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About bishop_pass

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  1. I'm not really the guy to listen to, but you should listen to me anyway. Most replies are pretty good, and the first was one of the best, that is to say, the one you weren't expecting. and the one where you called the guy a liar. I was expecting it. 100%. I haven't really been in the business so to speak, but I have been around. If you want to be good at something, do that, not something you think is on the way to that. If you want to program games, program well, and get hired as a programmer. Don't become a game tester. Same for graphics, digital effects, AI, etc. If you want to direct movies. do that. Don't become a grip. Unless of course, you want to be a grip. Go to school too, if you can afford it.
  2. bishop_pass

    Who's your intellectual idol?

    It's not only a counterargument, it also calls into question what consciousness is. I don't know, None of us know of course. Chalmers' whole book is about the Hard Problem. not the Easy Problem. The Easy Problem is how the brain functions, which is to imply the mechanics of how the brain thinks, how neurons work, etc. He admits that is by no means easy at all. But the Hard Problem is decidedly harder, and that is what makes consciousness, and why qualia exists. Some people can't even distinguish between the two, or insist they're the same problem.
  3. bishop_pass

    Defining AAA

    So the term AAA is analogous or even equivalent to the term blockbuster? Are you interested in making money or making something great? The two don't necessarily go hand in hand. You can argue about what quality coding is, and yes, you need top notch coding. But ultimately, you need top quality people at the helm. And that doesn't mean suits. When I say top quality people at the helm, you need people with a vision, a very good vision, and are able to, and do get their hands dirty. All the time. It is like filmmaking. Separate the auteurs from the studios. The former can beat the latter at one tenth the price. And back to the original topic, if I have gone off track. Sales don't define whether something is good. Blockbuster means sales. But there's other good stuff that have one tenth or less sales. Or maybe the game market is so immature currently, that digital effects and bigness dominate. That's kind of sad, and somewhat true, but that doesn't really define goodness.
  4. Show me an academic paper or a book that attempts to deny the importance of climate science, and I'll show you an author who is getting funding or grants from big oil. A similar thing started with Frederick Seitz and the tobacco industry earlier on. He himself then migrated to big oil and climate science. Unfortunately, most are just ignorant of the environment. Some, or even many, are just liars. One should learn about the environment. One should learn the seven services provided by ecosystems. One should learn about biodiversity, and why it's really important. And I mean really important. Regulations matter. Voluntary help is a load of crap. Regulations overcome what ChaosEngine cited as a problem about six posts back. Unfortunately, the current regime doesn't believe in regulations. At all. Pruitt's a problem. In fact, most all appointed cabinet heads of the current administration are a problem. They know next to nothing about the cabinet in question, and are, in general, actually antithetical to the mission of the department in question. Pruitt is just one example. I could go on, and on, and on.
  5. bishop_pass

    Who's your intellectual idol?

    Hofstadter is certainly interesting. Have you read The Mind's I? I have not read all of it, but some interesting questions arise regarding the beaming of individuals in Star Trek. Basically, one might think stepping into a transporter is suicide. That's what I think anyway. Isn't it just suicide while a duplicate of yourself is made elsewhere? We're supposed to be thinking of consciousness. I am a Strange Loop is where Hofstadter discuss Chalmers. As in David Chalmers, who was a student of Hofstadter. Chalmers is another individual I think of as someone I idolize. Others are mentioned in my original post. Chalmers has written some books himself, as well as doing various TED talks and some YouTube videos. Probably his most famous book is The Conscious Mind: In Search of a Fundamental Theory. Great reading, if a little dense. Gödel, Escher, Bach, of course, as you mentioned, is great as well, He mentions Lisp, SHRDLU, among other things. The title is interesting in itself, especially related to this thread. Einstein walked a lot with Gödel. I admire Kurt Gödel too. His incompleteness theorem is well worth reading more about. And of course, Escher, as in M. C. Escher. Who doesn't like his drawings? I'm surprised at the number of individuals not familiar with his work. Must be an age thing. As for Bach, well, all I really know is not much more than anyone else.
  6. bishop_pass

    Who's your intellectual idol?

