April 2002
- Black Snow Revisited holding99@mindspring.com
- Black Snow Revisited Tammie Gorzelsky
- Black Snow Revisited Caliban Tiresias Darklock
- Black Snow Revisited holding99@mindspring.com
- Black Snow Revisited John Buehler
- Black Snow Revisited holding99@mindspring.com
- Black Snow Revisited John Buehler
- Black Snow Revisited holding99@mindspring.com
- Black Snow Revisited Marc Bowden
- Black Snow Revisited Blane Bramble
- Black Snow Revisited Caliban Tiresias Darklock
- Black Snow Revisited Matt Mihaly
- Anyone got anything to say about swamps? shren
- Reality check ...(long) [was Black Snow Revisited] Jeff Cole
- Reality check ...(long) [was Black Snow Revisi ted] Koster, Raph
- Reality check ...(long) [was Black Snow Revisited] John Buehler
- Reality check ...(long) [was Black Snow Revisited] Jeff Cole
- Reality check ...(long) [was Black Snow Revisited] Caliban Tiresias Darklock
- Reality check ...(long) [was Black Snow Revisited] Fred Clift
- Reality check ...(long) [was Black Snow Revisited] Brian Bilek
- Black Snow: The sky is falling? Robert A. Rice Jr.
- Black Snow Revisited Caliban Tiresias Darklock
- Black Snow Revisited amanda@alfar.com
- Black Snow Revisited Matt Mihaly
- Black Snow Revisited Fred Clift
- Everquest blamed for suicide Talies the Wanderer
- Everquest blamed for suicide Jason Hart
- Death of a game addict Michael Tresca
- Death of a game addict Marc Bowden
- Death of a game addict Matt Mihaly
- Death of a game addict Dave Rickey
- Death of a game addict Patricia Pizer
- Death of a game addict Matt Mihaly
- Death of a game addict Larry Dunlap
- Death of a game addict David Kennerly
- Death of a game addict Brandon J. Van Every
- Death of a game addict quzah
- Death of a game addict Marian Griffith
- Death of a game addict Luke Parrish
- Death of a game addict Jon Lambert
- Death of a game addict John Bertoglio
- Death of a game addict Brandon J. Van Every
- Death of a game addict ghovs
- Death of a game addict Hans-Henrik Staerfeldt
- Death of a game addict Richard Woolcock
- Investor Perceptions if BSI wins was( Black Snow Revisited) Derek Licciardi
- Black Snow Revisited Christopher Allen
- the design process Matt Mihaly
- the design process John Buehler
- the design process Koster, Raph
- Contract Law. Was: Blacksnow revisted Brian Bilek
- [DGN] [NEWBIE] Suggestions on (OO) Server Design. Pure Krome
- [DGN] [NEWBIE] Suggestions on (OO) Server Design. Sean Middleditch
- [DGN] [NEWBIE] Suggestions on (OO) Server Design. Kwon Ekstrom
- [DGN] [NEWBIE] Suggestions on (OO) Server Design. Sean Middleditch
- [DGN] [NEWBIE] Suggestions on (OO) Server Design. Kwon Ekstrom
- [DGN] [NEWBIE] Suggestions on (OO) Server Design. Sean Middleditch
- [DGN] [NEWBIE] Suggestions on (OO) Server Design. Kwon Ekstrom
- [DGN] [NEWBIE] Suggestions on (OO) Server Design. Greg Munt
- [DGN] [NEWBIE] Suggestions on (OO) Server Design. Kwon Ekstrom
- OpenCyc, design implications of ontological systems? Bruce Mitchener
- OpenCyc, design implications of ontological systems? Robert Zubek
- OpenCyc, design implications of ontological systems? Miroslav Silovic
- OpenCyc, design implications of ontological systems? Robert Zubek
- OpenCyc, design implications of ontological systems? Bruce Mitchener
- OpenCyc, design implications of ontological systems? Bruce Mitchener
- OpenCyc, design implications of ontological systems? Robert Zubek
- OpenCyc, design implications of ontological systems? Bruce Mitchener
- OpenCyc, design implications of ontological systems? Sean Kelly
- OpenCyc, design implications of ontological systems? Bruce Mitchener
- OpenCyc, design implications of ontological systems ? Robert Zubek
- OpenCyc, design implications of ontological systems? Bruce Mitchener
- OpenCyc, design implications of ontological systems? Joshua Judson Rosen
- OpenCyc, design implications of ontological systems? dmiles@users.sourceforge.net
- Methods to Foster Relationships? Nick Yee
- Methods to Foster Relationships? Jeff Lindsey
- Methods to Foster Relationships? amanda@alfar.com
- Methods to Foster Relationships? Daniel.Harman@barclayscapital.com
- Methods to Foster Relationships? Richard A. Bartle
- Methods to Foster Relationships? Sara Jensen
- Methods to Foster Relationships? Rayzam
- Methods to Foster Relationships? apollyon .
