'For a while there, it looked like the debate between the ludologists (who focus on game play mechanics) and the narratologists (who focus on storytelling) was going to define the range of perspectives in games studies. Now, of course, we've seen an explosion of different perspectives in the academic study of computer and video games. One of the most promising approaches emphasizes the spatial dimensions of game design, suggesting that space is not only the final frontier but also the common ground of many of the first generation of game scholars.
'Michael Nitsche, a games researcher at the Georgia Institute of Technology (better known as Georgia Tech), has written a significant new book, Video Game Spaces: Image, Play, and Structure in 3D Worlds (MIT Press, 2008) which sums up what we can learn about games by examining them as spatial systems. His writing is informed not only by work in games studies but also from media studies, performance studies, urban planning and architecture.' -- Henry Jenkins
_______
Interview
from Confessions of an Aca-Fan
You come to this book both as a game designer and as a game theorist. How have the two perspectives informed each other here? To what degree do you see your design work as a mode of experimentation with the basic building blocks of games as a medium?
Commercial video games have to make money and they often have to be streamlined and optimized to reach that target - university-based games research projects have all kinds of limitations but they thankfully do not have to sell. This allows us to explore some of the more complicated areas that commercial games have to avoid to stay afloat. One of our first major projects was Charbitat, an experimental game that creates a 3D world around the virtual player depending on how you play the game.
Other areas are not covered by commercial games, yet. For example, I am very interested in game worlds as performance spaces where players do not play to achieve certain high scores but instead to express something effectively. Consequently, some of my projects deal with virtual puppetry or augmented reality performance spaces.
Many accounts of game theory have emphasized the tension between ludological approaches, which focus on game play mechanics, and narratological approaches, which focus on story telling. Does a focus on game spaces give us a different way of thinking about the relations between these two approaches?
I believe it does. Space is certainly not the single answer to all of our problems but it surely predates play as well as narrative. We learn how to deal with space before we start to tell stories or play games. If we translate this into video games, space becomes a higher category, one that can include narrative qualities as well as ludic ones.
In the book I talk about Story Maps, a form of imaginary map that we form in our mind as we play our way through a virtual environment. These maps are shaped by what we do in the game world as well as how the action it told through various forms of presentation in sound and image. Sure, there is a strong narrative element in these maps but they can only be created when the game is played.
Throughout the book, you draw heavily on ideas from architecture and urban planning. What do these fields have to contribute to games studies?
There are some obvious parallels, such as the relevance of urban planning for the design of free-roaming game worlds or the way architectural styles are copied in video games. However, I would argue that we have to look a bit deeper to identify more fundamental parallels.
One example for a more direct connection is the way we read large-scale environments no matter whether it is a real world like my hometown or a virtual one like an online world. We gradually form a cognitive map based on certain key features and navigate through the world based on this map. However, games offer different means to accentuate a players' development of a cognitive map. Designers have full control over the space and the possible actions in it and use it to dramatize the experience. That is why we also have to take theatrical spaces into account.
Most virtual worlds are designed not for a "live-like" experience but for overly dramatic ones. These game worlds would fall short if they would provide "only" realistically functioning virtual cities. Instead, they have to deliver virtual stages, full of extraordinary events and opportunities that are not available in real world designs. That is why we have to add these dramatic functions to the architectural ones and combine dramatic moments with cognitive maps.
The video game world tells the player where she is projecting her actions. It positions the player via spatial means and uses references to architecture and urban planning. At the same time, it is a dramatic positioning. Players do not enter a game world as a neutral observer or visiting tourists but as cops staged in the middle of a gang war, a superhero with the power to destroy or rescue Metropolis, a lost soul that only tries to escape and survive.
_____
Media
Professor Michael Nitsche introduces the guidelines for the Summer 2009 LCC3710 design project.