    I am a fan of science greats, some artist greats, and a few others. Many have mentioned some of those. Let me enter another arena: films. Sylvia Chang: she's a director of some complex films, and I mean very complex. For example, Murmur of the Hearts, not to be confused with Murmur of the Heart. But she's also a screenplay writer, and for fairly big directors. She's also an actress, and a really big one. She's also a songwriter, and a fairly big one. A producer too. But definitely Wong Kar-wai. He's a director. His films are a little different. And excellent. He employs a writing method for his films which is fairly unique. Have you seen Chungking Express or say, Days of Being Wild, or say, 2046? There are at least six other films as well, at least one or two more well known than those I mentioned. Did I mention Chris Doyle? Christopher Doyle, technically. He's mostly a cinematographer. Quirky fellow. There's a lot more. Jia Zhangke, for one. Hirokazu Kore-eda, for another. My admiration also goes to the past as well. the trio of Hiroshi Teshigahara, Kobe Abe, and Toru Takemitsu are one such example. Geniuses by themselves as are all of the above. Combined in the same project, and you get pure art. Plenty more.
  7. bishop_pass

    Why watching movies is a necessity for games

    Has anyone here seen Batman v Superman: Dawn of Justice? I don't rank it in the same class of films I've been mentioning. But I don't really dislike it in the way it has been criticized either. I found it entertaining, anyway. I would like to share a specific example regarding that film, and in particular, a specific shot from that film. For that matter, has anyone seen any of the other films I've recently mentioned, specifically in the last two posts I've made? They are loaded with many of the elements I've been discussing. I suspect few here have seen the other films. Regarding Batman v Superman, there's a shot that has a pattern very similar to a shot in one of the other films I mentioned. I call it a slipper shot, although, in the case of Batman v Superman, there are no slippers in the shot. Patterns are where the ideas are. Who has seen Batman v Superman?
  8. bishop_pass

    Why watching movies is a necessity for games

    Nobody has really mentioned character inspiration yet, so it's a good that you brought it up. However, what I've been trying to say is to look beyond content directly, and start looking at grammar, tone, theme, metaphor, and rhythm. And, since Hollywood isn't the best provider of films heavy with those elements, look beyond Hollywood to other cinema, and notably, look at what are considered to be the great films. Surprisingly, The Dark Knight (IMDB lists it very high), and other similar films aren't the great films. I stress this, repeatedly, because once you make an effort to discover great cinema, you land in groups that are discussing many films you've probably never heard of. As an example, I listed six films considered to be great (among the greatest) in my post above. And then, once you've become attuned to grammar, tone, theme, metaphor, and rhythm within film, apply those observations not necessarily to trailers and cutscenes, but instead to gameplay. It will require imagination. Nobody said it would be easy. Nor should it be. This subject is deep. There's more to be mined than you might imagine. I strongly recommend everyone learn the standard film grammar, or rather, how film grammar is taught in courses and books. It's the grammar used in most every Hollywood film. It's also the basis for most all films. However, films outside of Hollywood often augment it with unique invented grammars, and also break many of the standard rules as well. A good subset of the basic rules are: The 180 degree rule The 30 degree rule Matching eyelines Narrowing eyelines as intimacy develops Narrowing field of view as intimacy develops Use establishing shots These rules result in nearly invisible cuts. Start watching other cinema besides Hollywood films, and you'll notice the rules being broken, typically to good effect. And when you notice things, you learn things. But as I said, this subject goes deep. You must be very attentive to what you're watching. You'll see much more. Here are seven more great films: Werckmeister Harmonies (Bela Tarr, 2001) The Mirror (Andrei Tarkovsky, 1975) The Face of Another (Hiroshi Teshigahara, 1966) Chungking Express (Wong Kar-wai, 1994) 2046 (Wong Kar-wai, 2004) The Naked Island (Kaneto Shindo, 1960) Pale Flower (Masahiro Shinoda, 1964)
  9. bishop_pass

    Video Game Writing Preferences?

    Kavik has nailed a salient point right here. I've always called it the stewpot. Let it simmer for a period. If it's not good, nothing will come out of it. But only after a few weeks at the minimum, and sometimes months, you'll see something else that will make it great.
  10. bishop_pass

    Video Game Writing Preferences?

    I believe it's what works for you, and when and where your ideas come to you. I'm not a game writer. I am developing film scripts for short films with the intention of directing them. In the process, I write the following: Vignettes, snippets, ideas, observations (truisms about life), dialog, outlines, and lots of lists. These often land in a notebook by pen if that's convenient when I conceive of them. I also send myself lots of emails, with the above. For actual script writing, I use Fountain. It's easy and natural. Numerous apps and plugins support it. I use the Sublime Text editor with a Fountain plugin. The purpose of Fountain is to provide a clean, non proprietary, ASCII text file format for screenplay writing. Converters can convert it to industry standard Final Draft and PDF format. You can also include any kind of notes of your own format and making in comments in the file, If you're a programmer, you can write scripts that will extract this info and create numerous supplemental files to go with you project, including such things as prop lists, set descriptions, character descriptions, scheduling, etc.
  11. bishop_pass

