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infovore + writing   269

Stet by Me: Thoughts on Editing Fiction · Meanjin
"In publishing we now talk about immersive narrative, mainly because we are tense about the future of books. People who love reading are in it for exactly that: to soak themselves in story. To forget whenever possible that there even is a story outside the book, particularly the bubble-busting story of how the book was made. As a reader, I cling to the sense that this all but transcendent experience comes directly to me from one individual imagination. The feeling I have when reading fiction—of a single mind feeding me experience and sensation—is seldom articulated but incredibly powerful. As a reader, I don’t want fiction to be a group project." But, as the article points out, the role of the editor(s) means it always is. A lovely article about books, publishing and fiction.
editing  books  publishing  fiction  writing 
12 hours ago by infovore
The dreadful luminosity of everything | booktwo.org
"I think that the physical and the digital are inseparable in culture in the same way that waves and particles are inseparable in light." This is great, and reminds me how Berger-esque some of James' art-writing is getting.
art  light  network  physical  digital  jamesbridle  writing  stml 
13 days ago by infovore
It’s The New Thing! | FreakyTrigger
"So here are some social media and music articles you could go away and write yourselves: I’ve even included example sentences to get you started." Social media is like All The Things.
socialmedia  tomewing  comparison  writing  funny 
27 days ago by infovore
Hard Copy, pt. 1 – Quinns
"The point is that this is lossless game design. There is no shark pit. When you buy a board game, what you take home and play is the original concept precisely as it was in the designer’s head. That’s the mecca for video games. For board games, it’s the norm."
boardgames  design  quintinsmith  writing 
29 days ago by infovore
McSweeney’s Internet Tendency: The Only Thing That Can Stop This Asteroid is Your Liberal Arts Degree.
"I don’t need some pencilneck with four Ph.D’s, one-thousand hours of simulator time, and the ability to operate a robot crane in low-Earth orbit. I need someone with four years of broad-but-humanities-focused studies, three subsequent years in temp jobs, and the ability to reason across multiple areas of study. I need someone who can read The Bell Jar and make strong observations about its representations of mental health and the repression of women. Sure, you’ve never even flown a plane before, but with only ten days until the asteroid hits, there’s no one better to nuke an asteroid."
humanities  mcsweeneys  humour  writing 
29 days ago by infovore
Jenova Chen: Journeyman • Articles • Eurogamer.net
"So what happened when you removed collision detection?" "Players started looking for other ways to get more feedback. Helping each other yielded the most feedback so they began to do that instead. It was fascinating." A lovely interview - and great piece of writing fro Simon - with Jenova Chen. The parts on how players regress is particularly interesting, as is Chen's ambition to be _different_ rather than just 'artistic'. I particularly enjoyed the anecdote about collision detection, hence quoting it.
journey  thatgamecompany  games  simonparkin  writing  interview  jenovachen  play  childishness 
8 weeks ago by infovore
Letters of Note: Nothing good gets away
"There are several kinds of love. One is a selfish, mean, grasping, egotistical thing which uses love for self-importance. This is the ugly and crippling kind. The other is an outpouring of everything good in you—of kindness and consideration and respect—not only the social respect of manners but the greater respect which is recognition of another person as unique and valuable. The first kind can make you sick and small and weak but the second can release in you strength, and courage and goodness and even wisdom you didn’t know you had." John Steinbeck is wise, and a good father.
johnsteinbeck  writing  love  advice  parent 
february 2012 by infovore
Dave Hickey - The Heresy of Zone Defence [pdf]
"Kareem, after the game, remarked that he would pay to see Doctor J make that play against someone else. Kareem's remark clouds the issue, however, because the play was as much his as it was Erving's, since it was Kareem's perfect defense that made Erving's instantaneous, pluperfect response to it both necessary and possible—thus the joy, because everyone behaved perfectly, eloquently, with mutual respect, and something magic happened—thus the joy, at the triumph of civil society in an act that was clearly the product of talent and will accommodating itself to liberating rules." This is phenomenal writing.
writing  play  sport  games  basketball  davehickey  juliuserving 
february 2012 by infovore
Hookshot Inc. | Writing about the games that arrive via SPACE.
Parkin / Donlan / Porter / Stuart start a blog about sub-$15 downloadable games. This is going to be good.
friends  games  writing  downloadable 
february 2012 by infovore
Lucy Prebble: 'Gaming is an artform just like theatre' | Technology | The Observer
"...a whole art form has developed in my lifetime. I remember for the first time reading: "Happy families are all alike; every unhappy family is unhappy in its own way." I remember the first time I heard: "I believe in America. America has made my fortune." And I remember standing in an open field, west of a white house, with a boarded front door. There is a small mailbox here." This is quite baggy and in places unfocused, but every now and then, there are moments of sharp focus. Most notably: the relation of the impulse to write to the impulse to play games (an escapist impulse in Prebble's mind, but that's not a bad one), and the understanding that 'culture is culture'.
