chastise them for exploring that?" Patrick Redding is brilliant. This interview, with Chris Remo on Gamasutra, is great – Remo asks some smart questions, and Redding gives some really smart answers.
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"The game insists that I focus, even for mundane activities like carrying groceries, on carefully following directions delivered to me visually on-screen. The simple act of carrying groceries is subsumed by the mechanical procedure of executing a series of prompts _for no apparent reason_. This, for me, is the primary disconnect in Heavy Rain. My mechanical game-directed actions don't amplify or add meaning to the in-game behaviors they execute. They don't pull me in; they keep me out. " Hmn. I've been thinking about something similar recently. Time to fire up the blogpostmatron…
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Lovely, lovely article explaining just how the PeepCode Blog works. The blog itself features unique layouts for every post. There's no CMS, no database, but what's going on under the hood is at least as clever – and the flexibility makes the beautiful and clear pages much easier to build.
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"…for reasons that baffle me, my TV can only receive the four terrestrial channels, plus a grainy feed from the building’s security cameras. Easy choice."
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Simon Parkin interviews Martin Hollis. As with much of what Martin says, it is gentle, readable, and dotted with nuggets of purest gold. And the word "teleportage". Martin's a lovely, lovely chap, and he really, really knows his stuff; reading this should convince you of that.
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Jolly good interview with Tim Sweeney, with lots on ZZT (hurrah!), and, I think most interestingly lots of on building games around editors and tools – from ZZT through Unreal to the present day. I like his acknowledgments of his shortcomings as a progammer – but perhaps also his shrewdness as a manager.
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"Left 4k Dead was made by Markus Persson, for the 2009 Java 4k Competition. The entire game is less than 4kb." Impressive, and even a bit fun.
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"Mirror's Edge is not a perfect game, perhaps, but it is something more important: it is an interesting game. It can be played and experienced on its own terms, for its own sake, if players would only allow themselves to take a single videogame specimen at face value rather than as yet another data point on the endless trudge toward realistic perfection." Ian Bogost taking a considered approach to Mirror's Edge.
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"'Why do you build your own computers?' Gloria asked earlier this week. 'Why don't you buy just buy one that's already built?' … It's because computers are fire… If I was a caveman (I'd be dead, because I can't see clearly two feet in front of myself without glasses, but that's not the point), I wouldn't go to the guy who discovered fire and ask if I get a light off his torch. I might let him explain the process–documentation, as it were–but then I'd go off, hold the torch backwards, cut myself with the flint, and generally do it wrong."
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This appears to be some kind of 3D-tinged mind-mapping software; Flatblack were behind the rotoscoped look of Waking Life and A Scanner Darkly; this is clearly an interesting digression for them.
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The Offworld 20 "…isn't just a list of independently made and under-appreciated games, it's a list of the games that celebrate what makes Offworld Offworld: the beautiful and the bizarre, and the games trying to push the medium forward and give us something we've never seen before, in whatever incremental way." Smashing. I love Offworld already, and this is a lovely list.
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"Monopoly, in spite being the classiest of all board games, unfortunately is packaged just as boringly and uncreatively as every other garbage board game on the shelves. So, I decided to repackage it… turning the class up to 11." Very pretty, but I miss the original typeface: the 30s-style sans-serif was very important to the tone.
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"…my feeling is that the barriers to verismilitude in video games aren't technological– lighting effects, texture work, mocapping– but /technical/. They're matters of technique, mastering the extant toolset in order to produce the novelistic details that make for the feeling of authentic transport. Game design doesn't need a better camera, or a holodeck. What it requires is old-fashioned artistry and imaginativeness, an obsessive and nerdish Flaubert who will come along and show us how games work."
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"…it’s become apparent to me that social software is a medium turns all communication into a self-representation game whose ultimate goal is popularity."
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"I am a terrible gaming evangelist. Every time I think I’m onto something my mind’s invaded by Marcus Fenix and his sweaty, homoerotic pecs, by Cloud and his implausible sword and cod-philosophy and, most poignantly, by me, in my pajamas aged nine playing Tetris on the toilet and by me, in my pajamas aged twenty-nine, playing Tetris on the toilet." And Simon powers straight into /my/ favourite games writing of 2008. Bravo.
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The results are now out. No surprises that Soundless Mountain II wins, but nice to see a late entry from the entertainingly Crush pastiche, "Squish". In Squish, a 2D game gets flattened to a 1D game at the touch of a button! Brilliant.
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"I used to scoff at paying a premium for jeans that come with holes in them already. Then I saw just how much work goes into distressing jeans, and I realized that these people are artists."
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"The main screen of the application. All operations are performed using this screen." And you can tell, you know. What a UI!
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…and then a massive anonymous slagging-match and name-calling session begins in the comments. Some reasonable commentary in amongst a lot of mud-slinging about the state of EALA…
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"Take the hassle out of organising football". It's been done before, but perhaps the brand, mobile experience, and quality of product will win out for Nike's team-management app. They showed us the MMO with Nike+; now they're doing guild management for the masses.
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"In essence, the in-game physics cooked up by Pure's designers isn't merely a matter of being realistic or unrealistic. The physics is evocative, creating your worldview within the game, and even metaphoric: When you play Pure, you realize that physics is one of the truly artistic elements of an action title." Yes! Spot on, Clive Thompson.
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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.