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"With this unique book, programmers, administrators, and others who handle data can learn by example from the best data practitioners in the history of the field. Modeled after O'Reilly's highly-acclaimed book, Beautiful Code, Beautiful Data lets readers look over the shoulders of prominent data designers, managers, and handlers for a glimpse into some of the most interesting projects involving data. In an engaging narrative format, the authors think aloud as they explain their work, highlighting the simple and elegant solutions to problems they encountered along the way." Oh. This could be lovely.
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This is both good and bad in places; I'm not totally convinced by the "What would players rather shoot — a wall, or a Nazi?" argument, but I'm very interested (as per my previous writing on Far Cry 2) in notions of non-player characters as protagonist; the player as lens through which story emerges, rather than hero of said story. Stuff to think on, for sure, but I'm still working out how to respond to this; I'm not sure it fulfils its goal of discussing "how writers and designers can collaborate smoothly and successfully"; it just shows me some examples.
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"We are defined by what we build. It’s not just the engineering ambition that designed these structures, nor the 20 people who died building the Brooklyn Bridge. It’s that we believe we can and decide to act." This is good.
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Chemically, this makes sense, but I'd never thought this might be possible.
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It's Oregon Trail, but where you take everybody's favourite emo band on tour of the states. Surprisingly deep and detailed, an affectionate tribute to Apple II entertainment and the rigours of being a touring rock band. It is very silly, and somewhat ace, and will be getting a blog post in due course.
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"Tips and tricks only the pros knew, UNTIL NOW! Get ready to PWN up some NUBS on Xbox Live and get some MAD BP'S BRO!" I'm pretty sure I've played this guy.
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"These are just various photos taken during the development cycle of the businessib. Enjoy them. We hope you think they are as hilarious as we do." Oh my word.
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"If you keep the city and concentrate on putting more world into it, imaginativeness becomes the primary obstacle– you can add things into this city without having to add much physical space and new assets. There's legions of empty storefronts and empty buildings, waiting to be filled. And media– web sites, radio stations, tv shows– don't take up space either. Think of this cheap empty space as a place to tell new stories, because as a developer, you are good at this." Iroquois, hitting many nails on the head all at once, again.
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The Guardian Open Platform launches, with their Content API, their Data Store, and a selection of client libraries for the API (one of which I did a smidge of work on). This is not just a good thing, it's a good thing Done Right, and I'm looking forward to what's next from the Open Platform team.
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"A collection of accidents that happened while working on maps and other graphics." Bloopers from interactive infographics. Delightful; the patina and happy accidents of the 21st century.
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Custodian is the Ruby gem for accessing the Guardian Open Platform Content API that James Darling, Kalv Sandhu, and I (although my contribution was minor) built. There's a Google Code link to it, but I'd imagine the github version is where the action will be.
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"You may not know his name but you will certainly know his work: Morris Cassanova (aka Mr Chicken) designs and makes signs for most of the fried chicken shops in the UK." That's a good market to have sewn up, I'd imagine.
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Jones annotates his screengrabs from the James Coburn classic; lovely to see it all captured so well, even if I'd disagree that the plot is a thing of "gossamer" – it's a _tiny_ bit thicker, surely?
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"KNiiTTiiNG uses the Nintendo Wii to knit. KNiiTTiiNG was created by an artist and an engineer turned behavioral scientist." Says coming soon; presumably some kind of homebrew – Wii or Wii controllers, I ask? – but worth a link for the delicious pun in the title.
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"Scans of sandwiches for education and delight." Yes.
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Some interesting links here, but I swear: could people please find something OTHER than *that* Daigo Umehara video to link to when they talk about fighting games? There's this massively rich space to be explored, and it goes beyond 15-hit parries.
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How to get proper HD out of iMovie 09, which is something it makes surprisingly difficult.
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"I copy-and-pasted the text of my unread articles from Instapaper into a PDF, uploaded it to Lulu.com, and ordered a single book. Naturally I thought about scripting all of this but Instapaper doesn’t provide an API to retrieve articles, and I didn’t really want to bother with authentication headers and screen scraping and all of that hackery. I just wanted the book." Emmett makes an analogue version of Instapaper for himself.
