[..] [G]ames are the aesthetic form of everyday objects. Of ordinary life. Take a ball and a field: you get soccer. Take property-based wealth and the Depression: you get Monopoly. Take patterns of four contiguous squares and gravity: you get Tetris. Take ray tracing and reverse it to track projectiles: you get Doom. Games show players the unseen uses of ordinary materials.
[…] The true accomplishment of What Remains of Edith Finch is that it invites players to abandon the dream of interactive storytelling at last. […] To dream of the Holodeck is just to dream a complicated dream of the novel. If there is a future of games, let alone a future in which they discover their potential as a defining medium of an era, it will be one in which games abandon the dream of becoming narrative media and pursue the one they are already so good at: taking the tidy, ordinary world apart and putting it back together again in surprising, ghastly new ways.
Vulgar is a constructed language (conlang) generator for fantasy fiction writing that creates unique and usable constructed languages in the click of a button. Vulgar’s output models the regularities, irregularities and quirks of real world languages; phonology, grammar, and a 2000 unique word vocabulary.
Seventh Sanctum is a site that provides random generators to inspire people, help them name characters, design settings, etc. It comes from Steve Savage’s continuing obsession of decades – how randomization produces creativity.
OldMapsOnline developed out of a love of history and heritage of old maps. The project began as a collaboration between Klokan Technologies GmbH, Switzerland and The Great Britain Historical GIS Project based at the University of Portsmouth, UK […] Since January 2013 is the project improved and maintained by volunteers and the team of Klokan Technologies GmbH in their free time. […] OldMapsOnline.org indexes over 400.000 maps. This is only thanks to the archives and libraries that were open to the idea and provided their online content. All new participants are warmly welcomed.
One of the most immersive and rarefied experiences in the history of cinema, Andrei Tarkovsky’s STALKER embarks on a metaphysical journey through an enigmatic post-apocalyptic landscape. A hired guide – the „Stalker“ of the title – leads a writer and a scientist into the heart of the Zone, the restricted site of a long-ago disaster, where the three men eventually zero in on the Room, a place rumored to fulfill one’s most deeply held desires. Adapting a science-fiction novel by Arkady and Boris Strugatsky, and making what would be his final Soviet feature, Tarkovsky created a challenging and visually stunning work, his painstaking attention to material detail and sense of organic atmosphere further enriched by this vivid new restoration. At once a religious allegory, a reflection of contemporary political anxieties, and a meditation on film itself-among many other interpretations – Stalker envelops the viewer by opening up a multitude of possible meanings. Restored by Mosfilm from a 2k scan of the original negative.
„Modern“ sites have a different level of customization options compared to „classic“ team sites. The list below gives a quick overview of the supported capabilities for „modern“ team sites.
Tommy Westphall was an austistic child on the TV series St Elsewhere who, it was revealed in the closing moments of the final episode of that series, had dreamt the entire run of the show. […] St Elsewhere has direct connections to twelve other television series – many of them direct crossovers of character to and from the series. Others make mention of specific parts of the St Elsewhere fictional universe, placing them within the same fictional sphere.