- Methods to Foster Relationships? Marian Griffith
- Methods to Foster Relationships? Peter Tyson
- [TECH] Shortest-Path William Murdick
- [TECH] Shortest-Path Bruce Mitchener
- [TECH] Shortest-Path Ben Greear
- [TECH] Shortest-Path Amos Wetherbee
- [TECH] Shortest-Path Richard A. Bartle
- [TECH] Shortest-Path Robert Zubek
- [TECH] Shortest-Path Miroslav Silovic
- Another Reality Check [was Black Snow Revisited] Dr. Cat
- Another Reality Check [was Black Snow Revisited] amanda@alfar.com
- Another Reality Check [was Black Snow Revisited] Matt Mihaly
- Another Reality Check [was Black Snow Revisited] Matt Mihaly
- Another Reality Check [was Black Snow Revisited] Matt Mihaly
- Another Reality Check [was Black Snow Revisited ] Daniel.Harman@barclayscapital.com
- [DGN] MUD developer's motives Brandon J. Van Every
- [DGN] MUD developer's motives Casbaria
- [DGN] MUD developer's motives Brandon J. Van Every
- [DGN] MUD developer's motives Dave Rickey
- [DGN] MUD developer's motives Koster, Raph
- [DGN] MUD developer's motives Brandon J. Van Every
- [DGN] MUD developer's motives Dave Rickey
- [DGN] MUD developer's motives Shane Gough
- [DGN] MUD developer's motives John Bertoglio
- [DGN] MUD developer's motives Patricia Pizer
- [DGN] MUD developer's motives David Yazel
- Black Snow Revisited Batir
- Black Snow Revisited - Value Of Time Dave Hochstaetter
- Black Snow Revisited - Value Of Time Brandon J. Van Every
- Black Snow Revisited - Value Of Time Dave Hochstaetter
- Fun in Games Paul Schwanz
- Fun in Games Koster, Raph
- Fun in Games Jeff Freeman
- Fun in Games Koster, Raph
- Fun in Games Paul Schwanz
- Fun in Games Brandon J. Van Every
- Fun in Games Jeff Freeman
- Fun in Games John Szeder
- Fun in Games Brandon J. Van Every
- Fun in Games Trickey, Rob
- Fun in Games Brandon J. Van Every
- Fun in Games Trickey, Rob
- Fun in Games Brandon J. Van Every
- Fun in Games Paul Schwanz
- Fun in Games Travis Casey
- Fun in Games Brandon J. Van Every
- Fun in Games Jason Booth
- Fun in Games Oreo Cookie
- Fun in Games John Buehler
- Fun in Games David Kennerly
- Fun in Games Paul Schwanz
- Fun in Games David Kennerly
- Fun in Games Koster, Raph
- Fun in Games szii@sziisoft.com
- Fun in Games Koster, Raph
- Fun in Games szii@sziisoft.com
- Fun in Games Koster, Raph
- Fun in Games shren
- Fun in Games Talies the Wanderer
- Fun in Games Sasha Hart
- Fun in Games Koster, Raph
- Fun in Games John Buehler
- Fun in Games Brandon J. Van Every
- Fun in Games John Buehler
- Fun in Games Daniel.Harman@barclayscapital.com
- Fun in Games Ron Gabbard
- Fun in Games Koster, Raph
- Fun in Games Ron Gabbard
- Fun in Games John Buehler
- Fun in Games Matt Mihaly
- Fun in Games Daniel.Harman@barclayscapital.com
- Fun in Games Brandon J. Van Every
- Fun in Games Sasha Hart
- Fun in Games shren
- Fun in Games Damion Schubert
- Fun in Games Daniel.Harman@barclayscapital.com
- Fun in Games Jasper McChesney
- Fun in Games John Buehler
- Fun in Games Ron Gabbard
- Fun in Games John Buehler
- Fun in Games Adam Dray
- Fun in Games Ron Gabbard
- Fun in Games Damion Schubert
- Fun in Games Daniel.Harman@barclayscapital.com
- Fun in Games Tess Snider
- Fun in Games Koster, Raph
- Fun in Games Ron Gabbard
- Fun in Games John Buehler
- Fun in Games Brandon J. Van Every
- Fun in Games David Kennerly
- Fun in Games Koster, Raph
In advance--JC, I apologize for the rather off-topic meanderings;
I'll understand if you want this thread to die now.
<EdNote: I'm too interested in where you're heading>
> From: David Kennerly
> Before continuing, I hope you, Raph, could help me eliminate the
> unintended quarrel:
Certainly. :)
> Raph Koster wrote: >> David Kennerly wrote:
>>> A fine game does not preach.