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"One of the great things about working at a company with both interaction and industrial designers is that when collaboratively designing a device, you have better control over where bits of its functionality are located: in the hardware or the software. At Kicker, we call the activity of figuring out where a feature “lives” Functional Cartography."
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A story, between two people, told through email. Not looking like email; actually, originally, told over email. Now, it can only be read in order – but once, it would have been delivered. Can't imagine how striking it might have been.
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"Watching classics like The Apartment and Manhattan made me wonder at the romances we’d write about some cities, and Slumdog Millionaire bizarrely seemed like a continuation of that: a romance of the maximum-city." Yes; my favourite thing in that film was the growth of the city around Jamal, Bombay becoming Mumbai, and the skyscrapers growing.
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"The thing that caught my eye about the Unbook was the idea of accepting a book as a version: an evolving beast that spits out periodic iterations of itself before crawling away to mutate some more."
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"See, the RAF reckons research has shown them that the best drone pilot candidates are those who are experienced video game players, rather than experienced pilots. Sounds crazy at first, but when you think about it, pilots are experienced at actually flying. But flying something remotely via a 2D monitor? That's a gamer's area of expertise."
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"You are a web programmer. You have users. Your users rate stuff on your site. You want to put the highest-rated stuff at the top and lowest-rated at the bottom. You need some sort of "score" to sort by."
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When this is on Threadless, I am getting it ASAP. (Although: Ken's super should be a Shoryureppa, not the Shinkuu Hadouken that belongs to Ryu). I think this might be called "splitting hairs", though.
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Some great notes from Dan Heaf on Clay Shirky's talk a week or two ago; I particularly like the notions of building not-quite end-to-end functionality, forcing the user to do something for themselves.
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"“The User Illusion” is what Alan Kay and the PARC designers called “the simplified myth everyone builds to explain (and make guesses about) the system’s actions and what should be done next.” Nørretranders says the user illusion is “a good metaphor for consciousness. Our consciousness is our user illusion for ourselves and our world.” The world we experience is really an illusion; colors, sounds, smells, tastes, etc. are interpretation made by our brain." This sounds interesting, if a challenging read.
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This looks very, very interesting. Yes, it's IF, but it looks like it's pushing that genre quite far.
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"There are no cut scenes, no uninteractive passages, no portions where the characters are essentially "switched off" and indifferent to what the player does. Everything counts. Everything is part of the story." Excellent Emily Short piece on Blue Lacuna
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Roo writes up his first experiments with his microprinter. The barcode stuff is particularly interesting.
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"Hackers across the country are buying up old old receipt printers and imaginatively repurposing them into something new. We call them microprinters." pbwiki site for gathering resources around microprinters. Nice! Still waiting on mine (from the same load as Roo's) to arrive, though…
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"With that in mind, I present to you a gallery of paintings made by one Hoenikker J. Troll, hunter at large and painter at other times. He dragged an easel and paints all around this world. Of Warcraft." WoW screengrabs run through artistic filters. Some are really quite pretty, as, to be honest, is the source material.
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"…video games are driven by the player, experientially and emotionally. Fictional content–setting, characters, backstory– is useful inasmuch as it creates context for what the player chooses to do. This is ambient content, not linear narrative in any traditional sense. The creators of a gameworld should be lauded for their ability to believably render an intriguing fictional place– the world itself and the characters in it. However the value in a game is not to be found in its ability at storytelling, but in its potential for storymaking." Some commentary on the scale of storymaking games offer, from Steve Gaynor. Also: I like the word "storymaking", as opposed to "storytelling".
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A pretty comprehensive list, I think.
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AASM is "a library for adding finite state machines to Ruby classes. AASM started as the acts_as_state_machine plugin but has evolved into a more generic library that no longer targets only ActiveRecord models." And as a result, I might be using it a bit.
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That's sad; he was a fount of statistics since I first listened to TMS, and long before that.
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"By wrapping and extending Flash 8's sound API, SoundManager 2 brings solid audio functionality to Javascript." Dark voodoo. Dark, clever, voodoo.
