Выследив добычу, волк не укладывается спать.

Beginners freeze up stressed over the first version being perfect, experienced people know all first drafts suck and anticipate refining it.

Give Elbow Room to the Creative Reader
The creative writer leaves white space between chapters or segments of chapters. The creative reader silently articulates the unwritten thought that is present in the white space. Let the reader have the experience. Leave judgment in the eye of the beholder. When you are deciding what to leave out, begin with the author. If you see yourself prancing around between subject and reader, get lost. Give elbow room to the creative reader. In other words, to the extent that this is all about you, leave that out.
JOHN McPHEE

Самые странные части вас, что другие люди не поймут или их это не касается — это ваши самые ценные активы, уникальный писательский «голос».

У барабанщика группы "Алиса" были серьёзные проблемы с наркотой. В какой–то момент коллег по группе это заебало, и они поставили ему ультиматум: "Либо завязывай, либо нахуй из искусства". Ну, драммер решил встать на путь исправления: спорт, рехаб на отечественный манер, и всё такое.

И вот наступает первый для него за долгое время концерт, на котором он играет в неизменённом сознании. Мероприятие проходит "на ура", все в восторге, концерт заканчивается, музыканты уходят за кулисы, техники начинают разбирать сцену. И только барабанщик со стеклянным взглядом остаётся сидеть на месте. К нему подходит Кинчев:
— Что случилось–то?
— Кость, а мы всегда такую хуйню играем?

они хорошие профессионалы, они делают хорошие вещи, вероятно, я просто не в курсе

каждая песня занимает огромную часть моей собственной жизни. поэтому ерунду писать некогда. жалко жизни.

Okay, saw a video about 'game feel' and I think there's something that not many people talk about with it; and that's that 'juicy' effects like hit-pausing, flashing, explosions and screen shake don't just feel good because they're rewarding, it's because they remove ambiguity.
Hit-pause and flashing lets you know that your hit has connected successfully. Dust puffs when you character lands from a jump lets you know you're now working with ground physics rather than air physics. Large death explosions let you know that you can stop firing now.
Overuse of any of these effects, however, muddies the waters and makes them feel *less* rewarding, rather than more. When everything causes a screenshake, it can no longer be relied upon as feedback to the player. Did I hit an enemy or did one of a billion other things cause it?
I see a lot of talks and articles on 'juice' that seem to imply that more effects = better, and I think it's causing a glut of overly hyperactive action games that have completely misdirected effort into making everything feel *big* rather than *good*.
Think about what the exact intent is behind every single effect you implement. What does it signify? Does it signal success, failure, that you're using limited resources, that an ability is ready to use? What can you do to indicate that to the player unambiguously?
'Juice' is feedback. Always keep your feedback clear and concise. That's what makes a game feel good.
Long story short; It's fine to be super proud of your awesome explosion effect, but it'll be more effective if you use it sparingly rather than liberally.

stupidhoroscope

у нас на спецавтобазе как говорят: нарративами кидался — по ебалу получил

>>What is the payoff that I’m gaining from not doing something that I said I would?
>>How does this payoff make me feel?
>>Where is the origin of these feelings?
>>Will my whole world crumble if I don’t do this right now?
>>Is this really that important?
>>Who says I have to do anything anyway?

Вспоминая впоследствии о работе над фильмом «Октябрь», о монтаже кадров с богами и о теории интеллектуального кино, Эйзенштейн с юмором писал в «Автобиографических записках»:
«Но боги покарали своего обидчика, наслав на него временное помрачнение разума».

Гейм-дизайн — та область, которой нужно заниматься, чтобы ее изучать. Честно, нет никакой альтернативы разработке игр. В процессе вы узнаете так много, что вам, скорее всего, даже не придется ничего читать о разработке игр. К счастью, в процессе изучения этой книги это — именно то, чем вы будете заниматься большую часть времени.

В этом смысле гейм-дизайн похож на кулинарию. Представьте себе шеф-повара, который ни разу не заходил на кухню, не пытался ничего приготовить, но прочитал великое множество кулинарных книг. Бьюсь об заклад, что его первый кулинарный шедевр будет совершенно неаппетитным. Или представьте себе художника, который никогда не брал в руки кисть. За пределами вводного изучения базовых концептов лучший способ лучше рисовать — это рисовать как можно больше.

Точно так же, создание и игра в собственный дизайн — лучший способ изучения работы и сбоя конкретных механик в самых различных ситуациях. Не забывайте также, что динамика возникает лишь в процессе игры, и некоторые ее проявления могут вас удивить.