    Why watching movies is a necessity for games

    Kavik, It sounds like you're making a good attempt to do what I've been saying, but I might disagree with a few aspects of it. For one thing, games aren't films, so how one analogizes what I've been saying about films to games requires some imagination. While your average joe can't often understand or enjoy an art-house film, what makes an artsy game too much for the average joe? Sometimes compromises are the worst thing you can do. You're right, I'm unlikely to wade through 700 pages of material on your project. There comes a point where you know you've got it right, and have the confidence to judge your own material. Fair warning: it's usually not the first time you're confident of your own material. Your first time usually occurs when you really don't know what you're doing. And then at some point, you realize you don't know what you're doing, and you make it a goal to figure it all out. This isn't like programming, where it's a bit more obvious whether you know what you're doing. But even there, I admit the same pitfalls exist. You mostly need to know the domain, and then you know what you don't know, in the case of programming. In writing, or filmmaking, there's no precise definition of what the domain is. It's easier to overestimate how good you are. In fact, this is another argument for why watching great cinema can and does help. A good hint as to whether you know what you're doing or not might be whether you like great cinema or not. If you don't like it, then you're not understanding it, and if you're not understanding it, then you're missing how the pieces go together, and why it's superior. I have about five scripts sitting on deck for entering pre-production, or near completion. Two are essentially complete. Both are great scripts in my opinion. One is truly great, I believe. The other has a great story, but it seems flat in its presentation. I need to go over it again, and do a rewrite. It's just something you feel. Why don't you try watching one of these films, and see what great cinema really is: Woman in the Dunes (Hiroshi Teshigahara, 1964) Yi Yi (Edward Yang, 2000) In the Mood for Love (Wong Kar-wai, 2000) Yearning (Mikio Naruse, 1964) Late Spring (Yasujiro Ozu, 1949) Sansho the Bailiff (Kenji Mizoguchi, 1954) You might ask: "Why all Asian films?" Because Asian films have a certain aesthetic to them. They have a certain way of presenting the story that is truer, and more artistic. There is more humanity in their films, stronger observations, better metaphor, and less stringent attitudes about adhering to a standard grammar. You will learn a great deal.
  12. bishop_pass

    Why watching movies is a necessity for games

    I understand what you are saying, but you're not quite getting what I'm saying because we've gone off on a tangent debate regarding art vs. commercial merit. In my last post, i made a small error in how I phrased something. I said: I should have said this: None of the things I suggest cost money nor will they hinder sales. However, they do need an investment in imagination. Perhaps those who want to imagine need to also learn to imagine ways to imagine, and that also means you, Kavik.. As mentioned earlier, the naysayers have put themselves in boxes, and are having trouble imagining how knowledge of film and sensitivity to the art of cinema can take game development past its immature state. And you, Kavik have built your own box as well. Have you read all of my posts? In particular, my second post in this thread? I link to the post directly right here.
  13. bishop_pass

    Why watching movies is a necessity for games

    Citizen Kane. No. Anyway, it's been bumped down. Kavik, yes, things cost money. So do films. But that doesn't stop the artistry in cinema. You just need to search farther afield. But you're barking up the wrong tree. None of the things I suggest cost money. However, they do need an investment in imagination. Perhaps those who want to imagine need to also learn to imagine ways to imagine. As mentioned earlier, the naysayers have put themselves in boxes, and are having trouble imagining how knowledge of film and sensitivity to the art of cinema can take game development past its immature state. Did I say immature? Yes, I did. Game development is about where cinema development was in 1910. It's fixated on technology. I'm a tech fan too, and I'm always up for more triangles per second, more sophisticated global lighting techniques, facial muscle simulation, and so on. And with film, I'm always interested in the latest Alexa camera from Arri, or what Freefly has to offer in camera stabilization, etc. But there's more, and it's less. It's humanism, empathy, rhythm, timing, color palettes, grammar, observation, etc. Kogonada. Who's that? He's a film scholar that works for the British Film institute. Essentially, he writes articles, essays and makes video essays on great cinema. He analyzes and distills down great directors' grammars. He's also a huge fan of many of my favorite directors, such as Edward Yang, Yasujiro Ozu, and Wong Kar-wai. He even keeps a blog entitled Missing Ozu. In fact, kogonada is a pseudonym derived from Ozu's co-writer, Kogo Noda. In fact, one of his video essays is extraordinarily enlightening with regard to how Hollywood cuts a film as compared to the different potential aesthetics you can discover outside Hollywood. His example may be old, but it applies equally today. Please give it four minutes of your time. Why do I bring him up? Because he had never made a film. He studies great films, I mentioned. But that knowledge, something I advocate for everyone, allowed him to make a film very recently. A film that has received immense praise. A film that does the great things I say that comes from those directors that will be discovered if you search beyond Hollywood. To your credit, you're right. It only received limited screening, and grossed something like less than one million. But I bet he makes another film. Greatness is recognized and rewarded. On the other hand, Fifty Shades of Grey had huge box office success. Yet we all know it was junk. I haven't seen it, nor would I bother. And I haven't seen kogonada's Columbus yet either, but very definitely will, and I'm sure it's as great as it's said to be. In the trailer, I can see the influences from the directors he admires. See the trailer for Columbus:
  14. bishop_pass

