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Your New Years Resolutions in One Blog Entry!
Since the new year always brings out the empty promises of those who want to change something about themselves, I'm going to help all of you keep those empty promises. If you're a fat fuck or an evil, dirty smoker, I have good news for you...
Reveen - Stop Smoking and Overeating
It's the official record of New Years Day! Reveen passed away earlier in 2013 from diabetes and dementia. After listening to this record, I truly believe that Reveen had dementia from birth. His voice is laughably annoying on this record. He sounds like a cheap imitation Hutterite who believes he's a messenger from God.
Half of the record is spent putting the listener into a trance. If the power happens to go out or the record starts skipping while you're in the trance, you're extremely fucked. You will spend your life in a trance, pissing your pants and starving your way into the grave while waiting for Reveen to bring you back to your normal state.
I searched the internet for people who successfully quit smoking from this album, but came up empty. That doesn't mean you can't be the first one though! You can still buy this album at reveen.com. To eliminate the risk of putting my readers into a trance and taking my words from this blog as self-improvement (wouldn't that be a disaster), I cut out the part that puts you in the trance and just left the meat. I'm pretty sure the trance inducement part is the same on each side anyway.
Listen to Reveen's Stop Smoking Message
Listen to Reveen's Stop Overeating Message
Joseph Lampl - The Record Way to Stop Smoking
The back of the record says "A record player can do more than play music". Of course it can! You can put your hamster on it, set it at 78 RPM, and make him puke.
The first thing I noticed when I listened to this record is the first part was sampled in the Tony! Toni! Tone! song "Feels Good" from 1990. If I were to use this record to try and quit smoking, I would fail to concentrate because I'm waiting for the cool funk of a washed-up R&B group to hit my ears and make me happy.
Side one of this record doesn't put you in a trance. It's just full of positive reinforcement. After you're done listening, feel free to have a cigarette to celebrate your conclusion to this healthy meal of knowledge.
Side two puts you in a trance, and this guy's voice won't make you burst out laughing like Reveen's does. However, this guy spends pretty much no time nor effort on the trance. He just kinda tells you to feel relaxed for two minutes, and then just says the same things that Reveen does.
So, I've decided to bring you Side One. It seriously sounds like something you'd hear at a cult meeting.
Listen to Side One
Now that I've given you the tools, I expect all of you to become skinny ex-smokers by the end of 2014. If you don't, then I expect you to read this blog entry over and over until you do.
Kim Gordon essay collection Is It My Body? published this month
As mentioned a few months ago, a collection of Kim Gordon's art and music writing is being published by Sternberg Press. News reaches us today that Is It My Body? will be out this month, and contains essays on Mike Kelley, Glenn Branca, Rhys Chatham and others, plus a discussion between Gordon and artist and collaborator Jutta Koether. More details here.
Boston LOVES Zines
Boston DIY is alive and the proof is in the print.
Zines are a fast feast for the mind that are as easy to read as they are to make. The possibilities are endless and there are tons of Bostonians who are seizing the opportunity to tell you something.
Here are a few of our locally-made picks…
Thrifty Times
Allston-based monthly zine from SARAH MacDONALD centered around the art of thrifting ! Issue #15 takes us through the holidaze with gifting ideas, crafts, recipes and reviews. Check out her Etsy shop to purchase some of these monthly treats for only $1.50.
No Thoughts Zine // $10
MICHAEL J DeMEO’s quarterly “photobook disguised as a magazine.” Each issue is based on a theme and the most current issue (#10) explores city life through the lens of 26 photographers from near and far, including Francesco Palombi, Keiko Hiromi and more. *
#EveryEverything
A compilation of creative collaborations between talented brothers/artists/friends NICK Z and MATT ZAREMBA that feels both nostalgic and new at once. Illustrations, pics, and quips for your consumption.
www.youlovenickz.com // instagram.com/xxvism
Unexpected Treat
A collab between CHUBBY BEHEMOTH & OXEN FREE this quarter size, full color zine is 20 pages of bizarre collage and paintings that will keep you guessing. These zines and much more available at various Boston events or at
thechubbybehemoth.storeenvy.com
Sad Girls Club
Local show fixtures SONAM PARIKH and MICHELLE PARECE’s new pet project with pics, doodles and oddities that’ll make ya tilt your head and smile. Contributors include a couple NICE GUYS and one SKIMASK. Stay tuned for more from these broads!
Stay tuned to www.BostonHassle.com/art for more zine coverage
*written by Nick CainThe post Boston LOVES Zines appeared first on The Boston Hassle.
Spotify, Netflix and Now, PlayStation: streaming finally trickles down to videogames
Taylor SwiftI am stoked as fuck about the future of streaming game, save for:
1) The history Sony and Nintendo have of releasing TONS AND TONS MORE STUFF on Japan's Virtual Console/PS+ services than the US's. For sure I want a larger catalog in general, but I really hope Sony doesn't just dig up the same PS1 games they've been reselling on PS3 and PSP and use them to sell this new service. (I would hope the same for Nintendo except I know full well that Nintendo will totally do this, and a full console cycle or two after Sony does it.)
2) The reminder that it's fucking impossible to get anything better than a 25 Mbps downstream in Jamaica Plain >>>>>>:(
PS3 is the number one device in the world for watching Netflix in the living room, said Andrew House at CES.
If there is to be a Netflix or Spotify for games, PlayStation Now will likely be it. At CES 2014 Sony announced that the new service, built on the Gaikai technology it acquired for $380 million in 2012, will be launched in the US this summer and allow PS1, PS2 and PS3 games to be played on PS4 and Vita through the cloud, with similar services for Sony TVs, tablets and smartphones to follow.
Games, by their heftier and more complex nature, tend to get these things last. Spotify and Netflix have helped turn music, TV and films from real things that you buy into on-demand services you buy into. The natural next step is for someone to do the same for videogames, and in the absence of any real competition, Sony now looks most likely to do that.
OnLive – remember that? – was an admirable, ambitious attempt to build a catalogue of games, a brand and a global audience overnight. It failed because that grand task was always too great for a plucky little startup, but PlayStation has all of those elements in place already. With the acquisition of Gaikai, it bought the key with which to unlock its formidable back catalogue; PlayStation Now will be what OnLive always intended to be – a credible videogame streaming service which could yet transform the way we play games.
