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"For every human being who looks up at the moon in the nights to come will know that there is some corner of another world that is forever mankind." Bill Safire's speech for Richard Nixon, on the event Armstrong and Aldrin were marooned. A glimpse of alternate history.
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"I hate the way I’m expected to give up trying to open you when I see the words “this door has been locked from the other side” or “this door opens elsewhere”, as though they’re a command from God himself."
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Contains photographs of a PIG in TINY WELLINGTON BOOTS.
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"The problem with all this is that we're asking the wrong question. The “are games art?” question is boring…
The interesting question, to me, is what /kind/ of art games are. That is, we should be asking ourselves what kind of formal dynamics and pleasures are inherent in the medium, and be able to identify when these formal capacities are used well." Sensible, rationally thought out, and also a reminder as to /why/ Kane is used as a benchmark. "Command of formal capacities" is an important phrase. -
"Clearly we had not been invested enough in the narrative."
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Francis has gained his own clothing line, and I need this shirt like a red wizard needs food.
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"I've always marvelled at the idea of a $25m game needing $35m of marketing. Doesn't that feel so wrong and weird? I'd make two $25m games, spend $8m on indies doing crazy new things, and have $2m left over for some nu-style publicity. Or better still, spend $60m across 60 indies full stop." Lots of good things in Alice's compainon to Matt's posts, but especially this; the constant shyness to 'spend less on more stuff' from the games "industry" always befuddles me.
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Lots of comics neatly surmising the plots of various Metal Gears; "Let's Destroy The Shagohod" is pretty spot-on, start to finish, and full of Giant Spoilers, obviously.
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"As I tried to unravel Braid’s interstitial text I realized that solving the puzzles and understanding the text required very similar approaches. Their concealed machinations and thematic ambiguities are teased out using the same mental processes, and are part of the same overarching search for meaning. In a way, I was “reading” everything in the game. It’s not the unification of narrative and gameplay that we’ve come to expect, but it’s a refreshing and effective one." Dan Bruno has an interesting perspective on Braid; not sure I agree with it entirely, but the feelings he describes are certainly familiar.
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So I'm going to be writing the odd thing for Offworld from time to time, and this is my first post, on a nice post from Steve Gaynor about architecutre, and leading players through stories with architecture alone. More to come, pop-pickers.
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"A decade or two ago I spent some days in a “study” in an old Oxford college: bed, desk, lamp, and a window with a view of the quadrangle; nothing else. It made an impression that hasn’t faded. Among other things, I made insane, immense progress on a difficult piece of writing at the front of my to-do list. Here’s a prediction: Geek fashion in particular and intellectual fashion in general will swing hard over: from cluttered to ascetic, from high to low entropy, from library to monastery." A few thoughts from Tim Bray – not all of which I agree with – on the changing geek aesthetic.
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David Hellman releases hi-res assets of all the Braid artwork. It is beautiful, and am thinking about how best to use some of it on my desktop.
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'London police are now deleting tourists' photos because "photographing anything to do with transport is strictly forbidden."' Oh god.
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"Protovis is a visualization toolkit for JavaScript using the canvas element. It takes a graphical approach to data visualization, composing custom views of data with simple graphical primitives like bars and dots."
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"[within the games industry]… the creativity-medium-invention and attitude-practice-deconstruction models often hold no water. Rather, there is only importance placed upon the “talent-meiter-immitation” model that is still in practice in the industry today." An interesting analysis of the nature of education (as it relates to the games industry) and models of learning. I have often lamented the depressing state of how career progression in the industry works, and this article helps quantifies it.
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A thoughful post (as ever) from the L4D team detailing some of the balancing and planning that's gone into the Survival Mode experience. Looking forward to firing this up next week…
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"The genre of the palindrome, playful and ludic as it is, nonetheless has a strong implication of violence. In the work of its foremost practitioners, Velemir Khlebnikov and Vladimir Nabokov, as well as some of their postmodern successors, the palindrome is closely linked to death, cannibalism, beheading, and murder."
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Tom Francis posits an alternate ending to Bioshock, that makes sense of the Vita-Chambers switcheroo, gives the player the agency they've craved, fixes some of the issues with the original ending, and asks you kindly to DROP THE GODDAMN RADIO.
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"anyone can do any amount of work, provided it isn't the work he is supposed to be doing at that moment. " Yes.
When I moved house recently, I managed to find my copy of Katharine Whitehorn‘s classic Cooking In A Bedsitter. Almost everyone I’ve shown it to has loved it, and asked for me to put more of it online, and so Easter Weekend seemed as good a time as any to dog-ear some pages.
