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May 20, 2013, 10:02:54 PM
TIGSource ForumsDeveloperCreativeDesigntoast_trip's design nonsense [split from previous thread]
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« Reply #30 on: July 25, 2012, 02:32:21 PM »

Most people tend to separate the coder from the artist, like separating the left brain from the right brain, and one's usually viewed as more "logical" and "structured" while the other is more "creative", but it's interesting to think about how the coder can actually be highly creative in the code they're writing, and how the artist can in turn be really logical and structured in their drawings.

That is something they do by themselves. Either coder or artist, they tend to grow a fixation to their area of specialty and soon don't even bother to study the other side. Usually there might be just practical reasons behind this, but often times also pure laziness.
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« Reply #31 on: July 25, 2012, 02:42:39 PM »

Most people tend to separate the coder from the artist, like separating the left brain from the right brain, and one's usually viewed as more "logical" and "structured" while the other is more "creative", but it's interesting to think about how the coder can actually be highly creative in the code they're writing, and how the artist can in turn be really logical and structured in their drawings.

I'd like to think that once a programmer really understands the language they're writing in, programming can become more like "creative writing".

I got into programming for two reasons:
  1. Wanting to solve tough technical problems in unrestrained ways - i.e. they haven't been solved before, and I'm not restricted in my tool set
  2. They offer up so much creative power once you do get something going. - creativity for the technical mind

This is why I like procedural generation, or tools that increase my creative output.

Yeah, after code becomes logically tight, real programming becomes about finding the best abstraction. You can measure definitive qualities in code to compare abstraction qualities, but the path to finding the best abstraction requires a lot of intuitive thinking.

Artists who ignore logic have problems as well.

God I love games.
« Last Edit: July 25, 2012, 02:48:47 PM by toast_trip » Logged

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« Reply #32 on: July 25, 2012, 02:43:20 PM »

Usually there might be just practical reasons behind this, but often times also pure laziness.

Or fear: ego protection.
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« Reply #33 on: July 25, 2012, 02:45:26 PM »

Over-spill from another thread (related)
Since that's what this is for.

----

I overpowered this with commas. Sorry. I have an issue. I've since re-edited to make it actually read right. I removed like... 20 commas.

i agree that there are those differences between the two. but i don't think those differences say anything about a person's personality or even whether they prefer good vs evil stories vs political intrigue stories, because both series at least have a little of both. they're far more similar than they are different, and often the reason people like either one of those is not because of good vs evil or political intrigue but simply because both of them are set in space and high technology, exploration, alien worlds, and tons of other stuff. someone can like them for something that the two are similar in just as well as they can like them for something that the two differ on, and since the two are so similar it's far more likely that if someone likes either one, they'd also like the other one. the differences are marginal and those marginal elements don't usually say much about a person

also, even in the elements in which they differ, the other one has a bit of. star wars *does* have some political intrigue stuff (especially in the novels), and star trek *does* have some good and evil stuff and even some mystic/spiritual/religious stuff (in some episodes)

Would you prefer to believe that we're random, or our tastes mean something? I mean the former produces a very random-like design environment. It's not very positive. If we are the way we are for a reason, then that makes our opinions more valuable, and actually possible to dissect.

it doesn't matter what i prefer to believe. it matters what the truth is. and as far as i can see the truth is that taste is largely arbitrary. whether someone likes peaches better than apples or vice versa says very little about a person's philosophy, morality, and personality, just like what star you were born under, or year you were born in, (astrology) says nothing about your personality, and just like what blood type you have says nothing about your personality (which they tend to believe over in japan). people who think otherwise are generally called superstitious

are you really saying we should believe something because we want it to be true, or that it'd be more "positive" if it were true? is that how we should make decisions? listen to what you are saying

Yeah, I phrase things in a strange way. I like this direction. You always make me think.

