I'm BrunoDias, a São Paulo-based designer (systems, narrative, mechanics) and writer working in video games.Azhdarchid (named after the family of large pterosaurs) is my personal blog; I also have a more professional landing page at brunodias.dev.
You may know me from such video games as Where the Water Tastes Like Wine, Neo Cab, Pathologic 2 and 3, or Fallen London—you can see my full credits on MobyGames. I also edit the Game Narrative Reader, a link anthology of great essays about video game narrative design on the web.
Sign that millennials are aging: R-Pat is now Hugh Grant
I'm kind of fascinated by how extreme and intense of a reaction everyone in this movie has to [the fact that causes the titular drama]. It's interesting because I cannot really define what a reasonable response would be, but at the same time it seemed like a bit of an overreaction.
It's so weird how R-Pat is tall and short at the same time. Like he's a terrible little homunculus and also a sort of lanky and ungainly creature that has to hunch to get through doors
This movie has a lot of great faces. Obviously R-Pat is always good for a few of these but everyone is doing some excellent face work.
I really appreciate the acting choice of him just awkwardly holding on to her tit the entire time they're having that conversation, as if holding on for dear life
A question about the landscape of programming languages in game dev
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Actual question: Say you're building a piece of software; the exact details are unimportant here other than to say it's an application, that it runs on a server and talks to a database while providing a service over the network. You want to write it in a language that's reasonably modern and has reasonably uncomplicated memory management (so, C++ is right out). At this point there are dozens of options, but here's another constraint: you want to be able to eventually hand this codebase off to a programmer whose background is almost certainly going to be in the games industry, not software engineering more generally. So you don't necessarily want to do it in, say, Haskell where you'll struggle to find a guy who can deal with that down the line.
What do you use? The obvious answer is C#, but let's also say that you don't want to ever touch anything with Microsoft's stink on it ever again. Lua? Is the answer here Lua? As much as I like Lua I don't know that it fits here. Is there another clear answer I'm missing?
Tempted to start a silly little project: a sort of anti-RSS reader. Program that just takes in as input a list of feeds and spits out a static website that is essentially just a fauxsimile of a newspaper, with 'cont. on page 13' replaced with links to the actual original articles. You'd plop that on a server, make a cron job to run it daily or twice-daily, and it'd generate a "morning edition" for you every day that you could read and then be done with.
Rewatching this (in a theater this time) I'm just struck by how much of this movie is Kati Outinen's face. I don't think I've ever seen a movie that is more carried by a single actor. And she's doing it here in a performance where she gets precious little dialogue and almost no action. I don't know how many film actors there have ever been who could do what she does here. The final sequence remains one of the greatest things I've ever seen in a movie.
unconvinced i'll ever find "the vitamin" that makes me all better so i can get real work done but i do expect they'll elucidate whatever my deal was post-mortem, after which what i did manage to accomplish with my life will be regarded on the level of Beethoven composing despite being deaf or Gordon Ramsay cooking despite being british
A year and a half out from Failbetter my body is finally unlearning the schedule.
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A year and a half out from Failbetter my body is finally unlearning the schedule. I spent a long time kind of doing a poor impression of a morning person because of the time differential between here and London; now I'm finding myself being up at 1-2AM writing, and honestly it's a joy I completely forgot about. I missed the dark, which given what my previous job was, is kind of ironic.
Kati Outinen is the whole deal here, wearing a mask of impassivity the whole movie but always with so much bubbling under the surface. This is still middle period Kaurismäki, with the same icy gaze that also haunts Lights in the Dusk. But it’s a much gentler version of that; a downright optimistic movie under all the melancholy.
I can see why some real Kaurismaniacs might love this movie, but for me it just doesn’t have the same life that’s in Shadows in Paradise, or the sharpness of Match Factory Girl.
Repost from Laura Michet's blog on 'No Pedestrian Crossing' signs
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From Laura Michet's blog, a post about an abandoned project to catalog Los Angeles' "No Pedestrian Crossing" signs:
The main thing I'd want to communicate is that the places where these signs go up are uniformly miserable. It sucks to be a person on foot in a place where the state has to warn you that it's too dangerous to cross a regular city street. These streets are terrible, loud, dirty, and they smell bad. A crowded urban street with a "no pedestrian crossing" sign is a place created by infrastructural and institutional failure and it sucks that we have any of them in these busy neighborhoods.
I have never seen a sign trying to ward off pedestrians from crossing the street in São Paulo—not exactly the shining beacon of pedestrian infrastructure. There are rights of way in the city that you can't really cross as a pedestrian, but those are on the "road" side of the street/road divide—things like the Marginal Pinheiros, where there's nothing to cross to anyway; or expressways that are grade-separated. Those often have walkways, and if you wanted to cross them on foot you'd have to jump a median concrete barrier. The idea of a regular ass street with regular ass sidewalk and a sign that goes "no, fuck you" to pedestrian crossings is nuts.
Sword and Shield: If you could get sustenance by buying big bags of dry human kibble, you would.
Long sword: You have an attention deficit. In the sense that you want others to pay more attention to you than they currently do.
Great sword: You once stood patiently at the counter waiting for service - at a deli, bakery, or suchlike business - not realizing that the person behind the counter had no idea you were interested in buying something and was never going to attend to you until you said something. This went on for several minutes, maybe more than ten.
Dual blades: You think Marvel movies are "pretty fun, but nothing to get too serious about." Your favorite ice cream flavor is chocolate. You own a dog.
Hammer: The very first time you played a MonHun game you selected hammer as soon as the game let you choose a weapon type. You have not thought about using any other weapon since.
Hunting horn: In every new iteration of the hunting horn in every new MonHun you have learned the intricacies of different horn mechanics, investing hours into re-learning your weapon each time. At no point would you have admitted this wasn't "a bit" or that you were using the weapon for any reason other than "it's funny."
Lance: You have intimacy issues.
Gunlance: People have issues being intimate with you due to your lack of an inside voice.
Switch axe: You were really, really, really into Bionicle as a child.
Insect glaive: The idea of walking around with a bug the size of your head hanging off your arm is appealing to you.
Charge blade: Sometime around third grade an adult, talking to another adult, referred to you as "very intelligent." Overhearing this conversation has had dire consequences for your subsequent life all the way through to the present.
Heavy bowgun: You have commitment issues.
Light bowgun: You have really severe commitment issues.
Bow: You have elevated being noncommittal to a sort of rarefied art. Waiters hate you. You haven't directly told another person what you really want in years.