"…the Duke Nukem Forever team worked for 12 years straight. As one patient fan pointed out, when development on Duke Nukem Forever started, most computers were still using Windows 95, Pixar had made only one movie — Toy Story — and Xbox did not yet exist." Fantastic, dense, Wired article on DNF from Clive Thompson

"For 16 days I lived with it strapped to me as I climbed through the valleys of central Nepal up to Annapurna Base Camp at 4,200 meters." Wonderful review of the GF1, framed as a travelogue, with real photographs. I'd be quite happy if all camera reviews looked like this.

"Copenhagen was much worse than just another bad deal, because it illustrated a profound shift in global geopolitics. This is fast becoming China's century, yet its leadership has displayed that multilateral environmental governance is not only not a priority, but is viewed as a hindrance to the new superpower's freedom of action." Mark Lynas on the reality of China's actions at Copenhagen. Worrying.

"Little stories are the internet’s native and ideal art form." Yes. This is a good one.

Linked almost everywhere by now, but still: a marvellous, marvellous game, dead simple to play, thoughtful, and well-paced. A must-play, really.

"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.

Simple paintings of arcade games. Pretty!

It's a digital clock made out of scrollbars; divs being resized to force overflow and generate a scrollbar make up the seven-segment display. Bonkers.

"Using a simple correlation scale comparing marketing spend and sales against Metacritic rating and sales, Divnich found that marketing influenced game revenue “three times more than game scores”… “There is no compelling reason to focus on quality, you should literally just spend that money and time on marketing.”" I'm not sure he's suggesting this is a /good/ thing, but he is pointing out that it's what the numbers say. It's still depressing.

"The amygdala is the “fight or flight” and emotional memory part of the brain. Its job is to protect by comparing incoming data with emotional memories. An amygdala hijack occurs when we respond out of measure with the actual threat because it has triggered a much more significant emotional threat." Wow, there's actually science behind that feeling. Useful to give it a name, too.

"This is why I tell people over and over again: you cannot trust what you see even with your own eyes. Your eyes are not cameras faithfully taking pictures of absolute truth of all that surrounds you. They have filters, and your brain has to interpret the jangled mess it gets fed. Colors are not what they appear, shapes are not what they appear (that zoomed image above is square, believe it or not), objects are not what they appear." This is crazy – and one of the few optical illusions I've seen that still works when zoomed-in super close. It's so hard to make head or tail of.

"So, to sum up: Transformers: Revenge Of The Fallen is one of the greatest achievements in the history of cinema, if not the greatest. You could easily argue that cinema, as an artform, has all been leading up to this. It will destabilize your limbic system, probably forever, and make you doubt the solidity of your surroundings. Generations of auteurs have struggled, in vain, to create a cinematic experience as overwhelming, and as liberating, as ROTF." This review is, essentially, amazing, and has elevated ROTF to a must-see for me.

"I'm continually drawn in by the belief that everyone finds their own way through life, age, cities, networks, whatever. And as Meehan's tale recounts, it's the whispers we leave on the wind that entice others to follow our hints." Just go and read the story; it's wonderful, and the fragments George picks out so carefully constructed. That made my evening.

"In the 14 months since [TeamFortress 2] shipped, the PC version of the game has seen 63 updates – “that’s the frequency you want to be providing updates to your customers,” [Newell] adds. “You want to say, ‘We’ll get back to you every week. The degree to which you can engage your customer base in creating value for your other players” is key, says Newell. “When people say interesting or intelligent things about your product, it will translate directly into incremental revenue for the content provider.”" Great write-up from Chris Remo of Gabe Newell's DICE talk.

"This is a sort of thorough, empirical, sociological study of art students at two British art schools at a very interesting moment, the late 1960s (a moment when, as the book says, anti-art became the approved art, bringing all sorts of paradoxes to the fore). I find it fascinating that such a subjective thing as developing an art practice can be studied so objectively, but then I find it amazing that art can be taught at all. The book shows the tutors and students circling each other with wariness, coolness, misunderstanding, despair, appreciation." Some great anecdotes and observation.