games  culture  writing 
february 2012 by infovore
William Mayne (1928-2010): or what if the greatest* 20th-century children’s author were to present us with an intractable moral knot? | FreakyTrigger
"Mutual misunderstanding was not a new topic in fiction — or even in children’s fiction — but surely few explored it with Mayne’s insight, humour, gentle delicacy or subtlety: how children are not party to adult agendas, compromises, habits and assumptions; and of course vice versa, that in growing up adults have very often lost or set aside a valuable way of seeing the world. That there’s a thread of trust that marks the path everyone is treading, and that this thread is sometimes very fragile indeed. Can sympathetic intelligence and wisdom — wisdom precisely about such trust — sit alongside deep selfishness and a capacity to abuse? Well, yes, sometimes I think it can." Complex, thoughtful piece about William Mayne and difficult questions.
books  writing  children  williammayne  freakytrigger  morals  contradiction 
january 2012 by infovore
Insult Swordfighting: The loneliness of the support gunner -- Video Game Reviews and Rants
"My energy is flagging and he is disappearing over a rise. I wonder: Had he even known I was there? Had I imagined our moment of shared transcendence? And I wonder: Will no one take my ammo?" Battlefield is often like this, which is why it's frustrating, and why it's brilliant.
battlefield3  games  teamwork  mitchkrpata  writing 
january 2012 by infovore
Roy's Postcards
"It's 1981. Roy Richardson is a manager at a Los Angeles computer company. A devout Mormon, he has a two-year-old son, with two daughters yet to be born. He has a little over ten years to live.

I was that two-year-old and Roy was my father. I grew up without him, knowing the outlines of his life but not the details. In 2006, at my mother's house, I found three boxes of details." Leonard never fails to surprise and amaze. This is wonderful.
leonardr  postcards  family  history  writing  documentation 
january 2012 by infovore
Dirty 30s! - The Lester Dent Pulp Paper Master Fiction Plot
"This is a formula, a master plot, for any 6000 word pulp story. It has worked on adventure, detective, western and war-air. It tells exactly where to put everything. It shows definitely just what must happen in each successive thousand words.

No yarn of mine written to the formula has yet failed to sell." Lester Dent was the creator of Doc Savage, and wrote a LOT of pulp fiction.
lesterdent  pulp  fiction  storytelling  writing 
january 2012 by infovore
Astonishments, ten, in the history of version control < Francis is
"The (for now) final end product seems incredibly obvious. And popular.

Yet it took decades of iterative innovation, from some of the cleverest minds in the field, to make something so apparently simple yet powerful.

And every step was astonishing." This is great stuff from Francis.
scm  vcs  versioncontrol  history  programming  francisirving  writing 
december 2011 by infovore
Hard Times: For Our Times | booktwo.org
"...one of the things I learned in attempting to produce 50 interesting variants on the text is that it is very, very hard. Whatever is done to the text, it is virtually impossible to extinguish Dickens’ intention without extinguishing the whole work (as in the case of the copies which read simply “Fancy fancy fancy fancy…” or “Facts facts facts…” for 300-odd pages). The text stands; it is greater than paper." This is brilliant.
writing  publishing  intent  authorship  art  jamesbridle  stml  brilliant 
december 2011 by infovore
inessential.com: Pub Rules
"I’d love to run, edit, and write for a publication bigger than just me and my blog. I don’t have time, so I won’t, at least not any time soon. But if I were to run a publication, I’d have a few rules:" These are all correct. Also: they apply to everything from a blog upwards, frankly.
writing  publishing  blogs  web  brentsimmons 
november 2011 by infovore
Kill Screen - In Brief: Who Rules the Rules?
" If real human players are serving as the authority, the spirit of the rules is intact even if they are not followed literally. Rules are checked for reference when a debate comes up about a certain ability or tactic, but they are not a constant authority. There’s a certain flexibility present when the players have the final say on what is acceptable. They only bend the rules when it makes the game more fun." This is very good: textualism versus contextualism.
games  writing  rules  systems  context  killscreen  lbjeffries 
november 2011 by infovore
The Day Alan Turing Came Out
A lovely, sad, tiny story by Leonard.
leonardrichardson  alanturing  history  sf  sciencefiction  writing 
november 2011 by infovore
Kill Screen - My Purple-Haired Made-Up Best Friend, and Why She Had to Die
"I only got to hang out with Rachael once: in San Francisco, for a week, during the Game Developers Conference...

Here’s how we did it: She shared my eyes and ears, and she wrote her impressions through my laptop and my BlackBerry. When we touched down at SFO, she wrote the first tweet, and she eavesdropped on the game designers that I sat with riding into town on the BART. We were working press—except I was the one sweating the deadlines, and looking for good ideas, while she was just loving it..." Chris Dahlen on writing pixelvixen707
games  transmedia  writing  chrisdahlen  marketing  args  pixelvixen707 
november 2011 by infovore
HULK PRESENTS: THE MYTH OF 3 ACT STRUCTURE « FILM CRIT HULK! HULK BLOG!
"THIS LITTLE WAY SHAKESPEARE ESCALATING THE STAKES AND POSITIONING THE ENDGAME = THE SAME EXACT WAY HOLLYWOOD SCREENWRITERS HANDLE THE ENTIRE MIDDLE PARTS OF THEIR GODDAMN MOVIE.

