• "The Whale Hunt is an experiment in human storytelling." 3000+ photographs, with what seems like a confusing-and-shiny interface to explore them – but hides a detailed metadata manipulation layer underneath. Beautiful pictures, too. Something really quite special; the "interface" pages should explain more.
  • "Still, overall, Left 4 Dead's opening cinematic is a shockingly complete primer to the rest of the game. With only a few exceptions, almost any player going into Left 4 Dead for the first time will know exactly how to play the game: they already know the gameplay, the weapons, the enemies, the win scenario and the strategies they need to get through the game alive… the only thing not covered in the opening movie is the specifics of the interface." Yes – had this exact same conversation a few days ago. Although John is awfully down on Louis, which seems a tad unfair…
  • "The obstacles that exist are mere impediments to my motion, puzzles placed only to slow me down or stop my free-flow kinetic improvisation. No time to think or overanylize, only time enough to move. This is what the essence of gaming should feel like: a sincere, wholehearted attachment to the action (or actions) that one sets into play. It is a moment where the motivation at hand is intention only, whose aim is exploration and discovery, refined. It is the escape, distilled and realized." GWJ on Mirror's Edge, and never rewinding, never looking back.
  • "Metro Rules of Conduct is a game about the awkward situation of commuting in my hometown, Stockholm. Look at mobile phones, MP3 players and breast for score, but whatever you do – avoid eye contact!" Wonderful; the art-style works really well, as does the head-bob.
  • "Melville was torn between writing a ripping nautical yarn and a metaphysical odyssey, and it shows. Rockstar was torn between constructing a sandbox and a stage, and it shows. The result was a tenuously fused work of genuine Americana: a disorderly paean to the American city, a bit of ultraviolence, a stonkingly beautiful soundtrack, a fable, a simulation, a gonzo critique of capitalism. It's a game we deserve. " Pliskin on what GTA4 meant. Perhaps hyperbolic, but it's an important signifier of this year. The Redding quotation about Far Cry 2 is also a stonker.
  • All 226 entrants for the 2009 IGF. Heard of – and played – some of these, but many are unknown. Exciting to see the list, though, if only to be reminded that there's this many games being made and funded independently, at the large and small scale.
  • "aphex twin + vassily kandinsky + doom 2" – now that's a tagline.
  • "Economics has been defined as the science of distributing limited means among unlimited and competing ends. On 12th April, with the arrival of elements of the 30th U.S. Infantry Division, the ushering in of an age of plenty demonstrated the hypothesis that with infinite means economic organization and activity would be redundant, as every want could be satisfied without effort." Remarkable article; fascinating for its subject matter, when it was written, what it describes, and the patterns that hold up inside such a regimented economy. A must-read, really – can't believe it took me so long to get around to it.
  • "Our attempts to bridle the player's freedom of movement and force our meaning onto him are fruitless. Rather, it is a distinct transportative, transformative quality– the ability of the player to build his own personal meaning through immersion in the interactive fields of potential we provide– that is our unique strength, begging to be fully realized." Some great Steve Gaynor; reminds me of Mitch Resnick's "microworld construction kits" all over again.
  • "It's an easy, irresistible, almost childish pleasure: the ground meat dissolved into a dark blood-red sauce until they are one and the same; no hacking, slicing or cutting needed; a slurpy goodness; the oily bolognese hanging on to the slippery pasta; guaranteed joy in a world that's just ruled it out." Recipes for ragu.
  • "Suddenly, instead of Pong, Nolan Bushnell unleashes a stark, monochrome rescue challenge on the world. AVOID MISSING PRINCESS FOR HIGH SCORE burns itself into the brains of a generation. A couple of sequels expand the world of this strange new hero and, keen to bring its popularity to bear on the 2600, Atari execs strong-arm Warren Robinett into populating Adventure with mushroom monsters and making the green dragon friendly." Delightful alterna-history from Margaret in her Offworld column.
  • "Soon enough, amid the daily grind of his obsession, he would see in the game itself a way out of the bleak hole he had fallen into. He would take a clear-eyed, calculating look at what he and his fellow players had been doing all those months—at the countless hours they'd given over to the pursuit of purely virtual but implacably scarce commodities—and he would recognize it not just for the underexploited form of productivity it was but for the highly profitable commercial enterprise it might sustain." Fantastic article from Julian Dibbell on IGE, the massive real-money trading operation.
  • "We will both have to take responsibility for our consumption. A product that keeps working for longer uses less-resources in the end. The key ingredient to all this is quality. To make something well, you know, the best you can do. To go the extra mile that it takes to do that. Every stitch, every zip, every little feature considered. The weakest points made strong. Then, and only then, have we made something that will last the test of time. Guaranteed for a minimum 10 years. Each product will come with a hand me down contract. You will sign who you want to leave the product to. This is legally binding."
  • "Trust begins when I can see the design intention of an application." Great stuff from Rands on how sync should work – namely, in the dumbest way possible – and what building trust into application design looks like.
  • "Throughout most of the year, gaming is distraction and entertainment. November separates the proverbial patriarchs from their upstart offspring. In November, the Gamer! and the With Job! blur. I spend my ill-defined work hours thinking, talking and writing about games. And the time I'm playing games become a form of work – a struggle to keep up no less frenetic than that of the clock-manager in Metropolis." This year's November release schedule was crazier than most, too.
    (tags: games writing )
  • "the brains behind the siduhe bridge decided to ignore all those options and break another record instead. they attached the 3200ft cables to rockets and accurately fired them over the valley, becoming the first people to do so." Woah. The photographs are awesome.

