Here’s a collection of relatively disorganized notes looking at Shovel Knight’s design.
Taking inspiration from Allison Parrish’s talk: Programming is Forgetting: Toward a New Hacker Ethic, here’s my version of Parrish’s new hacker ethic for creators:
- Who gets to use what I make? Who am I leaving out? How does what I make facilitate or hinder access?
- What assets am I using? Whose labor produced them and what biases and assumptions are built in? What do the assets leave out?
- What systems of authority am I enacting through what I make? What systems of support do I rely on? How does what I make support other people?
- What kind of community am I assuming? What community do I invite through what I make? How are my personal values reflected in what I make?
Watch Allison Parrish’s talk for more background on why these sorts of updates are critical for shaping a more welcoming community.
Here are some highlights from the previous year:
I’ve been thinking about how to run a hexcrawl style campaign in a cyberpunk world. Mobility is easy, so a spatially distributed procedurally generated map doesn’t make much sense. Characters could easily just look up information on an unfamiliar section of the map on whatever flavor of the internet exists in that world and buy a plane ticket or book a taxi ride to get there.
Transportation is cheap and the Sprawl has largely been explored. This is not to say that a typical hexcrawl-style campaign couldn’t work in a VR hacking setting. Look no further than Uplink to see a wonderful example.
In a cyberpunk setting the thing to be explored becomes the web of intrigue among the movers and the shakers in the campaign. Crosses and double crosses become the shifting landscapes and wandering monster encounters of the political landscape. See for, example this blog post at Monsters and Manuals and the organization chart from The Wire.
I’m interested in Larry Hama’s GI Joe Special Missions’ influence on Metal Gear and Metal Gear Solid. I want to look at the pattern of story telling that seems to emerge consistently in Special Missions’ issues.
A colleague of mine wondered why Pokemon GO uses the passive voice when reporting,
Pikachu was caught!
The simple reason is nostalgia—that’s the phrasing from the original Generation 1 Pokemon games.
Was there a limitation inherent in the medium at the time that required using the passive voice? Below I’ll dig into the disassembled Pokemon Red source code to answer the question of why Pokemon Go uses passive voice.