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This was actually a pretty good tutorial for the jQuery UI Slider control, if only for illustrating how much code – notably markup/styles – you have to provide before the slider works.
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Kyle Gabler of 2D Boy gives the first Global Game Jam keynote. Seven minutes, seven tips, packed with goodness. He's not wrong.
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"I’m much more interested in automated nostalgia than automated presence – data feeds that gradually acrue in your wake, rather than constantly dragging your focus on to the next five minutes." Yes.
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"Established by rock band They Might Be Giants (TMBG), Dial-A-Song consisted of an answering machine with a tape of the band playing various songs. The machine played one track at a time, ranging from demos and uncompleted work to fake advertisements the band had created… Due to the nature of an answering machine, only one caller could listen to the current song at any given time. This had been noted as creating a special bond between the song and the person calling as it is playing just for them… John Linnell stated in an interview in early 2008 that Dial-A-Song had died of a technical crash, and that the internet had taken over where the machine left off." How did I not know this? There is nothing about this that is not brilliant.
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"This Prince of Persia is many things good and bad, but for me, it has been one of the more enthralling experiences provided by a video game. It eschews frustrating, punishing gameplay tropes, and instead follows a hugely unpopular and successful (at its aim) path: it aims to create a continuous, enjoyable, flowing experience, one unhindered by the mechanical, artificial traditions of “achievement” and “fun” that so many games cling to."
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"Murphy was also rumored to have been attempting to supply his castmates with pain pills. When asked about the rumors, Dwayne “The Rock” Johnson, playing “The Tank” in the film, said, “Eddie was just achievement-boosting. Anything else is a rumor, plain and simple.”" Hardcasual, again, I love you.
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"in the meantime, I decided to do an absolutely crucial bit of game science. Something that I am entirely sure is mulled over constantly, but never properly investigated. The question is but stated thusly: how long would it take the Little Prince to roll up an entire room based on a random path algorithm?" Julian is having fun.
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"Take it easy on the kid, SilverFox316; everybody kills Hitler on their first trip. I did. It always gets fixed within a few minutes, what's the harm?"
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"For all the talk of immersion and realism it seems gamers still want games that provide for them, that make them the centre of the action, the pivotal agent in the events of the world, the nexus around which everything is focused." And this is one of the big conflicts within games: you have to make the player feel wanted whilst they're playing the game, make them feel the centre of attention, because without them the game is nothing. But at the same time: can you still tell stories that aren't about them? I expand a little in the comment on the blogpost proper.
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"Over the past few months we’ve had to create a few iPhone mock ups for presentations… Since we know we’ll be doing more of this, we created our own Photoshop file that has a fairly comprehensive library of assets – all fully editable." Could be useful.
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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.
Africa Wins Again: Far Cry 2’s literary approach to narrative
22 December 2008
Far Cry 2 is a difficult game to write about; difficult because it’s an experience that doesn’t coalesce in individual moments or fragments. Whilst there are many memorable moments I can point to – the dynamic, emergent gunfights that characterise the gameplay, the starkness of the major plot beats – it is the player’s overall experience of the game that is its greatest strength.
And isn’t that how things should be? For a game that revels in the open world that it’s set in – a fictitious African country that covers desert and mountain, swamps and savannah – it only seems appropriate that it be a game about the impact of a world on a character, rather than that character’s interactions with the world. Far Cry 2 takes the mechanics of its open-world shooting experience, and works out how to wrap them into a much larger narrative without losing the coherence of the player’s actions.
Far Cry’s references to Conrad (and, in particular, Heart of Darkness) are well-documented already, but I think to focus on the words used, the plot the game follows and the references within the game so explicitly isn’t necessarily useful. What struck me was not the game’s similarity to Conrad; it its much broader, deeper appropriation of literary techniques – whilst using them in an inherently gamelike manner – as a way to tell stories.
(Before we go on: there are likely to be what you might call “spoilers” ahead, so there’s a break in the text for those of you viewing on the web. I don’t see how we can talk meaningfully about this game without talking about specifics, so if you’ve not finished it and really care about this kind of thing, look away now.)
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