Paul Ferenc’s pistol

23 November 2008

Far Cry 2's Africa

Paul Ferenc died today.

I met Paul in some ex-pat bar by a lagoon. He had work, and I needed a friend – or the closest I could get to a friend in this country. He used to be in the IDF; now, like the rest of us, he was a gun for hire in this mess of a country, his hair bleached by the African sun. We worked together on quite a few jobs. But our relationship was mainly characterised by absence; I’d not see him for days at a time, only occasionally bumping into him at safe houses when he had work. Always doing push-ups; I never understood how he didn’t go mad in there on his own.

I think we all might be mad already.

He saved my life countless times; dragging me to safety, covering me with gunfire whilst I reset dislocated bones, yanked slugs out of my arm with my multi-tool. And I returned the favour; often, I’d see the blue cloud rising from the smoke grenades he carried with him for emergencies, and run to his aid.

He was a tough guy. Nothing a syrette or two of morphine couldn’t sort out; always back on his feet in no time.

Today, I was off to destroy some compressors in a scrapyard; Paul reckoned we could cause more havoc if I got him a timetable for fuel convoys to the junkyard. It seemed like a reasonable deal. Most of his schemes weren’t too bad, but I baulked at the time he seemed to be financing retiring to Thailand through my sweat.

I got him the timetable, even if it did involve destroying half of a fuel depot out north. He suggested I meet him after I’d made a mess of the junkyard.

With the compressor gone, I headed northwards, ducking the machine-gun fire sputtering through the jungle. Through my scope, I saw Paul, shotgun blazing. Clearly, the convoy was well guarded. I lost sight of him, distracted by two mercs with RPKs; by the time my private gunfight was over, I couldn’t see Paul.

Then I saw the blue smoke.

I darted over to him. He looked in a bad way – he always looked in a bad way, to be honest – and I had morphine to spare. I gave him a shot, waited for the glint in his eyes to return and for him to spring up. Nothing. He asked for another, and I yanked the cap off with my teeth, drove it into the vein in his neck. Nothing. His eyes began to roll, vacantly.

It looked bad this time. I could probably spare him another syrette, but I was going to have to keep some for myself. The grip of his pistol jutted out of his jacket, and I began to thing about alternatives to just leaving him here.

One more shot, straight into the neck. His eyes rolled back for the last time, and he was still. No need for the pistol; no need for any more morphine. I closed his eyes.

There was nothing much else I could do. Life ends out here bloody and quickly, and I had to get back to the town. He’d been a good buddy, if not exactly a friend. I dropped my Russian-made pistol and took his large Desert Eagle from his waistband. Something to remember him by.

The gun was corroded, practically mud-brown; no wonder he’d gone down in the firefight at the convoy. But it was all that was left of Paul, now; I squashed it into my holster and drove towards Pala.

On the way there, a small group of mercs opened fire on me. Leaping from my jeep, I opened fire with the .50 pistol. Three shots and the rusty gun jams. I duck behind the hood, slapping the gun with my other hand, racking the slide to clear the jammed cartridge. No-one would come for me if I went down; my only backup was lying dead in the jungle, full of lead and morphine. All he left me was this gun, and it was likely to get myself killed.

The stuck cartridge cleared, and I opened fire again.

I arrived at Pala a while later. Paul Ferenc’s pistol lay in the dust at the cockfights, its slide half-locked with rust, its last victims a few feet away.

I went looking for new work, a new friend, and a new gun.

I’ll be writing something more substantial about Far Cry 2 in the near future. It’s a world that’s immersed me far more than I’d imagined it ever could, and documenting this morning’s events seemed like a good way of starting to move towards talking about it.

  • "We've seen this all before… [but] these Smule globes seem strangely different and much more interesting, largely I think because you hold the phone in your hand instead of the laptop or monitor on your desk. It's a more personal, touched engagement with the screen that makes visualizing an earth-spanning army of phone lighters and flute blowers more physically personal."
  • "But succeed or fail, my awareness of game design is omnipresent, and I like it that way. It enriches my experience of playing. The in-world experience remains my first thought, but my second thought is nearly always focused on the system, especially when that system demonstrates originality or beautiful execution. I don't think I'm the only gamer who behaves this way." No, but it requires a certain degree of awareness of the medium to think about the second; the first is much more immediate, and the second is about an engagements with games, rather than a particular game.
  • "If I only have so many hours in the day to devote to genuinely insightful things, Gladwell’s track record screams at me to ignore Outliers. At least for now. At least until I’m stuck on a cross-country flight, liquored up, and ready for a good fight." Jack Shedd is bored of anecdotes.
  • "This is a lexicon of terms relating to John Horton Conway's Game of Life." Very comprehensive, with lots of examples.
  • Ignoring the background music and a lot of Trajan, I really like this series of pictures from Brooks Reynolds; particularly, his use of lighting and depth of field. I'm a big fan of concept-series; they tend to be more than a sum of their parts.
  • I don't care that it's not playing the game or anything, there is no way in the world that this is anything less than super-awesome.