A machinima project for LCC 2730 (Fall 2008) at Georgia Tech under Professor Michael Nitsche
Ian Bogost, Michael Nitsche, and John Sharp at the Art History of Games Symposium, 2/04/10
______
Further
Michael Nitsche's Digital World and Image Group
'Rattling Cages' by Michael Nitsch
'Claiming Its Space: Machinima' by Michael Nitsch
'What’s Wrong With Michael Nitsche’s Video Game Spaces'
Forthcoming book: Michael Nitsche 'The Machinima Reader'
Read some of 'Video Game Spaces' @ Google Books
Buy 'Video Games Spaces'
____
Book
Michael Nitsche Video Game Spaces: Image, Play, and Structure in 3D Worlds
The MIT Press
'The move to 3D graphics represents a dramatic artistic and technical development in the history of video games that suggests an overall transformation of games as media. The experience of space has become a key element of how we understand games and how we play them. In Video Game Spaces, Michael Nitsche investigates what this shift means for video game design and analysis.
'Navigable 3D spaces allow us to crawl, jump, fly, or even teleport through fictional worlds that come to life in our imagination. We encounter these spaces through a combination of perception and interaction. Drawing on concepts from literary studies, architecture, and cinema, Nitsche argues that game spaces can evoke narratives because the player is interpreting them in order to engage with them. Consequently, Nitsche approaches game spaces not as pure visual spectacles but as meaningful virtual locations. His argument investigates what structures are at work in these locations, proceeds to an in-depth analysis of the audiovisual presentation of game worlds, and ultimately explores how we use and comprehend their functionality.
'Nitsche introduces five analytical layers — rule-based space, mediated space, fictional space, play space, and social space — and uses them in the analyses of games that range from early classics to recent titles. He revisits current topics in game research, including narrative, rules, and play, from this new perspective.
'Video Game Spaces provides a range of necessary arguments and tools for media scholars, designers, and game researchers with an interest in 3D game worlds and the new challenges they pose.' -- MIT Press
_______________________
Excerpt, from the Introduction
It is incomprehensible that any single theory could do justice to a form as rich and vivid as the video game. The variety of these games calls for a diversity of analytical approaches: no one approach is suffi cient, but many offer different yet interconnected perspectives. The more this analytical spectrum grows in width and depth, the richer our picture of the video game becomes.
Interview
from Confessions of an Aca-Fan
You come to this book both as a game designer and as a game theorist. How have the two perspectives informed each other here? To what degree do you see your design work as a mode of experimentation with the basic building blocks of games as a medium?
Commercial video games have to make money and they often have to be streamlined and optimized to reach that target - university-based games research projects have all kinds of limitations but they thankfully do not have to sell. This allows us to explore some of the more complicated areas that commercial games have to avoid to stay afloat. One of our first major projects was Charbitat, an experimental game that creates a 3D world around the virtual player depending on how you play the game.
Other areas are not covered by commercial games, yet. For example, I am very interested in game worlds as performance spaces where players do not play to achieve certain high scores but instead to express something effectively. Consequently, some of my projects deal with virtual puppetry or augmented reality performance spaces.
Many accounts of game theory have emphasized the tension between ludological approaches, which focus on game play mechanics, and narratological approaches, which focus on story telling. Does a focus on game spaces give us a different way of thinking about the relations between these two approaches?
I believe it does. Space is certainly not the single answer to all of our problems but it surely predates play as well as narrative. We learn how to deal with space before we start to tell stories or play games. If we translate this into video games, space becomes a higher category, one that can include narrative qualities as well as ludic ones.
In the book I talk about Story Maps, a form of imaginary map that we form in our mind as we play our way through a virtual environment. These maps are shaped by what we do in the game world as well as how the action it told through various forms of presentation in sound and image. Sure, there is a strong narrative element in these maps but they can only be created when the game is played.
Throughout the book, you draw heavily on ideas from architecture and urban planning. What do these fields have to contribute to games studies?
There are some obvious parallels, such as the relevance of urban planning for the design of free-roaming game worlds or the way architectural styles are copied in video games. However, I would argue that we have to look a bit deeper to identify more fundamental parallels.