That dream is seductive, but its execution may prove more troublesome. Obviously, PlayStation Now will require a consistent and robust net connection to work, and it’s pure fantasy to expect an entirely-lag free service. This month’s beta and the slated summer rollout is currently only for US players, PlayStation’s European blog already acknowledging that the complexities of Europe’s many different territories, internet providers and varying connection speeds means that it can’t pin down an EU launchdate just yet. “We need a little more time to ensure a smooth and successful roll-out,” it said as the service was announced last night. And in Japan, players are still waiting for PS4 to launch, so it feels premature to expect anything on top of that before February. It’ll be interesting to discover what PlayStation Now means for PS Vita TV, though.
There’s also the fundamental issue of controls. On the showfloor at CES, Sony is demoing The Last Of Us, God Of War: Ascension, Puppeteer and Beyond: Two Souls, playable through PlayStation Now on Bravia TVs and Vitas. On TVs and later on tablets and smartphones, Sony must surely now release a generic DualShock pad able to connect to a multitude of devices if its platform-agnostic dream is to be realised. Playing complex console games on a touchscreen simply won’t do.
And judging by the continued use of terms like “soon”, “in the future” and “eventually” during Sony’s CES event, the service is in its early stages. It’ll be exclusive to Sony consoles initially, and then its own TVs, tablets and smartphones. But it’s an important first step towards opening it out to billions of non-Sony branded internet-enabled devices of all shapes and sizes. Players will be able to purchase individual games to play, but that’ll be a potent gateway drug for the full subscription service, an enticing all-you-can-play library of PlayStation games which could run into thousands by the time thirdparties sign up to rerelease their old games through PlayStation Now.
Once we’re able to stream Ico on our iPads or Flower on our phones, perhaps Sony will be the platform holder to truly quicken the march towards that inevitable digital-only future. Going to a shop to buy a disc will soon seem as quaint as it does now for music, TV and film. That change is coming. It’s when, not if.
And Sony is already gently nudging us towards that behaviour, subtly turning its excellent, once-optional PlayStation Plus service into a near-mandatory one for PS4. PlayStation Now could yet turn Sony’s Instant Game Collection into a vast Instant Game Library. It’d certainly make Microsoft’s own catch-up Games With Gold offering seem all the more underwhelming.
President of Sony Computer Entertainment Andrew House confirms PS4′s lead over Xbox One at CES 2014.
Sony continues to outwit its fiercest rival. For all Microsoft’s talk of the cloud in the lead-up to Xbox One’s launch, in PlayStation Now we can see a use of that technology more meaningful than Drivatars or the vague promise of additional processing power. Importantly, Sony is making its cloud proposition additive, rather than compulsory; as we discovered at E3 last year, plenty of players aren’t ready to accept that their videogame collection will soon exist only in the cloud instead of on their shelves at home.
It’s also a cute, coincidental quirk of CES timetabling that has brought us this news the day after Valve revealed the first wave of Steam Machines. Just as these apparently futuristic gameboxes make their debut, Sony reveals a plan which makes them seem anything but. PlayStation Now will be up and running in the US by the time any of that SteamOS-based hardware launches.
PS4 is ahead of Xbox One globally – PS4 has sold 4.2 million compared to Xbox One’s 3 million at the end of 2013, according to each manufacturer – and in PlayStation Now we can see Sony ready for a cloud-based future, but not prepared to force it upon its audience.
Many might tire of the constant comparison between the new Xbox and PlayStation, but having two consoles so closely matched and a marketplace so fiercely contested can only bring out the best in each. We await Microsoft’s own vision of on-demand, cloud-based play with relish.
The post Spotify, Netflix and Now, PlayStation: streaming finally trickles down to videogames appeared first on Edge Online.
Prepare to dine: inside Tokyo’s Dark Souls Café
Taylor SwiftI NEED TO GO THERE
The curse is a part of life itself. Would you like chips with that? Peckishness and pain go hand in hand at Tokyo’s Dark Souls Café, open until 3 April in the swanky neighbourhood of Nishi-Azabu.
And dark is the menu. Many of the dishes we nibbled at an exclusive press opening today were as black as death itself, with a variety of sauces coloured with squid ink powder for that cheering extra touch. The cafe is a collaboration between FromSoftware and Oz Café, an Australian bar and restaurant that was keen to pay homage to Dark Souls. The sequel is due in Japan on 13 March, in between the North American and European releases the same week.
“The owner is a huge Dark Souls fan,” FromSoftware’s Yasunori Ogura told us. “They put as much attention to detail into their menu as we put into our games, so it’s a good match.”
The restaurant itself is a fairly large open space with a bar running along the back wall, which at the party was lined with Estus Flasks of fruit juice and beer. In the centre was a buffet table with a selection of Dark Souls-themed dishes: Giant Rat hamburger steaks, Faeces Dumpling meatballs, Ring Of Stone onion rings, Anor Londo’s fish and chips – all of which were as dark as jet. Crack open some monkey nuts and find that they too are somehow black inside – Beans Of Darkness.
Most of the items on the menu were all stained black with squid ink – not the most appetising of effects.
Other items echo Oz Café’s roots: wild crocodile meat (complete with claw) as a cut of the Black Dragon Kalameet and gamey kangaroo in salsa sauce in place of Wyvern flesh. A mostly yellow salad of baby corn, yellow peppers, sweet corn and kabocha squash in a garlic dressing represents vegetables sliced by the Butcher. Most of the dishes we tried were pretty good, though not spectacular by Japanese standards. It’s definitely worth a taste for fans of the series though.
“We devised the menu together with Oz Café,” explained Ogura. “There are items you’ll recognise from the games, and there’s a specials menu that will change on the third of every month.” On a screen suspended above the bar, two new trailers for Dark Souls II run on a loop – both rated CERO D, or 17-plus – and since these won’t be available online until mid-January or so, the only place to see them is at the Dark Souls Café.
The first of the trailers shows previously unseen locations (such as a subterranean dungeon and a classical castle wracked with lush green vines) and story points (a beautiful woman crossing the hero’s palm with a feather), while the second reveals enemies and bosses: a mummified man, a large glowing-red demon, a dragon, a grotesquely obese mass with writhing bodies hanging from it, some sort of orc and other toothsome beasts.
Items from the Dark Souls II collector’s edition, available to preorder in Japan for 15,800 yen (£92).
Also present at the press event was the game’s co-director Yui Tanimura; still deep in the final stages of the game’s development, he understandably ducked out soon after the welcome toast. Meanwhile, a freshly minted set of Japan-only collectors’ items was on display, shown to the From staff and the press for the first time. The pieces include several die-cast weapons and shields; the limited edition set in a wooden box is available to preorder for 15,800 yen (£92).
We took out some of the shields and a sword from the luxury box; they have a satisfying heft, and the shields each have a handgrip for a figurine that will come later (different than the Warrior Knight figurine included in the Western collectors’ edition).