I think Star Trek and Star Wars are very different. The characters are different. The problems are different. The feelings each one gives me are different. Right, maybe there's a difference between you and me for example, that's implied. I watch Wars and Trek for immensely different reasons. Never have I said, "let's watch Trek," and would've accepted Wars instead... say if I couldn't find the DVD or something. Not that that has ever happened.

One soccer game to another is very similar to me for example. But it can be immensely different to someone else. That's because I only get soccer a little, but it might also be because of what interests me about the game. For some people a difference can be arbitrary and for others it may not be. But I think the majority is in the latter half.

If the two things are the same - Wars/Trek - then that kind of invalidates the artistic process. Good story lines are personal. If, let's assume, Wars and Trek are both personal to the creators and the audience, then to say that they are different in irrelevant ways, you would be saying that the process of creation and consumption aren't unique to the people involved. That's like saying to Lucas, "this isn't really you. This is just a general human, which you call you..." probably at the time when he felt the most unique in his life. It invalidates what happens to the people. It invalidates who we are. It makes us less unique and meaningful.

Ok. So look just at Picard. He's my favourite captain, just because of when I grew up (arbitrary!). I'll compare him to Ben Kenobi, probably the closest analogy. Picard is no-nonsense. He also gets angry, regularly, plays by the book, is firm in everything he does, dislikes relating to children, commands with force. He is very rigid. But he is also kind and play his role as the one responsible for the emotional well-being of others, at least to the degree that it affects their work.

Kenobi is softer, more mysterious. He doesn't give direct answers. He's tired. He's spiritual. He's equally brave, but instead of using direct force he always comes in from the side. He takes the path of least resistance. He doesn't act as the wall between another character and the threats of the world, but as the observant teacher that picks his student back up when he falls down. He also talks in parables like a religious leader. He is more concerned with absolute morality than the practical completion of a task. Death is a dooryway and so on.

Those are obvious generalities. Movies are made of characters. Those characters do things. Saying a movie's characters are like-able for trivial reasons is to say that the friendships you choose in life are for trivial reasons. It's like saying the people in your life who are similar don't provide unique meaning to you. (I know you're not saying that.)

I don't know any two people who mean the same thing to me even remotely. Strangers who I don't acknowledge, maybe. But the more I get to know them the greater the divide. When Naruto - the anime - slips from following the manga I can tell almost immediately. I'm revolted. First I think its me then I realize it's the show. Same characters, same style, same plot... marginally different presentation: huge difference. I know Naruto fans who watch the show in dubs, and that drives me a little crazy because they think it's the same thing. When someone says voice-overs are just as good as the original it feels like they are invalidating all the reasons I liked it.

I feel a very special connection to Star Trek. I learn a lot of things that are unique to that show. I feel a part of me come alive that doesn't come alive in quite the same way with anything else. To tell me that those feelings are only superficially different than the ones I have when watching Star Wars is to tell me that those feelings are a delusion.

It's like how you're saying with eva. She, icycalm (I don't really know him...), implicitly negate whole genres. I think they're just fighting for their own interests more than they are putting down others and are aggressive about it, but whatever (it doesn't matter). The reason you can't put down a genre is because the argument, "I don't see the value in this, so it must mean that others who claim to are just experiencing the same thing as me and thus just don't like good things, and thus are just lying," is crazy. Right? That reasoning says we're all of equal perspective and that if I feel something then you feel the same thing and only one of us is correct.

People flock to Star Trek. That must be for a reason. As arbitrary as humans are there must be something about a person's experience that draws them to one thing or another. Saying that space is space and that ships are ships invalidates the attachment someone might have to the military structure of Star Trek, or older age of its crew, or the formality of its interchanges, or the politeness of their behaviour, or the degree of research and planning they go through before an operation.

The difference in characters' role in Star Trek are by skill. Kenobi does the "mind trick," Han does the gun slinger shooting and fancy driving. Luke does the inspiration and ship+force combo. Leia is the love interest with political power. In Star Trek it's about what insight you can provide into a problem. Everyone sits at a terminal and generates ideas. Everything is theoretical.