>> my main quarrel with your entire premise is that online worlds
>> aren't just games.
> What did I write that was construed to the contrary? The scope
> was not so broad a subject as online worlds.
My reading was distorted by the list on which the statement was
made. :)
> In a sentence, the scope > is delimited: From the point of view
> of fun, the game is the type of > the all the arts.
Well, I am not sure that I agree with whatever philosopher you got
the original statement from. From a formalist point of view, music
can be considered ordered sound and silence, and poetry, the
placement of words and gaps between words, and so on. Some have
argued that the type of music is therefore form, but that just means
that form sees its purest mathematical expression in music, not that
form is absent from other arts.
No other artistic medium defines itself around an intended *effect*
on the user, such as "fun." They all embrace a wider array of
emotional impact. Now, we may be running into definitional
questions for the word "fun" here, obviously, but even so, I'd
prefer to approach things from a more formalist perspective to
actually arrive at what the basic building blocks of the medium are.
> Continuing to clarify:
>> Nonsense.
>> a first person shooter about a white supremacist who shoots
>> blacks and Jews
>> is explicitly designed to tell people how to feel
> The shooter mod you mention does not sound like a fine game. If
> it is not a fine game, it has nothing to do with the art of the
> game. Badly designed games may be bad in many ways.
For all I know, it could be a stellar game--as game. It could be
extremely fun (cf GRAND THEFT AUTO 3 again). I do not see how the
bare mechanics of the game determine its semantic freighting.
As a thought experiment, let's tackle the issue of Nazis again
(Godwin's Law notwithstanding).
Let's picture a game wherein there is a gas chamber shaped like a
well. You the player are dropping innocent Jews down into the gas
chamber, and they come in all shapes and sizes. There are old ones
and young ones, fat ones and tall ones. As they fall to the bottom,
they grab onto each other and try to form human pyramids to get to
the top of the well. Should they manage to get out, the game is over
and you lose. But if you pack them in tightly enough, the ones on
the bottom succumb to the gas and die.
I do not want to play this game. Do you? Yet it is Tetris. You could
have well-proven, stellar game design mechanics applied towards a
quite repugnant premise.
I believe your argument is that the art of the game is purely that
of the mechanics. To which I say to you that film is not solely the
art of cinematography or scriptwriting or directing or acting. The
art of the game is the whole.
This does not mean that the art of the cinematrographer is less; in
truth, the very fact that the art of the film fails if ANY of its
constituent arts fail elevates each and every one to primacy.
> Even when bad, a game is not an active agent. So it is misleading
> to suppose that
>> making us enjoy the morally reprehensible is quit within the art
>> of the game.
> Because this playfully animates the game. In paraphrase:
> There is no such thing as a moral or an immoral game. Games
> are well designed, or badly designed (Oscar Wilde, Picture of
> Dorian Gray, Preface).
Ah, I used to believe that. But Wilde's observation is as out of
date as Wordsworth's, also paraphrased, that "all good games are the
spontaneous overflow of powerful feelings... games are emotion
recollected in tranquillity." Or T. S. Eliot's "study the game, not
the game designer."
There is no line dividing pictorial art and propaganda. Visuals
admit a greater degree of imposition than words do-there is
something about the medium which enforces complete acceptance or
rejection. Perhaps it is the fact that paintings/sculptures must be
absorbed into the consciousness as a whole, unlike words, which
perforce enter our minds linearly and sequentially.
Picasso's GUERNICA is an excellent example of this-an intensely
propagandistic piece that is never regarded as such. Its formal
construction admits no disagreement, conveying a universal sense of
fear shock anger and so on-and the tiny newsprint hashes seem to
make this emotional reaction universal. All the imagery and the very
formal approach insist upon presenting a very particular narrow
impression of a particular historical event.
Why is this more propagandistic than, say, Goya's depiction of
shootings during the Spanish Civil War? Does Goya's use of a greater
realism perforce imply less certainty of motive? It would be
worthwhile to investigate to what extent a greater preoccupation
with form and stylization accompany deliberate propaganda. (Or
course we run into the parallel assumption that all art must
therefore embody some sort of propagandistic mind control-and even
put thus, in the baldest terms, we must conclude that yes, it is
so.)
Games fall into the same trap/glory. As much as it would be nice to
focus on a purely belles-lettristic approach to game design, you can
go back over the three preceding paragraphs and replace Picasso and
Goya with Will Wright's SIMS and GRAND THEFT AUTO 3, and see where
it leaves you.
> Wilde was writing about art and society, but the paraphrase
> applies. The game is a form of art. It's design is an art.
