TOM FRANCIS
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Field Studies 4: Vu To A Thorough Game Demonstration

They’ve finally put together a trailer that explains the game, lightly blows the mind and is friendly to people who don’t yet know why they should care.

Will Wright also gave a typically smart, funny talk about what people have done with the Creature Creator so far, measuring their creativity in God Units with sacrilicious results.

Then Gamasutra interviewed Civ IV designer Soren Johnson, on his role trying to ensure Spore will satisfy the hardcore gamers. At length. It’s like one of my interviews before I have to cut 90% of it.

But most excitingly to those of us who already know everything it’s possible to know about the game, is a bunch of stuff we didn’t know about the game. Producer Thomas Vu falteringly reveals that Spore has eighteen different editors, including one for music.

The game footage is fantastic too. On his way to befriend a village of dinosaurs, he passes a tribe of big ugly black critters being terrorised by a single enormous Cthulhu in the background. Then the dinosaurs give him a ten! When Spore’s art style took a turn for the cutesy (a shift which Soren talks about in the Gamasutra interview), I don’t think my fears took into account the possibility that I might actually find it cute.

I’m now counting the days till I can play this properly, which happily, even the Grumblegut (above) could do on the fingers of one foot.

The Middleman

A few good ways to win me over, if you’re thinking of making a TV show with just me in mind:

– Female protagonist I don’t hate. Wendy Watson hereby joins the other… three.

– A character who doesn’t take half a fucking hour to get over every surprising turn of events. Writers! The stuff you’re writing didn’t really happen, so watching your characters refuse to believe it happened is not actually terribly entertaining for us!

– Conversely, disbelief at just how idiotic your plot is makes them highly entertaining.

– Max Payne references.

– Scenes where a character starts to say something about what we’re seeing, then thinks better of it.

– Ultra-mild curse words, ideally accompanied by a character who actually does swear her face off at the appropriate times. Somehow that makes the gosh-darnits seem extra mild.

– Ending an episode with a Russian Futurists song. This one was laser targeted at me.

What’s Happening In Kansas

For some reason your stupid country doesn’t let foreign superpowers like myself buy-in whoever we want to be State Representative in these ‘states’ of yours. But see if you can guess from their faces which one of these two candidates is evil.

Like everyone with a political agenda, I haven’t really looked into it and I know next to nothing about either candidate. But Sean Tevis’s XKCD homage makes a convincing case, and you don’t need to look into the other guy for long before you know he has to be stopped.

Tevis needs 3000 donations of $8.34 to out-finance the pink toad. No Kansas candidate has got more than 644 donors before, but he’s now on 2,894, so it’s not going to take much.

Update: He needed to get 3000 contributions in under two weeks – he got over 4,000 in two days. There’s now a short epilogue comic by way of thanks. Good job, the 1,107 Americans I apparently command.

Mirror’s Edge

I don’t often dribble about unreleased games here, except when they’re by Valve or a cool part of them has just been released or I’ve played them and can’t tell you anything useful. But I am in love with Mirror’s Edge.

The first trailer is a thing of wordless and tinglingly scored beauty. The DICE team have shown only hints of this artistic muscle before – both of the last Battlefield games were crisply depicted, but even 2142 only had a few properly striking scenes. Mirror’s Edge is fearlessly clear in its art direction, dazzingly stark and bleach-clean throughout. Like only the best oppressive dystopias, I want to live there.

It makes me laugh, and then feel sad, when people say that Gears of War 2 looks good. It looks like an ashtray.

GameTrailers did an uncharacteristically excellent recut of that first footage, halting to extrapolate the implications of every detail shown. I hope they eventually do the same for the new Leap of Faith footage (which isn’t the same as the stuff shown in the developer talkthrough).

Together, the three suggest an energetically tactile, flexible and powerful mode of movement. I love, love the notion of being able to cling onto something, then look freely around behind me and leap in the direction of my choice. It’s the antithesis of the hopelessly vague dictionary of airy, hands-free movement verbs we have access to in every other first-person game.