"Busker Du (dial-up) is a recording service for buskers through the telephone (preferably public payphones hidden in subway stations). Audio recorded will be posted to this audio-blog and made available to all who cherish lo-fi original music. Try it out at your favorite subway station or street corner." Dial-A-Song comes full circle.

"Poole – HAL 9000 is a fictional chess game in the movie 2001: A Space Odyssey. In the movie, the astronaut Frank Poole is seen playing chess with the HAL 9000 supercomputer… The director Stanley Kubrick was a passionate chess player, so unlike many chess scenes shown in other films, the position and analysis actually makes sense. The actual game seems to come from Roesch – Schlage, Hamburg 1910, a tournament game between two lesser-known masters."

Lovely demo – some interesting interfaces that feel quicker than current alternatives, as well as experimental ones that, whilst slower and clumsier, represent information a bit better. I mainly like the form-factor, though – but what's the unit cost? These things get a lot better the more you have.

"Something like: Trying to create a reading list that gives the best introduction to everything. This may change." Phil is trying to collect the Good Books in many fields. It's an interesting project, for sure; it'll also be interesting to see how it pans out.

I was a little excited from the ongoing Offworld love in, but Oli Welsh's review suddenly makes me insanely excited about Keita Takahashi's new plaything. Why is it that all the reasons for me wanting a £300 PS3 are £3 PSN titles?

"…the biggest consequence [of a universal micro-USB adaptor] will be the ease of transferring data/content from street service provider to consumer, and consumer to consumer… There is a place at the edges of the internet where the level of friction makes content and data grind to a halt. It's largely unregulated. And it just got seriously lubed."

"30 Second Hero is an action RPG which consists of really short battles that require no interaction, as players race against the clock to save the kingdom from an evil wizard's wrath. As indicated by the title, you only have thirty seconds to level up your character sufficiently for the final battle, although additional time can be bought from the castle at the cost of a hundred gold pieces per increment of ten seconds." Hectic; the entire early JRPG genre (FF1, et al) condensed into a minute-long rush. Grinding as poetry.

"I was convinced that it was a spoof. As if there’d be a genre called Donk. Everything is wrong about the video. The knowing subtitles over subtle Northern Accents. The presenter’s slight grin when he’s chatting to folk. The funnily named shops. Everything. There’s no way I’m falling for a prank like that. It reminds me heavily of the episode of Brass Eye where they whang on about Cake (the made up drug). And all the characters and the interviews look like they could be setups or clever edits." But no, it's real. Iain Tait discovers Donk.

"…with that sad note from Sarinee Achavanuntakul, one of the most enduring (if illegal) tributes to gaming history came to an end." Home of the Underdogs is no more; just gone, like that. It wasn't that it had the best games or the worst games, or that they were illegal, or free; it was history, and childhood, and the smell of cardboard and boot disks, all wrapped up in one giant cathedral to Good Old Games. Most things I played on my old DOS machine were there. A shame; I hope they're elsewhere. This is why we need proper game archives.

Tweaking a game five months after launch to make it both more playable, and also more realistic; understanding that realism is key to NHL09 fans, and delivering on that as an ongoing promise.

"Warcraft’s success has always been substantially due to the extraordinary physicality of Azeroth, to the real sense of land transversed, of caves discovered, and of secrets shared. Players old and new bemoan the endless trudging that low-level travel requires, but it’s crucial for binding you to the world." Yes. Despite QuestHelper, I'm always in awe of the new areas. I just wish more people were playing the game as slowly and badly as me. Another beautiful One More Go, and one that resonates a lot right now.

"Sometimes, when the wind is warm and low, when the gear ratio is perfect and the tyres pumped, and when the road is soft and quiet, I feel weightless."

"A few lonely zombies are looking for love on the Bay Area Craigslist." Lovely.

"…while there will no doubt be a small but vociferous core of Third Strike veterans who cry foul over the series' apparent simplification, they will be vastly outnumbered by those players who get to fall in love again with the Street Fighter of their youth: one that's easy to pick up and play, yet near-impossible to master. As a result this is, in almost every way that matters, the perfect Street Fighter." Very excited. Very, very excited.