One example for a more direct connection is the way we read large-scale environments no matter whether it is a real world like my hometown or a virtual one like an online world. We gradually form a cognitive map based on certain key features and navigate through the world based on this map. However, games offer different means to accentuate a players' development of a cognitive map. Designers have full control over the space and the possible actions in it and use it to dramatize the experience. That is why we also have to take theatrical spaces into account.
Most virtual worlds are designed not for a "live-like" experience but for overly dramatic ones. These game worlds would fall short if they would provide "only" realistically functioning virtual cities. Instead, they have to deliver virtual stages, full of extraordinary events and opportunities that are not available in real world designs. That is why we have to add these dramatic functions to the architectural ones and combine dramatic moments with cognitive maps.
The video game world tells the player where she is projecting her actions. It positions the player via spatial means and uses references to architecture and urban planning. At the same time, it is a dramatic positioning. Players do not enter a game world as a neutral observer or visiting tourists but as cops staged in the middle of a gang war, a superhero with the power to destroy or rescue Metropolis, a lost soul that only tries to escape and survive.
_____
Media
Professor Michael Nitsche introduces the guidelines for the Summer 2009 LCC3710 design project.
A machinima project for LCC 2730 (Fall 2008) at Georgia Tech under Professor Michael Nitsche
Ian Bogost, Michael Nitsche, and John Sharp at the Art History of Games Symposium, 2/04/10
______
Further
Michael Nitsche's Digital World and Image Group
'Rattling Cages' by Michael Nitsch
'Claiming Its Space: Machinima' by Michael Nitsch
'What’s Wrong With Michael Nitsche’s Video Game Spaces'
Forthcoming book: Michael Nitsche 'The Machinima Reader'
Read some of 'Video Game Spaces' @ Google Books
Buy 'Video Games Spaces'
____
Book
Michael Nitsche Video Game Spaces: Image, Play, and Structure in 3D WorldsThe MIT Press
'The move to 3D graphics represents a dramatic artistic and technical development in the history of video games that suggests an overall transformation of games as media. The experience of space has become a key element of how we understand games and how we play them. In Video Game Spaces, Michael Nitsche investigates what this shift means for video game design and analysis.
'Navigable 3D spaces allow us to crawl, jump, fly, or even teleport through fictional worlds that come to life in our imagination. We encounter these spaces through a combination of perception and interaction. Drawing on concepts from literary studies, architecture, and cinema, Nitsche argues that game spaces can evoke narratives because the player is interpreting them in order to engage with them. Consequently, Nitsche approaches game spaces not as pure visual spectacles but as meaningful virtual locations. His argument investigates what structures are at work in these locations, proceeds to an in-depth analysis of the audiovisual presentation of game worlds, and ultimately explores how we use and comprehend their functionality.
'Nitsche introduces five analytical layers — rule-based space, mediated space, fictional space, play space, and social space — and uses them in the analyses of games that range from early classics to recent titles. He revisits current topics in game research, including narrative, rules, and play, from this new perspective.
'Video Game Spaces provides a range of necessary arguments and tools for media scholars, designers, and game researchers with an interest in 3D game worlds and the new challenges they pose.' -- MIT Press
_______________________
Excerpt, from the Introduction
It is incomprehensible that any single theory could do justice to a form as rich and vivid as the video game. The variety of these games calls for a diversity of analytical approaches: no one approach is suffi cient, but many offer different yet interconnected perspectives. The more this analytical spectrum grows in width and depth, the richer our picture of the video game becomes.
This book tries to add its share to the spectrum. It will refer to the debates and key issues in games research but will shine a different light on them from a very specific angle — that of navigable three-dimensional virtual spaces. From this perspective, the book will revisit some models that have been examined before and suggest new ones that have yet to be debated.
3D game spaces allow players to crawl, jump, run, fly, and teleport into new worlds of unheard-of form and function. The game space we can experience, discover, and manipulate has become endless and at the same time more accessible than ever. Video game spaces stage our dreams and nightmares and they seem to get better at it every year. We will tour the landscape of video games in an effort to discover how the games work, how they are presented, how they can be read, why they are important, and how they can be improved.
