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"The process of going back and forth from painting to the computer became a continuous cycle. Midway through as I became more and more familiar with the outcome of how the actual texture would appear on the screen when tiled, my painting process became more specific to achieve the desired texture, color, darkness, stroke, range of value that I wanted for each feature on the map." Lovely stuff from Geraldine on painting, textures, and process.
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This sounds great: Andrew Collins presenting a 30-minute documentary on a history of 3D – from perspective drawing through early stereoscopy to the present – on Radio 4 this week. Must remember to listen-again/iPlayer/huffduff/whatever it.
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Linked almost everywhere by now, but still: a marvellous, marvellous game, dead simple to play, thoughtful, and well-paced. A must-play, really.
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"To extend the "director" metaphor, Left 4 Dead's AI Director was a bit like Alfred Hitchcock: a master of suspense. Left 4 Dead 2's AI Director (dubbed AI Director 2.0, conveniently enough) is perhaps from a younger generation of "torture porn" filmmakers. In place of suspense is sheer brutality and instead of tiptoeing along the precipice of failure, you're pushed over. And over. And over." Much as I'm enjoying L4D2, I think this is an appropriate metaphor: it's not just that it's hard, it's that it's *relentless*; the suspense of L4D is missing a bit.
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Simple paintings of arcade games. Pretty!
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Jason Rohrer has a new puzzle game out, designed primarily for iPhone but also available for OSX/Windows/Linux as ever. The UI is very thoughtful, for something finger-driven; the game mechanic is complex, but I think I'll get a handl eon it soon. I hope.
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"As I watched the gunfire on screen, I should have been wondering what it was like to actually be in the shoes of those soldiers. But as I sat staring, I instead wondered whether the Marines had bothered to observe that building for civilian inhabitants before demolishing it. I wondered how any Marine that got shot in Iraq could endorse a game based on Fallujah where you can be hit by a hail of bullets and walk away. By the end, I was left wondering what Konami was thinking." A strong article from Nick Breckon on the problems already showing with Six Days In Fallujah. Thoughtful, well-reasoned, and not at all knee-jerk. I, too, am already concerned.
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Lovely: Creature Comforts meets "Hey There Little Fella". Totally charming.
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Ocean Quigley has a blog, and whilst all the stuff on Spore and Sim City 4 is super-nice, what I really like are his paintings and sketches, which are just lovely.
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"Daily deep-dive analysis of a specimen from the modern world's most exciting communication medium for penis humor."
Andrei Herasimchuk posted this to the IxDA mailing list, as part of a (reasonably interesting, given the usual turgdity of the list) discussion. The quotation itself was just too good not to lift.
Too much emphasis cannot be placed on the importance of three- dimensional models. We come to this step after we have analyzed and evaluated hundreds of designs and blueprints, trying to bring some quality to the product that will make it easier to use without increasing the cost, more pleasant to look at without any drastic changes in the factory routine. When our ideas have been formulated, we design in clay, then plaster, finally in a material that will simulate the material to be used in manufacturing the actual product. Wherever possible, such models are done in full size. In developing the exterior of a train or a ship, accurate scale models must suffice.
The cost of a model is more than compensated for by future savings. It not only presents an accurate picture of the product for the executives, but it also gives the toolmakers and production men an opportunity to criticize and to present manufacturing problems. Models of some products can be made for a few hundred dollars. Full- scale models of ship or train interiors can cost many thousands of dollars. A mock-up of a modern passenger airplane cabin may cost $150,000 but it will be worth it, for it permits engineers and designers to develop techniques of installation that would not be otherwise possible. Furthermore, sales executives can bring potential customers into a faithful, full scale fuselage to see what it offers, long before production begins. It is far more effective to sit in a chair that judge its comfort by a picture of it.
Henry Dreyfuss, Designing for People, 61-62.
This doesn’t just apply to ships and trains, does it? We’re back to sculpting versus painting again.