"I've had too many conversations with game-makers (particularly from my Scottish locus) who, when presented with a range of possible game motivations and scenarios that don't involve spectacular male violence in urban settings, shake their heads and say, "just don't see the game in that, Pat. You gotta see the game." I've always suspected that this was male geek laziness on the industry's part. Incidentally, this report is based on a sample set that was 85% male." Maybe; but sometimes, "seeing the game" is an important part of game design. That doesn't always call for free-roaming urban-carnage, but I'm not sure I can entirely agree with Kane's quotation here.

Because I've never known how to spell it until now, and it's one of my favourite words.

Very beautiful, and, so far, very sensible implementation of touch interactions. Looking forward to playing much more of this over the holidays.

"Tears shouldn’t be our goal. Stories don’t need to be our tools. The majority of art forms don’t rely on narrative for their emotional impact. Stop and think about that for a second. The games industry tends to draw on such an amazingly limited roster of inspirations that it’s easy to forget it. But our obsession with linear, story-based – word-based, even – non-participatory art at the expense of all the other forms makes life so much harder for games, and it makes me crazy."

"Modern day awesominers know there are actually 118 fundamental "awesoments" that compose all good things. The Periodic table of Awesoments can be a very useful tool. It's designed to show the relationships between awesoments, and often one can even predict how awesoments interact simply by their positions on the table."

Very good – some good stuff around how the library works, but also lots of basics around how to optimise Javascript.

Gerard Way reviews Left 4 Dead on My Chemical Romance's (totally excellent) blog.

"Left 4 Dead is out
Friends kill zombies together
Is it worth getting?"
Yes Gerard, it is.

"If you want a recipe for restless sleep, I can give you one. Add one part “what will my wife think” with 3,000 parts Benjamin Franklin; stir in a “beer anytime you damn well please” and top with a chance at financial independence."

"It’s easy to roll your eyes at the people who look at an Xbox 360 controller or Dual Shock and say it’s too complicated. “Left 4 Dead” proves there are hardcore experiences — not just Wii and DS games — that can draw them in…but the controller remains a challenge that won’t be easily overcome." I'd never roll my eyes; modern pads are very complicated, and twin-stick move/shoot is one of the hardest skills to acquire. Still, a nice piece of commentary on what learning to use a controller looks like, and a healthy reminder.

"So when I play Fallout 3, and I think this is probably true for most people who are over forty, some part of me is always wondering if this is what it really would have been like. Not in terms of enemies, but in the way that humans banded together into small groups to create enough order to survive." Bill Harris on a perspective on Fallout 3 that I'll never have.

Click "CM Gallery". Watch. In order to illustrate the xiao's ability to not only take but also print photographs, Takara Tomy really pushed their anthropomorphic metaphor to the limits.

"Yes, it's true that at no time while playing Prince of Persia did I feel any of the frustration that I felt on a regular basis in Mirror's Edge. But neither did I ever feel the joy of doing something right, of stringing together a perfect series of vaults and wall-runs and feeling like it was based on my own skill. Can one exist without the other? Is it impossible to create joy without difficulty? I don't know. But Prince of Persia lost something significant." I'm a bit worried about the new Prince, especially having read this; the challenge/reward balance is hugely important to it as a series, especially since the marvellous Sands of Time. Also, more worryingly: are developers shying away from letting players fail any more?

"The Facebook Republican Army, based on Brighton's tough Whitehawk estate, looks for parties on Facebook. The gang boasts it travels nationwide – and has even bought its own coach." Oh boy.

"As the about page says, if you live exactly 6 minutes from Sunset Tunnel East Portal, 8 minutes from Duboce and Church, and 10 minutes from Church Station you may find it useful too." Bespoke tools for yourself that might happen to be useful to others. I like this a lot.

"The Firefox add-on "Pirates of the Amazon" inserts a "download 4 free" button on Amazon, which links to corresponding Piratebay BitTorrents. The add-on lowers the technical barrier to enable anyone to choose between "add to shopping cart" or "download 4 free". Are you a pirate?" Almost certainly not the first example; perhaps one of the best realised.