All three show combat in some form, and for the most part I really like the quick, linked series of light blows you can use to disarm or incapacitate people. But I don’t see how you get to them. In the demos, the player simply lets herself get shot to hell – they’ve got God mode on, so it has no effect, but it raises a pretty big question.

My answer to it, which they clearly haven’t gone for, would be a system of automatically triggered bullet-time. For the most part, you’re dashing around in real-time and bullets ping around you – your enemies should have Stormtrooper Aiming Syndrome, of course.

But whenever a bullet is fired that’s on track to hit you, extreme slow-mo is activated and a line of air-ripples shows the path the bullet is on. The more accurate the shot, and the closer the range, the further you’ve got to move your body in the shorter the space of time. Realtime resumes the second you’ve moved yourself out of danger.

It would be redundant to argue that the game would be better off without a plot; no-one could put that argument more eloquently or forcefully than the first trailer itself – especially in light of the groan-worthy second. Look at her:

She doesn’t have a sister. She’s too cool to be born.

Dr. Horrible’s Sing-Along Blog

After proudly announcing a return to normal programming, I studiously wrote the first line of eight different posts and then watched Futurama until I passed out. I’ve been working for fifteen consecutive days at this point and I don’t sleep for long, so you might have to bear with me a bit.

This needs blogging about urgently, though, because it’s an online televisual event that will happen at an actual time! Tomorrow! Written by Joss Whedon and some other people, starring Nathan Fillion, Neil Patrick Harris and my close personal friend Felicia Day, it has two things in common with Firefly, and it’s about a supervillain, and it’s got Felicia Day, who is interviewed in the issue of PC Gamer on-sale in two weeks. Run, don’t walk, to your newsvendor. But run slow enough that you get there around the end of July.

It’s also a musical, and admittedly I haven’t liked one of those since Dancer In The Dark, but still. The three acts go up Tuesday, Thursday, Saturday, and stay up till Sunday, but I’m particularly keen on watching it as it comes out, because I am as mentioned in love with the idea of international premieres.

The premiere is something the internet’s sort of destroying and recreating at the same time: movies are splattered across the release schedule as people pirate them early, wait for the DVD, or wait to pirate the DVD. TV is Tivo’d and DVD sets are Netflixed bit by bit, but increasingly significant things are getting put out as webisodes. And in that, we’ve got the communal excitement of every fanatic devouring new content at the same time, world-wide instead of country-wide.

…

S’cool.

Update! Spit! This thing is the exact opposite of what I just said! It’s being broadcast via the evil Hulu, which is US-only. Way to defeat the whole spirit of the thing, jerk-wads!

Nevertheless, it is live now, and if you just grab Hotspot Shield or another sneaky proxy service of your choice, you can disguise yourself as an American and watch. Think of it as a baseball cap and a few extra pounds for your browser.

Update! It’s good! But doesn’t get very far in its 14 minutes. I now advise waiting till it’s all out on Saturday and watching then, since someone blew the whole worldwide premiere idea. Felicia suggests non-US people wait ‘a bit’, and adds a smiley face. Make of that what you will.

Update! As Iain and Graham note, the US-only restriction seems to have been removed.

Update! Act 2 is out and even better! Also, the whole thing is getting crazy popular, which is awesome. Provided they can refrain from fucking up the region thing, more of this sort of thing!

Update! It’s over! What did you think? Spoilerific comments below. I thought it went from good to great and back to good. The end seemed to be leveraging an emotional investment that I didn’t really have. I was there for the lols.

Weltpolizei

Fluxblog’s just totally saved my ass for slacking on Music Week by posting the exact same Alphabeat song I was going to write about tomorrow. His write-up is also better than I was planning to make mine. I was just going to phone it in.