Like the 2D desktop metaphors that came before, the growing use of 3D graphics in video games shows signs of an evolutionary process. New and old game franchises adapt to the new “standard” or they struggle to survive. Whether it is Mario’s step into 3D in Super Mario 64 (Miyamoto 1996), the polygon worlds of the massively multiplayer online title Meridian 59 (Sellers 1996), the 3D spaces in real-time strategy games such as Ground Control (Walfi sz and Andersson 2000), or the jump from a top-down view in Grand Theft Auto II (Akiah, Conroy, and Hirst 1999) to the navigable 3D world of Liberty City in Grand Theft Auto III (Filshie et al. 2001), navigable 3D worlds have become a critical factor of game development. The market is dominated by 3D graphics in a way that suggests an overall transformation. This also affects the hardware of game systems. 3D graphics have shaped the hardware development of personal computers in the form of specialized graphic cards at least since the mid-1990s with the release of the NV1 and Voodoo 1 cards.
Often, 3D graphics have become a sine qua non in the modern commercial video game world—for better or worse. Yet the use of 3D graphics for its own sake cannot be the goal but rather a means to achieve a more complex task: the generation of fictional worlds in the player’s imagination that grow from a comprehension of the 3D representations. Like written text or 2D graphics, 3D worlds have unique ways to support this imaginary work. This raises questions: How do game spaces achieve this effect? What are their key qualities? How can we improve their impact?
To answer, we have to turn to the player and the player’s experience. Although this book will look at a variety of design issues and structures, its fundamental principle is to examine games in terms of the player experience. Space is an important element of this experience—and a very challenging one. The argument here is that game spaces evoke narratives because the player is making sense of them in order to engage with them. Through a comprehension of signs and interaction with them, the player generates new meaning. The elements that are implemented in the game world to assist in the comprehension will be called “evocative narrative elements,” because they do not contain a story themselves but trigger important parts of the narrative process in the player. These processes can lead to the generation of a form of narrative.
Machina Futurista
Such an approach has obvious parallels to semiotics. Video game worlds depend on representation and sign systems and the audiovisual presentation is an important section in this book. But the main argument will always return to the concept of space and spatial experience. Game spaces are approached not as foregrounded spectacles based on visual cues such as perspective and parallax but as presented spaces that are assigned an architectural quality. The discussion will concentrate on their spatial structures and how players can interact with them. In the games discussed, players want to engage not with the screen but with a fictional world these images bring to mind.
This indicates the references to phenomenology that guide this investigation. Experience, comprehension, and spatial practice are phenomenological key elements that reappear throughout this discussion of virtual space. But how this experience is generated in game worlds is new. As much as we can learn from these approaches, there are fundamental differences in the way experience of space happens in nondigital settings and the necessarily mediated way we encounter game worlds.
The screen remains an important layer as it is mainly through the screen that the game worlds can unfold and become accessible to today’s player. Video game worlds are navigable spaces that offer a wide range of interactions, but they are also spaces told to us using certain forms of presentation. This mediation is an important factor in the narrative processes connected to game worlds. It is in these presentations that we can fi nd fi lters, which are constantly at work in 3D video games. Consequently, this book is structured in three main sections: one on the reappearing question of narrative and structure in game worlds, one on presentation, and one on the functionality of game spaces.
If this book has to be associated with a specific school or set of approaches to game research, it would be with a player-focused and experience-driven tier. This is a result of the topic at hand: the question of space. It is only logical that the reader will fi nd chapters on identity and player positioning as well as on camera work and architectural theory. At the same time, this is a comparative survey driven by practical analyses of existent video games. Therefore, the reader will find references to numerous games and game worlds.
Ultimately, this book is an exploration of the new universe that opened up with the introduction of 3D graphics to games. This change has literally added a new dimension to video games that calls for a reorientation of games research and design and asks us to adjust our thinking about video games. Due to the interdisciplinary nature of this undertaking, the book most certainly has to miss a number of relevant sources and concepts but is intended to provide balanced arguments and detailed discussion.
