Lots of (large) images; detailed, wonderful. A post to go back to and pore over

"I must admit that I would have loved to get this richness of backstory into the actual game itself, but the longer pipeline of game asset development and integration made that impossible." Clint Hocking explaining the background behind the fictional blog for Far Cry 2.

The blog of Reuben Oluwagembi, the fictional journalist you meet in Far Cry 2.

"A few weeks ago we released our shapefiles via the API, and while most people were excited, some folks were a bit confused about what it all meant. Which is why Tom Taylor’s beautiful Boundaries application is so exciting. It helps you visualize the Flickr community’s twisty changing complex understanding of place." Tom is on code.flickr.com! Hurrah!

"Renaissance ‘lace books’ have much to offer the modern digital designer, who also faces the challenge of portraying clear and replicable images in a constrained environment." A brief history of pixelfonts.

"Obama's FCC transition co-chair is a WoW player, and has played in two different endgame guilds, including Joi Ito's famous We Know guild." This is exactly the kind of thing I was banging on about at Gamecity. Presentation online soon!

"We're still going through the stats, but at the time of writing there were almost 170,000 messages on the Strictly [Come Dancing] board." Holy hell. Poor moderators. (And: for such an uninteresting story, as well!)

"If the Barack Obama presidency fails to unite us as a country, I'm going to hold out for a fast-zombie apocalypse." Iroquois on co-op, and the way Left 4 Dead sees online co-op – and the bad behaviour of players online – as design problems to solve, rather than to ignore.

"Who designs a character for gamers to never go near? Who spends the time to create the most terrifying creature imaginable, and doesn’t impose it on players? Well, clearly Valve. The temptation to have her be aggravated from great distances, to force her to attack when encountered, must have been there. But then she’d have lost her power. Her power comes from just sitting there. It’s that benign, ragged, vulnerable form. It’s the combination of singing and crying. Oh God, the singing *and* crying." John Walker examines the horror of Left 4 Dead's Witch. A little over-written perhaps, but he totally nails the fear the character instills, and the way you always notice her a split-second too late.

Mitch just isn't inspired by user-generated content, no matter how charming a core game might be. The comments thread on this one is really good.

"The next generation on from them – e.g. Jonathan Smith, Doug Church and of course Greg Costikyan (from whose classic essay on developing such a critical language the title of this post is lifted) are always eloquent, passionate and insightful speakers and spokespeople for their medium. Unlike Molyneux." Not too annoyed I missed this, given Matt's comments.

"…the players are there for their character, not for your story. Your story is just the path for their characters, the medium through which they can play their persona. Once the GM realizes this, they should then realize that respecting the player and the character is paramount to their story. And it’s a surprisingly easy skill to master, because it really is as simple as recognizing what the players and characters want, what they came to do and then give it to them."

"…we're always being told art should disturb. Moore makes artists like the Chapmans look like the middle-class entertainers they are. He's a real force of imagination in a world that is full of fakes. If there was any justice this man would get the Turner Prize."

"Basically WipEout HD is the first game I've come across that seems to be operating with a dynamic framebuffer. Resolution can alter on a frame-by-frame basis. Rather than introduce dropped frames, slow down or other unsavoury effects, the number of pixels being rendered drops and the PS3's horizontal hardware scaler is invoked to make up the difference." Interesting – and technically fascinating – post on Wipeout HD's dynamic framebuffer, used to keep the framerate at a rock-solid 60fps at the expense of horizontal resolution

"Truth be told, I don't think in terms of absolute F/stops and shutter speeds. They are not what is important. It's the relationship between the different light levels that is important." This is why I love David Hobby: he talks about photography (in general) in the same words as me. Exposure isn't about numbers, it's about sliding scales.

Wow.

"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.