Republicans, Democrats, and the Governor of Illinois

So unless you've been living under a rock, you'll know that Governor Rod Blagojevich of Illinois has been caught, apparently attempting to sell off President Elect Obama's vacated senate seat to the highest bidder. And he apparently did it, knowing that he was already under investigation for other corruption charges.

A long time ago, Chris used to say "Republicans are evil, and Democrats are stupid. And if given the choice, I'd rather go with evil." He no longer believes that. Now he says that "they are both stupid and evil," just about different things.

It seems that Blagojevich, a Democrat, is a perfect example of being both stupid and evil.

Now, being stupid isn't a crime, but shouldn't we expect better of our elected officials? Shouldn't they be BETTER, than the average Joe? Both in ethics AND intelligence? I suppose it's power that draws the corrupt to run for political office. So how do we go about attracting the smart and ethical folks to office? Hold a lottery? Only those who DON'T want to be governor, should be given the office?

There doesn't seem to be a good answer here. I've always wondered how men like Nixon could record (and then keep) the records of their illegal behavior, or how Governor Blagojevich could openly solicit bribes while already under investigation, and then expect to not get caught.

My seven-year-old is more adept at hiding her crimes than THAT.

So I'll tell Blagojevich and all other politicians who are considering illegal behavior the same thing I do her: "Grow up. Do the right thing. If you'd do what you are supposed to do in the first place, then you wouldn't ever get into trouble."

How to use players' emotions

I'm targeting a few game developers with this, but welcome input from anywhere.

Let's say that there's a technology -- a module that you can plug into your projects that allows you to access the internal emotional state of the user of your game. How would your game use that? Any game. Any kind of game. What kinds of games would use it in what ways? Are there ethical considerations? As a designer/developer/whatever, would you like to have access to that extra stream of data? And why?

In email, Patrick Dugan wrote:

I'm currently playing with relationship-focused multiplayer interaction and how imperfect information can balance that out, kinda like what Between did but from a different angle. So naturally I'd like to experiment with making that data known to the other player, as well as leaving it unknown and doing some fancy back-end stuff with it. The easiest thing to do, of course, is leave "traps" for players to express emotional extremes, like a sudden gap-up in a market, and reveal things to their counter-player and to themselves that they may not have been aware of. That's the trick, the cognitive construction of choice matrices is powerful enough to mold behaviors behavior and take metrics on it, you don't need direct B-CIs. Of course, the B-CIs would be useful, but the control grid will come in more subtle forms.

That's good stuff for me. I hadn't been thinking at all about multi-user reveals, only how to manipulate the player with adaptive algorithms.

In email, Craig Perko wrote:

The problem with a question like this is that it's a very unsatisfying
thought experiment. The answers are all too basic and uniform because
the question is too wide-base.

Anyone with an ounce of brain can see that it would allow you to make
better games, and they can imagine up the kinds of ways it can happen
for all the various kinds of games. Anyone with an ounce of brain can
also clearly see the ethical considerations.

In order to be an interesting thought experiment, it has to be about
something more specific, something that requires thought. Something
that ten different designers would come up with ten different answers
for.

But if you really want an answer, okay. I would make games scarier,
more touching, more adrenaline-filled, obviously with an eye to player
health and privacy. You could easily develop a feedback system for
stressing the things that affect them most: if Anna makes them more
happy than Bert, you can show them more Anna, or you can strive to
make Bert more likeable. And, of course, that's a simple intro
example, it can get very complex as you apply it to level design, NPC
scripting, and variations in player capacities for emotion...

The problem is that it's a straight run: everyone will give you more
or less the same answers, perhaps flavored with different levels of
paranoia. I imagine these are the same answers you came up with.

Uh, yeah. What he said is what I'm finding.

There are little exceptions. Patrick's multiplayer thoughts are great. James Brown suggested a Rock Band game where audience appreciation matters to your score -- which is a different, easier kind of multiplayer use. He also suggested using the tech to gauge the effectiveness of product placements. That's neat.

Sewing - so what are all of those stitches used for?

Ok, so I'm not much more than a beginner when it comes to sewing. And when I bought my new sewing machine, a Janome HT2008, it came with 50 different stitches:



(You think that's a lot? There are more advanced machines that come with hundreds of different stitches, and the ability to stitch alphabets and embroider and all sorts of stuff like that).