NO WONDER THEY AIMLESS AND BORING." Film Crit Hulk is brilliant.
writing  structure  screenplays  format  filmcrithulk  beats  shakespeare 
november 2011 by infovore
Kill Screen - Fallout New Vegas DLC Review
"...you play other roles than “protagonist.” That there are other ways of seeing." Very good.
writing  agency  games  fallout 
november 2011 by infovore
How Dan Harmon Drives Himself Crazy Making Community | Magazine
"His earliest revelation about how the TV medium worked—one that heavily influences Community—came courtesy of a Cheers board game he spotted at a toy store. He realized that the characters were so relatable and their dynamics so clearly defined that anyone could step into their lives—even in a board game." Brilliant interview with Dan Harmon - but this paragraph really leapt out at me.
community  story  narrative  danharmon  writing  sitcoms  tv  structure 
october 2011 by infovore
Ursula K. Le Guin | VICE
An unexpected place for a Le Guin interview, but it's great nontheless.
ursulaleguin  books  fiction  sf  writing 
october 2011 by infovore
[this is aaronland] not so much a recipe as a ritual
"Elizabeth David was a revelation for me. She was a wonderful prose writer and it was a habit that carried over in to her recipes which are often maddeningly vague. You would be forgiven for wondering whether there are recipes at all. They are really just a handful of paragraphs that serve as a rough guide in the general direction of the dish you're trying to make. The recipe that follows is much longer than anything she'd write." Yeah, but it still looks amazing, Aaron.
ossobucco  cooking  food  recipe  writing  aaronstraupcope 
october 2011 by infovore
The New Value of Text | booktwo.org
"Velocity, depth, breadth. These are the dimensions we can add to books, that are the gifts of a digital age, not gimmicks, glossy presentation and media-catching stunts. The text works. It stands and speaks for itself. It is not what we need to change." Yes, yes, yes, this, a hundred times over.
publishing  text  writing  literature  ebooks  stml  jamesbridle 
october 2011 by infovore
BOOK VIEW CAFE BLOG » TGAN and TGOW
"I’m not saying that a book that makes you cry is a great book. It would be a wonderful criterion if only it worked, but alas it admits effective sentimentality, the knee-jerk/heart-string stimulus. For instance, a lot of us cry when reading of the death of an animal in a story — which in itself is interesting and significant, as if we give ourselves permission to weep the lesser tears — but that is something else and less. A book that makes me cry the way music can or tragedy can – deep tears, the tears that come of accepting as my own the grief there is in the world — must have something of greatness about it."
ursulaleguin  writing  steinbeck  tears  grief 
october 2011 by infovore
via Frank : Good art is a kind of magic. It does magical...
"Good art is a kind of magic. It does magical things for both artist and audience. We can have long polysyllabic arguments about how to describe the way this magic works, but the plain fact is that good art is magical and precious and cool. It’s hard to try and make good art, and it seems to me wholly reasonable that good artists should be concerned with their work’s cultural reception." Oh, this.
writing  davidfosterwallace  creativity  literature 
september 2011 by infovore
The pace of change « matt.me63.com – Matt Edgar
"A billion drinks per day of Coca-Cola is an amazing thought, but such uniformity is a symbol of inertia, not dynamism. For the most part world trade still travels at the speed of shipping containers, not data packets." I chatted to Matt at dConstruct about this, and I'm really glad he's written it up: so much good examples and thought, about recognising the difference between pace and impact, of attention versus raw numbers.
technology  change  writing  progress  mattedgar 
september 2011 by infovore
Cardboard Children: Heroquest & More.. | Rock, Paper, Shotgun
"I think games connect us to a time when we had time. In your youth, time is elastic. You have exactly as much of it as you need. You have no responsibilities. No job, no children. Nothing but time, and friends, and shit to play with. When we play games now, as adults with too much stuff going on, we do so because we’ve made time for them. We’ve set time aside to indulge in some nonsense with people we love. When you make that time, you HAVE that time. And when you have that time, it’s like being back there – back in that place, that living room, that bedroom, that house full of memories. With time to spare, and everything exactly as it was." Oh, Rab. Marvellous.
games  writing  childhood  nostalgia  robertflorence 
august 2011 by infovore
David Sudnow: Pilgrim in the Microworld | The Gameshelf
"He spends a chapter meditating on the nature of practice and mastery, both in general and in its application to Breakout. Eventually, and after much frustration, he concludes that Breakout doesn’t want to be played that way. Instead, he embraces what he calls the game’s “lucratively programmed caring,” the way its few but distinct design elements work together to guide the player into getting incrementally better at it, revealing more about its inner workings, bit by bit — but only for those who fulfill their end of its contract, who agree to approach the game on its own terms. Treating it like a piano exercise, it turns out, doesn’t work." I'm reading Pilgrim at the moment, and it's an incredible book for all manner of reasons. This lovely piece is something to return to when I finish it.