James commenter Dave McLeod – who’s probably done other stuff in his life, but that’s the highest possible accolade here – was sat next to me in the office the other week when Alphabeat came up on a Muxtape I was listening to.

“I don’t think I’ve ever met another male Alphabeat fan.”
“At least not a straight one, I guess?”

Since I realised they were saying “Weltpolizei” and not “The bullets fly” (the next line is “Twenty-four seven”), all I can picture when I listen to it is an episode of Thunderbirds where they all have moustaches and perpetuate German stereotypes.

In other news, I’m bored of Music Week now and I’ve got lots of other stuff I want to talk about, so James will return to normal programming shortly.

The Prop Cigarettes You Smoke, They Show Who You Are

Eldridge Rodriguez is a bit of a discovery for me. I half-listen to a lot of net radio when I’ve forgotten to bring my MP3 player cable to work, and every now and then something catches my ear enough for me to extract my absent mind from what I’m writing and e-mail myself the track name. This saves me looking them up, buying anything of theirs or ever thinking about them again: I’ve got them on file now, no further action is required. But during this song:

I found myself performing the whole charade three times in a row.

“Ooh, I like this. Who is it? Eldridge Rodriguez, Get What You Want. Got it.”

“Man, I like this song too, who’s this? Still Eldridge Rodriguez, Get What You Want. Okay, I’ll write it down this time.”

“Oh wow, what’s this one? Still Eldridge Rodriguez, still Get What You Want. Okay, okay, I’m buying it.”

He was apparently in a band some people have heard of, called The Beatings, but what I’ve heard of theirs doesn’t grab me the same way. To me, his value is in answering the burning question: What would it sound like if Jarvis Cocker joined A Silver Mt Zion?”

Cutting Verses Down To Size

Photo by Bleak!

This is an odd one for Ladytron – they’re not usually this atmospheric, and the warbling male vocal is a new one on me. But it has a curious feel to it that I can’t shake, so it’s the one I keep coming back to on the new album. Even though I have no idea what the hell it’s about. Kitten versus rain?

Ladytron are one of those bands that produce a thick, inimitable texture of sound, to the extent that they don’t really need to do anything new. It’s enough just to hear that satisfying stream of smooth booming noise again, with a few different inflections.

I mention I have no idea what Versus is about because the other track I was thinking about posting is one of the few comprehensible Ladytron tracks: Burning Up. I’ve uploaded it anyway to make up for missing yesterday.

The Sun Is Shining But We Stay Inside

A geek anthem for the summer if ever there was one. I usually only find out what bands look like when I write about them here, and scour Last.fm for something to draw attention away from this stretch of dry text, so I was amused to find that Born Ruffians look about twelve. Here’s what they sound like:

I suspect staring at this image while you listen probably won’t add to the experience the way it has with the last two posts.

Mrs D Mrs I Mrs F-F-I, Mrs C Mrs U-L-T

If you keep up with these kinds of things – Norwegian electro-pop – you’ve probably already heard Annie’s obnoxiously infectious I Know Your Girlfriend Hates Me. While that was getting its deserved round of blog applause, I was only just discovering her four-year-old first album. It’s almost cockily smart, sharp, sugar-crusted pop, anomalous in a debut. Amusingly, I now discover she’s billed as “The Kylie it’s cool to like”.

With this track, it’s all about the speed-rhyming spellouts, and to a lesser extent the cute anachronisms of the chorus. I think I could like hip-hop more if the lyrics were about people ringing one another’s bells.

I Propose A Less Serious Vote

When, inevitably, I become a super-villain (I find myself buying a lot of black clothing with high collars lately), this is how it’ll end. When my swarm of Gogglesharks march on Beijing, when my jetpack drops me gently in the thick of the clash of Tian’anman Square, bullets pinging off my power-armour, the sky black with my aerial drones, my image burned in phosphor over that of Chairman Mao, China’s Segway-surfing police force shredded like crispy duck.