The problem is that I don't know what all of the stitches are used for. So I created an Excel file with all 50 stitches, the recommended presser foot (that's what the letter below each stitch shown refers to), and pictures of many of the available accessories. The accessory list includes all the presser feet that came with the machine, plus all of the ones I've bought, plus all of the ones I'd like to have. There are certainly more available.

I got all of the stitches and descriptions from the Janome Stitch Learning Center.

Anyway, I created a PDF file for those that don't have Excel, or don't know how to use it. If you have this machine, you might find it useful. You can download it here.

If you want the original Excel file so you can add other stitches (if you have a different machine), or other accessories, then drop me a note or comment, and I'll email it to you.

Crow's-Feet: A Story-Games Contest Response

I occasionally design games in response to online contests. Some people do it often and produce great stuff. That's not me, but it's still fun. I wasn't really in the make-a-game mode, but something about Jonathan's post at SG kept rattling around in my head and out came the following. I think it's playable in an hour -- even if some people would take longer, I'll try it out and see how it works. I guess I've disregarded the rule about no writing implements at the table — I kind of forgot about that while the idea flowed out of me. I think I'll leave it like that rather than implement some inane replacement like pressing the crow's-feet into aluminum foil with your finger-nail. Also, when I started, I'd kind of expected the graphical role of the illustrated crow's-feet to have a more numeric role in resolution or something but that's not how it worked out.

---

Crow's-feet
-any of the tiny wrinkles at the outer corners of the eyes resulting from age

Players are expected to be sitting around a table or something. There are the same number of characters as there are players but each character resides between two adjacent players who share it — so that each player has two characters and each character has two players. Each character is represented at the table by a youthful, cut-out face. (To generate these, take pictures, tear them out of magazines, find them on the net, draw them up, use my templates below, whatever.)

These characters that you'll be playing with were in more or less the same clique in high school, twenty years ago. Maybe they're still friends and maybe not. Probably not really; but y'know, friendly. It's a funny time in their lives because high school graduation was such a significant milestone and now they've lived more life after that point than before. And they've seen quite a bit and really lived their lives for a while. Experiences have left tracks on the characters. They've aged.

Aging has good parts and bad and different people react and emphasize these aspect differently. And I think that the way we handle these things has some impact on the way we age. Take crow's-feet; maybe this is myth — though for purposes of this game it isn't: when you laugh and smile a lot, you develop wrinkles radiating out from your eyes in a generally downward direction and when you scowl more, your crow's-feet point more out and up. That's how you'll be recording the story of the characters — by illustrating their crow's-feet. And by calling on those illustrations to influence more of their stories.

So now you're sitting around the table with some friends and you have these cut-out faces lying on the table's surface between you and your neighbors...now what? Grab a fine-point sharpie (or whatever) and the character's face to your right. Write her first name on her forehead — way up high, and put her back on the table. Someone has to start — let's say it's the oldest player. He's going to pick one of his characters and describe a bit of a situation. It'll be either historic or current for the character.

See, the setting of this game is like this: It's late on the evening of their twentieth class reunion — after things have shut down and they've moved, as a group, to someone's house. They talk about the good old days, but more, they talk about Real Life; what's been going on. You're past the bullshit part of the evening and old friends have been reexamining their lives all day. Maybe they've had a few drinks. Now they're confiding.

When it's your turn, you come up with a situation of significance in the character's life; something that helped them to mature. Anything, really. But don't be trying to narrate an outcome — the group will do that collaboratively, just set something up and as play proceeds, you'll learn some cool stuff about the characters.

kid	is	lacking	security
partner	causes	building	satisfaction
job	exacerbates	losing	sufficiency
money		showing	excitement
parent		conflicted	heartache
news		social	anxiety
technology			healing
body			function

You can come up with any kind of situation that will lead to significance, but if you want some help, check out this table. There are four lists of words. you can string them together, adding the occasional "not," changing the tense or form and even adding or deleting a word as you want — this is just a helper. For example, maybe you grab "money causes social satisfaction" and set up a situation in which the character, aspiring to "success" can finally buy into a country club or maybe he hires a prostitute to help fill the gaps in his lackluster marriage. Some combinations won't make perfect sense; just fix them up or choose something else.

