Aesthetics: November 2005 Archive Page

On the 8:12 a.m. commuter train, everybody just assumes I'm one of them. So does my secretary, my assistant, and every single one of my colleagues at the law firm, where I'm now a partner. I even married this clueless girl from Connecticut?loves shopping and everything?and we have two ironic kids. I swear, they look like something out of a creepy 1950s Dick And Jane reader?I even have these hilarious silver-framed pictures of them in my cheesy corner office. But still, the humor is lost on everybody but me. --Why Can't Anyone Tell I'm Wearing This Business Suit Ironically? (The Onion (Satire))

Researchers unveiled a prototype of a $100 hand-cranked laptop computer on Wednesday and said they hoped to place them in the hands of millions of schoolchildren around the globe.

About the size of a textbook, the lime-green machines will be able to set up their own wireless networks and operate in areas without a reliable electricity supply, MIT researchers said at a United Nations technology summit.

--$100 laptops aim to bring children the world (Seattle Times)

This story broke during the week my blog was down, so I'm late to this party. One of minute of cranking is supposed to provide 40 minutes of computer power.

From the beginning of any playthrough of the game, the author knows what things happen when, why they happen and what they mean. They even know things that don't appear in the game at all. By contrast, the player knows only what they've seen so far, plus anything they guess or speculate (which may well be totally wrong). The rest of this article talks about some specific problems caused by clashes between these two mindsets, and how, as an author, to create a better game by thinking more like a player. Some of the things I mention overlap with things I've discussed previously in my How to Write a Great Game article; if you're interested in seeing more design discussion from me I suggest reading that. Thanks is also due to Stephen Granade's article The Player Will Get It Wrong, which covers a number of the same issues I discuss here, from the perspective of one specific author and several games. --Dan Shiovitz --Think Like a Player! ( Home Page for Dan Shiovitz)

I have a Strunk and White. I like having it. And it's clarity has helped me. Not because I necessarily followed the advice or even agree with it now, but because at a more formative time in my writing life, it gave me a simple place to depart from. It made me feel like a writer to have it. When I first read White's advice (far more than Strunk's), it cheered me to have a writer I love talk to me about writing. I keep the book for that feeling more than any other. -- Nick Carbone -- Frankenstrunk is Shrunken Strunk (TechNotes: Teaching Writing in an Online World)

Carbone is commenting on the occasion of a new edition of Strunk & White, this one featuring illustrations.

As Riya learns who's in your pictures, it begins to auto-tag the snaps itself, quickly scanning the rest of your photos and identifying each person it recognizes. Riya also uses text recognition to read street signs and other text in photos. --Riya Eases Pain of Pile of Pix  (Wired)

From Tammany Hall, robber barons and the sinking of The Maine to Vietnam, Watergate and the Lewinsky scandal, editorial cartoonists have exalted, lambasted, praised and skewered the rich, the powerful and the foolish.

Since the history of newspapers, cartooning has been a rich and vital contribution to American political commentary.

With the advent of news on the web and new design technologies, who will carry on that tradition?

Washingtonpost.com is looking for the next star of cartoon satire - a "Herblock" for the digital age.

We're proud to announce the 2005 Washingtonpost.com "Editorial Shorts" Digital Animation Competition.

Can you use the emerging tools of digital animation to be the new voice of American satire? --Editorial Shorts: Digital Animation Competition (Washington Post)

--David Jump! (David Denninger)

A student of mine posted a clever little video that includes some simple but very cool effects.

Not much in the way of narrative or character development, but the whole thing made me smile.

See David Jump!.

For decades, the debate was very much focused on UFOs, sightings and abduction stories. Alien visitors turned into a modern myth. In an age when our other beliefs and ideologies were fading away, we could at least believe in UFOs.

Most scientists, annoyed as they were, simply chose to ignore it. Then some bright people, like my colleagues in The Planetary Society, realized that instead of just laughing at the matter, you could try to tap this truly huge interest for life in space, by shifting the focus to a related but more scientific theme: SETI. Since then, there are more articles about SETI than UFOs in our newspapers. They manage to shift the center of the debate, and to a small degree, they shifted our entire perception of the universe.