Someone – probably called John or Jack – will urgently command their technically minded sidekick to Google me, + “fatal weaknesses”, snapping that “There’s got to be something!” The sidekick, who will have spiky hair, a differently coloured shortsleeve outside his longsleeve and a name like ‘Skeeter’, will find this post.
“I think I’ve got it! Routing it through the local police band… now!” And he’ll hit this play button:

The Gogglesharks will stop, mid-chomp, and point their eyeball arms quizzically to me. It will rain deactivated silver drones. Everything will stop dead for three minutes and twenty-seven seconds, forty hectares of carnage shakily frozen like the closing credits of a macabre sixties sitcom, the only sound the opening track from the latest Mates of State album Re-Arrange Us, the groans of the dying and the slightly squeaky wheel of a broken Segway whirring away. When it finishes, I will hang my head slightly and mutter “Okay, I’ll be good.”

So begins music week on James! I’ve got a ridiculous amount of new stuff I’m listening to at the moment, so I’m picking a track from each a day and posting it here until I get bored or you get bored or I forget or the week ends.

And just so you know, Jack and Skeeter, I foresaw this.

Valve Completely Out Of Weapon Ideas, Beg For Help

In a thinly disguised plea for inspiration, Robin Walker’s new post over at the official TF2 blog I carefully avoided mentioning here so you don’t leave and never come back sets out the criteria for a good unlockable weapon for the Heavy – whose achievement/weapon pack is next, by the way. We are then encouraged to put forward our own ideas, although since the official TF2 blog doesn’t actually allow comments, you’re pretty much stuck with James, 1Fort and the Steam forums to vent those.

Update: Heavy to get “balancing additions” as well as his unlockables, suggests a new post by Jakob Jungles at the TF2 blog. Also, alternative idea added below.

I summarise the rules here because Robin phrases them as an onslaught of questions, and on first reading I wasn’t always sure if “Yes!” or “N- no?” was the right answer. Also, the Steam thread on this misquotes one of the rules.

• The goal is to “Make the Heavy more viable when he has no Medic to pair with.”
• Don’t make him more effective when he does.
• Don’t change the role so that it encroaches on another class.
• Don’t make it hard to tell what’s going on when you use it or it’s used on you.
• Things that take a lot of models and sounds to implement are generally bad.
• Things that are easy to use but hard to perfect are generally good.
• Things that are better for some situations but worse for others are generally good.
• Things that make the player think differently a lot of the time are good.
• Things that have wide-ranging knock-on effects on other elements of the game are generally good.

And they only want one from you. I suspect they have several goals for the class, and try to come up with one unlockable to achieve each.

Obviously, the difficulty a Medicless Heavy has relative to a Medicked one is a lack of healing. He’s most effective against a group of opponents at close range, where the damage he can’t avoid wears him down quickly. So the simplest suggestions revolve around some form of health regen, health-stealing or, in one case, a really big sandwich to replace the shotgun. But I think any self-heal steps on the Medic’s toes: restoring hitpoints should be exclusively his domain. And, sandwich excluded, most of these don’t gel well with his personality or concept.

Like everyone asked to come up with one idea, I have two. I’d like a Minigun that sacrifices its crit chance for an absorb chance: your crit probability while firing instead becomes the chance that the next shot that hits you will trigger a second of Uber-like invulnerability. Only while firing. For those who don’t know, your crit chance is a factor of how much damage you’ve done in the last twenty seconds: 5% if you’ve done none, 20% if you’ve done over 800.

The essence of the Heavy, for me, is that “GRAAAHAAHAAAHAAAAA!” moment, when you’re just… killing… everything… This intends to prolong it, reward it and improve survivability. For the Heavy, the primary use of crits is to own at range: you already own close-up. So this unlock is great for close-range work like most parts of 2Fort, which is also where you take the most damage, but hurts your flexibility in big open areas like most parts of Dustbowl.