During the reception, maidens in robes flanked the door, clutching the beautifully bound menu book. Inside, prices are listed not in yen but in souls: 1,500 souls for the rat burger (£8.75), up to 4,800 for the Kalameet (£28); drinks start at 600 souls (£3.50) and are served on one of 10 specially made cardboard Dark Souls II coasters.
In a discreet recess of the venue lies a mock-up bonfire, a few bones poking tastefully from its ash. It is surrounded by pieces of full-size, wearable body armour that is one of two such suits produced by publisher Bandai Namco; the other is being used in the States to promote the forthcoming sequel, worn by an especially tall actor.
As we polished off our glass ‘flask’ of beer, which was amusingly difficult to drink from, dessert was served: an Egg Carrier-based chocolate fondant cake served à la mode. After all, even the fiercest warrior deserves a sweet end to a night of bitter sorrow.
The Dark Souls Café is open until 3 April.
The post Prepare to dine: inside Tokyo’s Dark Souls Café appeared first on Edge Online.
The art of Atari – the masters who brought early games to life by filling in the blanks
Taylor SwiftOh fuck yes yes yes
With only a 1.19MHz CPU to play with, a lot of Atari 2600 design had to be created outside the games themselves by artists who brought fantasies boldly to life.
In a new book, enthusiast Tim Lapetino looks at the history of Atari game covers, such as Video Chess, Defender and Warlords (above), starting from the console’s debut in 1977. “The visual styles are a combination of the artists’ creativity and the inherent limitations of the console itself,” he says. “Those beautiful illustrations served as a gateway connecting the imaginations of gamers to the simple game graphics. I believe Orson Welles said ‘The absence of limitations is the enemy of art,’ and I think that’s true for these artists’ works.”
Atari commissioned 136 pieces in total, and tracking each of them down has been quite a task for Lapetino. “At times I’ve felt like a private eye,” he says, “paging through old magazines, internal Atari newsletters, viewing negatives through printers’ loupes. At that time in the video game industry, it was not standard practice to credit artists and creators, so we’ve relied on scarce documentation, art collectors, fan websites, former Atari employees, and the memories of the illustrators themselves. It has been a hunt to even identify some of the artists, much less reach them. We’ve unearthed a lot about the culture of the artists and Atari, and we’re excited to preserve these stories.
“We are hoping to provide as complete a picture of the art of Atari in that era as possible,” Lapetino continues. “Its history, and the stories behind these unsung artists, are worth preserving, because the games themselves are part of a rich, pop cultural heritage. But this is a challenging task, as much of the original work has been lost to time or neglect, and Atari’s archives are non-existent as the company changed hands many times. Our book will be a showcase of as much as we’ve been able to unearth, and our search continues. Some of our hope in promoting the book early is to use the publicity to unearth even more artwork, stories, and materials, to better flesh out the whole picture.”
The original artwork for Atari 2600 release Defender, one of 136 illustrations commissioned by Atari.
All of the artworks were commissioned by Atari itself and produced by freelance and in-house illustrators. Art directors and managers like Jim Kelly and Steve Hendricks directed younger talent while also creating work, and Atari paid well for top-quality illustrations from great names like Ralph McQuarrie, famous for his Star Wars concepts, and Rick Guidice, known for his NASA visualization work.
Lapetino hopes The Art Of Atari: From Pixels To Paintbrush will be out for Christmas 2014. “There is still much to do, so we don’t have a firm date,” adds Lapetino. “The current financial troubles of Atari’s modern incarnation also complicate our efforts, but we’ll finish it as soon as we can, so many others can appreciate and enjoy the art of Atari the way we have.”
Artworks for Video Chess and Warlords are below – click on either image for the full illustration.
The post The art of Atari – the masters who brought early games to life by filling in the blanks appeared first on Edge Online.
JUEGOS RANCHEROS’ Fistful of Indies: January 2014
Every month, as part of the regular monthly meetings of the Austin, TX independent game community JUEGOS RANCHEROS, we do a very casual & chatty rundown of the ten or so games from the previous month for the audience, to give people — especially those curious onlookers from outside the indie community itself — a look at what they may have missed. The featured games are both local and global, and both indie and, on occasion, a bit-bigger-budget — what binds them together is simply that they’re all amazing.
In keeping with the tongue-in-tobacco-packed-cheek tone, we call these run-downs A Fistful of Indies, which are presented here on Venus Patrol for your reference, each fully-annotated, -linked, and off-the-cuff blurbed, in addition to their home on the JUEGOS RANCHEROS site.
No Brakes Valet
Developer: Captain Games | Platform: iPhone/iPad | Get it: App Store
“…the latest from frequent Fantastic Arcade visitor & Enviro-Bear creator, this has been out on Ouya for a bit now, but has just been released as an expanded iOS version that has — amongst other things — a same-device multiplayer mode, which makes this easily the new definitive version….”
Titan Souls
Developer: Mark Foster, David Fenn, Andrew Gleeson | Platform: Web/Windows | Get it: Here
“…next up are a few games from the most recent Ludum Dare competition, starting with this one, a super atmospheric tiny action game that draws a lot of inspiration from games like Shadow of the Colossus. It’s a touch TOO hard, but is a very solid accomplishment for a 3-day game jam.”
Go Long!!
Developer: Andrew Brophy | Platform: Windows | Get it: Here
“… my favorite game from this year’s Ludum Dare, another tiny game that is, in a sense, a sports game, but is more about the Parappa-esque inner monologue of this would-be child sports star, psyching himself up for his big performance. It’s super ridiculous and basically totally pointless, but also kind of one of the funniest games i’ve played in a while.”
Become A Great Artist In Just 10 Seconds
Developer: Andi Mcc & Michael Brough | Platform: Windows/Mac | Get it: Here
“…somewhat a parody of Art Academy-type games where you’re given basically zero time at all to replicate or create a work of 2D art, all of which ends up looking like what you see on the left here & all of which is saved out and sharable. This game has come up again this month because someone’s started a twitter bot that generates and shares pieces of art 4 times a day — the whole thing’s a super interesting little statement.”
TRIHAYWBFRFYH
Developer: Connor Sherlock | Platform: Windows/Mac | Get it: Here
“…’The Rapture Is Here and You Will Be Forcibly Removed from Your Home’ is a ‘just-walking’ type game loosely based on a number of HP Lovecraft stories, which gives you exactly 20 minutes to explore a dead landscape as this unknowable terrifying darkness spreads across the sky — even with nothing much to do in the world, as a little tone-poem type experiment, it’s super interesting and effecting…”
The Room Two
Developer: Fireproof Games | Platform: iPad | Get it: App Store
“…I came sort of late to these games, but totally understand why they became instant hits — the production values & atmosphere are through the roof for what is essentially a series of little puzzle boxes to poke at & snap open. Both of these (including the original) are well worth picking up if you haven’t already.”