In a similar fashion, we now need to sow the seeds of a new ?myth? for the space program?in fact a whole new perception among people regarding our inherited place, role, and destiny in the cosmos. I am sure we won't influence policymakers and budget planners right away. But we can make this seed grow in society at large: why not start already tonight with our kids? bedtime stories? --Hans L.D.G. Starlife
--Needed: a change of focus (The Space Review)

Needed: a better title. The image is beautiful, but the headline is drab.

P.S. Hans L.D.G. Starlife? Really?

Still, when asked what art forms speak the most to us, games don't rank at the top. Ranked 1 to 6, where 1 is the most emotional, the order was: movies, music, books, video/PC games, paintings/artwork, and last cars. (OK, so I have a thing for cars?)

Heavy gamers have more of a feeling for movies. Lighter and younger gamers are more moved by music.

For genres, I thought MMOs would top the list, but RPGs are the runaway winner ? by far the most emotional genre of videogames. --Hugh Bowen --Can Videogames Make You Cry? (bowenresearch.com)

This is a teaser article, advertising a full-length report. While I'm very interested in the subject, journalists should be careful of how they use this kind of study.

Was the study peer-reviewed? What was the methodology? What is the author's purpose in publishing it (and selling copies on his eponymous website)?

I'll have to look into the death of Aeries from Final Fantasy VII. Interactive fiction fans seem to place the fate of Floyd the robot (from Infocom's 1983 Planetfall) in the same category.

Serious Games Summit DC 2005, Day 2Paul Marino: Machinima: Using Games to Change Filmmaking and Instructional Video (Jerz's Literacy Weblog)

Executive Director, Academy of Machinima Arts and Sciences
Author of The Art of Machinima

The presentation was a brief introduction to a demonsration of clips, many of which I've seen, so it wasn't as immediately informative as I had initially expected. Still, a useful focal point for many different issues. Marino began by defining machinima as “the intersection of filmmaking, animation and interactive/game technologies,” ended by calling it “the democratization of animated filmmaking/storytelling.”

What follows are my hastily typed notes. I kind of shut my brain off and just watched the clips, so this entry will be a little thin.

Capturing live action, even if it takes place in a virtual world, is a kind of filmmaking.

Cinema + Moore’s Law = Machinima

Quake Movies – The Rangers – created “Diary of a Camper,” a silent film with text-chatting dialogue, created by capturing the actions of players in the multi-player environment. The term “Quake movie” persisted for a while, but since it was being created within different games, a new term was needed.

Term coined in 1998 by Hugh Hancock and Anthony Bailey. (Machine + cinema, with the misspelled ending being part of an e-mail communication.)

Clive Thompson, NYT, noted that machinima is not just about creating an animated movie, but also permits game players “to comment directly on the pop culture they so devotedly consume.”

Machinima Clip Screening

“Apartment Huntin’”
“Warthog Jump”
”My Trip to Liberty City” -- “Almost a travelogue, in a Woody Allen kind of way.”
(Played the clip from the beginning to the joke about not really playing baseball.) (The same author also created a great short film on a text adventure theme.)

Visionary Machinima

“Anna” – lifecycle of a wildflower.
“The Journey” -- abstract, arthouse film, medium of expression.

Dance Videos: Keep of Movin’

“Let’s Get Started”
”Shut up and Dance”

Episodic Machinima
“Popular, and to a certain extent profitable.”
Red vs. Blue – five-person team that supports themselves, a million downloads per episode, over three years.
“Strangerhood Studios,” based on Sims 2.
“Cyborg Altar Boy”

New Building Blocks: Machinima Gets Crafty

In machinima it’s hard to do drama, easy to do comedy (the reverse of Hollywood)
Half-life 2’s Faceposer.

Marino’s clip… Presented the G-man singing in a music video.
“Robes”
“A Few Good G-Men”

(As soon as I get the chance, I’ll add links to sources for all these clips.)