As for not letting it combine with a Medic’s healing, a doctor’s healing beam would visibly falter once the Heavy starts firing, and healing is suspended until he stops. But it doesn’t break the beam, and the Medic still builds Uber while it’s active. I don’t believe in these suggestions where the Medic is punished or discouraged from trying to help the Heavy: the rule is to stop the pair becoming overpowered, not to file for divorce.

By my count, this has a decent stab at the goal, stays within the three constraints (it’s not reliable enough to be used for any of the things the Medic’s Uber is good for), but doesn’t fare well in three of the five bonus considerations. Its main strengths are that its cheap, simple and easy to understand: the uber-sheen is already in there, and everyone knows what it means. So that’s what I’d be suggesting if I was sensible.

But of course, what I really want is expensive to implement, difficult to understand and stupid. It’s a Quick-Release Bandolier. I guess it would be an unlock for the Fists slot, so you’d switch to Fists, hit alt-fire and you’d drop everything: Sasha, shotgun, ammo. In return, you can run at the speed of a Demoman.

It’d solve a recurring problem I have as a solo Heavy: I can often accurately guess how long I’ve got before I’ll be dead, but I don’t know how long it’s going to take me to escape. I’m at the whim and determination of whomsoever chooses to pursue. Obviously messing with the Heavy’s speed is a big deal, but since he can’t do anything but punch until he gets his weapons back, it doesn’t really change his role. He can only get Sasha and co back by fetching them from where he dropped them, or returning to a storage locker.

The point, of course, is only partly tactical: there’s also the humour value of pummeling a Heavy so hard that he eventually drops his gun, turns tail and runs. An exaggerated jogging animation for a ‘naked’ Heavy would communicate the fact that he’s vulnerable and fleeing, but would of course be a silly amount of work for such a ridiculous concept. But it would be a shame, at the suggestions stage, to limit ourselves to things that are actually a good idea.

Moar: I have an alternative version of this idea that solves a few of the conceptual problems I have with the Bandolier (primarily, why do I need an unlock to be able to drop my gun?), but is a bit more far-reaching.

It’s an unlockable minigun that’s really a big cluster of shotguns taped together. It fires about two blasts a second, the same maximum damage per second as Sasha, but you hit everything in its cone of fire with every shot. Kind of a rapid BOOMBOOMBOOM rather than constant DAKADAKADAKA. The spread makes it even less effective than Sasha at medium-long range.

It’s much the same shape as Sasha, but when it’s out of ammo, it’s light enough to hold by the barrel and use as a club (left mouse) or throw at your enemy (right mouse). The Heavy automatically switches to club/throw mode when you run out of shells. It’s slow to swing, naturally, but does a hefty amount of damage: 90 points or so. When thrown, it goes about as far as a Sticky fired parallel to the ground, and does about half that.

Polite note idea courtesy of commenter SlowShootinPete

It crackles with electricity while it’s lying on the ground, and mildly zaps anyone running over it. As with the Bandolier idea, you run at the speed of a Demoman once you’ve chucked your gun, and you can either grab it from the ground where you left it, or get a new one from a Supply Closet – whereupon your old one vanishes. Because it uses shotgun shells and is only throwable when you’re out of them, you’re always left with just your fists after you’ve tossed it.

Part of the idea is to encourage the Heavy to just keep blasting until he runs dry – because that gives him a weapon and an escape method, rather than just leaving him screwed. That’s always fun for the Heavy and dramatic for his enemies, and the running-dry CLICKCLICKCLICK is invariably entertaining. When followed by having the big fellow simply chuck his firearm at you, turn tail and run, even more so.

I Know The Commander Because He’s My Pal

Over at the PCG blog again, a Mr Half Loaf 2 sent this in, and I spent the remaining ten minutes of my lunch insensible with hysterics. And it’s four minutes long.

This whole clip just incapacitates me every time. The timing is perfect, Bob Page and Harley Filben both take on magnificently surreal new roles. Walton Simons is still kind of a dick. It even ends beautifully.

