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Original author: 
Cyrus Farivar

Aurich Lawson / Jonathan Naumann / Joi Ito / Stanford CIS

Fifteen years ago, I was living outside Geneva, Switzerland, spending my lunch hours screwing around on the nascent Web a few dozen kilometers from where it was created. I popped into chat rooms, forums, and news sites, and I e-mailed family back home. I was learning French and getting my dose of tech news by reading the French-language edition of Macworld magazine. (Génial!)

I returned Stateside mere months after Ars began, reading more and more about the people behind many of the technologies that I was becoming increasingly fascinated with. I consumed just about every book I could find describing the history and personalities behind graphical user interfaces, networking, the Internet itself, and more.

If there’s one thing I’ve learned through all that, it’s that most people involved in technology continue the Newtonian tradition of humility. The most iconic innovators all seem to readily acknowledge that they stand on the shoulders of giants. In fact, when I met Vint Cerf and thanked him for making the work I do possible, he was a predictable gentleman, saying, “There were many others involved in the creation of TCP/IP, not just me.”

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jones_supa writes "Shawn McGrath, the creator of the PS3 psychedelic puzzle-racing game Dyad, takes another look at Doom 3 source code. Instead of the technical reviews of Fabien Sanglard, Shawn zooms in with emphasis purely on coding style. He gives his insights in lexical analysis, const and rigid parameters, amount of comments, spacing, templates and method names. There is also some thoughts about coming to C++ with C background and without it. Even John Carmack himself popped in to give a comment."

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Just another day in the pixel mines.

Queasy Games

Music games can generally be divided into two broad categories: games that ask you to take part in making the music, and games where the music drives the gameplay. Sound Shapes straddles the line between those two types of games while layering an incredibly satisfying, abstract take on 2D platform games on top as well.

As you know if you've read our previous coverage, Sound Shapes turns you into nothing more than a small, sticky circle, caught in a world full of simple, abstract shapes rendered primarily in stark, solid colors. The goal is to roll and hop around to collect floating coins dotted around the game's rooms while avoiding enemies and their attacks, which are helpfully highlighted in a deadly red.

It sounds simple, and it is, as far as the gameplay is concerned (though the designers do a good job of stretching the simple concept as far as it can go, with levels that force you to make smart use of the jumping and sticking mechanics). But what makes the game really stand out is the way that each coin you collect activates a note that gets layered into a constantly evolving, mesmerizing backbeat that follows you from room to room.

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Can a game focused on atmosphere be done without the need for content exposition?

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Can a game focused on atmosphere be done without the need for content exposition?

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Games are interactive by their very nature, that's practically their definition. Until they end that is

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