> Although I applaud the intent to increase the design of the game,
> to write
>> we as designers tend to explore only a very small subset of the
>> possible means of doing so.
> Criticizes without helping and might mislead. Fine games have
> portrayed the human condition. It has done so through it's own
> art, which has been often misconceived. It's apples and oranges
> to compare a comic's (or other narrative's) portrayal of the human
> condition to a game's portrayal of the human condition. More
> applicable than a comic book comparison is the statement: The
> average card game does a better job of portraying the human
> condition than the average video game. I'm not interesting in
> asserting this, but it is a non-misleading statement; it promotes
> artistic thought in the medium of the game.
I believe that here you fall into the trap of assuming that the
formal building blocks that comprise the unique element of an art
form are the sole building blocks.
Perhaps what we need is a clarification of terminology. I can accept
everything that you say in your essay if we define game design as
"the construction of formalized rules of interaction within a
limited set of variables, with the intent of providing interesting
and fun choices against which to measure some form of skill."
However, I'd then argue that game design is merely a component of
interactive entertainment, and that game design itself is on the
level of choreography, not of dance. For dance involves other such
disciplines: costuming, and music, and lighting, and narrative, and
so on.
I will accept the assertions you make regarding game design as a
formal craft; however, I view what I do as being the superset, for
pure game design must only deal with abstractions, or else
immediately cross over into the realm of interactive entertainment.
> The Prisoner's Dilemma is a brief example of a game portraying the
> human condition, which reveals some origins of how selfish
> entities behave altruistically (Robert Axelrod, The Evolution of
> Cooperation). Whereas, shoehorning narrative situations is the
> way to begin a good narrative about the human condition, but not
> necessarily a good game. Two examples of reinforce the
> misleading:
I am wary of identifying the mathematical field of game theory with
the entertainment field of game design; there are closely related,
yet not identical. One informs the other.
>> an online game set in a concentration camp, or an online game
>> where you live the role of a woman in colonial Williamsburg in
>> Virginia.
> Such a narrative, as a book or movie may portray the human
> condition. But in the medium of a game, a variant of a Prisoner's
> Dilemma or Shubik's Dollar Auction (Poundstone
> <http://www.heretical.org/games/dollar.html>) applies, not
> narrative seeds. While an online world offers broader scope than
> a game, loosely proposing these scenarios, as is, offers no help
> to design a good game within an online world.
Within the craft of the mechanics, which I agree shares much with
mathematics, certainly. But the *medium* of games, as it has come to
be commonly identified, is not solely mechanics.
> Shoehorning the principle of the movie, book, narrative, or other
> inapplicable medium onto the game perpetuates bad games.
This statement I must resist mightily. Pardon the lengthy digression
but I see it as necessary to emphasize my point.
Impressionism is not concerned with giving impressions, but rather
with a more distanced form of seeing, of mimesis. Modern image
processing tools describe the Impressionist formal process (and
indeed many of the later processes such as posterization-an
alteration of color and increase in contrast between color forms) as
filters-an accurate description in that Impressionist modes of
painting are depictions not of an object/a scene, but of the play of
light upon said object/scene. In such representations, what is is
being painted still must conform to all previously established rules
of composition-color weight, balance, golden section, vanishing
point, center of gravity, eye center, etc etc-while essentially
avoiding painting the object/scene, which ends up being absent from
the finished work.
"Impression: A Sunrise" is curious because it antedates
Impressionism, gave the movement its name, yet goes beyond what
Impressionism would come to be. It is primarily an Abstract
Expressionist approach to representation, in that Abstract
Expressionism was concerned with form and color, mostly color. The
painting, with its overpowering oranges and reds, conveys an
abstracted sunrise in the way that Mondrian's "New York" presents
that city...
Impressionist music was based primarily on repetition; its influence
on later minimalist styles is clear. However, where minimalism also
restricts its harmonic vocabulary, often to just a few essential
chords (tonic, dominant, subdominant, perhaps a few extensions or
substitutions thereof), Impressionist music as it has commonly come
to be characterized is essentially that of Debussy: intensely varied
in orchestration, extremely complex particularly in its chromatic
harmonies, and nonetheless very repetitive melodically. It is
worthwhile to note that Ravel's work as an orchestrator is perhaps
the epitome of said style: his "Bolero" consists of the same passage
played over and over, identical harmonically and melodically; it has
merely been orchestrated differently at each repetition, and the
dynamics are different. The sense of crescendo throughout the piece
is achieved precisely though this repetition.
