• "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.

  • "Here is, instead, the first reading that occurred to me, looking at these reimagined vistas set among the tall columns of RIBA headquarters: the idea that videogame architecture is essentially a folly, something that takes the form of a building that has a physical function, but which cannot meaningfully fulfil that function and which instead uses its simulated practicality to fulfil, say, an emotional or aesthetic or wayfinding purpose. I read Playing the Picturesque as suggesting that we might use the existing centuries of design and discussion around follies, and the long related history of arguments about the “picturesque”, to usefully inform the ways that we look at videogame architecture."

    Lovely writing – dense, detailed, and shrewd – from Holly about a show I must go and check out.