davidsudnow  games  breakout  writing 
august 2011 by infovore
An Academic Author’s Unintentional Masterpiece - NYTimes.com
"In this column I want to look at a not uncommon way of writing and structuring books. This approach, I will argue, involves the writer announcing at the outset what he or she will be doing in the pages that follow. The default format of academic research papers and textbooks, it serves the dual purpose of enabling the reader to skip to the bits that are of particular interest and — in keeping with the prerogatives of scholarship — preventing an authorial personality from intruding on the material being presented. But what happens when this basically plodding method seeps so deeply into a writer’s makeup as to constitute a stylistic signature, even a kind of ongoing flourish or extravagance?" Oh, bravo, Geoff Dyer, bravo.
writing  academia  geoffdyer  pastiche 
july 2011 by infovore
Boring « Never Knowingly Underwhelmed
"On Valentine’s Day, 1980, a couple of weeks shy of my 15th birthday, I saw my first “X” film. The visceral Philip Kaufman remake of Invasion Of The Bodysnatchers, I didn’t have to sneak in through a held-open fire door, wear a false moustache or lower my voice an octave, as per underage tradition. I paid £1 to see it, legally, projected onto a modest screen before an auditorium of arranged plastic chairs at Northampton College of Further Education’s Arts Centre, courtesy of their members-only Film Society." And so begins a lovely, charming article by Andrew Collins, about the battle for his soul (between film and punk-rock), and how, as an earnest sixteen-year-old, you get to see movies. I did this fifteen years later, with a bit less punk rock, and replacing the NCFE Film Club with a VHS recorder and Moviedrome - but it all rings very familiar. Spot-on.
andrewcollins  writing  film  adolescence  taste 
july 2011 by infovore
Short story: Covehithe by China Miéville | Books | guardian.co.uk
Marvellous. Can't say any more - you need to read this (very) short story - but it's really, really lovely: shivers down the spine, and something heartwarming, all at once. And: set in a slightly magical part of the world.
books  chinamieville  writing  fiction  shortfiction  sf 
july 2011 by infovore
Adventures in Time and Space: linearity and variability in interactive narrative | Fiction is a Three-Edged Sword
"...the insight I had playing Indigo was that map-based games, while non-linear in gameplay, are inflexible in narrative. There’s nothing variable about the story that emerges in the player’s head: it’s authored, split up, and distributed across the game like pennies in a Christmas pudding. All that changes is the pace at which it appears. But in time-based games, everything the player does is story, and so that story is constant flux.

To put this another way:

Map-based games are ludicly non-linear but narratively inflexible.

Time-based games are ludicly linear but narratively flexible.

(Of course, these are spectrums: some games, like Rameses or Photopia are ludicly linear and narratively inflexible, and some, like Mass Effect, at least endeavour to be ludicly non-linear and narratively flexible.)
...
Do readers want to interact, toy and play with fiction, or alter, bend and shape it?" Jon Ingold is smart.
joningold  writing  fiction  interaction  interactivefiction  transmedia 
july 2011 by infovore
The art of working in public « Snarkmarket
"...what I see in Matt and Alexis’s writing is a growing mastery of this balance. I think it’s an important emergent skill, maybe even a new liberal art. When you articulate it, it sounds almost like a koan, or part of some samurai code: Work in public. Reveal nothing."
writing  opacity  directness 
july 2011 by infovore
The World Warrior | insert credit
"His base is too good, and I don’t have the choke. He proceeds to take a more dominant position, scores points, and my body is burning from the effort. The choke he applies toward the end of the match is almost a formality, since I’m far too tired to do much more than hang on. Second place. Second place because I’m learning the triangle choke, not learning Jiu Jitsu. Chipp never wins tournaments." A fantastic piece of writing, about beat-em-ups and combat sports, and the mindset you get into as you play both. I'm not a combat sports man, but it nails some of the inside of your brain when you've played a lot of beat-em-ups, for sure.
mma  brazilianjiuitsu  insertcredit  fighters  games  writing 
july 2011 by infovore
The Age of Mechanical Reproduction - The Morning News
"My wife and I talk about this. We talk about the protocol of the fertility clinic. We talk about her support group, and failure to produce. We talk about adoption, which is expensive and ambiguous. We talk about giving up on the process and living our lives without the ghosts of unconceived children (the most adorable ghosts there are). We talk, and talk, and wait." Powerful, sad, brave writing from Paul Ford. Sometimes, you wish things were nice for the good people in the world.
paulford  writing  fertility  themorningnews  medicine 
july 2011 by infovore
Gaming Made Me: Colossal Cave Adventure | Rock, Paper, Shotgun
"I didn’t contact Charlotte; I want to leave the memory untouched. So that we will always both be Crowther’s daughters, too." I think that line - that one, remarkable, final line in a lovely, lovely paean to ADVENTURE - made me tear up a bit.
games  crowtherandwoods  colossalcave  leighalexander  writing 
june 2011 by infovore
Martin Amis: My father's English language | Books | The Guardian
"Infamous will in fact now serve as the reigning shibboleth (or "test word", or giveaway). Anyone who uses it loosely, as I did, is making the following announcement: I write without much care and without much feeling. I just write like other people write" This is good, and sweet at the same time; nice to see a man's cares expressed so well by his son, who's not being an ass for once.
