Ferry Halim phones it in

The Crossing, the latest game on Orisinal is kind of lame. I stopped playing when I still had three extra deers, because I had lost interest.

Now, I’m not saying this just to complain that the free game that a complete stranger made for me is not good enough. I will use this to illustrate a factor in making a game fun.

Consider Chicken Wings Are Not For Flying in comparison. That’s the game that first got me into Orisinal, but the premise is very similar to The Crossing: save cute animals from plummeting. So why do I love one but not the other?

I think it is a matter of flexibility that offers choices to the player. In CWANFF, you can save a chick near the top of the screen by throwing the umbrella higher, or you can wait and then throw the umbrella lower. So you are constantly making the decision of which of two or three on-screen chicks to save first that will leave you time to save the others.

The deer game, on the other hand, does not allow this degree of flexibility. There is a very small window in which to save a deer, and if you save the deer near the start or end of that window, the method and the result is the same.

The first time I encountered the “bounce things across a chasm” gameplay was in Earthworm Jim 2. But there, you could hit the jump button to dive for a puppy, which could be used as a last-ditch save. You can count that as something that made the controls two-dimensional, rather than one-dimensional.

Also, consider the paddle games like Breakout and Arkanoid. In those, you only moved along one dimension, but the position at which you hit the ball would alter its path. As far as I can tell, the deer in The Crossing react the same whether you catch them on the left or the right, and no matter what direction your paddle is moving.

By not having any interaction with the deer beyond a binary saved/not-saved, there isn’t a lot to engage the player’s interest.

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Puppets

What I have now identified as rookie mistakes when making puppets:

1) Putting the hand-hole dead centre, when it should be further towards the back of the head than the front.
2) In general, focusing on the appearance of the puppet to the detriment of the flexibility of the puppet.

I got to try out the electric turkey carver on some couch-foam, before the 20-year-old device self-destructed. But it is a pretty good tool for foam-carving.

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Less extreme close-ups

So, I slapped the projector lens on again, but this time, I had it only about five inches away from the camera. Since it was more portable than my three-foot monstrosity, I went on a short walk and grabbed some pictures. When it’s closer to the camera, it can focus on objects further away, and it doesn’t enlarge them as much. But it’s still better for bug pictures than the 18mm-55mm lens than came with my camera.

Here’s something I got:

I was just taking a picture of the dandelion, and this bee landed and ruined my shot! Doesn’t that bee know what a cliche this is?

Edit: I have been informed that it is a hover fly, which is a fly that “has bee-like markings to deter predators. (this is called Batesian mimicry)” So I guess that’s all right. A fly on a flower is not a cliche.

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Film geek

Here’s a couple videos I put up on Youtube lately, where I show clips from movies because I found something in how they were shot interesting.

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Extreme Close-up

Inspired by these instructions on making a macro lens, I decided to grab the lens from a slide projector I had lying around, and figure out how to take a picture with it.

I made a 3-foot long tube out of black bristol board, stuck the lens in one end, my Nikon D40 in the other, and took this picture of the Queen on the back of a quarter.

A Regal Profile

I could improve the setup a little, if I make it sturdier, maybe use some plumbing instead of cardboard, and bolt it to the camera rather than tape it down. The principal is pretty simple though, if you just think of how it’s a projector lens. Think of the quarter as the slide of film, and the camera as the wall you project the silde onto. So, the further away the lens is from the camera, the more magnification you get, but the more light you need.

It has a very narrow depth of field, and it would be bulky as hell to use in the field, so I’m probably not doing a lot with this, but it was nice to try out.

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3D cameras

There’s a thing on instructables.com about how to make a 3D camera.

It’s a cheap solution, but I see one problem.

Note here, because the red eye has the extra reflections, it will be as though that eye is a few inches further back than the blue eye. (Imagine taking the path the light follows, and straightening it out.)

This will be close enough for taking pictures of things far away, but if you want a close up, that difference will be a problem.

So what would be better? One simple version would just mean taking two identical cameras and connecting them side-by-side:

What are the draw-backs? You need two identical cameras. If the cameras are too wide, then they will be further apart than your eyes would naturally be. The settings on the two cameras need to match one another. (Aperture, exposure time, zoom) If you are shooting stills of moving things, you’ll need to be able to fire both cameras simultaneously. If you’re shooting video, you’ll need to sync up the footage.

(You can angle the cameras together, as I did in the picture. If you do so, angle them so they converge at a distance close to your subject of interest. Anything further the point of convergence will recede into the image, and anything closer to the camera with appear to reach out of the image.)

If you need your cameras closer together than their width permits, aim them towards one another and put two mirrors between them at 45 degree angles.

Since you have a single reflection for each camera, you’ll need to mirror them in post.

Here’s some other ideas on how to shoot 3D

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What I need to learn about directing actors

The 1000 Dollar Film guy posted about directing actors, and the common failings of indie film directors, with some ideas I will try to take to heart.

Second, my stuff is usually very precisely scripted, with very short shots, which doesn’t lend itself well to improv. I’ve been working with some fellows that do more improv, so I’ve been hoping to pick up on how that works.

In my opinion, Judd Apatow is the king of balancing improv with a scripted story. Here’s a quote from Seth Rogen describing it:

Generally, you’ll shoot the scene as scripted a few times until Judd’s comfortable that we have that version of it. Then he’ll just kind of let you go off. He’ll be like, “What else would you say? What else could you do here? What are other things you could be talking about?” It’s really just as simple as that. It could be as small as replacing one joke with another. Or sometimes we just throw out the lines altogether and start new. It really ranges from scene to scene. But yeah, he’ll let you go for it.

This is a method I’ve used a few times, but I’ve always ended up preferring the scripted version, so I need learn how to get more out of it. Perhaps the $1000 idea will be the right tool for me to do that.

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I was gonged

This is the first time I’ve been gonged at the gong show when I tried not to get gonged.

Lesson learned: not everyone thinks explaining things badly is as funny as I do.

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Script Secrets

This link, ‘;
echo ‘this link, ‘;
echo ‘ and this link ‘;
?> all link to random tips from ScriptSecrets.net.

I made this random link as a writing tool. If I’m stuck on what to fix on my script, I can read a random tip, and then think of how I would write my script if I made that tip my highest priority. I think it could help force me to approach the script in a new way that will get me unstuck.

I put it on my blog, so you can use it, too, if you want.

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“On The Lot” drinking game

There is one rule in the “On The Lot” drinking game.

Every time someone says “literally,” take a drink.

[Added later:

I’ve watched the second episode, and they disappointed me by not saying it. Ah, well.

I am getting sucked into the show, though I’m not normally a fan of reality shows.]

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