I love Kickstarter. I think that’s clear to people who know me by now? I love it. There’s a dude named Brad Muir and he works at Double Fine and I love the games they make, so much. But before Kickstarter, every time a Double Fine game came out I was a little worried it would be their last,…
Maré Odomo explains why you should support LA Game Space. We love you, Maré!
Donate to the LA Game Space on Kickstarter.
Here is a small game design tool I made for fun. It can be printed and folded into a small booklet. You can carry it around with you and write your idea down when you’re inspired.
After following the simple six steps you will have a tasklist which hopefully will get you to a complete prototype in just 10 days.
It’s part a silly experiment, part a design tool, part a motivational exercise. Tell me if you like it!
Design is a plan, a blueprint. To design is to enact that plan. Design is a process, a deliberate and calculated process.
—Fez’s Phil Fish on where games fit between art and design
An avatar is a tool both for acting on the world and for perceiving it.
—Steve Swink [from Game Feel]
Pranks, such as the infamous stapler in jello, are a way to reclaim agency. They function as a kind of ritual or public event. They allow us to change something about the state of the world, however temporarily.
—‘The Social Contract Put at Play’ at Lift12 – Hubbub
A great reflection on what indie does mean and why this label, although fuzzy, is indeed pretty useful.
So, Richard Lemarchand is leaving Naughty Dog to teach and do experimental games research. I must say I’m excited about this. Richard is one of the brightest persons in this industry, and we need his insight and ideas more than ever.
Good luck, Rich, these are exciting times.
It’s hard to see how they could make Star Wars any gayer, unless they gave the Millennium Falcon a handlebar moustache.
—Charlie Brooker: Some people are gay in space. Get over it | Comment is free | The Guardian
In games, however, the industrial sector has been mono-maniacally obsessed with farming teenage boys to the extent that the large media corporations with a stake in games were so far removed from a fair understanding of the audience that they allowed the mass market sector (currently serviced by social gaming companies, Nintendo and Apple) to lie fallow for decades. This was pure commercial incompetence, and I would argue that the failure to invest in arthouse games is exactly the same kind of manifest incompetence.
—ihobo: Comments: Creative Medium vs. Industry