Longest Night
Developer: Infinite Ammo & Scott Benson | Platform: Windows/Mac/Linux | Get it: Here
“…the first little postcard type experience of the upcoming adventure Night In The Woods, the gist here is that you’re tracing out constellations in the sky & listening to the campfire conversations of the game’s main characters, and serves as a really beautiful little introduction to the world that they’re building…”
Ernesto
Developer: Daniel Benmergui | Platform: Web | Play it: Here
“…a super tiny but really mechanically interesting take on dungeon crawlers where you’re tracing out your path from entrance-to-exit through this randomized field of tokens, and, crucially, you can backtrack and re-route yourself at any time. This is still being tweaked & reworked even as we speak, but is already super worth your time….”
Cubic Space
Developer: Adam Saltsman & Dose One | Platform: Web | Play it: Here
“…another similarly tiny but insanely replayable sci-fi puzzle game all based on randomized dice that have you fighting through six sectors of alien invaders by smart use of your ship’s lasers and shields. It’s a really beautiful balance of strategy & randomness & was instantly one of my favorite games of last year…”
Samurai Gunn
Developer: Teknopants | Platform: Windows | Get it: Here
“…one of the most exhilarating and stylish multiplayer games in recent memory & a game that literally makes you feel cool to play.”
The post JUEGOS RANCHEROS’ Fistful of Indies: January 2014 appeared first on VENUS PATROL.
The Atlantic reverse-engineers Netflix's subgenre categories
Taylor SwiftThis is great and the Perry Mason thing is amazing
With your shield or on it: Hoplite for iOS & Android
Taylor SwiftThis game is GREAT.
We’ve been off for a week, performing the various year-end incantations that keep us shrouded beneath the notice of the hungry elder gods for one more year. Now I’m not pointing fingers or anything but I noticed that a lot of you weren’t performing the rituals — instead you were playing Hoplite.
I’ve gotten emails, tweets, and ravens about Hoplite. I haven’t seen an indie game catch fire like this since 10000000, and Hoplite (available for both iOS and Android) lives up to the hype.
Mechanically, Hoplite seems to be a lot like Empire designer Keith Burgun’s forthcoming Auro — a completely deterministic roguelike with few dice rolls and puzzle-like combat. If you judge this one by the graphics, you will have missed out on one of the most clever games of the new year.
I had an uncle Jorge who had one and only one parenting lesson in his arsenal: don’t be stupid. This was Uncle Jorge’s Hammurabic Code and he could dole it out in different modes, from stern (“If you fall off the roof and kill yourself it’ll be ’cause you were stupid”) to sympathetic (“Aw, did you skin your knee? Where you doing something stupid?”). Hoplite is just like this.
What some of our resident game mechanic fetishists are going to love about Hoplite is its deterministic combat. This means, basically, that the enemies always behave in predictable ways. The game is a turn-based dungeon crawl, and every level your goal is to get through the randomly-placed enemies to the level’s exit. Each enemy (you can long-press on them for details) has an established pattern of behaviour, and after a while you know exactly what they’re going to do each turn. If you die surprised in Hoplite, it’s because you weren’t paying attention.
This almost makes the game absolutely infuriating — in the best way. Did the fox-wizard kill you while you were trying to corner the bomb-throwing llama priest? Well, were you doing something stupid? I think we both know the answer to that.
Hoplite is two bucks on iOS and free on Android with a $1.99 in-app unlock. Creator Douglas Cowley previously made Android skiing game Vector Ski.
Concern Trolling
Taylor SwiftSTILL FUNNY
David Brooks is very concerned that adults might be smoking marijuana. Please make note of it. Also note that David Brooks claims to have smoked marijuana in the past. Judge for yourself whether you think that’s likely or not.
Furious Cool
Taylor SwiftThis is really only an observation that businesses were able to rent much more cheaply in 1963.
The author noted that Buck Henry recalled that in 1963 in Greenwich Village, it was possible to see all of the following comedians in the same night, all performing within a few blocks of each other: Lenny Bruce, Richard Pryor, George Carlin, and Woody Allen.
This is a tremendous piece of work, by the way. I had no idea of the crazy dimensions of Pryor's life, much of which couldn't have happened in any other era.
Green Hair, Eye-Spikes Bag, Gauged Ear & Demonia Boots in Harajuku
Taylor SwiftTHIS
FUCKING
BAG
Sachi is a 22-year-old special effects makeup artist. Her green hair and headscarf caught our eye on the street in Harajuku.
Sachi is wearing an animal print top with a resale leather skirt and jacket. Her eye and spikes bag was handmade, and her platform boots are Demonia. She also has a gauged ear, several interesting earrings, and a scarf to keep away the winter cold.
Sachi likes listening to Green Day and Sumo Cyco, and she’s active on Twitter.
Click on any photo to enlarge it.
Brakes - 1984 - Fire Girl
Taylor SwiftWHY IS THE DOWNLOAD LINK BROKEN!!!! LOOK AT THAT BACK COVER!!!!!!!!!!!
HAVE A GREAT NEW YEAR! ~ Winsor McCay Editorials
Taylor SwiftNo way http://4.bp.blogspot.com/-U2yRfnIQwds/UsOG03GovhI/AAAAAAACQBU/rLbmEdcbOac/s1600/20_drughabbit.jpg isnt gonna be some noise cassette label's bootlegged art by 2015
My feet keep dancing: ILM disco ballot
Taylor SwiftJust plug this directly into Spotify or whatever
For the first time my #1 was ILM’s. Yay!