----
*
p.s. Hey. First of all, I have a favor to ask that's kind of silly, but, nonetheless ... By the time I post tomorrow, there will very likely be a decision on Yury's US visa application since his embassy meeting is at 9 am in the morning. So, if you can spare a couple of fingers and/or a spare thought, could you cross them, in the first case, or infuse it with positivity and send it our way, in the latter case, when you hit the mattress tonight? We're going to need all the luck we can get. If he gets the visa, it'll be monumental, and it will end the seven years plus battle with the US immigration service that forced us both to move to France in the first place. If he gets a denial, it will be his fourth, and, given that he now qualifies for the visa in every way, it will mean the unknowable forces that have caused this ongoing injustice are basically beyond our control and that he has little or no hope of ever being granted entry into the US barring his becoming a French citizen, and that's a process that would take years. Thanks a lot! Secondly, I've put together the collective Joy Division Day, and it's really fantastic, as you will see, as well as hefty enough that I needed to break it into two consecutive posts, which will launch here on Friday and Saturday, March 4th and 5th. A bit of a wait, but it'll be worth it. Finally, it's cleaning/ exile day at the Recollets so, yeah, the usual. ** Allesfliesst, Hey, K. Nice days you had there. O, leisure, such a fair fruit. Me, I've been running around getting ready for said visa thing mostly, i.e. leisure's opposite, and, hence, the twinkle your days put in my eye. ** David Ehrenstein, Are there any conspiracy theories out there positing that Madonna is behind the whole Gaga thing? That Gaga a carefully groomed, younger, refreshed vessel for Madonna's usual career movement? Given the Madonna-alike new single, I'd be surprised if there isn't some contingent who thinks Gaga isn't just an increasingly filled in page of Madonna's coloring book. I don't think so, but the whole thing would seem ripe for paranoid deconstructionists. 'State of Things' is wonderful, yeah. I'm not a big Wenders fan generally, although I think 'Wings of Desire' is incredible and 'Paris, Texas' is quite fine. And that Cuban music doc. Ronnee Blakely is so great as Loretta Lynn in 'Nashville'. ** Colin, Hey. Yeah, it was good one. Especially the texts. I really think that book of the escort and slave texts I want to put together could be interesting. I don't know. Thank you about the visa, and much sympathy to your mom. I've heard that Australia is as hard and weird on the immigration front as is the US, which is odd given the continent's hugeness and relative emptiness, etc., but these things really don't have any logic to them, as I well know. Anyway, best to you, man. ** Bernard Welt, Kenneth Mars died? Oh, that's very sad. He was so sublime in 'Young Frankenstein', just for instance. ** David, Oh, yeah, those escort posts started initially because I was so taken with the fucked up English of Russian escorts, and they dominated the first handful until I discovered the wonders of foreign escorts' limited yet ambitious English everywhere. ** Patrick deWitt, Hey. I didn't run into Chrystel yesterday, but I'll talk to her about the sponsorship thing today. Off the top of my head, the libraries do make sense, and you can just exaggerate the amount of research you need to do, if you want. If the sponsor I was talking about is possible, that would make it easy, but it'll probably depend on whether she's 'booked up' yet, as I think she can only sponsor two residents at a time. Anyway, I'll find out what I can today. Oh, man, you don't need to send me a care package, but that's awfully kind of you. Really, you don't, but if you choose to ignore my protestations, two words: Grape Nuts. ** Thomas Moronic, Hey. Thanks, man. Yeah, I'm checking out the art possibilities. There are a few shows I've been meaning to catch, and I'll wait to see them with you if you're game. If you want to come to that opening with me on the 22nd, please do. I think K&O are going. It's the painter Emmelene Landon, who's also a known fiction writer here and translator (did a couple of my books) and the girlfriend of my French publisher. It's a show of portrait paintings, including one from three or so years ago of Yury and me. Sure, just give