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Time Travel: What Google Wave and Braid have in Common

wavebraid

At this point, most people should know of Google Wave.  Fewer have had an opportunity to start “waving,” as Google Wave is still in a “limited preview” stage.  Usually, I’m not the first in line to adopt a new technology, because I always need substantial convincing for why I should bother.  In the case of waving, I had a realization that many of my current communicative frustrations may be alleviated with a reorganization for how I understood conversations.  Immediately, I got on Facebook and announced that I’d really really want an invite to Google Wave– I was waving in matter of minutes (Thanks Kyle!).

Around the same time I started waving, I decided to play the game, Braid (I had heard so many wonderful things about this game, and, you know, better late than never).  In both of my experiences with Wave and Braid, I found myself  re-evaluating the common conventions as I had, from practice, defined.  With Wave, the norms of communication is challenged and with Braid, the meta-approaches to problem solving for platformer games.   What I’m left with is the realization that time does not immutably flow steadily forward in every context– something that I’d taken forgranted all my life, and when we change our frame of reference, so does our understanding of what is true.

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Chiptunes To Party To: Saitone

Thriller:

Smooth Criminal:

Something to give thanks for and dance your way into turkey comas. Happy Thanksgiving!

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Call of Duty: Secret Spielberg Level Unlocked

Only with the absurdity of this video can you accurately capture the almost-entirely failed message of Call of Duty.

Choice quote: “My girlfriend has walked in front of the telly again.”

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Non-Linear Stories v1.0: Choose Your Own Adventure

Choose Your Own Adventure: The Real Story (thanks to Something Awful)While every boy knows that Fighting Fantasy was like, you know, 900 times better, than Choose Your Own Adventure, the level to which Christian Swinheart goes to dissect the CYOA series is nothing short of phenomenal. His visualizations of the story paths, in particular, are beautiful depictions of a system in operation.

While I won’t bother trying to add anything to Christian’s epic foresight into the series, I have to say I was fascinated by Inside UFO 54-40:

The branch diagram for UFO 54-40 is unique in that it has one ending – the Ultima ending – which is completely disconnected from the rest of the story. It exists as an island, unreachable through choices but discoverable thanks to the random access nature of the book.

This ending was not just an easter egg for the obsessive reader who didn’t mind skimming every page looking for telltale words. Instead it’s hard to miss in even a casual riffling. A two-page illustration showing what could only be paradise (or perhaps a theme park) leaps out as the only spread in the book without any text. Flipping to the page before brings you to 101, where you discover that your curiosity has been rewarded. You have found the planet, not by following the constraints of the system, but by going outside of them – a fitting moral to the story and an encouraging reminder that any game should be a starting point for the imagination, not the end.

Or, in other words, was this a tacit acceptance of players making their own rules by exploring a system? Could this have been emergence in a primordial form?

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Frank Lantz at UCSC

Frank Lantz

Distinguished Lecture: Frank Lantz
Interim Director, NYU Game Center and Creative Director, Area/Code
Wednesday, Nov 18th, 2-3:30pm
Engineering 2, room 506

“Innovations in Game Design: Through Practice to Theory”

Frank Lantz is the Creative Director and co-Founder of Area/Code, a New York based developer that creates cross-media, location-based, and social network games. He has been an innovator in the field of game design for the past 20 years. Before starting Area/Code, Frank worked on a wide variety of games as the Director of Game Design at Gamelab, Lead Game Designer at Pop & Co, and Creative Director at R/GA Interactive.

Over the past 8 years, Frank helped pioneer the genre of large-scale realworld games, Read More »

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cfml: the context-free music language


For the ears: cfml-prototype.mp3

Context Free is an excellent tool for exploring generative spaces in the domain of 2D visual art (and Structure Synth does a fantastic job in 3D), but can a language of circles, rectangles, and triangles mutated by rotates, translates, and scales be translated into the domain of music? The result is not just a rich analogy, but a fun and expressive software performance instrument.

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