Monthly Archives: March 2017

As I both create and consume art it’s often striking just how much successions of considered changes and details, mountains of very specific decisions, leave only the vaguest impressions in the mind of the audience. I’m probably a more detail oriented audience than most, but even for me I think the majority of the lasting impressions I take away from a work have more to do with the general tone it sets, and emotional state it invokes, than with any specific content.

However, even if what we remember is mostly vague fragments of tone and atmosphere, if the artist focuses on tone to the exception of content and structure then that tone isn’t conveyed: What people remember then is just the maudlin piece of mediocrity a work without structure or detail inevitably devolves towards. What people take away from an experience is vague, the seeds of nostalgia, but what plants those seeds is often intensely structured and specific.

It’s strange and kind of disappointing the way all the details in a work become ‘it was detailed’ in the aftermath, all the research boils down to ‘well-researched’, all the jokes to ‘funny’ and all the tragedies to ‘sad’. Every work of art gets chewed up and swallowed and digested, and it’s sometimes painful for the artist to see that happen, to witness the process of destruction and digestion that is experiencing art. It’s hard not to feel like our beautiful work is being unmade, unappreciated, turned to shapeless and incoherent mush, by the very process of its consumption.

When you eat a steak, though, even as you chew it up it still matters that it was once whole. The fibers and greases, composed in this particular way, create a specific experience – and, even if what you remember is merely ‘delicious’, something else is encoded in that experience as well. As you live your life and eat different meals, the details that go into them start to cohere, beyond the specifics of a single meal, into a generalized understanding of what food is and can be, and what that means to you. To create food, to create anything, is to resign yourself to the eventual act of consumption and digestion – and to believe that, as the experience you worked so hard on fades away, everything you put into it still will be worthwhile, even if it is now only a memory.

Each new work of art, each novel or game, may not leave its specific thumbprint on each person who consumes it – they may not remember every detail, or even the general plot or structure – but the details, the craftsmanship, those still matter. When we digest each new work it subtly modifies our ideas of what art is and can be, and through that what the world is – or can be. We can nourish with beauty and provide nutrition with new ideas – and, even if we know no idea is ever truly transmitted completely, can still revel that the seeds we plant may one day bring forth surprising fruit.


I’m doing a terrible job of sticking to the schedule I came up with. I keep getting sidetracked by new tasks, improvements or things I forgot to put on the schedule. This last month, I finally got around to looking up what sorts of multi-threading solutions are available in Haxe/AIR. It turns out that Adobe AIR has supported multi-threading for a while now, with an implementation that is both very straightforward and kind of frustrating. AIR’s version of multi-threading is: Load another AIR program into your running program, and pass values back and forth. Simple enough in concept, but it still has all the traditional concerns of multi-threading with sharing resources and managing access.

So, much of this past month has been taken up with trying to get my particle system, the most demanding discrete subsystem of EverEnding, running in a separate thread. It took a lot of thought and experimentation to figure out a way to restructure a system which had presumed open access to a shared memory pool and make it run remotely with operations mediated by a single point of communication. After a week or two I got it running, but… not especially well. The benefit of the new system is a bump from 45fps to 50fps, which is not as dramatic or life-changing as I’d hoped — plus, for some reason, there are spikes of 30-50ms, which make the overall effect still somewhat disjointed and unpleasant. Still, I think these problems will be fixable, though it may be tricky to figure out exactly how they’re manifesting.

Aside from that I’ve mostly been working on building out the last section of the first area, the caves. I think I’m finally starting to nail down a paradigm of tile design for this game, based around the idea of areas which are lit, areas which are dark, and areas which are somewhere in between. Lit areas are mostly on the upper right and dark areas mostly on the lower left, with various transitional tiles to make them flow smoothly from one to the next. The cave tileset is starting to come together, though certain tiles still need some work. The background could use some improvement as well.


Also, looking back through my daily devblog notes, apparently I worked on collision in February as well. Strange, it feels like much more than a ago now. Well, most of the collision improvements are in place and working, but in the process some things broke, so those will need to be re-fixed. It’s basically guaranteed that any time I work on collision code I’ll end up frustrated.

So what’s next? I’ll probably focus on developing the level architecture and tilesets until I’m completely done with the caves, then go back and focus on populating this first area with enemies and details. Along the way somewhere I’ll spend a few days fixing all the things I broke getting the new particle system implemented and see if I can fix weird glitches there, as well as maybe a bit more collision work (sigh).


We are all artists, with our masterpiece being ourselves. Every gesture, every word, is a work of performance, crafted through habit, from the day we are born. We shape ourselves based on audience polling: It’s not quite an applause meter, but we’re a social species and we tend to fairly quickly get a sense for how other people react to the things we say and do. We calibrate, adjust, we become, without ever explicitly thinking about it.

This might sound dismissive. Perhaps it sounds like I am accusing all humanity of being terribly superficial – but these performances go deeper than the skin. Who we believe ourselves to be is, in large part, who we are – or very soon becomes so. That’s one of the ways that brainwashing works: If you can convince someone to perform compliance, it’s often only a matter of time before they become compliant.

Our identities are malleable. This is a strength and a weakness. The art of self-improvement is thus the art of self-persuasion. They say that confidence is attractive – in much the same way that playing wrong notes on the piano confidently sounds more like music than playing correct notes hesitantly, physical beauty is just as much skill as it is shape. Sit just so, keep your chin at this angle, make sure the eye meets you in just such a way, smile just enough but not too much – each tiny aspect of posture and motion calibrated to present oneself in a particular way.

Of course performing physical attractiveness is just one option. We shut ourselves off, open ourselves up, play smart and play dumb, fill ourselves with passion or hold our hearts in reserve. We keep wardrobes of personae and choose whichever one suits the occasion. Masks crafted from habits and nervous tics, personality profiles written in muscle memory rather than words. We call it body language, and maybe there’s more to that phrase than we usually think about. Language isn’t just a means of communicating with others, but also shapes the way we see and engage with the world.

These identities sometimes become prisons. Our histories constrain us. Once you declare you love or hate something, you feel a pressure to live up to your love or hate, an obligation to feel the way you said you feel. How valuable it is, then, to have a way to become someone else, to take on the habits and beliefs of another, even for a short time. How precious it is, then, to have art, to have the simulation of the mile walked in another’s shoes: To feel, for a brief moment, what it is to be other than what you are, to believe in other than what you believe, to be unbound by your history, and to feel the gentle breeze of something unknown, and more deeply a part of you than the self you perceive, urging you towards a new way of being.