    Why watching movies is a necessity for games

    While I appreciate that you are not disagreeing with me, let me point out that you are disagreeing with me, and in turn, I hope you can appreciate why I am disagreeing with you. To begin, your advocacy of keeping up with current films is a subset of my advocacy of discovering cinema, past and present. Discovery vs. keeping up are two different concepts. The former can be enlightening, the latter, merely falling in line with pop culture. Colonel Deering is new to me, Rey is not. More in line with my point though is the fact that if a hypothetical member here was passionate about Deering, rather than Rey, they will put their heart and soul into such a product rather than stooping to the lowest common denominator of pop culture. I strongly recommend to go the heart and soul route, and not the lowest common denominator route. Directors considered to have auteur status typically write or co-write their own scripts, and thus are more willing to pour their heart and soul into their material. I used to run a filmmaking group, and I occasionally ran into those who only wanted to write scripts. I strongly urged them to learn the art of filmmaking and proceed to make their own films based on their scripts. I certainly did not want to make them. If I was somehow coerced into such a thing, my heart and soul wouldn't be there for the making of the film. I'm interested in making films from my own scripts. One such short film is currently in pre-production. Additionally, the reason I didn't want to make films from the scripts from others was because their scripts were terribly unoriginal, and obviously their inspiration for their scripts only came from a limited exposure to cinema. Lastly, you've concocted an example in which the hypothetical member is taking content (a character) and placing that character into the game, whether as an homage or as fan based content. I don't necessarily discourage such a thing, but it's not part and parcel of what I'm encouraging. My second post in this thread explains in pretty good detail exactly what I'm encouraging, and it has little to do with older films vs. new films (which you might claim are more relevant). I point out that the type of films I recommend actually provide more learning. more food for thought, and more diverse grammars, where I argue the ideas are.
  15. bishop_pass

    Why watching movies is a necessity for games

    My post above was truncated, and I cannot edit it. Below, is my post in full. Forgive me, but my curiosity gets the better of me. To whom are you addressing your post to? You mention someone is referencing Wilma Deering. I searched the whole page for the name. No mention of the character. I had to google the name to see who she was. A Buck Rogers character, apparently. The correct spelling is Wilma Deering, actually. With regard to your point though, in a sense, I'm glad you made it, because I'd like to share my viewpoint. One of the great sins of story development, filmmaking, and I would have to say, game development, is to let your passionate ideas be diluted and changed because of the potential audience. It's called dumbing down your material. Hollywood is one of the great sinners here. When I say Hollywood, I'm referring to the studios. Studio meddling is the act of making sure what might have been art becomes something which meets the least common denominator defining the audience. Stories don't begin that way. They end up that way for purely monetary reasons. Artistic intent is lost. Are you familiar with auteur theory? It is the idea that a director's signature style is identifiable within a film. If you are in general familiar with the director's work, you could walk into the middle of a film by said director, and not knowing of the film before that moment, and identify the director. Obvious ones are Stanley Kubrick, Wes Anderson, and Quentin Tarantino. They're rare in Hollywood precisely because of the studio driven system and Hollywood's general methods. Other great directors that hold the auteur status are Bela Tarr, Yasujiro Ozu, Kenji Mizoguchi, Andrei Tarkovsky, Michelangelo Antonioni, Wong Kar-wai. That's where the learning starts. Their films. And other auteurs. Nobody is really saying this. Or perhaps they are. It sounds like you're trying to take the meaning and intent of this thread to mean that developing your game like a Hollywood screenwriter might is not something to do. I'm not saying that. Yet there is some merit to it. I have described in more detail than others here how to approach game development with a better knowledge of cinema. I enumerated specific examples. Boxes. There are a lot of boxes here, and the naysayers have placed themselves in those boxes, in this case of their own making. One must think outside the box. As an example, it appears one of the boxed methods of thinking is to apply cinematic inspiration strictly to cutscenes or trailers. It starts with a greater scope of cinematic experience. Your eyes will open.
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