kingsleyamis  martinamis  writing  language  english 
may 2011 by infovore
Nanolaw with Daughter (Ftrain.com)
"My daughter was first sued in the womb. It was all very new then. I'd posted ultrasound scans online for friends and family. I didn't know the scans had steganographic thumbprints. A giant electronics company that made ultrasound machines acquired a speculative law firm for many tens of millions of dollars. The new legal division cut a deal with all five Big Socials to dig out contact information for anyone who'd posted pictures of their babies in-utero. It turns out the ultrasounds had no clear rights story; I didn't actually own mine. It sounds stupid now but we didn't know. The first backsuits named millions of people, and the Big Socials just caved, ripped up their privacy policies in exchange for a cut. So five months after I posted the ultrasounds, one month before my daughter was born, we received a letter (back then a paper letter) naming myself, my wife, and one or more unidentified fetal defendants in a suit. We faced, I learned, unspecified penalties for copyright violation and theft of trade secrets, and risked, it was implied, that my daughter would be born bankrupt." This is marvellous
paulford  writing  fiction  law  microfiction  futures 
may 2011 by infovore
Review: Patrick Stump @ Water Rats | Londonist
"Patrick Stump survived The Scene, then." I went to see Patrick Stump play some music. Then I reviewed it for Londonist.
londonist  patrickstump  music  reviews  writing 
may 2011 by infovore
Things Have Rules (Ftrain.com)
“I guess you could ask people to make recommendations on LinkedIn,” said Scott. Scott and I both work in information technology. “ 'Working with Cynthia was an amazing experience as she always made deadlines and was incredibly prepared for meetings and she is as good as her word when it comes to not dropping a deuce on your floor.'” Marvellous writing, as ever, from Paul Ford.
writing  art  programming  paulford 
may 2011 by infovore
Plot has consequences — Sophie Sampson
"Robert Downey Jr really sells the idea of being a design engineer. To be fair, the Iron Man script does him the great service of having him have to build himself a new heart in a cave in Afghanistan, thus having to make imperfect things and fettle them to fit. That feeling gets slightly lost later in his super-engineer pad where apparently nothing needs filing when it comes back from the rapid prototyping machine. But he still manages to exude a kind of mad joy at making things, a fundamental character trait in the way that having nice breasts is not." Sophie on the emotional truths of storytelling.
games  writing  plot  narrative  storytelling  sophiesamson  truth  masseffect2 
march 2011 by infovore
Mnemotechnics And Ultima Underworld II | Rock, Paper, Shotgun
I swear, just go and read this right now; it might look like it's about games, but really, it's about space, and memory, and Memory Palaces, and wrapped around a retrospective of a marvellous game, and a little bit about how games make us who we are, in ways their creators might never have imagined.
games  ultimaunderworld  ultima  memory  memoryplaces  marvellous  writing 
march 2011 by infovore
BOOK VIEW CAFE BLOG » Would You Please Fucking Stop?
"I keep reading books and seeing movies where nobody can fucking say anything except fuck, unless they say shit. I mean they don’t seem to have any adjective to describe fucking except fucking even when they’re fucking fucking. And shit is what they say when they’re fucked. When shit happens, they say shit, or oh shit, or oh shit we’re fucked. The imagination involved is staggering. I mean, literally." Ursula LeGuin on obscenity, swearing, and the way it's used on contemporary media. (LeGuin is someone who, for reference, has always used language precisely and carefully; she is not a prude, just bored of a lack of imagination.)
swearing  writing  books  film  media  obscenity  ursulaleguin 
march 2011 by infovore
The IF Theory Reader | The Gameshelf
"So is it worth reading dusty IF history? Well, I haven't read it yet. But I can say that the book really represents a tour through the past ten years of the IF community's thinking. Some of the essays are from 2001; some have been revised for this edition; some are brand-new. Many have been published in other forms, so if you've been devouring our blog posts and essays for the past few years, you will see few surprises. But if your awareness of IF dates from the last century -- or if you've been following us only casually -- I think this book has something to offer."
if  interactivefiction  games  writing  criticism  reader 
march 2011 by infovore
Curveship: Interactive Fiction + Interactive Narrating
"Curveship is an interactive fiction system that provides a world model (of characters, objects, locations, and things that happen) while also modeling the narrative discourse, so that the narration and description of the simulated world can change. Curveship can tell events out of order, using flashback and other techniques, and can tell the story from the standpoint of particular characters and their perceptions and understandings." This looks both bonkers and brilliant.
if  interactivefiction  narrative  stories  python  games  writing 
february 2011 by infovore
Stock and flow « Snarkmarket
"Flow is the feed. It’s the posts and the tweets. It’s the stream of daily and sub-daily updates that remind people that you exist. Stock is the durable stuff. It’s the content you produce that’s as interesting in two months (or two years) as it is today. It’s what people discover via search. It’s what spreads slowly but surely, building fans over time.