And of course, there was "Impressionist" writing. Virginia Woolf,
Gertrude Stein, and many other writers worked with the idea that
characters are unknowable. Books like JACOB'S ROOM and THE
AUTOBIOGRAPHY OF ALICE B. TOKLAS play with the established notions
of self and work towards a realization that other people are
essentially unknowable. However, they also propose an alternate
notion of knowability: that of "negative space," whereby a form is
understood and its nature grasped by observing the perturbations
around it. The term is from the world of pictorial art, which
provides many useful insights when discussing the problem of
mimesis.
All of these are organized around the same principles; that of
negative space, that of embellishing the space around a central
theme, of observing perturbations and reflections. There was a
zeitgeist, it is true, but there was also conscious borrowing from
art form to art form, and it occurs in large part because no art
form stands alone; they bleed into one another.
The mere titling of a piece of music lends it narrative context and
enriches it tremendously. Yes, it is possible to appreciate
Penderecki's THRENODY FOR THE VICTIMS OF HIROSHIMA or any of the
works of Aaron Copland without their titles, as pure sound. But the
*sense* of them is carried in the interstices between the music and
the title. Just as the *sense* of a film is carried in the webbing
between the acting and the writing and the cinematography.
Other art forms have long recognized this; Welles' staging of
MACBETH as a Haitian tale of vodoun, for example, achieved by
selectively adjusting one of the component pieces of the art form.
All of which is by way of saying that you don't get to ignore the
prostitute you run over in GRAND THEFT AUTO 3. She's there. She may
be there because of the contributions of art or narrative or
whatever, as well as just being in bare mechanics something akin to
a power-up. But in experiencing the game, it takes, well, a game
critic to divorce her from the context in which she appears. And
frankly, game critique isn't even developed enough to give that
particular game object and interaction a name.
> While cross-training builds skill, a lot of knowledge carried over
> doesn't apply
Speaking as someone with perhaps more of this cross-training than is
strictly good for me, I have to disagree. But it may be because you
are defining things from that strict craft sense, whereas I am
coming at it from the point of view of the experience. And the
strict game experience cannot and SHOULD not be divorced from the
many other crafts that go into creating it. The experience is
greater than the sum of the parts, and it is what I regard as the
art form.
-Raph - Fun in Games David Kennerly
- Fun in Games Koster, Raph
- What do game companies look for? Talies the Wanderer
- Black Snow Revisited Hans-Henrik Staerfeldt
- Black Snow Revisited holding99@mindspring.com
- Black Snow Revisited Hans-Henrik Staerfeldt
- Black Snow Revisited holding99@mindspring.com
- Thank you from MudWorld ucmm@inetsolve.com
- Re:Blacksnow revisited Norman Short
- Re:Blacksnow revisited John Buehler
- Re:Blacksnow revisited Paul Schwanz
- Re:Blacksnow revisited Hans-Henrik Staerfeldt
- Re:Blacksnow revisited Kylotan
- Re:Blacksnow revisited Norman Short
- Re:Blacksnow revisited Matt Mihaly
- Re:Blacksnow revisited Joe Andrieu
- Re:Blacksnow revisited Matt Mihaly
- Re:Blacksnow revisited Damion Schubert
- G4 cable channel Koster, Raph
- G4 cable channel Daniel.Harman@barclayscapital.com
- G4 cable channel Koster, Raph
- G4 cable channel Richard Aihoshi aka Jonric
- G4 cable channel Valerio Santinelli
- G4 cable channel Daniel.Harman@barclayscapital.com
- G4 cable channel John Bertoglio
- G4 cable channel Amanda Walker
- [MLP] NPC Complexity shren
- [MLP] NPC Complexity Eli Stevens
- [MLP] NPC Complexity Koster, Raph
- [MLP] NPC Complexity Peter Tyson
- [MLP] NPC Complexity shren
- [MLP] NPC Complexity Sean Kelly
- [MLP] NPC Complexity shren
- [MLP] NPC Complexity Sean Kelly
- [MLP] NPC Complexity Kwon Ekstrom
- [MLP] NPC Complexity shren
- [MLP] NPC Complexity Sean Kelly
- [MLP] NPC Complexity Kwon Ekstrom
- [MLP] NPC Complexity Daniel.Harman@barclayscapital.com
- [MLP] NPC Complexity Kwon Ekstrom
- META: What do game companies look for? Eli Stevens
