Follow the fun An Article by Dave Rupert daverupert.com Another great dissertation from Mark Brown of Game Maker’s Toolkit: The Games that Designed Themselves. It’s the radical idea that designers should ignore their preconceived notions and look to the game itself to find out where the development should lead. How does something design itself? Well… the answer is: Prototypes. A lot of great indie game masterpieces are the result of experimentation and early gameplay demos that changed the course of game’s development. As Brown points out, there’s a whole history of groundbreaking games that were developed “almost by accident” where bugs and glitches were turned into features. The game discovering itselfBuilding is never a straight lineGame feel gamesfun
Game feel An Article by Dave Rupert daverupert.com How do you make a game that’s fun? ...You have to focus on gameplay. In order for the final product to be fun and exciting, the core game play needs to be fun and exciting. The creator of Mario calls this 手応え (tegotae), which is often translated as “game feel”. To find this game feel, you need to build small prototypes around a single idea, play test them, and then follow the fun. Nintendo does this, indie game devs do this; this is the not-so-secret of the gaming industry. Follow the funFollow the brush prototypesmakinggames
Technical debt as a lack of understanding An Article by Dave Rupert daverupert.com "If you develop a program for a long period of time by only adding features but never reorganizing it to reflect your understanding of those features, then eventually that program simply does not contain any understanding and all efforts to work on it take longer and longer.” — Ward Cunningham softwareprocesscode
The Web is Industrialized and I Helped Industrialize It An Article by Dave Rupert daverupert.com In our cultural obsession with billionaire entrepreneurs we laud new features more than the maintenance and incrementalism work of making old features better and more accessible. Maintenance looks like red minus signs in the spreadsheet. New features look like green plus signs. New features look better on our LinkedIn profiles. New features have that pizzazz, baby. When gardening, the building of planters and initial planting is a very short process. The majority of your time is spent nurturing and monitoring growth. I personally feel the struggle between maintainer work and new shiny feature work. I enjoy that new feature smell but I know that my day-to-day is more like a janitor on a boat mopping up someone else’s barf. In terms of metaphors, the gardening metaphor is certainly better, and it acknowledges that design and development still tend to be more creative endeavors. featuresnoveltywww
Invisible Cities A Book by Italo Calvino www.goodreads.com An evening identical to thisAlready memoriesLike the lines of a handThe eye does not seeIn every skyscraper+14 More Burglary's White Whale125 Best Architecture Books urbanism
An evening identical to this He feels envy toward those who now believe they have once before lived an evening identical to this and who think they were happy, that time. melancholy
Already memories He was thinking of all these things when he desired a city. Isidora, therefore, is the city of his dreams: with one difference. The dreamed-of city contained him as a young man; he arrives at Isidora in his old age. In the square there is the wall where the old men sit and watch the young go by; he is seated in a row with them. Desires are already memories. lifetime
Like the lines of a hand The city, however, does not tell its past, but contains it like the lines of a hand. urbanismhistory
The eye does not see The eye does not see things but images of things that mean other things. meaningseeingimages
In every skyscraper In every skyscraper there is someone going mad. 21. Four-Story Limit architectureurbanismmadness
An invisible landscape Isaura, city of the thousand wells, is said to rise over a deep, subterranean lake. On all sides, wherever the inhabitants dig long vertical holes in the ground, they succeed in drawing up water, as far as the city extends, and no farther. Its green border repeats the dark outline of the buried lake; an invisible landscape conditions the visible one; everything that moves in the sunlight is driven by the lapping wave enclosed beneath the rock’s calcareous sky. darkness
Unpossessed places Arriving at each new city, the traveler finds again a past of his that he did not know he had: the foreignness of what you no longer are or no longer possess lies in wait for you in foreign, unpossessed places. time
The gods who live beneath names Sometimes different cities follow one another on the same site and under the same name, born and dying without knowing one another, without communication among themselves. At times even the names of the inhabitants remain the same, and their voices’ accent, and also the features of the faces; but the gods who live beneath names and above places have gone off without a word and outsiders have settled in their place. It is pointless to ask whether the new ones are better or worse than the old, since there is no connection between them, just as the old post cards do not depict Maurilia as it was, but a different city which, by chance, was called Maurilia, like this one. connectionchance
The path From there, after six days and seven nights, you arrive at Zobeide, the white city, well exposed to the moon, with streets wound about themselves as in a skein. They tell this tale of its foundation: men of various nations had an identical dream. They saw a woman running at night through an unknown city; she was seen from behind, with long hair, and she was naked. They dreamed of pursuing her. As they twisted and turned, each of them lost her. After the dream they set out in search of that city; they never found it, but they found one another; they decided to build a city like the one in the dream. In laying out the streets, each followed the course of his pursuit; at the spot where they had lost the fugitive’s trail, they arranged spaces and walls differently from the dream, so she would be unable to escape again.