Saying we like those things, one over the other, for arbitrary reasons is to say that my interest in theoretical problem solving is arbitrary, or my love for happy endings is arbitrary - Star Trek is more  melancholy.

I love Stargate: Atlantis for example because the science is real science. Science is hard and it takes a lot of studying. There's real research, then break-throughs and over-night collaboration. The science guys relative to everyone else - assuming they are non science types - are generally miles ahead. They use analogies non-stop, they're partially socially awkward, they're fast. They often have to explain things 3 times, and so on.

In Atlantis all of this is respected. The "science" guy is a dick and always bumps heads with everyone. But he is actually brilliant. All the "science" happens off screen and the audience only sees the results as the science guy tries to show everyone else his conclusions in a way that they can understand.

In Stargate: SG1 this is not true. The science there is superficial. Impossible problems are solved with a single insight. That science is more like paint by numbers. It's like a child's book on any adult subject. Everything is in different bright colors. There are 3 steps to every solution. There is only one observation to solve any problem. The show is interesting for different reasons.

I like both shows. SG1 shows a simplified version of the "humanity" behind science. Both are very respectful of the subject. SG1 makes the audience feel like they are scientists too. Atlantis shows actual science.

But, the non technically minded friends I have tend to get caught up in the "riddles" of SG1 far more than the ones in Atlantis. Instead they are more - just a little - annoyed with McKay's (the "scientist") anti-personal, condescending behaviour. I like science, I like logic, I like hard problems, but I also like fairy tales. Those things are deep reflections of my life experience. I can see the lack of experience in solving hard technical problems flare up in the pro-SG1-science crowd when we compare the shows' strengths. They are generally self-conscious about their lack of technical ability, so the fast pace of Atlantis, and its gruff nature towards the non-understanding, alienates them.

Only bad shows are similar to each other. The better a show gets the more unique it becomes. This is true of people and everything. ... also, the more you invest in something the more the differences in its sub-components - say shows within a genre - become.

-----

Yes truth is important. I'm not saying we should prefer the nicer to-accept reality over the real one. Though I can understand how you can extrapolate that from what I said.

Ok. Peaches v apples, blood type, astrological sign: these aren't real differences. Taste in television, art, games, activities, people: these are.

What I am saying is that the argument that two things aren't similar isn't provable. TV is perspective. If I tell you that Star Trek and Star Wars are different for me you can never prove me wrong. I can never prove me right. In the proof world it is a stand-off because it is about opinion. All you can do is study and better form an opinion then rely on your instincts to make the best assessment possible.

If you believe that I am wrong then you are saying either:
  a. I am lying.
  b. I am confused.

Let's skip a because if I'm lying the whole conversation is moot.

B is big. If I am confused, it means:
  . The things within myself, that I form a relationship with with the things in the show, are the same for each show.

That means that those things within me, that surface during each show-viewing, are superficially different. Whatever memories and past experiences I am reflecting on, or relating to, are only different in arbitrary ways. That means that those experiences when I lived through them are only different in arbitrary ways. That means that at least one experience was unnecessary.

That is the same as saying that pieces of my life are meaningless. You can't prove that. I can't prove otherwise. So you can make an assumption:
  1. Do our whole lives have meaning?
  2. Or do only pieces of them do?

The second assumption is inherently pessimistic. You only choose to be optimistic or pessimistic. I'm not saying you are intentionally choosing one over the other. I am saying that the implications of your argument are that you've made the second assumption. Given all else being equal - i.e. there being no proof - why would you choose the negative one over the positive one?

We have to make assumptions sometimes. Why put people down if you don't have to?

I know you're actually being positive. We both are. I'm just running to the radical conclusion for clarity.