- Reality check ...(long) [was Black Snow Revisited] Miroslav Silovic
- Virtual Societies Dave Rickey
- DGN: The Grand List Of Console Role Playing Game Clichés Michael Tresca
- MUDs and societal transformations Brandon J. Van Every
- MUDs and societal transformations shren
- MUDs and societal transformations Marc Bowden
- MUDs and societal transformations Brandon J. Van Every
- MUDs and societal transformations Koster, Raph
- MUDs and societal transformations Brandon J. Van Every
- MUDs and societal transformations Marc Bowden
- Reality check ... Dave Rickey
- Reality check ... Marc Bowden
- Reality check ... Vincent Archer
- Reality check ... Jon Leonard
- Reality check ... John Buehler
- Reality check ... Daniel.Harman@barclayscapital.com
- Reality check ... Dave Rickey
- Dilemmas in a (game) designer's life ? Marc Demesel
- Dilemmas in a (game) designer's life ? Tamzen Cannoy
- Dilemmas in a (game) designer's life ? Brandon J. Van Every
- Dilemmas in a (game) designer's life ? Marc Bowden
- Dilemmas in a (game) designer's life ? Shane Gough
- Dilemmas in a (game) designer's life ? Brandon J. Van Every
- Dilemmas in a (game) designer's life ? John Buehler
- Dilemmas in a (game) designer's life ? Brandon J. Van Every
- Dilemmas in a (game) designer's life ? John Buehler
- Dilemmas in a (game) designer's life ? Sasha Hart
- Dilemmas in a (game) designer's life ? Brandon J. Van Every
- Dilemmas in a (game) designer's life ? Sasha Hart
- Dilemmas in a (game) designer's life ? shren
- [Biz] Games investment Peter Tyson
- Legal enforcement mechanisms (was Re:Blacksnow revisited) Jon Leonard
- OT: 1 free introductory post Dan Scott
- Client platforms for rapid development of experimental worlds Ola Fosheim Grøstad
- Client platforms for rapid development of experimental worlds John Bertoglio
- Client platforms for rapid development of experimental worlds Zach Collins {Siege}
- Client platforms for rapid development of experimental worlds Bruce Mitchener
- Client platforms for rapid development of experimental worlds Bruce Mitchener
- ADMIN: Thread deaths J C Lawrence
- Player matching in MMOGs (was Blacksnow revisited) Brandon J. Van Every
- Happy healthy players (was Blacksnow revisited) Brandon J. Van Every
- Happy healthy players (was Blacksnow revisited) Kylotan
- Happy healthy players (was Blacksnow revisited) Brandon J. Van Every
- [MLP] The use of ecology models (was: NPC Complexity) Sasha Hart
- [MLP] The use of ecology models (was: NPC Complexity) Sean Kelly
- [MLP] The use of ecology models (was: NPC Complexity) shren
- [MLP] The use of ecology models (was: NPC Complexity) Talies the Wanderer
- [MLP] The use of ecology models (was: NPC Complexity) Sean Kelly
- [MLP] The use of ecology models (was: NPC Complexity) Paul Schwanz
- [MLP] The use of ecology models (was: NPC Complexity) Damion Schubert
- [MLP] The use of ecology models (was: NPC Complexit y) Koster, Raph
- [MLP] The use of ecology models (was: NPC Complexity) Sean Kelly
- [MLP] The use of ecology models (was: NPC Complexity) David Kennerly
- [MLP] The use of ecology models (was: NPC Complexit y) Mark Eaton
- [MLP] The use of ecology models (was: NPC Complexit y) Freeman, Jeff
- [MLP] The use of ecology models (was: NPC Complexit y) Damion Schubert
- [MLP] The use of ecology models (was: NPC Complexit y) Daniel.Harman@barclayscapital.com
- [MLP] The use of ecology models (was: NPC Complexity) Matt Mihaly
- [MLP] The use of ecology models (was: NPC Complexity) Sean Kelly
- [MLP] The use of ecology models (was: NPC Complexity) Damion Schubert
- [MLP] The use of ecology models (was: NPC Complexity) Matt Mihaly
- Avatars/character stables (was: Black Snow Revisited) Jon Leonard
- [TECH] [DGN] Hyper-realistic MUD David B. Held
- Progress of MUD32 Matt Owen
- Japanese wireless MUD Peter Tyson
- How much is enough? Justin Coleman
- How much is enough? Brian Hook
- How much is enough? Justin Coleman
- How much is enough? Damion Schubert
- How much is enough? Daniel.Harman@barclayscapital.com
- How much is enough? Brandon J. Van Every
- How much is enough? Damion Schubert
- How much is enough? Ron Gabbard
- How much is enough? Sean Middleditch
- How much is enough? Talies the Wanderer
- How much is enough? Sean Middleditch
- How much is enough? Kwon Ekstrom