a buzz when you're in and feel like meeting up. Can't wait to see you and meet your pal! ** Bill, That Oporto escort's text was one of the oddest ever. Too long, for you?No way, ha ha! Do you have a general theory about length, how it works or should work, etc.? Or is it more of an instinctual or case-by-case thing? ** Heliotrope, Hey, M! Yeah, my memory of the people living up in the canyon has them as pretty dippy on the hippie side of things, although by now the place could be full of slightly scary survivalists? Exactly, the Rosemary Clooney thing, all those great Clooney-related stories. Sid Griffin has really turned himself into the go-to guy on Parsons, Clark, Burritos, etc. It's interesting. It makes sense since he was always obsessed with that group of musicians, and I guess his own musical efforts kind of died out? I liked the Long Ryders, although I haven't listened to them in years. Ugh, on the allergies. The only thing I don't miss about LA is the Santa Anas, which always do a real number on me. I love watching old Keystone Cops and Laurel & Hardy movies for that very reason: seeing early, sparse LA back when 90% of the trees were about waist tall. Love to you, man. ** Steevee, Yeah, the glass of water thing, wtf! A traditional Polish fetish maybe? Excellent on the four pounds, man! Congrats! And I'm glad the doc visit had no real downer news, as useless as it was. ** MANCY, Your crossed fingers are greatly appreciated, man. Oh, new blog, awesome, I'll devour it a bit later. Everyone, d.l. MANCY aka the excellent artist Steven Putrill has a new blog with the great title MOURNFUL PSYCHEDELIC BUTCHERY which is filling up with his fantastic, eerily beautiful images -- as seen here not so long ago in a post devoted to his work -- and, yeah, I highly recommend that you check it out. It looks incredible on first peek, pal. Thanks a lot! ** The Dreadful Flying Glove, Morning to you, sir. Or ... hm, what is the time difference between here and where you are? Absolutely wonderful escort responses, my friend. Maybe that book of the escort/ slave texts I want to do should include your running commentary. Hmmmm. Interesting. Good question about the escorts who charge insanely high prices. I guess they think it's a get rich quick deal? I can't figure it out myself. When they sometimes only charge $1 or 10 Euros, that I understand. Yours is the kind of tan I get when I rarely get a tan. They say tan lines are sexy, right? Ha ha. A new dream, cool. I'll use reading it later to assuage my nerves. Everyone, the one and only Dreadful Flying Glove had one of his legendary dreams the other night, and it accrued his legendary way with words and then appeared on his 'fairly secret diary' blog, and I personally believe you would do very well to read it, and I will henceforth make doing that as easy as possible: voila! ** Pilgarlic, Hey. I'm in that wrestling-liking bunch. I flew on an airplane with Haystacks Calhoun when I was a kid. It was a little Hawaiian inter-island plane, and he was so big -- obese really -- that he needed four seats, and I was so scared that his weight would make the plane crash that even remembering that incident makes me need to go smoke a cigarette, which I will now do. I'm back. I've never seen wrestling live. The audience scares me a little in theory. But you sure got a great story out of your foray, man. I so envy you having gotten to see Undertaker wrestle back in the classic Paul Bearer days. Anyway, thank you, with a deep bow. ** Andrew, Hey. Sorry you've been sick, man, but your upswinging does my heart good. I so agree with you about David LaChapelle. He is just the absolute worst. ** Schlix, Hi. I never read Martin Büsser, but that's really sad news. Based on what you wrote, I love what he stood for and supported and was trying to do. So, yeah, RIP, very sad. Everyone, Schlix passes on news of the death of the German music critic Martin Büsser, who sounds to have been a really stellar guy and thinker, and here's a short obituary and remembrance of him if you're interested. Thanks, man. ** Alan, Yeah, I saw that too. The next few months will be very telling and fascinating, hopefully in a hopeful way, although, yeah, kind of doubt it, but we'll see. ** Misanthrope, That Echinacea and stuff will hopefully help you long term. It probably won't have an immediate effect on your current malady, but it might build you