Think of it this way. If genre interests identify us, why would the argument stop at the sub-genre level? Why doesn't it carry down to the most minute detail?
« Last Edit: July 25, 2012, 05:29:16 PM by toast_trip » Logged

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« Reply #34 on: July 25, 2012, 02:51:17 PM »

Up handing the tea table of art and math. Where do you think the golden number came from? How about rules of third? It's only very recently that dissociation was made, then we lost a good chunk of understanding of art.
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« Reply #35 on: July 25, 2012, 03:07:50 PM »

I don't know. Sometimes I think about that stuff. I think it's more important to know that one does exist. Though knowing would be super cool.

What are you talking about with the dissociation stuff? Goddamnit Gimmy. What the FUCK ARE YOUT ALKING ABOUT!

It's Gimmy-guess-time. We separate art into pieces... that relate to one another. Contextually sensitive interpretation of parts.

Give me a clue for a dollar.
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« Reply #36 on: July 25, 2012, 03:10:20 PM »

Seems like he is saying something of art being based on mathematics, and how modern conceptual movement has denied that foundation.
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« Reply #37 on: July 25, 2012, 03:27:28 PM »

Ahh.

There's going to be a relationship between the two. If you believe in cause-and-effect to be persistent everywhere then that relationship is going to be raw tight. Whatever we've used to tie math/art together so far only represents shortcuts, and appears for a variety of interesting reasons. Assuming a simple relationship is to deny the complexity of life.

We have basic patterns for understanding the world, but the most distinct part of having a brain is having the ability to rely on those patterns to create new constructs that are just as original as the founding patterns themselves... sort of.

Example: a human raised in the wild by wolves - this happens sometimes - is very different than one that wasn't. Humans are diverse. Our experiences make us who we are. One adds on top of the other and so on. What's amazing is that we can relate at all. Evolution had to make us similar enough to work in teams, and that development took a lot longer than our construction of modern society.

It's like, if I define the word "zzirp" to mean banana, the sentence, "please let me chew on your zzirp," has one meaning. If I redefine zzirp to mean penis, or opinion, or tax-return, the sentence's meaning changes drastically.

Entire conversations can spin around the definition of a single word, say that appeared at the beginning of the conversation. Relationships can change over one conversation. Movements are built on relationships, and so on.

Our ideas are built on other ideas. At the very bottom of the tower we have "innate" ways of relating to the world, which are common to everyone, discerned by DNA. But even at that level determining how a baby interprets sound becomes very complex quickly. Doing the same thing for an adult is a whole other world.

If you want a function to represent the interpretation of art you need core parts of that function to be defined using abstract terms. Since humans mix logic and intuition all the time, applying logic to art is not unreasonable to us. Creating a theory, that applies logic to art, without relying on the interpretation of a person is impossible... or just, very, very far away.

Did we use to link art and math more closely? The world used to be crazy....


*not an artist*


« Last Edit: July 25, 2012, 05:55:33 PM by toast_trip » Logged

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« Reply #38 on: July 25, 2012, 03:31:44 PM »

Did we use to link art and math more closely? The world used to be crazy....

Sure, everything in art used to be pretty much based on math. I agree, it was crazy. But I like the modern world more, which is representation of chaos. Chaotic art is part of that, it is interesting. I never broke the magic behind abstract art but I will in my life. I love it when I see it, but I can't reproduce it. Its art, its magic. Math just is.
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« Reply #39 on: July 25, 2012, 03:36:14 PM »

Math is magic to me. I like how reliable all the pieces are. You can take a thing and use rules to know where it is going. So you can build very big constructs, starting from something very small, without knowing how the pieces fit together. But they always do, if you know what you're doing. It's like having a teammate, who is never, ever, ever wrong. Only you are wrong.

The math isn't magic by itself, but how it leads you around life, shows you things that are true that you otherwise would not have noticed, is... until the 3 times it is actually wrong... fucking math. I hate programming.

Your relationship develops.