- How much is enough? David B. Held
- How much is enough? Ron Gabbard
- How much is enough? Justin Coleman
- How much is enough? Matt Mihaly
- How much is enough? Vincent Archer
- How much is enough? Matt Mihaly
- How much is enough? Hans-Henrik Staerfeldt
- How much is enough? Leverett, William
- How much is enough? Matt Mihaly
- How much is enough? szii@sziisoft.com
- How much is enough? Kwon Ekstrom
- How much is enough? Matt Mihaly
- How much is enough? Damion Schubert
- How much is enough? Sasha Hart
- TECH: Concurrent Process Based Mud (Somewhat Long) Eric Merritt
- TECH: Concurrent Process Based Mud (Somewhat Long) szii@sziisoft.com
- TECH: Concurrent Process Based Mud (Somewhat Long) Bruce Mitchener
- TECH: Concurrent Process Based Mud (Somewhat Long) szii@sziisoft.com
- TECH: Concurrent Process Based Mud (Somewhat Long) Bruce Mitchener
- TECH: Concurrent Process Based Mud (Somewhat Long) Eric Merritt
- Player Accounts on a Non-Commercial MUD Tand'a-ur
- Player Accounts on a Non-Commercial MUD Matt Owen
- Player Accounts on a Non-Commercial MUD Sean Middleditch
- Player Accounts on a Non-Commercial MUD szii@sziisoft.com
- Player Accounts on a Non-Commercial MUD Crosbie Fitch
- Player Accounts on a Non-Commercial MUD Tand'a-ur
- Player Accounts on a Non-Commercial MUD John Bertoglio
- Player Accounts on a Non-Commercial MUD John Buehler
- Player Accounts on a Non-Commercial MUD Tand'a-ur
- Player Accounts on a Non-Commercial MUD John Buehler
- Player Accounts on a Non-Commercial MUD John A. Bertoglio
- Player Accounts on a Non-Commercial MUD Daniel.Harman@barclayscapital.com
- Player Accounts on a Non-Commercial MUD Sanvean
- Player Accounts on a Non-Commercial MUD Crosbie Fitch
- Player Accounts on a Non-Commercial MUD Damion Schubert
- Player Accounts on a Non-Commercial MUD lynx@lynx.purrsia.com
- Player Accounts on a Non-Commercial MUD Damion Schubert
- Player Accounts on a Non-Commercial MUD Brian 'Psychochild' Green
- Player Accounts on a Non-Commercial MUD Damion Schubert
- Re:Re:Blacksnow revisited maddog@maddog.com
- Realistic Ecological Models, Differentiating Areas by Difficulty, and Socialization Ron Gabbard
- Realistic Ecological Models, Differentiating Areas by Difficulty, and Socialization Sean Kelly
- Realistic Ecological Models, Differentiating Areas by Difficulty, and Socialization Damion Schubert
- Realistic Ecological Models, Differentiating Areas by Difficulty, and Socialization shren
- Angry Gamer (was: Blacksnow revisited) Daniel Fischer
- Codename Blue & Facets - Nick Yee's new studies Koster, Raph
- Codename Blue & Facets - Nick Yee's new studies Sasha Hart
- Codename Blue & Facets - Nick Yee's new studies Koster, Raph
- Codename Blue & Facets - Nick Yee's new studies Madrona Tree
- Codename Blue & Facets - Nick Yee's new studies Scott Jennings
- Codename Blue & Facets - Nick Yee's new studies John Buehler
- Codename Blue & Facets - Nick Yee's new studies Dave Rickey
- Codename Blue & Facets - Nick Yee's new studies John Buehler
- Codename Blue & Facets - Nick Yee's new studies Dave Rickey
- Codename Blue & Facets - Nick Yee's new studies John Buehler
- Codename Blue & Facets - Nick Yee's new studies Dave Rickey
- Codename Blue & Facets - Nick Yee's new studies Rayzam
- Codename Blue & Facets - Nick Yee's new studies John Buehler
- Codename Blue & Facets - Nick Yee's new studies Clay
- Codename Blue & Facets - Nick Yee's new studies Damion Schubert
- Codename Blue & Facets - Nick Yee's new studies Freeman, Jeff
- Codename Blue & Facets - Nick Yee's new studies Nick Yee
- Codename Blue & Facets - Nick Yee's new studies John Buehler
- Codename Blue & Facets - Nick Yee's new studies Nicholas Yee
- Codename Blue & Facets - Nick Yee's new studies John Buehler
- Codename Blue & Facets - Nick Yee's new studies Richard A. Bartle
- Codename Blue & Facets - Nick Yee's new studies John Buehler
- Codename Blue & Facets - Nick Yee's new studies Richard A. Bartle
- Codename Blue & Facets - Nick Yee's new studies John Buehler
- Codename Blue & Facets - Nick Yee's new studies Steve {Bloo} Daniels
- Codename Blue & Facets - Nick Yee's new studies Richard A. Bartle
- Codename Blue & Facets - Nick Yee's new studies Steve {Bloo} Daniels
- Codename Blue & Facets - Nick Yee's new studies Richard A. Bartle
- Codename Blue & Facets - Nick Yee's new studies Marian Griffith