Whitehorn’s book was first published in 1961, and targets the early twenty-somethings moving into small bedsits with the advent of first jobs; her goal is to point out that you can cook perfectly well – even rather entertainingly – with a single gas ring and no sink, but you’re not going to be cooking like mother – and you’re going to have to be a little bit creative.
What follows is a selection of simple, cost-conscious and clearly explained recipes for the first-time bedsitter cook. They are accompanied by Whitehorn’s barbed tongue and voice of expertise, although she barely lived in a bedsit, and didn’t really enjoy cooking, as this interview with Rachel Cooke from last year’s Observer details.
There are two sections to the book. The first, “Cooking To Stay Alive” is a crash course in cookery, storage, inventive use of space and savvy cooking. The second, “Cooking To Impress”, looks at how to cook for parties or groups or, most importantly of all, objects of affection. It’s here that Whitehorn’s pragmatism combines with a saucy barb and, frankly, makes me laugh very hard.
Anyhow, it was hard not to copy out the whole book, but I’ve tried to be reserved to give you an idea of what you’re missing. Do buy the book – it’s still in print, although without the delightful cover of the Penguin edition – if only for a slice of cultural history, when bedsits weren’t last resorts and we were still learning what to do with tinned food. Also, because it’s funny, as I hope you’ll see. I’ve tried to not quote the recipes as much as the text, if only to make it worth your while buying it.
p.13, introducing the notion of cooking in a bedsitter:
“it is a sad fact that the better the room itself and the house in which it is found, the worse the cooking problem tends to be. In a large squalid rooming house, where the landlord calls only to collect the rent and where the cleaning, if any, is done by an indifferent slut with no standards to maintained, adventurous cooking is perfectly possible… if you fill the whole house with the smell of burning onions you will be cursed but not evicted; and nothing will look much worse whatever you spill on it”.
p.14
“it is a common fallacy among the better class of landladies that one can exist entirely on tea, biscuits, and good books, without the need for food, beer, the wireless, or the companionship of the opposite sex”
“plenty of our troubles are of our own making. So many of us go into bedsitters, at least in the first instance, with the attitude of ‘me all alone in my little room with my little pan and my little spoon’ – and small pans, of course, make things ten times harder when you have only the one ring on which to cook everything you want to eat. Much better to think ‘me with my enormous appetite and my huge stewpan’.”
p.15, on learning to think like a bedsitter cook:
“The first thing a bedsitter cook must do is abandon the notion of ‘meat and two veg’, in favour of the idea of a simmering cauldron. Meat, yes; vegetables, certainly – thought it might be one or it might be four – but meat and vegetables deliberately chosen to be cooked together, so that the dish is all the better for one food sharing its flavours with another. And that brings us, inevitably, to the casserole.”
p.19, on arranging the room:
“You can save yourself a lot of trouble by deciding that one corner of the room is to be wholely given over to food. College girls who hide their cosmetics in their desks usually look as if they didn’t bother about their faces; by the same token, if you care about food, don’t hide it.”
p.20, explaining just what you really need to run a small kitchen:
“A good many cookery books start out by requiring a vast battery of equipment without which the simplest dish is doomed to failure. (I always burst into tears when I get to the bit about the little porcelain ramekins). But here it is not a question of the best possible tools, but the fewest… the right simple tools will stop you longing for the other, complicated ones.”
p.51, an early recipe illustrating just how simple some of the recipes are – and just how basic the ingredients:
Sausage and Smash
4 pork or beef sausages
a little fat
1 tin condensed vegetable soupFry sausages over medium flame 10 minutes; pour contents of tin into pan, and stir until heated, 3-4 minutes.
p.55, a recipe from the rather creative section on what you can do with bacon:
Dixie Casserole
2/3 rashers bacon
1 small tin sweetcorn
2 eggs (optional)
1 dessertspoon flour
1 cup milk or lessFirst hard-boil eggs if you are using them. Then fry bacon until crisp; pour off fat till about a tablespoon remains. Add flour, over gentle heat, till fat is absorbed. Add liquid from tin, gradually, and then milk until you have added one cup in all. Stir until it thickens; add corn, bacon, and halved hard-boiled eggs. Simmmer 10 minutes.
p.63, introducing the section on vegetables:
“If meat costs 3s. 6d. a pound we think it cheap; if vegetables cost 3s. 56d a pound, we think them dear. Moral: eat vegetables.”
