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The Ditchwalk Indignation Scale

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Following up on the previous post, about how 90% of the internet is righteous indignation and ridicule, I thought it might be useful to provide some context. While ridicule is of course childish in all instances, there are times when righteous indignation is warranted. Unfortunately, those times are few and far between when compared with the perpetual tide of indignation surging across the internet.

Not everything is worthy of true indignation, though it is admittedly easy to get lost in an argument and forget that what you’re talking about is meaningless. So next time you think you may have lost your bearings, or you’re not sure if flaming someone for their opinion about an espresso machine is appropriate, take a deep breath and consult the Ditchwalk Indignation Scale:

Practically speaking, the benefit of the Ditchwalk Indignation Scale is to remind us all that when we’re arguing about a 1 — which is pretty much all we ever argue about — we’re arguing about a 1. In fact, you can even use that point to express your righteous indignation. For example: “I’m sorry, but I have more important things to do with my time than argue about a 1.” At which point the other person may slug, you, allowing you to continue your discussion on a more substantive basis.

— Mark Barrett

The Ditchwalk Self-Publishing Scale

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Independent authors believe every self-publisher is a revolutionary. Gatekeepers in traditional publishing think self-publishers are losers, at least until those same losers use their self-publishing success to humbly petition for a book deal. Vanity publishers insist all self-publishers are overlooked geniuses, and happily back up that assertion with high-priced services and promises they never intend to keep.

All of these definitions are unhelpful at best, self-serving at worst. In order to talk about self-publishing with any legitimacy we need a way to differentiate among self-publishers that is meaningful and objective. For that reason I created the Ditchwalk Self-Publishing Scale, which uses rising levels of production complexity to categorize self-published authors.  [ Read more ]

Time, Money, Stupidity and Self-Sufficiency

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A couple of weeks ago I was compelled to open the case on my balky computer and dig into its guts. My goal was diagnosing a long-running and progressively worsening series of program crashes and operating-system reboots, all of which were crimping my productivity and putting my data at risk.

It took more hours than I would have liked, but in the end I had my culprit: a bad stick of DDR2 memory, now upgraded and replaced. Along the way I also updated the BIOS for my computer, stress-tested and reconfigured various bits of hardware and software, and killed several trojans and a dormant worm.

I am now suffering no computer ills. My machine is running like an electronic top. I’m confident going forward that I have a stable platform from which to work, and that’s no small comfort given that I hope to do a great deal of writing over the next nine months. My computer is, after all, my workshop, and I don’t need a workshop that blinks out at random intervals.

Optimus Perfecticus
While diagnosing my computer problems I ran a series of tests, including MemTest86+ — which proved decisive. In order to run that program I had to download and install it, which I was able to do after a couple of faltering attempts to decipher the geek-speak instructions.

While performing this relatively simple task I found myself confronting an age-old debate that seems almost generic to human existence:

When should you hire someone to do a job for
you, and when should you do it yourself?

The answer, always, is found at the intersection of time and money. How much will it cost, and how long will it take, either to pay someone to solve the problem or to do it yourself? (Here I’m assuming that the goal is not one of self-satisfaction, but simply solving a problem by the most effective means.)  [ Read more ]

The Morrowind Experience

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My main curiosity about Morrowind was whether the large scale of the world translated into greater immersion or greater tedium during play. Having played it extensively for close to a month I think I can say without equivocation that in this case more is more. Unlike any game I can think of, wandering around in Morrowind and bashing things for experience points gave me a real sense of place, and created an equivalent-sized mental space in my mind. Even better, I interpreted this space not just as distance, but as depth of setting.

Here are some of the things that I think helped create that effect:

  • Detail
    With the exception of the large mountains, there were no locations in Morrowind that seemed so similar as to reek of tilesets or recycled polygons. I don’t know how the world was created, or how much hand-crafting went into the placement of each bush and rock, but the simple fact that I never confronted a recognizable physical space in more than one location kept my suspension of disbelief intact.
  • Distance
    It’s a delicate balancing act, but in order to create a real sense of space I think you need to have areas of interest surrounded by a good deal of relative blah. Morrowind does this perfectly, and because most of the nonessential spaces are still unique, walking around in Morrowind just feels right. And while the game provides several means by which you can avoid having to walk to and fro on foot, quite often I found myself hiking simply for the pleasure of literally seeing the world.
  • Discovery
    One of the most basic and important techniques in interactive entertainment, discovery involves exploiting the innate human pleasure of finding things and seeing new places. In Morrowind, nonessential dungeons and monsters populate the landscape, making walks in the wilderness rewarding both visually and within the context of the game. For a narrative game, they got this about as right as I think you can get it: I never felt like I was on a treasure hunt looking for powerups, but instead felt like I was discovering ancient ruins, etc.

In fact, I got so wrapped up in just wandering and experiencing the world that I let much of the plotted story slip for a quite a while. When I finally got around to pursuing the story, the mechanics of language interaction that the plotting hinged on actually seemed constraining, and made the world less enjoyable. At one point I was forced into an action that I didn’t want to take because of the limited number of choices available to me, and it was only at that point that I really felt like the world broke down. I stopped playing soon after, but I do intend to begin a new game in order to experience the story the designers intended to tell.

The moral of the story, if there is one, is that Morrowind does an excellent job of simulated an interesting fictional space, and that that in itself was compelling for me.

— Mark Barrett