- Codename Blue & Facets - Nick Yee's new studies Richard A. Bartle
- Codename Blue & Facets - Nick Yee's new studies Marian Griffith
- Codename Blue & Facets - Nick Yee's new studies shren
- Codename Blue & Facets - Nick Yee's new studies Dave Rickey
- Codename Blue & Facets - Nick Yee's new studies Brad McQuaid
- Codename Blue & Facets - Nick Yee's new studies John Buehler
- Codename Blue & Facets - Nick Yee's new studies Dave Rickey
- Codename Blue & Facets - Nick Yee's new studies Matt Mihaly
- Codename Blue & Facets - Nick Yee's new studies Richard Woolcock
- Codename Blue & Facets - Nick Yee's new studies Madrona Tree
- Codename Blue & Facets - Nick Yee's new studies Richard A. Bartle
- Codename Blue & Facets - Nick Yee's new studies Madrona Tree
- Codename Blue & Facets - Nick Yee's new studies Freeman, Jeff
- Codename Blue & Facets - Nick Yee's new studies Richard A. Bartle
- Codename Blue & Facets - Nick Yee's new studies Matt Mihaly
- Codename Blue & Facets - Nick Yee's new studies Richard A. Bartle
- [TECH] Preloading path information William Murdick
- [TECH] Preloading path information Kevin Mack
- [TECH] Follow-up to Shortest Path William Murdick
- Fun in Games (Long) Ron Gabbard
- Fun in Games (Long) Brandon J. Van Every
- Games are not speech? Koster, Raph
- Games are not speech? Jeff Cole
- Games are not speech? Sean Kelly
- Games are not speech? Dave Rickey
- Games are not speech? Ron Gabbard
- Games are not speech? Crosbie Fitch
- How much is enough? Communication design Ron Gabbard
- How much is enough? Communication design Miroslav Silovic
- How much is enough? Communication design David B. Held
- How much is enough? Communication design Travis Casey
- How much is enough? Communication design Ben Chambers
- How much is enough? Communication design Daniel.Harman@barclayscapital.com
- How much is enough? Communication design Damion Schubert
- How much is enough? Communication design Daniel.Harman@barclayscapital.com
- How much is enough? Communication design shren
- How much is enough? Communication design John Buehler
- How much is enough? Communication design Damion Schubert
- The quandry of mob combat in MUDs Peter Tyson
- The quandry of mob combat in MUDs Sean Kelly
- The quandry of mob combat in MUDs William Murdick
- The quandry of mob combat in MUDs Ammon Lauritzen
- The quandry of mob combat in MUDs Adam
- The quandry of mob combat in MUDs Peter Tyson
- The quandry of mob combat in MUDs shren
- The quandry of mob combat in MUDs Kwon Ekstrom
- The quandry of mob combat in MUDs Damion Schubert
- The quandry of mob combat in MUDs Sean Kelly
- The quandry of mob combat in MUDs Edward Glowacki
- How much is enough? Communication design Sasha Hart
- [MLP] Why care about levels? (was: The use of ecology models) Sasha Hart
- [MLP] Why care about levels? (was: The use of ecology models) Sean Kelly
- [MLP] Why care about levels? (was: The use of ecolo gy models) Daniel.Harman@barclayscapital.com
- Realistic Ecological Models Sasha Hart
- Realistic Ecological Models David B. Held
- Realistic Ecological Models Mike Shaver
- Realistic Ecological Models Leland Hulbert II
- Realistic Ecological Models Sasha Hart
- Realistic Ecological Models Leland Hulbert II
- Realistic Ecological Models David B. Held
- Size of player-organizations Adam
- [Meta] [MLP] The use of ecology models (was: NPC Co mplexity) Koster, Raph
- The quandary of mob combat in MUDs Peter Tyson
- The quandary of mob combat in MUDs John Buehler
- Developing A Web Generator Kyndig
- Developing A Web Generator Kwon Ekstrom
- Developing A Web Generator John A. Bertoglio
- Developing A Web Generator szii@sziisoft.com
- Developing A Web Generator Derek Snider
- Powergaming (was How much is enough?) Jeff Cole
- Powergaming (was How much is enough?) Kwon Ekstrom
- Powergaming (was How much is enough?) Jeff Cole
- Powergaming (was How much is enough?) Kwon Ekstrom
- Powergaming (was How much is enough?) Zach Collins {Siege}
- Powergaming (was How much is enough?) Kwon Ekstrom
- Powergaming (was How much is enough?) shren
- Fun in Games (the Fun Dogma) Clay
- Fun in Games (the Fun Dogma) David Kennerly
- Fun in Games (the Fun Dogma) Ron Gabbard
- Skotos Cellular Automata Simulation System - a Technical Summary (LONG) Christopher Allen