p.79, introducing the section on Beef:
“Most cookery books begin with the portrait, in profile, of the Planned Cow. This amiable beast is covered with dotted lines, like a map; and the idea is to show the uninitiated where their piece of beef should come from. I am sorry to deny my readers this pretty sight. But the trouble with the Planned Cow is that it looks so totally unlike the nameless red hunks that actually appear on the butcher’s slab. It is really more use to know what it looks like when you buy it than to know what it looked like when it was somebody’s mother (or son).”
p.100, on curry:
“Curry finds itself in this section because it is useless to try to impress anyone with a curry nowadays unless you have spent several years out East and are prepared to talk about it, as well as cook, for hours on end. When it comes to really elaborate curries it is much better to be on the receiving end, and fortunately most people who live in bedsitters know at least one Indian or Pakistani who is delighted to make a curry for an admiring friend. moreover, they are apt to know their proportions only in terms of .01 grains of saffron per half sheep, so that they will often make enough curry for you and everyone on the staircase to feed off for a week.”
p.143, introducing “Cooking to Impress”:
“Impressing visitors can usually be done in two ways: the Lavish and the Casual. For you in your bedsitter the lavish is impossible… instead you must concentrate on the apparently effortless meal – the attitude of ‘just a little thing I seem to have cooking in this pot’… if your guests are not to see you looking flustered over your cooking, this in practice means they had better not see you cooking at all.”
p.145, outlining a few important things to do first:
“3. Get yourself looking nice. In a house you can disappear and finish dressing – in a bedsitter, no. Besides, you want your friends to think that dark-eyed look is all Soul, not just mascara; and they won’t, if they see you putting it on.”
p.147 – “Who Are You Trying To Impress?”. Visitors come in four categories:
“1. The troglodyte in the next bedsitter.
2. Couples, or mixed singles, who are accustomed to kitchen food and drawing-room standards. They have forgotten what it was like to cook in a bedsitter (if they ever knew), and it is your business not to remind them.
3. Your parents, or your parents’ spies – who are there to reassure themselves that you are eating adequately, get to bed early, know no vicious young men, and breath plenty of clean fresh air.
4. Delicious little parties à deux.”
p.148 – Cooking for a Man:
“Elementary rules: avoid all whimsy and complication in the food.”
and later on:
“Don’t apologize much if anything goes wrong; don’t flap, whatever happens, and NEVER ask ‘Is it all right?'”
“Ah,” said a friend when I showed them that section; “that sounds a lot like sex.”
Of course, the elementary techniques described do not always apply:
“There is one class of man for whom a quite different routine is needed: the richie who has up till now bought you expensive meals in smart places – often your only decent meal that week – and now, to your horror, wants to get to know you better in your own surrounds. You don’t want him to think that you can’t be bothered to cook for him, or can’t stand him around the place, or else he will naturally never ask you out again. But equally, neither the food nor the atmosphere must be so inviting that he decides to give up eating out altogether in favour of eating in. The dodge here is to reverse the normal procedure, and fuss up and down constantly… he will quickly conclude that your own surroundings hold little promise for him, and go back to taking you to Boulestin’s, or of course luring you back to his own lush flat. Well, at least he has to see to the food there.”
p.149 – Cooking for a Girl is somewhat different, Whitehorn explains:
“You, as a man, can get away with more roughness than a girl can. But if you are seriously luring the girl, you have a dilemma: you certainly don’t want to give her the idea that you are struggling to impress her, but of course she will be touched and appreciative of any sign that shows you have remembered who it is you are feeding. The right compromise is to imply that you set yourself rather high standards of food; but add, almost as an afterthought, something of purely feminie appeal, like sticky chocolates or her own special brand of Turkish cigarettes.”
p.173 – The final chapter, on “Drink And Parties”, was “contributed by a man” – specifically, Whitehorn’s husband, Gavin Lyall.
“It should be news to no one that red wine goes with red meat and most game; white wine with fish, veal, and the sweet courses. More to the point, perhaps, is that white wine goes with carpets; red wine only with floors you can wipe clean or don’t need to care about.”
p.175, on Parties:
“There are only two rules for parties: the carpet rule redoubled in spades, and don’t mix the drinks.”
p.177, on serving Spirits:
“Spirits cost money. Pubs reckon getting 32 measure from one bottle (so you can work out a rough idea of their gross profit), but I shouldn’t go giving your friends pub-sized measures if you want them to stay friends.”
p.178
“There is nothing against having beer for the men and gin for the women – if you can keep the men away from the gin.”
As I said earlier; it’s a wonderful book, and the recipes in it vary from useful, fast snacks to ingenious dishes that might well become staples in time. And it’s worth it just for Whitehorn’s wonderful, barbed tongue.
