My laptop doesn’t have an ethernet port. I either use wifi, or this Asus USB Ethernet adapter. The device identifies itself as a “ASIX AX88772B USB2.0 to Fast Ethernet Adapter”. The other day it stopped working, though if jiggled around, would come on intermittently. If twisting the wire a bit helps the device re-connect, there’s a wire connection problem somewhere, so I decided to fix.
I picked up an early 1900’s English butter knife from an op shop, which had a bone handle that was completely burnt (I forgot to take a photo of it) and refurbished it with a new handle as a small DIY project.
Few weeks ago, I moved out of home into the Frogshark HQ, the house our team lives and works at, developing video games. Part of healthy living for me is making the place that is “home” a comfortable space and a desired place to be in. I don’t own any furniture except for my bed, so lack of surfaces for storage and ad-hoc items makes the space lack in accessibility. In the spirit of making, I set out to make my first piece of furniture, a simple shelf behind my bed’s headboard.
Time to sell my car. Lots of adventures had been had! I toured north island on it, slept at the most beautiful beaches and commuted to work when I had a job. Now that I’m changing to a motorbike lifestyle, it’s time to let it go.
This past weekend, my team and I participated in a global gamejam, an equivalent of the 48 hour film festival, but for game development.
We came up with a small 2 player game. Read more about our jam, and play Whalebus!
I made a post on Swordy devlog about the wooden badges I’ve made as part of our PAX AUS exhibit & promotion effort. Click on the image for more photos, detailed description of the manufacturing process, along with some post-mortem reflection.
I wanted to familiarize myself with this technology.
For convenience, I used one of the abundant plasticine abominations we have around Colab as a subject.
The tech itself is nothing complicated in terms of usability. Take lots of static shots of various angles, load them up and you get a point cloud upon processing (of course I imagine the science and maths behind this process is quite complex).
The potential is there to scan real life 3d objects into a virtual space for further digital manipulation, using a regular camera without expensive scanning equipment.
Definitely an awesome technique to have in the quiver of experimental stuff you can do with computers.
I like the digital processing artifacts and loss of data that’s happening here. A sort of glitch aesthetic, which I think it’s more interesting than a perfect 3D scan of a real world thing.
“roll stuff up and make it bigger.” – baseline idea/design principle/core mechanic behind Katamari as Takahashi describes it. See “toy”, designing an awesome videogame.
Yu Miyake’s explanation for how the theme song came to be is worth a read just for the smile that paragraph will put on your face.
song in question – https://www.youtube.com/watch?v=95jD5tMFjhs
Last night, after little sleep and some obligatory writing, I went to Phil’s house, eager to show off my creation and watch him play the [previous version of the] app. I haven’t yet seen anyone interact with it, and I knew the aesthetic aligned with a lot of Phill’s own works.
Half an hour into play and discussion about the sensations, feelings and relationships my work was establishing within that play session, he suggested to remove buffer clearing from the camera to reinforce the painting aspect of the experience. A few seconds later another hour of play ensued.
This move took this from the domain mainly dominated by audio in terms of focus and output, towards the visual. I knew the previous iteration wasn’t final, it’s just what I had at the time the time ran out. Playing that one now, feels like something is missing.
The experience in this new build is drastically different. The aquatic feeling is far less, as it is replaced by a more temporal aspect of particle behavior. Layers upon layers of footprints create the evolving landscape of motion. Sound becomes less important, a background accompaniment to your very presence in the space.
I cleaned up the last minute code I did the night before submission and here’s the first version of what I would call a “piece of software I made”.
I will be using this as a platform for further experimentation and learning, especially that I have another university paper to fulfill, which is the effector to shape the process and outcome of this experiment in play.
We went in with mentality that getting a mention is good, and any exposure is good exposure, and indeed, we were able to show both Warp and Swordy, which is great.
We knew however that this wasn’t about us. This was about VR, and portraying New Zealand as a place for innovative new technology, which is also a worthy pitch that I was more than willing to participate in.
It is interesting however to see the final result. We spent around 1hr with David’s team, filming, doing interviews. Fascinating to see how condensed the final edit is, what was used and what wasn’t and how everything was conducted behind the scenes.
We weren’t aware for example, of what stream of material we were going to be among in the edit. We only knew about our direct particular involvement and the roller-coaster playtest with an elderly gentleman, which happened in the same room as us. That, I think could feel less distilled and set up, if it was more genuine in the approach of getting an emotional response out of him, but still worked out fine and everyone had fun.
I think overall, this was a great opportunity and it worked out really well. Swordy is on the national TV, score!