Marino noted that Pixar films take two or three minutes per frame to reander, but today’s machinima creators are taking advantage of the real-time rendering tools that their computers and consoles possess. We’re reaching the point where creating these films don’t take nearly as much time as it used to take. Are we in the “Age of Ubiquitous Creativity”?

The talk really didn't have much to say at all about instructional filmmaking, even though that was part of the title. Overall, I'd say the audience was impressed; a crowd of about 20 people were around the speaker at the end of the presentation -- that's generally a good sign.

Serious Games Summit DC 2005, Day 2Keynote: David Warner, Riding the Cutting Edge of Distributed Intelligence (Jerz's Literacy Weblog)

Warner identified himself as “dangerously overeducated.” Characterized his presentation as “confessions of a serial stunt scientist,” and warned that he would jump topics around. The cup of tea I brought to the table went cold untouched -- there simply wasn't time to sit back and take a sip while reflecting; I was leaning forward the whole time, doing my best to keep up.

His main theme was what he called shareable system awareness, which he approached through a concep the called grok-it science (that is, emphasizing the user's ability to grasp and understand information quickly, and to transfer that understanding to their separate areas of operation, and to offer feedback that updates the whole system). He operates in the real world, calling on a network of nerd friends who can draw on the expertise and good will of people in a diverse range of locations, from Afghanistan to Burning Man.

His ability to make connections and move from one subject to another was tremendous. Of course I wanted him to slow down and go into depth now and then, but that wasn’t the point of his presentation.

What follows are my loosely-edited notes, taken during a breathtaking, rollicking presentation. My notes don’t even come close to doing justice to the content he presented.


The body is part of the interface with the mind, and the “rodent interface” (of the mouse) is a bottleneck.

Neuro-Cosmology. “All realities are virtual.”

“Grok-it Science 101”

“Computers are rocks that do math. They don’t complain and they don’t need pizza and beer like my graduate students.”

Showed fractal graphics, increasing perceptual density, accelerating the perceptive cycle.

In medical school, felt like he had “taken the wayback machine.” Gave a list of technological innovations that didn’t quite take on in the medical community, leading to his reputation as “a medical power nerd that can move faster than memos can stop me.”

For example, he used computer imagery to do special 3-D maps of data that was typically presented as a squiggly line on a horizontal scale.

Suggested using a data glove to sense tremors, showed that “the glove was more accurate than the doctors.” Surgery, therapy. Great set of photos of a quadriplegic girl who controlled a 3D game with facial expressions. There was little market for the product, but (here he does a Darth Vader breath) the military entered into the picture.

Warner described a robot-control system of pagers in a belt strapped onto a soldier… the pagers vibrate according to the proximity of a barrier in a particular direction.

Discussed ways to help military operations designed to give relief to refugees. (His reputation of being able to move faster than memos can stop him.)

Described a system where a worker in a refugee camp can send a worker out with a head-mounted camera. A medical worker sitting in a base camp can superimpose his or her own hand over the field of view of the worker on site, so that the worker on site can touch a patient in a certain area or perform some other assessment action.

Ways to get people who don’t like each other to get along: Put them in a harsh environment and yell at them.

A refugee has legal status, but a poor person who is not a refugee is less visible.

If you’re going to do serious games, make sure you understand the “ground truth” of the problem.

“We’re all going to die. The goal is not to be killed by stupid people.”

“If was the enemy, I would design a system just like the one we have and give it to us.”

A huge increase of internationally-exchanged information in medical newsgroups. No human can read all that information and understand it, but in order to get advance warning of pandemics, you need to get a sense of the data. Showed an example of a map with spheres representing individual mosques, and rings representing the number of violence-inciting verses from the Koran recited during daily prayers.

“Do you know how we’re going to stop the terrorists?” “I dunno.. hit ‘em with memos?”

Used Burning Man and the Superbowl to document diversity and link organizations.

Described a system that linked four computer stations to a network, had four users play multiplayer games together, and used biofeedback to determine whether it was possible to identify emergent leadership potential. (“It turns out you can!”)

Praised the initial response of the U.S. military to the recent Asian titan wave, but “then bureaucracy hit.”

“Ignorance is curable. Stupidity is terminal.”