1. Sylvester – You Make Me Feel (Mighty Real)
2. Change – Paradise
3. Chic – My Feet Keep Dancing
4. Patrick Cowley – Menergy
5. Earth Wind & Fire – September
6. Shannon – Let The Music Play
7. Loleatta Holloway – Love Sensation (Tom Moulton Mix)
8. Imagination – Changes (Larry Levan Mix)
9. Evelyn “Champagne” King – Shame
10. L.T.D. – (Every Time I Turn Around) Back in Love Again
11. Lime – Your Love
12. Machine – There But for the Grace of God Go I
13. Magazine 60 – Don Quichotte
14. Chaka Khan – I’m Every Woman
15. Phreek – Weekend
16. Pointer Sisters – Automatic
17. Diana Ross – Love Hangover
18. Dazz Band – Let It Whip
19. Donna Summer – Try Me, I Know We Can Make It
20. Teena Marie – Square Biz
21. Stevie Wonder – Do I Do
22. ABBA – Take a Chance on Me
23. George Benson – Give Me The Night
24. Blondie – Atomic
25. Miquel Brown – So Many Men, So Little Time
26. Sister Sledge – Lost in Music
27. Thelma Houston – Don’t Leave Me This Way
28. Bee Gees – You Should Be Dancing
29. Cerrone – Give Me Love
30. Dr. Buzzard’s Original Savannah Band – Sunshowers
Multiplayer Logistics
Taylor SwiftSO MUCH GREAT BRAIN FOOD IN HERE
The promise
We are seeing a blossoming of innovative multiplayer systems. In previous eras there were a handful of default models that games might use (matches, play-by-mail). Games today exist on a spectrum from fully concurrent to fully asynchronous and everything in between. A game like Dark Souls is predominantly single player, but includes interactions that are asynchronous (the leaving of messages and deaths) or fully concurrent (the joining of another player into your game for PvP or Coop.)
We are entering a golden era of multiplayer gameplay. Server costs are falling dramatically with the advent of cloud computing. Broadband internet and always on mobile connections are spreading rapidly across the globe. Business models like in game payments, crowd funding and service-based gaming are evolving to the point to financially support a broad range of long-lived communities. Designers are playing with these new capabilities to invent new forms of multiplayer gaming.
The challenge
However, multiplayer is both expensive to build and has a high risk of failure. Often teams invest 50 to 100% of their development budget into creating a multiplayer mode. It seems worth it. During development, the team plays every Friday and has so much fun they are convinced that multiplayer is what will turn their game into the next League of Legends or Counter Strike.
The real test occurs when the game faces a live population of players. Upon launch, multiplayer games often see only a few weeks of active multiplayer activity. Too many people show up. Then not enough. Players visit sporadically and the player experience is deemed unreliable. The active matches trickle down to nothing. The traditional matchmaking lobbies (a design from the 1990’s) are left empty and will never be full ever again. The multiplayer portion of the game dies a sad sputtering death.
I see this as a challenge of logistics. There were players who wanted to play. However the way that the game put those players together results in weak community that was unable to self sustain.
Are there atomic elements of multiplayer logistics that lets us approach the topic of inventing new systems in a more rigorous fashion? Simply copying multiplayer patterns from previous eras works poorly. To invent new multiplayer modes, we must have conceptual tools that let us clearly and concisely manipulate topics like logistics, concurrency and interaction schedules.
Concepts when talking about multiplayer
Here are some concepts I think about when designing a multiplayer game.Interactions
You can break up any multiplayer system into a series of interactions. An interaction is anytime players interact with one another via a game system (be it chat, hitting one another, etc.) These are the multiplayer verbs of your game. Usually a game has a set of single player verbs (move, quit, etc) and another set of multiplayer interactions mixed in. Interactions have a wide range of multiplayer properties such as frequency, scope, mode, etc.
If you map an interaction onto time, it looks something like this
- The player starts the interaction
- They end the interaction
- They wait for a response.
- If no response is forthcoming, they leave.
Initial loop:
- Model A: Player formulates an action and a target player or group.
- Action A: Player performs the action.
- Rules: The results of the action are mediated by the game logic.
- Response A: Player A sees the immediate results as generated by the game.
- Response B: Player B sees the immediate results as generated by the game. Note that what Player B sees is likely different than what occurs for player A. This naturally leads to divergent mental models and enables gameplay concepts such as hidden information or Yomi.
- Model, Action, Rules, Response B: The target players tries to understand what happened and formulates a response.
- From here the loop ping pongs back and forth between participants.
What is the frequency of interaction necessary to yield the impression of concurrency? You may find that you need to interact once every 5 minutes in a strategic game like Civilization while you need to interact every 200 ms to create the same impression in a twitch-based action game like Counter-Strike. See the article “Loops and Arcs” for a more detailed explanation.
In general, the higher the frequency of interactions, the more information being communicated between players. This can increase the pace of relationship formation.
As with many interaction variables, there are distinct phase changes in the players perception as the frequency hits a threshold. Simply by changing the spacing between interactions, we get radically different forms of play (and associated logistical challenges):
- Real time: Players perceive interactions as ‘real-time’ when the frequency reaches the point where: A player starts and ends an interaction and then sees a response before they move onto other tasks; interactions overlap. Chat, for example, can feel real-time despite there often being more than a minute between responses. Real-time systems have less need for persistence but are often more expensive to run and build.
- Asynchronous interactions: The frequency at which a player can start an interaction and end the interaction and then quit the game without seeing a response is seen as asynchronous. Generally you build in some sort of persistence so that a player that logs in later can see the results of the interaction and formulate a response.
There are a variety of interaction types. Think of these as ‘how’ players interact. For a much more in depth description of all the various multiplayer interactions, see Raph Koster's seminal talk on social game mechanics.
- Spacial avatar interaction: Two or more avatars interact with one another. Shooting players in Quake is the classic example. Following a player in Journey is another.
- Spacial environment interaction: Players also interact through the intermediate environment. In Minecraft, players build castles that other players then explore. For a higher frequency example, in Bomberman, players place bombs that open up passages or do damage to others.
- Decoration and Display: Players signal status, affiliations and history via what they wear or how they decorate their weapons, pets and houses.
- Economic: Players give, trade or pay for various resources to transform or transfer to another player. This can be a typical sale of a sword to another player for gold. Or it can paying mana for a buff that boost the health of a nearby player. See Joris Dormans work on internal economies for more on this topic.
- Text: The most common method of introducing language into an online game is through text. It tends to be low cost and there’s a rich set of tools (spam filters, stylistic conventions) for dealing with common issues. It tends to work best with a keyboard.
- Voice: Voice offers additional nuance including emotions, age, gender and more. It has limits for group size, bandwidth and is notoriously weak when it comes to filtering.
- Body language: In local spaces like on a couch or around a table, we pick up on high bandwidth communication such as facial expression, posture, body height and physical presence. When a tall pretty boy looks you in the eye and asks that you trade your rare treasure with him, you may be getting signals that go far beyond what is found in other types of interaction. This creates rich emergent multiplayer gameplay. However, it is also hard to mediate and incorporate explicitly into the game systems.
There are also massive phase changes that occur as you increase the number of participants in a community.
- 1 player: Mastery, progression, exploration, narrative are available as design tools.
- 2 players: Communication, relationships, status, gifting, trade, cooperation and competition become available.
- 3-4 players: Alliances, politics, gossip, othering/stereotyping become available.