So one player (whomever is "on") sets up a beginning situation for one of his characters — describing in a few sentences what's going on: setting, initial actions and goals. Then he holds up the character's face and shows it around. if it is after the first round of play, the character is likely to have some crow's-feet. Each player should let the face inform their narration. (How you do that — seeking balance or considering the prior direction a tipping point, is up to each of you on your own.) From this starting place the players will take turns contributing to narrating what happens.

There are two formats to this: narration and dialogue. Some groups do most of the play as that kind of narration. Others will want a bunch of in-character dialogue. They're both quite nice ways to play.

Narration is as simple as this: the players take turns adding one sentence (or so — one main point, anyway) to the description of actions and reactions. Go clockwise around the table. Say whatever follows most obviously from what the player before you said. Don't take a bunch of time to think of something cool — trust that it'll be most cool by just riding the collaboration. And you want to keep the game moving; keep people engaged. That's narration. (Please note, this character is revealing a story. As such, a few things can't happen in the story -- like the character's death, at least. Usually.)

When speaking for a character, if the character happens to be one of the main characters — the ones on the table, then that character is spoken for by one of her players. (The player with the same left-right relationship to the character as the player who set this situation has with his character is ideal.) If it's some other character, the first person who wants to talk for her can speak up and run with it. If no one does that, it's the first player to the left of the player who set the situation up who isn't already engaged in the current dialogue. You can shift back and forth between narrative and dialogue freely — just remember who narrated the last bit so it can pick up with the next player.

This story-telling/acting round ends when the situation is naturally resolved. This will usually be obvious, but you can also check to see when everyone agrees that there's nothing more to add. In practice, these scenes just run out of steam and then you know that it's time to move on. At this point, the two players of the character for whom the recently ended situation was authored take a moment to reflect on the outcome of the story and illustrate a crow's-foot on the character's face — on the eye closest to the player. If you think that it was a positive growth outcome, angle the crow's-foot downward. If not, then upward. If it was strongly one or the other, curve it quite a bit. If you think the event had powerful impact on the character's life, make the line you draw a little wider/darker/deeper.

When one situation is resolved, the next player (to the previous player's left) chooses one of her characters and repeats the process. Note that you could play two situations in a row for the same character — it's up to you each round. Repeat this cycle until everyone has set up and resolved a situation. At this point, each player will have "judged" and drawn two crow's-feet. Call that a round. You should play the game as many rounds as you find interesting. I'm writing this with no play-testing, so it's only a guess, but I'd hope that after three rounds you'd have an interesting assortment of crow's-feet illustrated and you'd know some things about the characters.

Facial Resources:
I'm not sure what's legal in the way of grabbing images to retouch and present here, but I also didn't want to leave you with merely a mandate to supply big faces. So here's what I'm doing. There's a list of links below that seem like good resources. Either import faces from the following links, into a graphics editor and tweak and resize them for printing or just print them so they fill the page. These should get you started — I'm particularly fond of the first site.

A site dealing with computer-composited faces
One of what must be tons of modeling sites
Another
Another composite face.

Also, the software used by that top link is available here. If you wanted to morph a few pictures together from the net so that any trace of their origin was gone and so that they would be pretty generic, this would be a good tool. I hope to find time to do this in the next few days and I'll post a face or two here if that works out. And if you do that, let me know!

---

If anyone has suggestions or comments, I'd love to hear them — particularly improvements to the situation-word table.

Recycling old T-shirts into underwear

So after Chris gave me his blessing on the purchase of the new sewing machine, and then proceeded to hand me a large stack of mending, I've had to learn when to mend, and when not to. The jeans were all worth mending, but the T-shirt I found in the stack was not. It was full of holes along the shoulder seams, around the neck band, and occasional holes peppered the bodice as well.


It was ready for the rag pile, and fortunately it didn't take much convincing to get Chris to agree. The sheer volume of patches would have made it uncomfortable. He did ask that I keep the fabric to use as patches for other mending that needs to be done, and that seemed reasonable.

But then, I found the pattern review site, which for sewers, is pretty sweet: http://sewing.patternreview.com

And you know what I found? That folks over there took old T-shirts and turned them into underwear. Now that is clever, and is a pretty good way to recycle fabric. And everything I read suggests that briefs are pretty easy. So I settled on the highly regarded Kwik Sew 2334 pattern that everyone said was simple and quick.

