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I wanted to create a game where even the developers couldn’t see what was coming. Of course I wasn’t thinking about debugging at this point. The people who did the debugging asked me what was a bug. I could not answer that.
Keita Takahashi, game designer (Katamari Damacy, Noby Noby Boy)
— Какие у вас есть критерии, при совпадении которых вы можете сделать приложение самостоятельно, потратив на разработку свои ресурсы?
— Их пять: массово, полезно, безальтернативно, кармически, интересно. То есть, если приложение востребовано широким кругом пользователей; приносит реальную пользу, а не убивает время и мозг; не является улучшенным клоном; плюсует карму; необычно и с творческим зерном настолько, чтобы захотелось поделиться с другом, — нам интересно его делать.
«Разработка приложений выгодна как игра на Forex», интервью Red Mad Robot — Частный Корреспондент
Остальное в интервью там не так серьёзно и интересно.
An update with location vs. a check-in
This was a bit more difficult to resolve. Like I mentioned, many of our first iterations involved attaching your location to a status update. At first it seemed like the logical route. We didn’t need to create a different item in the Facebook ecosystem, and people could just quickly turn it on and all their status updates would be geocoded.
But it feels like more work. Sure, it could just be turned on, and then always be on, but that conflicts with the always sharing argument.
It can be argued that checking in is new and requires more work, but when you walk yourself through the process of a check-in versus a status update plus location it becomes a lot clearer.
In a status update plus location world you start with a status update. You first have to come up with something to say. It’s a blank canvas. You write something and then think, “Oh, I should add some location data to it.” If, say, it was sticky once you turned it on, you’d have to do the opposite. Should I share my location with this? All of a sudden a simple status update has a lot more choices. It’s not a quick and easy update anymore.
In a check-in world you’re automatically given a prompt. You start with the place you’re at, and you share your location with your friends. That’s it. At its most basic a check-in is something like, “Tom Watson is at Serpentine.” You don’t even have to write anything at all. Adding more information to this story is important for those reading it, and we encourage users to do so. At its core, it’s simple to start using. Simpler than a status update plus location.
It’s also important to emphasize a check-in as a prompt. It takes away the fear of the blank text box. There’s no pressure to write anything, and the act of checking in gives you something to write about.
Помню старую историю про пионерский лагерь, в котором вожатый в качестве наказания молча ставил напротив фамилий детей крестик.
Дети этого жутко боялись, пока один пацан не дерзнул выступить против: «Да пожалуйста! Хоть десять крестов! Мне плевать!» Вожатый выдержал многозначительную паузу, а потом сказал медовым голосом: «Хорошо… Тогда я обвожу этот крестик кружочком…»
Ребенок разрыдался.
ЪFF}: Был вчера в парке Горького, катался на больших горках. Там перед самой ужасной петлей такая пауза, страшно — жуть. Как в ужасах.
Lana00: Я знаю, как очень дешево можно усилить эффект во много раз. Надо возле того места, где пауза, поставить мужика в спецовке с гаечным ключом, чтобы он куда-то кричал: «Йоптыть, остановите их немедленно! Там же всё разломано впереди!». И поехали потихоньку…
bash.org.ru: 406651: и поехали потихоньку…
Очень сложно создавать продукты с помощью фокус-групп. Часто люди не представляют, чего хотят, пока ты им это не покажешь.
Стив Джобс, 1998 г. (ссылка нашлась в архиве цитат у Люка Роблевски — Interface Design Quotes)
I still think the right side orientation for photos is better than the left, based on what I call the Ingrid Bergman principle. In Casablanca, the director put Ingrid Bergman on the right side of the screen whenever possible, since Westerners usually start looking on the left and rest on the right (and she’s a lot better looking than Humphrey Bogart). Likewise, most people are right-handed, so the good stuff, the clickable stuff, should be on the right too.
What we mean by the “driver’s experience” is that Need for Speed SHIFT features something special, yet subtle, that you’ve never experienced before in a racing game. It’s that playing Need for Speed SHIFT feels more like driving a real car than any other game in the racing simulation genre, possibly even Gran Turismo with its near photo-realistic graphics, thanks to a camera system that shifts from side to side and forward and backward based on the gravitational forces experienced while driving.
You’ve seen behind-the-wheel views in racing games before, but you’ve never experienced realistic g-forces from this perspective like in Need for Speed SHIFT, ever. When playing Need for Speed SHIFT, your head slams against the seat and the view pulls backwards when you accelerate, jerks forward when you brake, and sways from side to side in turns and corners, but not to the point of outright nausea. The tightly tuned camera feels as though it’s attached to your head at eye level and is most noticeable and best experienced from the behind-the-wheel cockpit view. This may be only a subtle trick of the camera, but trust us when we say this is a major step forward for all racing games. Don’t knock it until you’ve experienced it!
Tudor describes Need for Speed SHIFT as the “first-person shooter” of authentic racing games. Comparing SHIFT’s driver experience to games like Gears of War and Call of Duty, Tudor says the game “doesn’t focus on having 50 tracks and 1,000 cars” like Gran Turismo and Forza, “but takes first-person shooter characteristics” into account. How, exactly? Tudor points to audio and visual cues, such as heavy breathing and disorienting concussion effects, made famous in games like Gears of War. “Those are the elements we wanted to capture in SHIFT,” Tudor explains. “The game really focuses on the driver.”
No, EA is not actually working on a GamePro Need for Speed title, but we’ve got our own ideas for a new NFS game that fits into what we are calling the “adrenaline genre.” GamePro’s master game design for a new Need for Speed game is heavily inspired by high-adrenaline movies such as Crank and Speed that requires the player to keep their adrenaline (health) pumping by performing extreme stunts that include race shootouts, skyscraper base jumping, and random outnumbered bar fights throughout an open world. And the story is ten times better than that of Need for Speed Undercover because it’s penned by the GamePro editors.
The Star Wars universe has always been good with patina and wear. It’s one of the things that made it look different. Now they’ve got a range of weapons that are promoted as ‘with battle damage’. If you were a trendperson you’d be getting your Maslov’s out right now and start looking at the teen market — they’re buying experience not shininess.
russell davies: patina
Цифровой героин, построенный на немедленной обратной связи, фантастически прекрасен. Цепляет сразу, и с первой дозы, особенно когда не понимаешь, как это работает. Когда понимаешь — всё равно работает, но слезать легче, так как знаешь методы детоксикации и блокады опиатных рецепторов.