- Small group (5+): Group vs group interactions, Official leadership, role specialization, official punishment
- Medium group (12+): Factions, barter economies, and banishment
- Large groups (40+): Hierarchy (leaders and sub-leaders), Currency-based economies, role enforcement. Adhoc systems of government, public codification of social norms.
- Very Large groups (200+): Merchant classes, market-based pricing, codified systems of government, underclasses, celebrity, propaganda. This is the point at which a players is guaranteed not to know everyone and official systems are required to make social norms work. (see Dunbar's Number)
- Massive groups (1,000+): Polling, city-scale production efforts. There are very few dynamics that happen at this scale that aren't also explore with 200+ or even 40+ groups.
- Who does this action impact or target? This gives a rough estimate of the group size your system needs to support.
- Is a larger group size necessary for this behavior to emerge? If not, you can usually get by by targeting your design at multiple instances of a smaller group size.
The actual transition points fluctuate around these numbers based off contextual factors. For example, the transition to the dynamics of a Very Large Group can occur as soon as 60 or 70 people if there are weak communication channels that stress a player’s ability to maintain relationships.
Also, large groups are inevitably composed of smaller groups. So as systems are added, the dynamics of lower number groups are still present.
The dangers of large group sizes: It can be tempting to make epic multiplayer games with thousands of interacting players that could theoretically all fit in the same room. However, the technology and design costs are high and the benefits weak. Past 150-250 players, your game is in territory beyond Dunbar’s theorized biological limit on maintaining meaningful relationships. All those extra people end up just being treated as number or abstractions by your players. A simple sim or polling system can often capture the major benefits of the next highest group size.
Realm of the Mad God was completely playable as an MMO with action sequences of 40-80 players and trade / hub interactions of 150. Players did not miss the 1000s of players.
This reality raises serious questions about the need for designs that emphasize ‘massively multiplayer’ experiences. Just because a concept sounds exciting (“a million people building a new society!”) doesn't mean it is a smart design. Human social capacities are limited and we can (and have!) over-engineer multiplayer systems.
Scope of interaction
How many people does a single interaction impact? A player can interact with a single individual or they can interact with one of the group sizes listed above.
- Targeting a player interaction at small groups: With smaller group sizes you get communication similar to a conversation. There is a clearly defined interaction loop that can stabilize on a set of shared vocabulary and social norms quickly.
- Targeting a player interaction at larger groups: With larger group sizes you see more broadcast scenarios and interactions are broader, less tailored to individuals. When interacting with large groups, it is common for the massive response to flood the recipient with too much information. Extreme reactions are also more common as people talk over and past one another.
Degree of interaction
- Parallel: Players can behave independently from one another. A ghost racing car rarely impacts another player. Often the primary benefit here is a sense of presence though it can also tie into lower frequency zero sum interactions like a leaderboard.
- Zero Sum: The action of one player blocks or reduces the interaction of another player. In Habbo hotel, movement is a zero sum interaction since the placement of one character blocks another character from occupying the same spot. This was famously used as a griefing tactic to box in players.
- Non-Zero Sum: The action of one player benefits another player. In Realm of the Mad God, shooting an enemy makes that enemy easier to kill for other players. Killing an enemy gives XP to everyone on the screen.
Matchmaking is the computer mediated act of introducing players to one another so they might interact.
This is a very broad definition of matchmaking, but is useful in the context of the wide range of multiplayer systems available. For example, a traditional console title might match players together by requiring players in a shared lobby to manually join a specific game. In Realm of the Mad God, players notice groups of players on a shared map and teleport to them. Both are forms of matchmaking, but they appear quite different in the player’s mind.
You can treat matchmaking abstractly as another interaction with a wait time.
Matchmaking window
The time you have to introduce a player looking for a multiplayer experience to another player. If the window is too long (and the player is not entertained during the window), they will leave.
Matchmaking failure
When a player comes online and there is not another player immediately online, the players will quickly become bored and leave. There is often an implicit promise of a fun multiplayer experience and if you don’t deliver that in seconds, your game is judged as a failure.
What can be frustrating to the developer is that another player pops in a minute later and experiences the same exact thing. If one players sticks around long enough, another player will show up.
Calculating daily failure threshold: If the matchmaking window is W in minutes, then failure will occur when the daily active population is less than Minutes In a Day / W. So for example if people are only willing to wait half a minute, you’d need a daily active population of 1440 / 0.5 or 2880 players. Actual results will be lumpy because we are dealing with a statistical process and player populations peak around specific times of day.
This may seem quite reasonable, but if you are matchmaking primarily with small groups of friends, players may feel like no one they know is ever on.
Fragmentation
When the player population is segmented by social groups, game modes, players skill levels, time playing and other factors, it becomes fragmented. This reduces the actual concurrent player numbers available to the matchmaking system and increases the chance of a matchmaking failure.
Example of fragmentation: Suppose a game has 3 multiplayer modes and matches players into 10 skill categories. If the daily failure threshold is 2880 (from the previous example), then in the worst case scenario, you’d need 3x10x2880 or 86,400 concurrent players for everyone to get their first choice.
Fragmentation creeps into a design. Someone wants to add another event or another game mode. The code is free, so why not? Surely the players will self sort. They do a little, but mostly they wonder why the matchmaking experience is so painful and then leave your game in frustration. Avoid fragmentation creep and put players together in big easily matched buckets when possible.
Concurrency ratio
Any game has a number of active accounts and a number of players that are online at once. Players cannot be playing constantly and are often offline For example, an MMO might have 100 active subscribers, but only 10 of those are on at any one time. This would result in a concurrency ratio of 10:1.
Some typical concurrency ratios:
- MMO: 10:1
- Online Console Service (like Xbox Live): 25:1
- Individual Console game: 150:1
- Flash game: 250:1
- Couch multiplayer: 1000:1
Relationship strength
Not all player interactions are equal due to unique relationships between players. Players build complex social models of other players both in game and out of game. Strangers are understood through simple, stereotype-based models. Close friends are understood through complex individual models built up over thousand or millions of minute reciprocation sequences.
Building mental models of another human is a biologically expensive operation. We seem to be able to keep 5 to 9 detailed models active at any one time though we can store many more at various levels of detail. Friendship is rare, complicated and built over long periods of time.
There are numerous benefits and trade offs that come from gaming with strangers or friends and friend-based play is often highly desirable. Games can help create friends by promoted repeated positive interactions. The higher the frequency, the quicker the relationship evolves.
Relationship strength is a spectrum, but there are two commonly drawn categories
- Multiplayer with Strangers
- Multiplayer with Friends
Let’s tackle multiplayer between strangers online first.