I also took another step that I've never done before - I traced the pattern onto newsprint paper, rather than trying to cut out the fabric using the original pattern. Newsprint isn't ideal, as it's not very transparent, but it worked well enough:


This pattern probably is easy, but I've never worked with knits before (let alone a limp, worn-out old cotton T-shirt), nor have I ever made any sort of pants before. I'm pretty familiar with the shapes that turn into bodices or skirts or sleeves, but pants? It's a bit like when your third grade teacher showed you one of those really weird maps of the world like this one:

. . . And then claimed that it really would cover a ball. Yeah, right. ;-)

So the first step was to turn the shirt into a flat piece of fabric. First I carefully cut off the sleeves, and then cut them along their bottom seams so they would lay flat. Then I cut the shoulder seams, and removed the neckband, so that I had something like this:


This left me with the bodice, which is essentially a tube of material, with no side seams to deal with. (Excellent!) Because most of the holes peppering the T-shirt seemed to be on the front, I decided to slit the tube right up what was the front of the T-shirt, in the hopes that that would put most of the holes near the ends of the fabric, and that I could avoid them better. Cutting up the front was a happy coincidence, as I'll demonstrate later. But here it is, all spread out:

Next, I joined the sleeves together because I thought (incorrectly) that I wasn't going to have enough fabric from the bodice to cut the long thin strips of material for the leg-hole bindings. If you don't know what I'm talking about, get out a pair of briefs - look at the leg holes. See how there is a strip of fabric sewn around the opening, giving it a nice finished, and reinforced look?

Anyway, I joined the sleeves together by laying one sleeve at a 90-degree angle to the other, and sewing diagonally across them, then cutting off the corner. When you open them back up, they form a continuous strip of cloth, with a diagonal seam in it, like this:

However, when I laid out the pattern, I discovered that that had been an unnecessary step, as the bodice was plenty big enough:


That strip along the bottom, is the leg-hole binding strip. It fit remarkably well. Also, see the U-shaped cut out at the top? That's what remains of the original arm holes. Remember when I talked about the happy coincidence? Well, here it is. If I hadn't cut the shirt down the front, I might not have been able to fit the pattern pieces so well. See how the dip in the arm hole fits into the dip in the pattern? Perfect.

The next issue I had to worry about was grain and stretch. For those non-sewers out there, grain refers to the way the fabric is woven, and it's the "up and down" direction of the fabric. Stretch refers to the side-to-side direction. If you are wearing a T-shirt (though this works with most fabrics), grab the bottom hem, and the collar and gently pull your hands farther apart, and you'll see that it will stretch a bit. It has some give, but doesn't stretch far. Now grab the bottom hem in two places, maybe 8 or 12 inches apart and pull your hands apart again. See how there's lot's of stretch? The up-and-down, non-stretchy direction is the grain, and the side-to-side very stretchy direction is the appropriately-named "stretch" of the fabric. This works for both wovens and knits, though it's much more evident in knits.

Well, guess what? Briefs and T-shirts have the grain and stretch oriented in exactly the same way! Which meant that when I laid out the pattern in the only way it could fit, the grain and stretch were correct. Another happy coincidence. If I'd laid it out incorrectly, the briefs would not stretch properly, or be comfortable. They'd be more like a tight tummy-control girdle rather than stretchy comfortable underwear. For those that don't sew, all pattern pieces are marked whether they should be oriented with the grain or the stretch of the fabric, so that you'll know which way to lay out the pieces on the uncut fabric.

Now, on to the sewing. Once the pattern was laid out and cut, I got to sewing. I'm far from an experienced seamstress. I can certainly follow a pattern, and I've made a few things. But I've never worked with knits, and it took some experimentation to find the right techniques. (There are entire books devoted to sewing with knits). Using the right needle helps, as well as making sure your machine has been cleaned and oiled recently. I also had to improvise a lot - like how in the world do you keep things even when you are sewing across a piece of fabric, rather than at an edge (use the adjustable blind hem foot, that's how!). I also did almost all of my seams using a zig-zag stitch, which is nice and stretchy and stretches with the fabric nicely.