There’s a Malkavian mod for Deus Ex that messes with the dialogue similarly, but it errs on the side of purely surreal which makes it slightly less funny to me. Still, it looks like it turns Deus Ex into one of the most hilariously bizarre adventure games ever. Manderly is a pigeon, and the drinks machine is Agent Orange.

The ominous silence for a while here was because I’m tinkering with a dark, lengthy and ancient post from my drafts folder that I’ll hopefully put up this week.

Blizzard Announce That Tom Francis Is Right

I look forward to the people who said we were kidding ourselves calling this announcement ‘inevitable’ and then ‘obvious’. I say ‘we’, but actually even the most zealous posters at Diablofans.com were crying into their forums on Thursday – Blizzard were called both ‘cockfags’ and ‘fucktards’ for so obviously gearing up to announce Lich King beta signups instead of Diablo 3. One Diablo fan pronounced that they would ‘not survive’, by which I’d love to – but cannot quite – believe he only meant their company would go bust.

The Evil Penguin and the Lost numbers were both kind of funny red herrings, but to be fair to the huge number of people who got it utterly wrong, Blizzard’s teasing of this announcement turned out to be pure nonsense. Those eyes meant nothing – they just changed them on the final day, then replaced them with something completely different. The Diablo face in the game’s logo doesn’t look anything like the illustration of Diablo on the official logo for the event, and it doesn’t even look like the eyes we saw on Thursday. They kept most people guessing by simply lying to them.

Luckily, since I am Sherlock freaking Holmes, I was able to piece together the fact that they bought Diablo3.com, advertised for people who like Diablo 1 and 2 to work on an unannounced project, arranged their annual event for the day that the last two Diablo games were released, then put a huge picture of Diablo towering over the other characters in their logo for the event, then let slip that they’d be announcing a new game, and by an arcane leap of logic come to the conclusion that they would announce Diablo 3 there.

Oh, right, the game. I was distracted for a moment by how right I was. Now I can move on to being seriously excited. There’s a full-res movie of the whole presentation they showed at the event on their site, but it insists you use the astonishingly shitty Blizzard downloader to get it, so try Softpedia.

I initially had mixed feelings, watching the live stream of this: it really doesn’t lend itself to blurry, laggy, rubbish footage narrated by an insufferable twat and repeatedly disconnected by an unspeakably crap bespoke streaming protocol called Octoshape. That’s why it’s so essential you watch the high-res version: the insufferable twat* is still on there, but everything else is immeasurably improved.

* I think it might be Diablo 3 lead designer Jay Wilson, who before that was Dawn of War lead designer Jay Wilson, and before that worked at Monolith on Blood, where he had to suffer regular e-mail exchanges with me about stuff they should do in Blood 2 (and look how that worked out). If this is the case, then he’s an insufferable genius twat.

You need to see it high-res because Diablo is all about crisp, satisfying interactions. The combat actually looks superb when you see it properly: not only are the blows connecting in hot spurts of blood, the camera rocks subtly to ram home the impact of the most forceful strikes. It also pans too far when the Barbarian uses his Charge ability, and has to nip back to center on him when its done: a classic cinematic trick to give the impression of extreme speed that turns out to work beautifully in an isometric game.

I also couldn’t make out the new interface properly in the shit-stream, as I shall now call it – get over any WoWificiationophobia, it looks ace. You have a four-slot hotbar to instantly activate skills with the number keys, plus slots on 5 and 6 that look to be dedicated to scrolls (of Town Portal and, presumably Identify). Then next to that, as with Diablo, you can put whatever skills you like on your left and mouse buttons. There’s another, smaller slot next to those two, which I think corresponds to your middle button. Best, you scroll through your right-mouse skills with the mouse-wheel, so you don’t need to touch the keyboard to use everything at your disposal quickly.