Pros:
- Anyone playing the game can be matched with anyone else with little regard for existing social bonds. This model becomes immensely attractive when there is a small initial player base. Often this means if 10 people are online, 10 people can be playing together.
- Strangers, particularly young males, historically tend to compete with one another. This means that player vs player games that emphasize open conflict are an easy means of generate fun for some stranger populations.
- Strangers have weak bonds and will not naturally engage in prosocial activities like collaboration.
- Skill differentials matter since players tend to compete. This forces developers to focus on segregating experts from newbies and fragments the population.
- Not all player populations thrive on overtly competitive gameplay. Some players prefer to collaborate. Others compete quietly for status by manipulating social relationships. These are difficult in stranger scenarios.
Pros
- Players are much more likely to schedule time together to play.
- Cooperative and communication heavy activities are considered fun.
- Mentoring between divergent skill levels is more likely to occur.
- Competitive play is still valid.
- There’s often little overlap between existing social groups and interest in a specific game.
- There’s often little overlap between existing social groups and share scheduled.
- Friend groups are small. Engaged players typically have 5-9 close relationships. Casual acquaintances may be higher in number, but in practice may act more like strangers. If you have 10 friends and the concurrency ratio for a service is 25:1, you will essentially never stumble upon them online.
Tools for dealing with multiplayer logistics
So far I’ve just talked about the concepts behind multiplayer. Now we’ll dig into some common patterns that make use of these. There are three broad architectures:- Match-based games
- Room-based games
- Asynchronous games
Tools: Match-based games
Due to the long history of event-based matches in sports and board games multiplayer computer games often are organized into matches that start at a specific time and stop at a specific time or win condition.Matches are the default logistics model used for many console and PC-style online games. They are immensely problematic. The matchmaking interaction has a very narrow window during which it requires a full set of players to show up in order to enter the game successfully. If you don’t get in, you need to wait till the next match starts. If this time is longer than the wait window, you’ll quit. Considering concurrency ratios, fragmentation and the burden of a tiny matchmaking window, it is not surprising that only the most popular match-based online titles survive.
Scheduled Events
Ask people to show up at the same time. This essentially shifts play times so that they are on at the same time. Scheduling is an expensive planning activity on the part of the player. You’ll get a low overall engagement rate but those who do participate are likely to find others to play with. A special Halloween boss encounter in a MMO is an example of a scheduled event.
Events can be scheduled by the game developers or they can be scheduled by the players. Player scheduled events have the benefit of stronger social ties in play. Folks that get together for a board game night are such an event. The downside is that arranging meeting is a convoluted process (as anyone that tries to set up meetings with more than 6 people can attest). It often requires leadership or persistence, attributes that are often in low supply for lightly engaged players.
Regularly scheduled events
If you can make the event regular, people will get in the habit of being at a particular place at a particular time. This reduces the cost of planning for the player and they can just reliably show up at a specific time instead of worrying about conflicts. A standard Wednesday game night for a guild is an example of a regularly scheduled event.
Short matches
If matches are short enough (2 minutes? 30 seconds?) players that don’t get into the current match wait less time than the matchmaking window and thus are still around when the next match starts. Online word games do this, but it could be readily applied to other titles.
Spectating on matches while waiting
If you can keep players entertained by letting them watch the game in progress, you can lengthen the matchmaking window. Games like Counter Strike do this upon entrance into a server and upon death. Chatting is often tossed into this mix since it is a nice downtime activity that can build relationships.
Bots during matchmaking to fill waits
Instead of putting players in a queue where nothing happens, put them directly into a match with bots as the opponents.
Getting bots that act like humans is often a tricky Turing test to pass. Not letting players talk and having a very narrow window of expression helps.
When players learn this is happening they will start to distrust the game and question if all opponents are bots.
Mechanical Interdependencies
Create activities that require multiple people to show up in order to achieve success. Not showing up lets down the group and thus increases the social pressure to show up. This can take the form of explicit roles or by limiting resources so that players can’t accomplish large goals independently.
Tool: Room-based games
Ultimately match based games result in often insurmountable logistical issues for smaller games. A favorite alternative is room based games. Unlike a match which has a distinct start and exit, room-based games create a persistent playspace that players may independently join the game in progress (or leave the game in progress)Rooms have a maximum number of ‘slots’ or spaces for players to join them. Once the room is full, no more players may join. This dramatically reduces the load on matchmaking. All you need to do is find a room with an empty slot available and dump players into it.
The downsides to rooms is that they eliminate certain game types. Group starting times are obviously out which eliminates most traditional sports. Games with progression arcs result in players that start at different types having differing levels of progress. You need to get creative.
A game like Journey is essentially a room based game with join and leave in progress. The max slots was 2 and as long as there were two concurrent players you could have a multiplayer experience.
Most MMO’s are room-based games with very large rooms.
Join In Progress, Leave in Progress
One reason why rooms offer such improved logistics over strict matches is that players may join or leave at any time. Since it is highly unlikely that everyone will leave at once, especially in games with a predominance of parallel interactions, shortly after one person leave another person will join and you'll get a consistent average population in the room.
Pure match-based games are often quite rare because many popular games treat the individual server as a room and the match-based elements are merely scoring atop a dynamic population of players joining and leaving in progress.
Elastic Room Instances
Create and remove rooms to fit that maximum currency. Given a room of maximum size N, you create new rooms so that the number of rooms equals Concurrent Player / N. So if 10 players are online and your default room size is 4, you’ll make sure there are 3 rooms to join.
To collapse a room, just wait until it naturally empties out as players leave the game or kick people out due to some in-game event intended to free up the instance. Once the room is empty, delete it. By giving rooms priority, you can fill the highest priority rooms first and kill off the low priority rooms. The result is that almost all rooms are constantly full and only the remainder are left alone.
We used this when creating world shards in Realm of the Mad God. The world generally felt full even when the concurrent population fluctuated dramatically.
Default to single player gameplay for rooms with one player
Room-based games have the ‘remainder’ issue. A given maximum room size rarely divides evenly into the concurrent population. If the room size is 2 and there are 3 players online, there will be 1 player placed in a new room by themselves.
To deal with this scenario, it helps to have a game that is playable as a single player game until the next player joins the room.
A retail game like Dark Souls assume very low concurrency and plays almost entirely as a single player game (with light async ghost interactions) The concurrent matchmaking is a silent parallel interaction that happens without interrupting the single player adventuring. Since having a second player in the right place at the right time is uncommon, the game instead treats it as a special occurrence. (Note that since Dark Souls promises a single player game, they make the concurrent multiplayer experience opt-in through the use of soapstones. The soapstones signal that a successful match has occurred and the player must accept it. Respect your initial promise when you mix single player and multiplayer interactions.)