I did find one mistake in my pattern instructions, which is shown at left.

If you don't spot it yourself - it's the third diagram down on this set of instructions. It's shaded wrong. The gray shading indicates the right side of the fabric, and the white indicates the wrong side. The third little drawing down should have the briefs shaded in gray (not white), with the fly flap that's flipped over the top done in white (as it's shown).

This was the first time I've ever spotted a mistake in a pattern before, and given my inexperience with sewing pants, it was very confusing. Other than that, the Kwik Sew pattern was great to work with. The pattern was printed on white paper that's a little more substantial than the brownish tissue I'm used to in Simplicty patterns. The instructions were also nice and clear aside from the mistake.

They turned out OK, though I think I messed up the fly a little - it's rather floppy, more so than it should be (see the final picture at the end of the article). I also have a bunch of sloppy seams and other amateurish mistakes. At least one seam looks like it was sewn by a drunk. I figured out what foot to use for all the other seams, which look a lot better.

But the real problem came when I got out a pair of Chris's RTW (that's ready-to-wear, AKA "store bought" for those non-sewers out there) briefs.

Uh, oh.

I measured Chris, and he has a 42.5" waist, and according to the pattern, he should wear an extra large, which is what I made. Chris's store bought briefs are a size large (not XL), and are tiny compared to the ones I made.

Chris tried them on, and found them very comfortable due to the softer fabric that I used, and while he can wear them (I was surprised that they'd even stay up, but they do), they don't fit well. For one thing, they fit loosely, rather than snugly, which is no surprise. The leg holes also gape in the back. He's going to wear them -- he's awfully sweet about this -- but I'm definitely making a large the next time.

But in the end, we went from this:


To this:


It was a fun little project.

Make the World a Better Place

Cathy and I have been increasingly discussing how we can make the world a better place. Y'know, we're nobody...what can we do?!? Well, the answer is nothing -- at least if you don't try. So, these ideas that we come up with; what can we do with them? We need to catalog them and share them and solicit other ideas from other people. So we are. Right over here.

Please feel encouraged to stop by, read, let us know what you think, suggest ideas to us or maybe even write a guest column. :)

Darning Jeans

I got a new sewing machine just after the Labor Day holiday, and I have spent the last week learning how to mend jeans using the buttonhole foot, and a special darning stitch. I set the machine over a hole and start sewing, and it moved the fabric evenly back and forth for me. See my previous blog post about the new machine (Janome HT2008), or read about it on the Janome site.

Note: You can click on any of the photos to get a closer look.

Not all sewing machines do it automatically the way mine does, but many Janome models do, and other brands probably do as well. If you have a sewing machine, check to see if your machine does something similar, and if it doesn't, you can do it freehand (you move the fabric back and forth by hand) using a straight stitch and an actual darning foot (mine is actually the buttonhole foot). But that takes more skill and practice than the automatic darning feature.

Darning is a bit different than just patching a hole, and shows a lot less than patching does. It actually uses thread to cover a hole - almost as if you've re-woven the missing fabric out of thread. And if you do it right, it's nearly invisible. The downside is that patching might be slightly more comfortable (though we haven't found that darning the jeans is uncomfortable).

There are a few key components to darning jeans:

1. Matching the thread. You must get it as close as possible to the color of the jeans. If it's not the exact shade, getting a thread that is slightly lighter is better than if it's slightly darker. A small spool of thread costs about $2.50 USD.
   
2. Matching the patch, if using. Bigger holes (larger than .7cm) require a small piece of fabric to support the new thread. The patch should ALSO be as close to the color of the fabric as possible, and as with the thread, going ever so slightly lighter is better than going darker. An eighth of a yard of fabric rarely costs more than a dollar or two.
   
3. A washable fabric glue stick. You use it to hold the patch in place while you are darning. It costs around $3, and lasts a LONG time.
   

When patching jeans, you normally use double-sided fusible interfacing to glue the patch to the hole. You cut the interfacing around the hole so that the interfacing can't be felt from the back of the hole. It also prevents the edges of the patch or the edges of the hole from unraveling further. I didn't like using interfacing to hold the patches on, for a couple of reasons. It leaves the patch rather stiff. It wasn't really uncomfortable, but that spot never really conforms to your skin the way undamaged denim does. And when you darn across a patch, the darning also leaves the patch a little stiff - there's a LOT of thread being used. So when doing a darning job, I leave out the interfacing in the hopes that eventually the repair will eventually soften, something it won't do with interfacing. I figure the thread will prevent the unraveling well enough, and that's one less layer of stiffness to make the jeans uncomfortable.