---

edit: I like any time period in which I am alive in more. Boom.
« Last Edit: July 25, 2012, 10:12:00 PM by toast_trip » Logged

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« Reply #40 on: July 30, 2012, 03:49:49 AM »

I came here from the dumsign thread, usually I  only skim about the Technical and Devlog fora, but..

toast_trip I have to say : thinking and buidling should go hand in hand imo, you say your designing a game, I only see millions and millions of words, (as many others i just use the scroll-wheel in such a case).

You must be bright, and you want to make games, just start small, don't write 1600 pages of design doc for nothing...
reminds me of my time in artschool, some students couldn't stop theorizing (nothing but pretentious papers came from that) others just start building and thought about what they where doing while they where doing it.  

i don't want to offend you, but i'm worried you'll only be writing design doc in 10 years time still (great if you want to do that..)
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« Reply #41 on: July 30, 2012, 06:19:12 PM »

I feel interesting things when people speak that way.

There's almost this allergy to design among designers. I appreciate what you're saying. You're only trying to help. But it isn't that simple.

My coding skills are strong enough that I don't need to spend as much time "testing" ideas as I once did. That's an advantage for me, because I can reach further with my ideas when they exist primarily in my mind. Building a prototype for anything, or sinking a lot of resources into it, does an incredible job of solidifying significant elements of your vision, and can work out many of the issues you may not have been aware of before, but it also cements your direction.

If you want to be really different you have to be flexible. I mean, that is basically the mantra that separates an indie from a larger business: being able to turn more dynamically. Theory just takes that one step further. It allows you to construct ideas far beyond what would've been possible if you committed to code and assets earlier on. It is definitely more dangerous, because flaws can slip in under your radar and devalue much of your work, causing systemic problems, but I also find it more rewarding to pursue what I feel is the best game that I can make.

If stepping out of the design world and into product at an earlier stage, or spending less time designing while you are building, is what works for you, then that is the correct thing to do. I'm not suggesting that others should follow my lead. Design is where I live, and it is the place from which I can make the better game. A lot of my theory can seem hollow when you first look at it, especially if you're unaccustomed to it, but it is very real.

I'm not trying to be offensive either. I have a tendency to do that. I am just doing what I feel will produce the best game. The many times when I've "built something" I've learned that it just pulled me away from doing what I believe in. I can't work on something that I know is going to be sub-par, and for me, not committing to a direction too soon is how I do that.

There's a big difference between pretend theory and real theory. A lot of the time people will fall into the trap of pretend theory to avoid the pain of real work, and facing their own short-comings. Other people become wary of that, and for other reasons too, devalue theory all together. But the issue was never with theory. It was with bad theory. For people it is just a lot easier to produce bad theory and remain ignorant of it than it is to produce a bad game and be ignorant of that, because games are a lot more tangible, to both the creator and consumer.

I can't prove to you or anyone that my theory is good or bad. Either it makes sense or it doesn't. I can explain endlessly, but without a driving interest to begin with, any listener wouldn't get enough out of it for the experience to be worth it. All I have are my instincts, just like everyone else. And I have my long list of failures in life that guide me, telling me which directions are bad and which ones are not.

No system trumps a belief in what you are doing and the experience to back it up. Beyond that it is up to us as individuals to decide what is best.

I'll end with an analogy. If there weren't physics and engineering we'd be building planes and rocket craft with trial and error. The danger would be immense and would very likely make modern standards of production for both machines unsustainable because of the expense. Thank God for paper and math. Most people could walk into a class in advanced applications of calculus to some real-world scenario and not understand a lick of it. That doesn't invalidate what's happening there.

I'm not trying to be offensive either. It just so happens that anytime I march this path, and push a theoretical angle to design, I meet a lot of resistance. Developers very much like to stick to their examples. So I try to explain my position when I can, even if I'm doing it just to understand the difference myself.

But thank you for what you said. Conflict keeps me honest.
« Last Edit: July 30, 2012, 06:49:06 PM by toast_trip » Logged

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« Reply #42 on: July 30, 2012, 07:07:44 PM »

toast_trip, what's your game about?  Give me a one paragraph summary.