A model city “And yet I have constructed in my mind a model city from which all possible cities can be deduced,” Kublai said. “It contains everything corresponding to the norm. Since the cities that exist diverge in varying degree from the norm, I need only foresee the exceptions to the norm and calculate the most probable combinations.” “I have also thought of a model city from which I deduce all the others,” Marco answered. “It is a city made only of exceptions, exclusions, incongruities, contradictions. If such a city is the most improbable, by reducing the number of abnormal elements, we increase the probability that the city really exists. So I have only to subtract exceptions from my model, and in whatever direction I proceed, I will arrive at one of the cities which, always as an exception, exist. But I cannot force my operation beyond a certain limit: I would achieve cities too probable to be real.” reality
Their own absence After a seven days’ march through woodland, the traveler directed toward Baucis cannot see the city and yet he has arrived. The slender stilts that rise from the ground at a great distance from one another and are lost above the clouds support the city. You climb them with ladders. On the ground the inhabitants rarely show themselves: having already everything they need up there, they prefer not to come down. Nothing of the city touches the earth except those long flamingo legs on which it rests and, when the days are sunny, a pierced, angular shadow that falls on the foliage. There are three hypotheses about the inhabitants of Baucis: that they hate the earth; that they respect it so much they avoid all contact; that they love it as it was before they existed and with spyglasses and telescopes aimed downward they never tire of examining it, leaf by leaf, stone by stone, ant by ant, contemplating with fascination their own absence. nature
Rearranged Put together with odd bits of the useless Clarice, a survivors’ Clarice was taking shape, all huts and hovels, festering sewers, rabbit cages. And yet, almost nothing was lost of Clarice’s former splendor; it was all there, merely arranged in a different order, no less appropriate to the inhabitants’ needs than it had been before. structureidentitygeometry
In the image of their city They say that every time they go below they find something changed in the lower Eusapia; the dead make innovations in their city; not many, but surely the fruit of sober reflection, not passing whims. From one year to the next, they say, the Eusapia of the dead becomes unrecognizable. And the living, to keep up with them, also want to do everything that the hooded brothers tell them about the novelties of the dead. So the Eusapia of the living has taken to copying its underground copy. They say that this has not just now begun to happen: actually it was the dead who built the upper Eusapia, in the image of their city. They say that in the twin cities there is no longer any way of knowing who is alive and who is dead. death
A city in the distance If you saw it, standing in its midst, it would be a different city; Irene is a name for a city in the distance, and if you approach, it changes. identity
So that its destruction cannot begin If you ask, “Why is Thekla’s construction taking such a long time?” the inhabitants continue hoisting sacks, lowering leaded strings, moving long brushes up and down, as they answer, “So that its destruction cannot begin.” Why We Build the Wall making
An invisible thread Also in Raissa, city of sadness, there runs an invisible thread that binds one living being to another for a moment, then unravels, then is stretched again between moving points as it draws new and rapid patterns so that at every second the unhappy city contains a happy city unaware of its own existence. melancholy
The inferno of the living The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live every day, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of the inferno, are not inferno, then make them endure, give them space. life