My main concern, and this will sound silly, is the noise when hitting a few of the enemy types. To be clear, the noises when you hit stuff in Diablo is the defining feature of the game: loot and skills pale in comparison to the importance of feeling like every blow really fucking smacked that thing. Against the fat things that blow up into Lampreys, and the ghost things that sap your whatever, the Barbarian’s axe makes a pathetically wimpy noise. Seeing a big burly man swing a huge axe with all his might to no audible effect is just disastrous for game feel, I hope they realise that before they’re done.

The Witch Doctor excites and saddens me in almost equal measure: on the one hand, his abilities are fantastic, on the other, they clearly demonstrate that he’s intended to replace the Necromancer, my favourite class not just in Diablo, but in gaming. The Witch Doctor can do scary stuff, sure, but he doesn’t look scary: he’s a quivering little heap of fancy dress. My Necromancer was a walking nightmare, a vision in bone that ten-foot demons ran scampering from as he spread poison and blood raging across the room. Maybe I can sort that out with armour. I certainly want to strip people of their flesh, make zombie-fences and blow up my own pets.

Oh yes, nerdy but really kind of cool news: gender choice! I actually think Diablo 2 was pretty good at avoiding the more offensive RPG gender conventions – it rejected the notion that healing is woman’s work – but a lot of players, particularly girls, don’t like to gender-bend, and that restricts the classes they can like. Personally, I only like to gender-bend, so it’s good for me too.

Once they get outdoors in that video, the art is magnificent. They’ve got for a subtle smoothing of the scenery that makes it look like watercolour concept art, and makes the characters stand out strikingly. I’m also appreciative of the fact that they’ve gone for exquisitely detailed, high poly-count monsters: WoW‘s artists worked wonders with that game’s simple, pointy models, but Diablo demands smooth curves and complex shapes.

My friends and I had a LAN party when Diablo 2 came out just to play it. Ross sounds quite excited about it, and Tim’s a big Blizzard fanboy, so we may be able to do the same thing in the office with this one. That’s the main reason to be excited, I think: just that there’s a new and shiny game of this type coming out. Of Blizzard’s three big series, Diablo was always my primary vice, the Greater Evil. It was by comparison to that game that WoW fell short of obsessing me.

So it’ll be nice to have it back.

Regarding Matt’s Location

This is one of those things I avoided writing about because I assumed everyone had seen it, but a quick poll reveals that very few of my friends have. It’s best watched without preconception or explanation, so first off, here it is (click the four arrows for full-screen):

It’s fascinating to read the comments on this, over at Digg or Vimeo. Those that respond most strongly to it often have no idea why – some find it hilarious but aren’t sure what the joke is, others cry and have no idea if it’s happy or sad. A few of us have been talking lately about how every time you travel, you come back slightly dismayed at how small and repetitive your normal life is. This is a sharp smack of that, but I consider it a good thing. If it makes us feel bad, it’s a bad feeling we need. It’s a spur for change, experimentation, or just a cool holiday.

It’s a particularly good thing for America, where supposedly 23% of the populace have a passport. Matt Harding doesn’t evangelise about it much, he just says “it’s important to know what the world looks like.”

That’s in a series of talks he did about the 2006 video (the one embedded is his third). Listening to a lecture given by a man whose claim to fame is dancing badly in a multitude of countries sounds unappealing, but I did it anyway and was riveted. It’s a travel diary, mostly – turns out five seconds of bad dancing isn’t the whole story of his visits to each of these countries. And the notion of getting paid – as he was the last two times – to tour the world and jig like a six year-old is magnficent.

Matt was a game designer. He wanted to make a game about animals in balls that smack into each other, but Microsoft shifted their focus to games about killing people. He said they could make a game where you’re aliens trying to wipe out the human race. His publishers said “Yes!” He said “I was kidding.” His publishers green-lit the game. Matt left a while after. That game is Destroy All Humans; it came out in 2005 and got 9/10 in Stuff magazine.