"That's how I got here. How long will it be before someone builds a raft and sets sail in space? Bill Gates has over fifty billion dollars. What if Richard Garriott had fifty billion dollars? If he wanted to, would that be enough money to build a rocket to get him into space, and a self-sustaining environment in which he could live? Would he want to sail away and never come back? … No matter what happened in our future, [whoever built that raft] would forever be the first. A thousand years from now, people would remember his name." Bill Harris is awesome.

Um. An "artwork/game/digital poem/world of scribbles" from Jason Nelson. Stop trying to "get it".

"My Favorite Book Covers of 2008" Some I'd seen before; some I'd not. Some very beautiful things here.

"I come from a software background, as well as an artsy-fartsy one. I want to see games as art, but they’re also supposed to work as logically-constructed bodies of code. And in a lot of cases, reviewers need to see them as software rather than as art. Here’s why…" I think Steve has some good points here, but I'm not totally swung yet; after all, games might _be_ software, but do we _experience_ them as software? I'm not sure that we do, and that's why we respond to them in the manner we do.

"The ultimate resource in grid systems."

Pretty much spot on. Especially when it comes to GRIMDARK PIRATE COMICS.

"Does the road to ludonarrative unity really lead us where we want to go? Is the destination reachable? Is it possible to embrace a design aesthetic that takes us in another direction that could be just as fruitful, if not more so? Okay that was three questions, but it's my blog so I get to ask as many as I want. Now if I could only answer them." This is going to be interesting when I come to write about Far Cry 2.

"a poster-sized calendar with a bubble to pop every day". Yes please!

"I still consider glass to be an extreme craft – you’re working with and fighting gravity and momentum in those 60 seconds before it starts to harden – but you learn to take your time, even if there are lots of moments of extreme concentration to keep a piece from disintegrating." Chris writes up his glass-blowing course; sounds great.

"Perhaps the problem is that we so deeply rely on reference points like film, which require stories progressing over time, when we could be referring to things like sculpture or painting, which require no timescale and people find just as moving." Some good thoughts from Jonathan Blow; I think his point about games' unique ability to challenge is an important one.

"Rohrer is trying to make art in a medium that most people don't even think is capable of art. He can create this space of pure freedom, as artists have done in the past — isolation, introspection, ascetic poverty. But ultimately he has to send these works out into the world, and people have to respond to them. And right now the audience doesn't know what to do with them." Fantastic writing from Esquire; mature, sensible, and at no point apologist.

"The 'better sequel' mentality is damaging both to the games industry and to the quality of games journalism. It is a deferral of critical responsibility, a patronising pat on the head for the developer who dared to dream and fell short in some mythically vital way. I don't want to be frustrated by dodgy controls either, but then I'm willing to blunder through if I'm going to get an experience I never had before." And this is why I've been sticking with it; I think Keith is on the right lines with this quotation.

I really like the dot/tab/pad/board delineation, and the fraction/inch/foot/yard scale that accompanies it. A nice way of framing these issues.

"Someday I hope game designers really are seen as trusted personal trainers, and that we have the chance to take people through proven processes that pay off in the long run. More gamesight, a surprising social safety net and support system, a more engaging environment, a higher quality of life." You trust a good designer to deliver good experience, regardless of the pain they put you through.

"Unknown games are always the best ones… They are always stronger, funnier, cleverer and better-executed than their realities and so that walk home from the store, when the game is tangible in your hands but still imagined in your mind, is oftentimes the most potent moment in the videogame experience." A lovely piece from Simon on what the end of a certain kind of retail experience will really mean.

"Steve Rose notes that the recent films have seen Bond visit and destroy as much villain-architecture as ever ("The villains are the creators; Bond is the destroyer. He's basically an enemy of architecture"), and suggests this can be traced back to Fleming's difficulties with Modernist architects." Rod on Bond is always good, and bonus points for the punning title.

"A series looking at different aspects of guardian.co.uk's rebuild and redesign project, which ran from October 2005 to September 2008." Looks like there's going to be some good stuff emerging from this; great to see the Guardian making it so public.