“A good photograph is one that communicates a fact, touches the heart and leaves the viewer a changed person for having seen it. It is, in a word, effective.”
– Irving Penn

The Nazi invasion of the Soviet Union in 1941 can be best understood by remembering one quotation:

We have only to kick in the door and the whole rotten structure will come crashing down.

The Nazis were extremely confident of a quick and easy victory against the USSR in 1941, and in the first few months of the war, they didn't have much reason to re-evaluate. In the first two months of the war, the Nazis took over a frankly gigantic swath of territory, including what's now Estonia, Latvia, Lithuania and a big chunk of both Ukraine and Belarus. The Soviets were falling back - and they'd continue to do so until December 1941, by which point the Nazis were at the gates of Leningrad and Moscow, and were also within striking distance of the Caucasus - which is to say, within striking distance of Soviet oil supplies.

If the Nazis had subsequently taken Moscow, then it's possible that the Soviet Union would have come crashing down. However, the Nazis were behind schedule and the Russian winter hit.

The mean daily temperature in Moscow in November is -1.2 °C and -7.6 °C in December.[1] From November to March, the mean daily temperature in Moscow does not climb above freezing - and that's just for an average winter. The winter of 1941-1942 was actually the coldest of the twentieth century.

If you want to have your soldiers in anything approximating fighting condition in that climate, you need to get them warm boots, warm gloves, warm hats and warm jackets. If you want them to actually be able to fight, there are extra supplies required for weapons maintenance in the cold that aren't required in temperate weather. Motorized vehicles are harder to maintain in the cold - just ask anyone who's had difficulty getting their car engine to turn over in the middle of a Toledo winter.[2]

Because the Nazis had expected a quick war, they had brought none of these supplies with them. Of course, Nazi Germany was an industrialized society, one where the military-first approach to the economy had led to shortages of wood and butter for civilians in the 1930's and that could therefore create these supplies. However, this ended up being rendered somewhat moot by two issues. First, the Nazis had 3.6 million troops in Russia that required the winter supplies. That's a lot of winter supplies to transport.

The second factor was that Operation Barbarossa had been far too successful for a military operation that had not achieved its primary objective of knocking the Soviets out. The result of this was that the Nazis had troops all over 1.3 million square kilometers[3] of Soviet territory - territory populated by people who, with very, very good reason, hated the Nazis and weren't much for cooperating with them.[4] And the people who most needed the supplies were furthest from where the supplies were created.

This would have made it difficult for the Nazis to supply themselves even under the best of circumstances - and the Nazis weren't experiencing those. Many of the roads the Nazis had to use to invade Russia were dirt roads. Dirt roads do cause more damage to automobiles and other mechanized vehicles than do paved ones, but that actually turned out to be of much less importance than Russian weather did. Specifically, it rains heavily during autumn in Russia. This period is known as the "rasputitsa," and during this time, if your road isn't paved, it's essentially a river of mud. It's hard enough to march men through that sort of terrain - getting vehicles laden with supplies through it is damn near impossible. To top it off, the Nazis didn't have anywhere near enough trucks to supply the invasion, so they were heavily reliant on horse-drawn wagons for logistic support.

The result was that, while the Nazis did manage to make it to the outskirts of Moscow, they only did so in December - and few people in the Third Reich had planned on the war running that long. Those winter supplies needed to fight? They didn't arrive in anywhere near the volume required, and many Wehrmacht soldiers died of exposure as a result.

The Soviets didn't have this p

roblem. Anybody who lives in Moscow or St. Petersburg (then Leningrad) knows it's going to get cold. Anyone who ever sees the defense of those cities as desirable is therefore going to properly equip their troops for the cold - which the Soviets did. The result was that the Soviets were able to use the winter to harass the Germans at every opportunity, and the Germans spent the entire winter over-extended and on the back foot.

Life needs to be more than just solving problems every day. You need to wake up and be excited about the future, and be inspired, and want to live.