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"Many deep, sophisticated emotions can emerge from those three plots. But they should emerge in the experience, in the actions the players take, in the reactions they receive, in gestures and decisions and deaths and tasks and achieving or failing to achieve a goal. They should not emerge from people sitting around talking to each other in a cartoon." Chris Dahlen on post-GDC09 narrative.
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"This project, shot on 4"x5" film, documents London's remaining professional darkrooms. It is based on my nostalgia for a dying craft (there are no young printers). It is in these rooms that printers have worked their magic, distilling the works of photographers such as David Bailey, Anton Corbijn and Nick Knight into a recognisable 'look'. I have lit these often-gloomy spaces to reveal the beauty of the machinery; enlargers are masterpieces of industrial design. And I have sought to shed light on the surrounding personal workspaces (snapshots of family members, souvenirs from globetrotting photographers, guidebooks to Photoshop, out-takes from glamour shoots, lists of unpaid invoices)." Gorgeous.
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"The reason for [Singstar's relatively "low" Metacritic scores] is also the reason that this is an article about SingStar, and not a review of SingStar Queen and the new wireless microphones: SingStar is now basically unreviewable. Unlike Guitar Hero: Metallica, or AC/DC Live: Rock Band, SingStar has morphed from a game into a service, and defies traditional critical judgement."
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"I think issues of power and governance are going to swiftly rise in importance on internet communities, as they expand to include more different kinds of people. It's interesting that some of the best, most resonant ideas on these topics that I've encountered over the years has come from political writers and may have been produced even before the internet." Mike has read lots of books, and his quotations/sources here are great.
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A wonderful old postmortem – on Shadows of the Empire for the N64. As a launch title, there was lots of working with unfinished hardware, prototype controllers, and SGI workstations; it's long and detailed, and a fantastic portal to a world that seems eons ago, even if it was only 12 years away.
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"In fact the propeller is really rotating. Russians fix a magnet on their helicopter blades. The device sends a signal to synchronize a movie camera, allowing to visualize efforts and deformations on the blades." Hypnotic, and unnerving.
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"Looking in, it’s clear that the game industry is broken and not getting fixed anytime soon. I will not be joining the game industry. I’m interested in building a profitable business making fun games in a good working environment, and that’s simply not what it does. Maybe I could hoist one more flag in the indie games parade, but I think of myself as building a Micro-ISV in the web software business. It’s a much nicer community." As usual: anyone with a degree of sanity looking in from the outside comes to the same conclusions.
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"Usenet, IRC, forums, blogs, and now media like Twitter have all been black-marked as houses unfit for reason to dwell within. And so we roll our eyes, sigh, and quietly accept the idiocy, the opportunism, and the utter disrespect for our peers and ourselves that is technical discussion on the Internet. This need not be the case. It is possible to have a reasoned technical discussion on the Internet. People do it every day, particularly in smaller online communities where social norms are easier to enforce. We can do it."
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Mike Kuniavsky being really good, again, about avatars, physical mashups, and mashups as opportunistic design. Loads of great stuff inside the pdf.
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"…yes, if I’d gotten a Lenovo when you all suggested it, I’d have a spill-proof keyboard with drains. That’s my plan for the next time something horrible happens to my laptop, which should be any day now." Randall Munroe's laptop died. I blame the package management, rather than the milk, personally.
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"They took the trailer from "WestSide Story" and made it look like "28 days Later", hillarity ensues." No, that's bloody brilliant.
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"I would urge everyone to start looking at the world in a different way. Spend some time looking at everyday objects, at their design, their shape, their individual characteristics. Think ahead and imagine their significance. Many are interesting and aesthetically pleasing in their own right, if you just give them some attention." Martin Parr on noticing the everyday.
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"The problem is that what made GoldenEye so good was a fleeting, transient quality that can never be grasped again: it's not that the game was especially brilliant by modern standards, but rather that it utterly eclipsed its contemporaries. These days, the FPS is as comfortable on consoles as it is on Windows, and for a Bond shooter to have the same impact as GoldenEye it would have to outperform Call of Duty 4, Halo 3, BioShock, and Half-Life 2. In short, it would have to be revolutionary." Although: a big part of what made it so good was the social side of the jerky split-screen multiplayer, and Live just isn't the same. Yes, there was the context, but there was also some kind of magical glue holding it all together. Still, there are lots of smart, sensible points here, about emerging from the shadow of Goldeneye.
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Nice post about using Scrivener for novel-writing, and a reminder as to how Targets work within it (which is handy for journalism).