I feel like flow is ascendant these days, for obvious reasons—but we neglect stock at our own peril." This is good.
stock  flow  content  writing  robinsloan  snarkmarket 
february 2011 by infovore
Verbatim and the facts « rotational
"Trust is the key to breaking [this cycle]. And I think Talese’s method shows us how we might gain it: by checking with our subjects and making sure we understand what they’re trying to express, beyond what they actually say. Because if our subjects are interesting enough to report on, they’re deserving of respect. And if we respect them, they will respect us. That’s a much more virtuous circle." I think Alex is right, you know.
games  journalism  trust  respect  writing  quotation 
january 2011 by infovore
The Web Is a Customer Service Medium (Ftrain.com)
"That is the point that I am trying to make. The web is not, despite the desires of so many, a publishing medium. The web is a customer service medium. “Intense moderation” in a customer service medium is what “editing” was for publishing." Paul Ford is great.
wwic  writing  internet  media  paulford  opinion  curation 
january 2011 by infovore
The Millions : A Year in Marginalia: Sam Anderson
"The writing I enjoy doing most, every year, is marginalia: spontaneous bursts of pure, private response to whatever book happens to be in front of me. It’s the most intimate, complete, and honest form of criticism possible — not the big wide-angle aerial shot you get from an official review essay, but a moment-by-moment record of what a book actually feels like to the actively reading brain. Here are some snapshots, month by month, of my marginalia from 2010." Marvellous stuff from Anderson - funny, wry, hard to argue with. I am not good at marginalia, resorting to dog-earing the bottom of a page, and later, trying to remember why.
reading  books  marginalia  writing 
december 2010 by infovore
John Wyndham: The unread bestseller | Books | guardian.co.uk
"It's true that Wyndham's preference is for no-nonsense, brisk, wry narrators, and the horrors that visit the books can seem like opportunities to show off good old British pluck. But the books are surprisingly unheroic, and often (notably in the cases of Kraken and Triffids) peculiarly open-ended. And if you look closely, you begin to see that there's something very uncosy, persistently unsettling, about these books, that continues to ask profound questions about the limits of our culture and the foundations of the post-war world."
sciencefiction  writing  johnwyndham  sf 
december 2010 by infovore
Steven Strogatz on the Elements of Math - Series - The New York Times
"Steven Strogatz, an award-winning professor, takes readers from the basics to the baffling in a 15-part series on mathematics. Beginning with a column on why numbers are helpful, he goes on to investigate topics including negative numbers, calculus and group theory, finishing with the mysteries of infinity." Lovely series of online articles at the NYT explaining maths. Lots of good stuff.
mathematics  writing  science 
december 2010 by infovore
Why We Fight: Street Fighting Man | Five Players
"Street Fighter is about everything games are about – all you’ve learned about positioning and strategy, every reaction tightened by every sudden twitch of your trigger fingers, every educated guess made at your opponent’s next move – all played out in a simple two-dimensional box where you test everything you’ve ever known about videogames. Street Fighter IV is the same old game of two-dimensional space control, strategy, and flat-out mind reading but it took whopping great polygons in an old-fashioned game to take a 2D fighter back to the masses." This is all true.
streetfighter  games  fighting  writing 
december 2010 by infovore
In Print: KillScreen | ben abraham dot net
"To apply the same point to videogames, ‘we’ are exceptionally good at the analytic mode and extremely poor at the rhetorical persuasion. As a cohort, we’re remarkably analytical. There are not many writers, bloggers, critics, etc of videogames who are either committed to the persuasive communication of the veracity of their feelings, moods, and strange hunches about videogames, but there sure is a lot of people willing to point out the textual or dramaturgical features of XYZ latest game." This, many, many times over. It's one reason I tire of so much wordy criticism at the moment: it is exhaustive, but lacks direction. (This, for me, was the gap between my first years at university and my final year: finding the courage to make my own arguments, rather than just synthesizing everything around me).
writing  games  criticism  analysis 
december 2010 by infovore
Letters of Note: To: My widow
"I am anxious for you and the boy's future — make the boy interested in natural history if you can, it is better than games — they encourage it at some schools — I know you will keep him out in the open air — try and make him believe in a God, it is comforting. Oh my dear my dear what dreams I have had of his future and yet oh my girl I know you will face it stoically..." Whatever his flaws, this is a remarkable piece of writing; Scott's final letters to his wife, as his Anatarctic expedition reached its close. Very sad.
scott  exploration  antarctica  writing  letters 
november 2010 by infovore
Mitu.nu » Kandinsky and Game Design
Mitu makes a series of interesting connections here, though the conclusion she came to isn't quite the same as mine - which is in the comments. But there's a mass of starting points here as to notions of the "abstract", and what it might mean for games. Something I shall be returning to, for sure.
games  abstract  kandinsky  writing  art  mitukandhaker 
october 2010 by infovore
The Future Is A Blank Canvas Pinned To A Brick Wall « Matthew Sheret.com
"We access that history with tools that were, almost entirely, the props of science fiction my parents might have encountered – if they read it. My phone is my sonic screwdriver, the internet my TARDIS; these are the tools with which I unlock and manipulate time."
future  sf  design  writing  mattsheret  history 
october 2010 by infovore
Fatalism in Leboa-Sako and Bowa-Seko | Five Players
"Far Cry 2 invites fatalism, pessimism, and near-suicidal tactics because optimism and strategy went on holiday to Leboa-Sako and got murdered just like everything else. Hoping for the best doesn’t work. Being clever doesn’t work. Nothing good will ever happen to you in Far Cry 2′s Africa, and none of your carefully-designed plans will ever bear fruit."
