Posts tagged “video”, page 3

Evan Puschak:

Otomo has said that he wanted Tokyo itself to be a major character in Akira, and one of the ways he fleshes this out is with light. Particularly, neon.

Neon has a special significance for both Tokyo and the cyberpunk genre. It is the bitter, but beautiful light that signifies both the colorful radiance and the gaudy consumerism of modernity.

Man, this movie is just so cool. I rewatched it recently; it has lost none of its power to mesmerize me.

Mark Brown’s “Designing for Disability” series seems to be very comprehensive and well researched. I’m moderately colorblind and feel very well represented by this video.

It reminded me of the game I most wanted to love but just couldn’t play: Puzzle Bobble. If a level had both blue and purple bubbles, I was toast. Even though each bubble color had a different shape inside, the differentiation wasn’t enough for split second decisions.

Watching this footage only made me more impressed with the stunts in the film.

See also: How Tom Cruise Learned to Fly a Helicopter Stunt for Mission: Impossible - Fallout.

Toshi Omagari at TYPO Berlin 2018:

Limitation is a fantastic ingredient for creativity. In the early days of video games, you did not have a luxury to use retail fonts on screen and developers had to make their own in a pixel grid of multiples of 4, the most common being 8*8 pixels in monospace letter width.

Dan Golding:

Across the entire franchise, there’s still an unmistakable sound to the music of James Bond. So why does James Bond sound like James Bond? And how do you write a new Bond song?

Jeremy Keith at Webstock 2018:

I also think we should remember the original motto of the World Wide Web, which was: let’s share what we know. And over the next few days, you’re going to hear a lot of amazing, inspiring ideas from amazing, inspiring people and I hope that you would be motivated to maybe share your thoughts. You could share what you know on Mark Zuckerberg’s website. You could share what you know on Ev Williams’s website. You could share what you know on Biz Stone and Jack Dorsey’s website. But I hope you’ll share what you know on your own website.

Game designer Jan Willem Nijman:

I gave a 4-minute talk at @AMazeFest about how making long games is unethical, watch it here

I love this idea:

We should all design our games like bus rides — they should have multiple stops along the way. If someone is happy with your game, they should be able to stop playing at that point. Give your game that ending after two hours. Give it that ending after ten hours for the people who want more of it and want to find all the secrets. Give it, like, the 100-hour ARG with speedrunning, trophy, whatever shit, but let people quit your game in a way that makes them happy.

Evan Puschak:

If a basic purpose of art is to illuminate human nature, then I think Comedy Central’s Nathan for You deserves a spot in the conversation about the best TV shows of this era.

Amazing video from CSS Day 2017:

In this session the two inventors of CSS will talk about what they’d do differently if they could design CSS all over again.

Mathew Dyason:

Celeste is a poignant exploration of facing anxiety, helped in large part by its deeply personal soundtrack by Lena Raine. Let’s look at how the music approaches the theme of anxiety, whether by inducing it, or turning stress into something more productive.

I often listen to film and video game soundtracks to help me focus while working (including the Celeste soundtrack!). This video gets to why that works so well. The idea that stress can be positive (eustress instead of the negative distress) is a powerful concept that I wasn’t aware of.

Mark Brown demystifies something I’ve long considered to be a dark art: puzzle game design.

How do you make something that leaves a player stumped and scratching their head, and then makes them feel very smart when they finally figure out the answer? What makes a puzzle too hard, Or too easy?

Michael Tucker:

The horror films that stick with us are often the ones that provide a unique twist on the characters’ perspective of the horror.

Get Out follows in this tradition, providing an unfamiliar perspective on the horror. But in this case, it’s not some exotic setting or a filmmaking gimmick. It’s simply that the protagonist is black.

The conversation around video game difficulty and accessibility is noticeably evolving in a positive way.