The cult of productivity is preventing you from being productive I think that focusing on being deliberate actually helps resolve a lot of the tension between presence and productivity. Being deliberate about how we spend our time is essential for being productive in the meaningful sense: for effectively working towards things that are important to you. But being deliberate doesn’t mean “getting things done” for the sake of it, or always being goal-focused. Sometimes being deliberate means consciously choosing to simply experience life without worrying about whether you’re “getting anywhere.” Above all, being deliberate forces you to be present: to keep returning to and paying attention to your experience in the moment, what you feel, and what’s most important to you. What does this mean doing in practice? A few things I’ve found particularly helpful for using my time deliberately: A relatively simple thing that worked wonders for my productivity was sitting down at the beginning of each day, writing a list of tasks I wanted to achieve, and then actually planning at what time I was going to do each of those things. I think the reason this was so effective was that it forced me to be more deliberate: I was following a plan of things I’d reflected on and chosen to do, rather than just doing whatever seemed easiest at the time. I even sometimes do this with my leisure time—sit down and write an explicit list of things I want to spend my time doing. To some people, this might seem overkill—but I find it reduces a lot of the conscious energy required to make decisions about what to do at any given moment, and means I reflect more on how I really want to be spending my time, which ultimately means I enjoy it more. Sometimes simple prompts or questions can be surprisingly effective at helping us reflect on what’s most important. Some questions I find particularly useful for helping me realize what I really want to be doing include: When I look back on the past hour, what would make me feel good about how I’ve spent it? What could I do that would make me proud of myself right now? What would the very best version of myself do right now? I use these check-in points to step back and ask: How am I feeling? Am I really motivated and engaged in what I’m doing, or am I getting distracted? Am I using my time and focus in the ways I’d like to be? Obviously, it’s impossible to be constantly asking ourselves these questions, and if we did, we’d never actually get anything done or be able to enjoy anything. The key here is narrowing and broadening our focus—deciding to focus narrowly (on a given goal or experience), and then stepping back every now and then to check in on how we’re feeling and whether we’re using our time as we’d ideally like to be. Neither productivity nor presence are goals to achieve, they are both skills to be cultivated. The ability to be fully present and pay attention to our experience allows us to reflect on what’s really important to us in a broad sense, and how we really want to be spending our time moment to moment. The ability to be productive allows us to spend our time effectively working toward those goals that are most important to us. Rather than two goals in tension with one another, productivity and presence are complementary skill sets which help us to live our lives more fully.
http://qz.com/547414/the-cult-of-productivity-is-preventing-you-from-being-productive/

Сценарии ваших снов написаны превосходно. Это я могу сказать точно, даже не зная никого из вас лично. В снах люди превращают свои тревоги, тяжелые переживания, кризисы, страстные желания, чувства любви, сожаления и вины в замечательные, насыщенные истории. Что позволяет нам достичь во сне той неограниченной творческой свободы, которой мы часто оказываемся лишены в состоянии бодрствования? Я не знаю, но подозреваю, что это отчасти связано с тем, что во сне мы не скованы тревогой, не волнуемся о том, что могут подумать о нас окружающие. Это глубоко личная беседа с самим собой, и если она волнует нас, это волнение пропитывает все сновидение, становится его элементом. Думаю, если бы мы могли схожим образом относиться к своей работе, результаты ее были бы совсем иными

“What Tex [Avery] taught me was this:

“1. You must love what you caricature. You must not mock it–unless it is ridiculously self-important.

"2. You must learn to respect that golden atom, that single-frame of action, that 1/24th of a second, because the difference between lightning and the lightning bug may hinge on that single frame.

"3. You must respect the impulsive thought and try to implement it. You cannot perform as a director by what you already know, you must depend on the flash of inspiration that you do not expect and do not know.

"4. You must remember always that only man, of all creatures, can blush, or needs to; that only a man can laugh, or needs to, and that if you are in that trade of helping others to laugh and to survive by laughter, then you are privileged indeed.

"5. Remember always that character is all that matters in the making of great comedians in animation and in live-action.

"6. Keep always in your mind, your heart and your hand that timing is the essence, the spine, and the electrical magic of humor–and of animation.”

экспресс-обучение работе с устройствами, которые стоят больше, чем мои внутренние органы и годовой доход, уверенное фиксирование их частей пластилином и изолентой

Так же истории – это не просто описание чего-то, что происходит с кем-то. Если бы это было так, мы увлеклись бы и чтением бесхитростных записей в дневнике какой-нибудь домохозяйки, подробно описывающей каждый поход в магазин; тем не менее это никому не интересно.
История – это даже не динамичные события, происходящие с кем-то. Стали бы вы читать всю ночь напролет, как на протяжении 200 страниц кровожадный гладиатор А гоняется по пыльной древней арене за беспощадным гладиатором Б? Думаю, вряд ли.
Так что же такое история? История – это то, как происходящее влияет на кого-то, перед кем стоит труднодостижимая цель, и как он – или она – в итоге меняется. Если выражаться привычными литературными терминами, то это значит следующее:
«Происходящие события» – это сюжет.
«Кто-то» – персонаж.
«Цель» обычно называют главным вопросом истории.
А то, как «он или она меняется», – это то, о чем собственно сама история.