up against the next danger. He was Youtube baby, eh?Well, the problem or whatever now thanks in no small part to 'American Idol' is that the standard of what constitutes musical talent is so low that Bieber is 'talented' by default. It's almost like the pre-Elvis 1950s in US popular music right now. One shiny, immediate only gratification and vacancy sign as hit song after another. ** Sypha, Well, sort of good news there. I'll take it as such. ** Inthemostpeculiarway, Hey. Yeah, Oswald was the total superstar of Disney cartoons pre-Mickey Mouse. Vanilla rules. Vanilla everything sweet and edible. Ice cream, Wedding cake! That dream sounds unpleasant, but I immediately saw it in filmic terms, like in 'The Crow' but better. Mm, banana pudding sounds good, but only when it's a treat and not one of your few options. 'The Wicker Tree'? Okay, hm, I'll try that trailer later. Is that Abraham Lincoln movie supposed to be bad? It's such a funny title, I was hoping for something witty and wink-wink but gruesome too. I tried to watch 'Dark Shadows' when it was on when I was young. It came on after this rock music show I always watched. At the time, the incredibly low-tech 'live' look and quality was too cheesy for me. It would probably be cool looking now. I'm curious about the Burton film. Seems like it has possibilities of being more in the 'Ed Wood' area of his work, which would be a relief right about now. I hope your mouth hurts less and your Vicodin works even better today. My day: Not very interesting. Bought the Paris-LA-Paris plane tickets. It's going to be costly if I have to change them, so there's another small reason Yury had better get the visa. I did some food and cigarette shopping, nothing out of the ordinary. It was raining. I saw a poster for 'True Grit', which finally opens here next week, so I'm excited about that. I listened to some albums I've recently downloaded: Smith Westerns, Yuck, Kevin Drumm, Mogwai, Destroyer, ... All of them are satisfying and sometimes more in different ways and to different degrees. The internet in the Recollets went completely out for about an hour, I don't know why. I had coffee with Kiddiepunk and Oscar. Very pleasant, of course. I put together the Joy Division Day(s), which took about six or so hours. Yes, sometimes I am reduced to being the blog's dutiful slave. After that, I was going to play 'Epic Mickey', but it was late, so I just watched some forgettable TV and crashed. Tell me how your recovery is going and how are you are today, okay? ** Rigby, Hey, R. Uh, someone else would have to do the female escorts Day. I'm probably not a good judge of the visual side, and the misogyny aspect makes me nervous. Dude, a post from you would be super sweet! Blog standard style is absolutely acceptable. Wait, you really broke your back? For real? Wtf?! Tell me what happened. You okay? Jesus! ** Nb, Actually, and one never knows for sure, but Wolverine is one of the fairly rare escorts whom I think is fairly real 'cos he had about 25 photos of himself on his profile, and he advertises on a few sites with different texts and photos sometimes, and that's usually a sign of realness. The 'non-real' part about him might be his age. I didn't include any of the suggestive shots because he really looks like he's about 14 years old. You just 'have to' be me for the length of that donut's short existence. That's all. With video documentation, of course. Ha ha, kidding. ** Creative Massacre, I always liked The Rock. I don't even mind him when I accidentally end up seeing him in movies. Or that he's a Republican. It's weird. He's just likable. Ace about the WWE looking up! Thanks! ** Brendan, Hey, man. Great to see you! I'm guessing Vegas was awesome? You sound real good, and, yeah, hopefully I can see these new works of yours. The visa thing is to hopefully get Yury a tourist visa so he can visit LA for a couple of weeks and check it out finally. It's not the move home, but it would pave the way. Yes, baseball dawns, yes! ** Okay, so I spotlight the book above today. When I'm working on something, I tend to bring my related research and experiments and interests onto the blog in different ways, and the book above relates to the upcoming 'Last Spring' piece I'll be working on with Gisele this year. Hope there's something of interest for you. See you tomorrow.
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