Asynchronous techniques
Play-by-mailA player completes an interaction and then the game signals to them that they have a very long period of time before the other player responds. The next day or so, the other player sees the first player’s action and composes their response. This can take place over days.
Words with Friends is a modern example of this technique, but the practice goes back decades if not centuries (if you include play-by-mail board games). It is an intimate method of play that works well with text communication much like instant messages or email. Play-by-mail is very amenable to play between friends.
A downside is that players are deeply impatient. A single turn may not be all that satisfying and then having to wait multiple days for a response has a major drop off in retention. There are still matchmaking issues if fragmentation is too high but the explicitly long wait window ensures players don’t get too worried that the system is broken (they may just not like the system).
The other downside is that in turn-based games, the non-response of one player may block another player.
High Capacity Play-by-mail
One solution is for a player to start a large number of play-by-mail games. Given a response time of T days and a desired average wait time of W days, then the optimal number of games going at once is T/W. (So if you want a game popping in every hour and it takes 24 hours to response, then you need 24 games going.)
One added benefit of all this is that player response times are semi-random. This acts as a random reinforcement schedule and can result in very long term retention.
The downside to the technique is that it requires players to start up a lot of games in order to reduce the wait window and motivating players to do so is tricky. Automated game matching may be an answer.
Inviting
You can leverage active players to invite new players to the game. These players often have strong relationships with the player and can potentially act as a source of new players into the game.
Match with friends
Since async forms of multiplayer rely heavily on players to come back later, their game designs often relies on social connections outside the game as a form of additional pressure. If you can get people to invite or match with friends (as in Farmville) a lack of reciprocation in interpreted as putting their existing relationships at risk. The threat of being rude or seeming like you don’t care to someone you like is often enough of an incentive to encourage returning to the game.
Systems that play off existing relationships run the risk of alienating players. Players not invested in the game tend to find mechanical interactions annoying. Authenticity and intentions matter when it comes to human relationships.
Visiting
In building games, you may create a persistent structure such as a town that other players can then visit independently of your presence.
Clash of Clans uses this when players attack your town. The town is a persistent structure that then acts as a level for the other player to conquer.
Visiting usually boils down to a simple resource exchange despite the trapping of being something more meaningful. The issue comes from questions of what happens when multiple people visit at once and the solution is to spin up different instances.
Jason Rohrer’s The Castle Doctrine uses the unique design of making visiting a blocking interaction. This opens the possibility for permanent changes being made to the visited location. One can imagine more complex versions of musical chairs as the foundation for some innovative designs.
Ghosts
Record players behaviors and then play them back alongside the player in a similar environment. This works particularly well with parallel interactions like you see in racing games. It can also work with the rare non-zero sum interactions like you see in multiple time track games like Cursor 10 or Super Time Force. Ghosts gives a sense of presence but removes the matchmaking time constraints.
The downside is that ghosts usually works poorly with blocking or zero-sum interactions. The other downside is that if the ghost data and the environment get out of sync, then the ghost data becomes invalid. These can be alleviated slightly by either skipping blocked actions or falling back on AI behaviors that manage exceptions
On a more abstract level, ghosts are just tracks of player data that can be replayed on any sort of trigger. They can be triggered at the start of a race, when the player comes onscreen or when the player uses the special amulet of Ally Summoning.
General practices
This essay has covered a lot of ground (and is still incomplete!), but I’ll leave you with a few quick recommendations.- Don’t fragment your matchmaking population. Be very wary of the point at which your concurrent game’s matchmaking fails due to high concurrency ratios.
- Use room-based methods where possible, not match-based play.
- Persistence is your friend since it enables asynchronous interactions.
- Relationships are your friend since they increase retention. Try to build them where possible.
- Prototype early and deal with low populations density issues during the prototyping phase.
Conclusion
I remain quite excited about new multiplayer games. When I look at the theoretical advances being made with game grammar via Joris Dormans internal economies and some of the multiplayer concepts in this essay, the unexplored space for new forms of game seems vast. If you want to make your mark on our modern world, make a great multiplayer game. Solve the logistical issues that prevent people from playing together and build a game that spreads quickly and easily throughout communities.take care,
Danc.
Notes and references
Topic for future investigationConcurrency is a statistical process; there’s a chance of a player being on at a given time. This whole topic could stand to be dealt with in a mathematically more rigorous fashion.
Essays and books
- Group Thresholds: http://www.lifewithalacrity.com/2008/09/group-threshold.html
- Social Mechanics by Raph Koster: http://www.raphkoster.com/wp-content/uploads/2011/02/Koster_Social_Social-mechanics_GDC2011.pdf
- Multiplayer Skill Atoms: http://www.projecthorseshoe.com/ph08/ph08r5.htm
- Loops and Arcs: http://www.lostgarden.com/2012/04/loops-and-arcs.html
- Internal Economies by Joris Dormans: http://www.amazon.com/Game-Mechanics-Advanced-Design-Voices-ebook/dp/B008CG8E8Y
- Dark Souls: http://en.wikipedia.org/wiki/Dark_Souls
VGX 2013: Titanfall's New Classes, Telltale's Borderlands Game, and No Man's Sky
Taylor SwiftThis news isn't that interesting (OK No Man's Sky looks aight but), I am sharing this EXPRESSLY because every embedded video player on the page autoplays in a cascade and the resultant chaos is kind of awesome
10 PRINT in 64 bytes of JavaScript
From p01 comes a 64 byte JavaScript program to produce a random-seeming maze, as long as the person at the computer is willing to wiggle the mouse a bit. It’s on pouet.net, with comments, too.
Photo of the Day: 12/27/13
Day of the dead... Puerto Escondido, Mexico
Photo: Rick Indeo
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Hennyo Drummer w/ Lactose Intoler-art Accessories & Converse in Harajuku
Mashimo is the drummer and one of the singers of the Koenji girl group Hennyo! You might remember her from the previous snaps we’ve taken of her (together with fellow Hennyo member Ai) here and here.
When we met Mashimo this time, she was wearing an oversized blue jacket with a green sweatshirt, Hennyo original print shorts, neon yellow tights, and Converse Chuck Taylor sneakers. Accessories include a silver hat, a Lactose Intoler-art necklace, Lactose Intoler-art “Koenji Kids” buttons, a Lactose Intoler-art tote bag, and pink socks.
For more info on Mashimo’s band, find Hennyo on YouTube, Twitter, or Facebook.
Click on any photo to enlarge it.
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Spotiamp
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Pixel Room
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What We've Got Here Is a Failure to Combobulate
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