games  writing  farcry2  fatalism 
september 2010 by infovore
The Future of Books: why IDEO and I aren’t on the... | intercourse with biscuits
"Nelson, as described by IDEO in the video above, does so much work for you. It throws multiple perspectives into the equation, killing the unreliable narrator with the gifts of foresight and hindsight. It does away with the unexplainable appeal of a surprising hit novel giving you a league table of books to pick from according to their “impact on popular opinion and debate.” You’ll struggle to form your own opinion as you jump through the layers that Nelson offers you, given a perspective like a student browbeaten by an overbearing A-Level tutor." I similarly disliked their attempts to not only redesign the book, but to try to redesign narrative, in "Alice" - as if people hadn't tried, and as if what narrative _really_ needed was just a good design firm to take a crack at it.
ideo  books  narrative  writing  imagination 
september 2010 by infovore
Philip Pullman calls time on the present tense | Books | The Guardian
"I want all the young present-tense storytellers (the old ones have won prizes and are incorrigible) to allow themselves to stand back and show me a wider temporal perspective. I want them to feel able to say what happened, what usually happened, what sometimes happened, what had happened before something else happened, what might happen later, what actually did happen later, and so on: to use the full range of English tenses." There's lots in here. I think it might be good; it is definitely interesting, and worth returning to.
philippullman  writing  tense  english  technique 
september 2010 by infovore
Gamasutra - Features - Five Minutes With... Deadline
"In principle, the pressure ought to be off, since you've got a infinitive lives and a stock of smart-bombs. In practice, the game quickly becomes so pulsingly busy that I not infrequently become blind to the position of my own ship. I'm still playing - still winning - but have no visual awareness of the bright white claw I'm actually steering. The bit of my brain that handles moving knows where it is, but the bit of my brain that does the thinking has no idea, and they very rapidly start screaming at each other." Margaret's new column for Gamasutra goes live (hurrah). Talking about this was one reason I got sucked back into Deadline very deeply a few weeks ago. Deep enough to edge beyond randomness, towards a semblence of mastery, and at least understand the system. At least enough to understand quite how fine it is.
games  writing  gamasutra  margaretrobertson  geometrywars  analysis  column 
september 2010 by infovore
Technology and the novel, from Blake to Ballard | Books | The Guardian
"I know which side I'm on: the more books I write, the more convinced I become that what we encounter in a novel is not selves, but networks; that what we hear in poems is (to use the language of communications technology) not signal but noise. The German poet Rilke had a word for it: Geräusch, the crackle of the universe, angels dancing in the static."
writing  technology  culture  novel  tommcarthy 
september 2010 by infovore
The Millions : Oral History at the End of the World: World War Z and its Cousins
"...it’s a bit disingenuous to claim, as [World War Z]’s dust jacket does, that Brooks does for zombies what Studs Terkel did for World War II. Yes, his choice of narrative frame refreshes a genre that had already entered its baroque phase. But World War Z never quite manages the same level of moral pique as The Good War and Warday; it is so constrained by its undead subject matter that it can only gesture at modern-day relevance before falling back on the same shopworn themes. Although it has more brains than the average zombie story, it still doesn’t have much of a heart." Really good piece on oral histories, real and fictional. And: I now want to read Warday, if I can find a copy.
history  writing  fiction  oralhistory  worldwarz  nuclearwar 
september 2010 by infovore
Walter Benjamin and the iPad | Putney Debater
"In his book of aphorisms, One Way Street, published in 1928, Walter Benjamin has a remarkable premonition. ‘The typewriter’ he says, ‘will alienate the hand of the man of letters from the pen only when the precision of typographic forms has directly entered the conception of his books. One might suppose that new systems with more variable typefaces would then be needed. They will replace the pliancy of the hand with the innervation of commanding fingers.’" I really like the notion of "commanding fingers", and understanding the movie from hands to fingers.
walterbenjamin  interaction  writing  typing  ipad 
august 2010 by infovore
Searching For Me in Red Dead Redemption | The Paris Review
"A week later, I went into Rockstar Games in Soho for the recording and screamed two hours of lines as Marshall Leigh Johnson. I threatened, chased, arrested, and killed people. I even died. I didn’t just die, I died with an accent. I was in the freaking zone. After signing my paperwork, I left, sweating, voiceless, and thrilled to bid farewell to my voice-over innocence. A new day had dawned for me and my badass larynx." This is brilliant, and doesn't go where you think it might. I love voice actors.
games  voiceacting  reddeadredemption  writing 
august 2010 by infovore
Bissell, Braid, and the Use of Words « Emily Short's Interactive Storytelling
"This ghastly indie-art-game prose: it’s writing that tries to communicate ideas in the same way that game mechanics communicate ideas. Such writing offers allusions and suggestions, hints for the player to assemble, but it shies away from specifics or a through-line plot. Characters often go unnamed, or are named something thuddingly symbolic, or are Everyman. Theme is presented heavy-handedly (you wouldn’t want players to miss it!) and via the most cliché images. Expect frequent references to light and dark, cold and loneliness, broken hearts and shattered dreams. Memories may get a look in. Also death. It’s like reading a collage of the manuscripts sent to a high school poetry contest right after one of the students got in a fatal crash." Emily is right, and it's something I hate about certain games: just how *self-consciously* "indie" they are.