Yes, I realize this may be the hardest thing anyone's ever asked you to do, but I believe in you.
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« Reply #43 on: July 30, 2012, 07:28:16 PM »

That's a fair question.

The many times I've tried to do this I've been unsuccessful, because I learn so much from the process. Put it this way, when you write a novel you just write. You start with characters, they do things, themes emerge, and maybe partway through you realize what it is "really" about. If you know at the beginning then the writing isn't a journey of self-discovery.

You could say when I nail the 3-page outline I'll build the first prototype. Something like that follows the one-paragraph pretty closely.

Here I go.

It is about you. You could say that the defining feature of a game is "you" (and other other players) and your input. This game is just about your input. There is a state of Zen that occurs when you express yourself, say in a conversation with a good friend or family member, playing an instrument, or camping. Each activity finds you in a place of total self-awareness and control, where you get to be yourself without having to consciously manage it. The feeling is magical. In eastern spiritualism this state of mind is called "absorption." In western psychology, sports, and video games it is called "flow." Finding one's "flow" in an arbitrary task is no easy thing. So the game will do everything it can to teach you how. It will wrap you in whatever insight I've gleamed from the world, then slowly release you into the wild where you can produce on your own. You will be the writer without writer's block... or the video game player without the mental blocks that normally prevent you from becoming absorbed in an experience. Maybe the game is about teaching you how to meditate. That wouldn't be an awful description.

Never written that before, will never write it again. I didn't talk about tech, or the story, or the mechanics. It'll be sometime before I get the 1 paragraph down.

Just for interest; maybe it's interesting. There's a word in screenplay writing I picked up called "slug." I don't know how common it is. It means the one-sentence pitch, like, "Gone With the Wind meets Blade Runner in space." I like the sound of it, "slug." You slug a screenplay, or a concept, or some abstract idea. Slug, slug.

Anyway. I slug everything, all the time. I slug paragraphs, and articles (that I wrote), design concepts etc. I summarize a file with an article, and an article with a paragraph, and a paragraph with a sentence. Then I do it again when things change to get a feel for how the work is developing.

The ability to describe complex ideas simply is a necessary part of focusing your work. I do it all the time. So I understand where you are coming from. Smiley.
« Last Edit: July 30, 2012, 07:35:08 PM by toast_trip » Logged

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« Reply #44 on: July 30, 2012, 07:46:06 PM »

It is about you. You could say that the defining feature of a game is "you" (and other other players) and your input. This game is just about your input. There is a state of Zen that occurs when you express yourself, say in a conversation with a good friend or family member, playing an instrument, or camping. Each activity finds you in a place of total self-awareness and control, where you get to be yourself without having to consciously manage it. The feeling is magical. In eastern spiritualism this state of mind is called "absorption." In western psychology, sports, and video games it is called "flow." Finding one's "flow" in an arbitrary task is no easy thing. So the game will do everything it can to teach you how. It will wrap you in whatever insight I've gleamed from the world, then slowly release you into the wild where you can produce on your own. You will be the writer without writer's block... or the video game player without the mental blocks that normally prevent you from becoming absorbed in an experience. Maybe the game is about teaching you how to meditate. That wouldn't be an awful description.

Well, at least it was one paragraph.  I now know one of the goals of your game is that it puts the player in a state of "flow" when playing it.  Easier said than done, though.

Just for interest; maybe it's interesting. There's a word in screenplay writing I picked up called "slug." I don't know how common it is. It means the one-sentence pitch, like, "Gone With the Wind meets Blade Runner in space." I like the sound of it, "slug." You slug a screenplay, or a concept, or some abstract idea. Slug, slug.

It's interesting that you mention this, because I know about the "This meets that" type comparison thing.  And my view on it is quite different.  I feel that if someone can make a lazy "This meets that" summary of one of my games (and it actually makes sense and isn't vastly oversimplifying things), I've failed as a game designer.  I want my games to not be that easy to classify.
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