Other, less important, but worth thinking about considerations:

1. Match the thread type with the fabric. If you are darning cotton fabric such as denim, then use an all cotton thread if possible, rather than a polyester thread. That way, as the fabric continues to fade, so too will the thread, hopefully at the same rate. However, matching the thread color is more important to me, and if I can get the exact right color, but only in a polyester thread, then I use polyester thread.
2. Match the fiber content of the patch, with the fiber content of the garment being repaired. In other words, if you are fixing cotton jeans, then use a cotton patch. This is for the same reason as #1 above. Again, matching colors is more important to me.
   

This sounds complicated, but it's really not.

I had 8 pairs of jeans to repair, and 3 of them were very faded blue jeans. I took the most damaged pair, and used the fabric to repair the other two. The rest, I took to Joanne Fabrics, and found matching threads and patching fabrics. I think the materials were about $15 to repair 5 pairs of jeans.

Then, follow these steps:

1. Cut patches for the holes. I make the patches squares or rectangles only. Cut the patch so that it extends at least 1/2 an inch past any edge of the hole. Bigger is better than smaller, because if you don't make it big enough, it's easy to catch and scrunch up the edge of the patch, making a hard lump underneath the fabric. If the diameter of the hole is less than .7 cm, I skip this step entirely. That's about the same size as the width of my pinkie finger at the tip, and is the widest the darning foot will accommodate in one pass. I also do NOT trim the frayed edges if I'm skipping the step - the fraying fabric will help support the darn.
   
2. Glue the patch behind the hole on the inside of the garment. I use a washable fabric glue stick. Avoid getting the glue on the center of the patch, where it covers the hole. Wait about 5 minutes for it to set.
3. Darn the hole using the #9 stitch (shown) and the buttonhole foot. You open out the back of the foot as far as it will go, and you do NOT pull down the buttonhole size sensor for the machine. You position the needle so it's at the lower left corner of the hole, maybe 1/2 a centimeter away from the edge. Do as many passes as you need to, to completely cover the hole and edges of the hole. When done, you can turn it 90 degrees and go over it again, if desired. If the hole is small enough to not use a patch, I try and center it just so. You can also shorten the darning pass for smaller holes.
4. Remove the jeans from the machine, and trim your threads close to the fabric surface. I then turn the jeans to the inside, and trim the edges of the patch close to where the stitching begins.
   

Not including the trip to the fabric store, the entire process takes no more than 10-15 minutes per hole. (Well, at least that's how long it took me after I figured out how to do it. The first few tries took longer). And as long as I've done a good job matching everything, the repairs are remarkably hard to see. Not invisible, but only noticeable if you are looking for the spots. I've also found that the process is more invisible on blue jeans, than on other colors of jeans. The reason is that blue jeans are made of two colors of thread in the weaving process - white in one direction, blue in the other, giving the jeans a slightly variegated appearance. That variegation does a better job hiding the repair work (Think about it, what kind of carpet shows all the dirt or crud on it - a matte style, or a speckled style?). Chris has pairs of jeans in black, brown, tan, and olive, and the threads used to weave those denims tend to all be one color. It's even MORE important to match your thread and patch colors when darning jeans that aren't the standard blue.

The step-by-step photos above document a mediocre thread- and patch-matching job. (It was because of that particular pair of jeans that I got MUCH more careful when choosing colors.) The repairs are clearly noticeable. But the poor choice turned out to be advantageous - the repairs do show up nicely in the photos. Below, are some examples where the thread matched nicely.


To put things into perspective - I put 6 pairs of Chris's jeans back into circulation. To have bought them new would have cost $35 x 6= $210. The cost of the sewing machine was $350. It hasn't quite paid for itself, but it has certainly helped. And there are cheaper machines available that can do the same thing. The cheapest machines wouldn't do this automatically, but you could still do it with a darning foot and freehand darning with a straight stitch (though that takes some practice to get right).