games  braid  tombissell  writing  emilyshort  indie 
august 2010 by infovore
ESPN - OTL: The Franchise - E-ticket
Madden isn't very big over here at all; it's hard to underestimate its cultural standing in the US. This article goes a long way to both explaining that and looking at the history of a juggernaut franchise that once started out very small. I really liked it as a piece of journalism.
writing  journalism  games  football  madden  ea  electronicarts 
august 2010 by infovore
Other words by B.S. Johnson « Matthew Sheret.com
"Two of these books finish with one particular poem, “Distance Piece”, which as his final printed words are tough to read through." Sadly, they are.
bsjohnson  writing  poetry  matthewsheret 
august 2010 by infovore
Letters of Note: Fraternally, Brother Vonnegut
"It now seems morally important to me to do without minor characters in a story. Any character who appears, however briefly, deserves to have his or her life story fully respected and told."
vonnegut  stories  writing  narrative  letters 
august 2010 by infovore
Maps - Boing Boing
"Videogames are systems, not themes, but dress a system in the right theme and you can catch the attention of someone who would not otherwise be interested. So it is for my father, who, in these awkwardly rendered moments, catches a glimpse of what I'd been seeing my entire childhood." Lovely, lovely piece of writing from Simon.
simonparkin  writing  videogames  games  maps  jrpgs 
july 2010 by infovore
venomous porridge - “MOM! BETHANY WON’T LET ME PLAY DOODLE JUMP!” ...
Fanfic, if you like, about App Store products. Lovely.
doodlejump  appstore  writing  fiction 
july 2010 by infovore
Cinema's Invisible Art | Online Only | Granta Magazine
"Lethal Weapon. A metafictional masterpiece. Who knew? The postmodern flourishes proliferate throughout the script..." Lovely Granta piece on the prose styles of screenplays; the Shane Black example is great fun, though the Dan O'Bannon speaks to me most, perhaps.
writing  film  screenwriting  screenplays 
july 2010 by infovore
Emo « Matthew Sheret.com
"Emo’s rise coincides with the explosion of social networking, the fracturing of commodification, the emergence of micro-trends, the mainstream adoption of alt-porn tropes… Emo’s the musical centre of a pop-culture whirlwind that doesn’t really seem to have been explored much, and when it has it’s often been addressed either in dismissive or alarmist tones." As an emo apologist, I really need to write more in response to this - they're topics I've covered in my head several times.
music  writing  emo  mattsheret 
june 2010 by infovore
Wimbledon 2010 live blog: 23 June | Xan Brooks | Sport | guardian.co.uk
"Still, if you're going to watch a pair of zombies go at each other for eleventy-billion hours, far into the night, it might as well be these zombies. They were incredible, astonishing, indefatigable. They fell over frequently but they never stayed down. My hat goes off to these zombies. Possibly my head goes off to them too." Xan Brooks' live coverage of Isner-Mahut. Some great writing in there.
xanbrooks  isnermahut  tennis  wimbledon  sport  writing  liveblog 
june 2010 by infovore
The Importance Of Writing - ludology - Kotaku
"But imagine if the writer came up with a "story" before the rules.  A "pre-rules story."  At that point, you could create the rules around that story, and even if the rules seemed unconventional or unbalanced, you could be confident that they would work as long as the story works." Erm, not really; crap rules are crap rules, even if they make sense within the story. This paragraph directly contradicts his previous (accurate) paragraph, that stories must follow the rules of the game. To then say: "but we can retrofit rules onto the story if the latter was done first" just feels wrong. One more thing on my pile of "stuff about rules".
writing  games  rules  mechanics 
may 2010 by infovore
Op-Ed Contributor - Flying with the Dragon Lady - NYTimes.com
"I’ll never forget the adrenaline surge of landing what was basically a multimillion-dollar jet-powered glider on its 12-inch tail wheel from a full stall while wearing a space suit. And I’ll always remember the peace of sitting alone on the quiet edge of space, out of radio contact for hours."
u2  flight  history  surveillance  writing 
may 2010 by infovore
Gamasutra - Features - Persuasive Games: The Picnic Spoils the Rain
"...there is something far more interesting at work in Heavy Rain: its successful rejection of the primary operation of cinema. The game doesn't fully succeed in exploiting this power, but it does demonstrate it in a far more synthetic way than do other games with similar goals. If "edit" is the verb that makes cinema what it is, then perhaps videogames ought to focus on the opposite: extension, addition, prolonging. Heavy Rain does not embrace filmmaking, but rebuffs it by inviting the player to do what Hollywood cinema can never offer: to linger on the mundane instead of cutting to the consequential." Ian Bogost is smart, and this is brilliant (and also provides a citation for "film is editing", which is something I've blathered about before).
games  ianbogost  heavyrain  editing  prolonging  writing 
may 2010 by infovore
Joe Moran's blog: The comfort of things
Joe Moran on Daniel Miller's "The Comfort Of Things", which has gone straight onto my wishlist.
joemoran  society  newcross  writing  culture  books 
april 2010 by infovore
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