I’m gonna make you awesome

This week I found a very interesting short article on a story games site, in a list of tips on how to add more story gaming to your roleplay game (I’m still not sure on the difference they see between the two, but let’s leave that aside for now):

A tradition borrowed from improvisational theater, one of the central tenets to playing an ad-libbed scene is it is your core responsibility to make your fellow actors look good. If you are getting more laughs than they are, you are doing it wrong. If you are actively looking for ways to snub the other performers to make yourself look even better, then you’re doing it very wrong. Your efforts have to be about supporting the production as a whole, not just making yourself look good. It reduces the pressure of performing a lot if everyone knows they’ve got support, that they can rely on their fellow actors to catch any dumb-ass moves they make, turn it around, and make them into something fantastic instead.

So far, so good. When you play a roleplay game, you’re primarily focused on, well, playing your character, both actively and in response to the world, the npc’s and the other players. You’re definitely trying to keep the story going, but you’re not actively trying to make the other characters look good, cause that’s their job. Right?

But maybe it’s more fun if you do, and more fun if other people do it for you, as well. You may want to portray how your character’s mystical ramblings confuse people to no end, you may want to portray how your character is always there for a friend in need or you may want to portray your character as comic relief who always end up on the short side of a joke. It’d be pretty awesome if you could get a setup to show the things you as a player enjoy showing and could do the same for others.

Also, it puts the focus more coöperation. Say one player enjoys her character having strict moral values. If you actively work together to create a scene where her character catches your character doing something unlawful, you can (potentially) give exposition to both characters (‘you’ll totally get to explain why the law is so important’, ‘and you’ll totally get to express why your character is stealing in the first place’) and resolve it in the same spirit. Not reporting your fellow character to the cops might then just be a nice scene resolution instead of a grave character modification.

The article tries to set this mechanic up in a way that I don’t really like:

So engage in a round of I’m Gonna Make You Awesome before beginning play at your next tabletop roleplaying session. Go around the table and tell every player – including the GM, if there is one – what you, as a player, are going to do to make them awesome that evening. And then follow through. Maybe you are going to relentlessly hit their Flags and Keys. Maybe you are going to back up their plays like a lunatic henchman. Maybe you are going to realize an amazing moment for their character. I really have no idea what constitutes awesomeness to you and your friends, but you do, so make your commitment to them explicit and up front. As an added bonus this ought to get everyone both really excited about playing and in the mood for agreement and mutual support.

I don’t like it because it feels pretty contrived. That’s not the kind of thing that’s going to generate spontaneous cooperation. The principle is sound, but it need a better implementation. It can just be something everyone keeps in the forefront of their mind during play. But the additional problem is that I dont always know what other players are looking for specifically. In story games, maybe everyone’s traits and weaknesses are on the table, but they aren’t in a long-running campaign where character exposition is done slowly.

One solution might be to create play notes to your character for the other players. Those might convey out-of-character hints to the things you’re interested in exploring in this playthrough with this character. What could be in your play notes?

1. What’s your story?

Roleplay characters evolve during the story, both in skill and character. Some players decide what their story will be when they make their character, others only discover their story during play. When people know what story you are going for, they can contribute to it in various ways.

If my character’s story is ‘A person with a disability discovers she can be a hero’, that tells the other players their characters can, for instance, be dismissive of my character in the first part, make use of her in the second part, and acknowledge her abilities in the last part. Or they can be part of what makes this change, by seeing her abilities in the first act when others can’t and fostering that growth. Or they can stay dismissive right up to the end. They can all contribute to telling that story instead of staying neutral to it.


My story is that of a distrusting woman learning to trust in people again.
My  story is that of a coward learning to fight for what is right
My story is a coming-of-age story of a girl slowly taking on adult responsabilites

2. Which of your characteristics do you want to show?

A lot of character traits you can portray actively. Still, it can be far more establishing if other characters actively notice them, point them, or perhaps contrast them with their own traits. Other traits are harder to portray, say a character who’s stoic. His stoicism will only stand out in extreme situations, and even then it’s usually the job of the DM to point it out.

Dm: The cold weather has you all shivering and chattering your teeth, only John the Barbarian seems unaffected.
Players: We’re getting out of the damm cold

Contrast with:

Jake the Rogue: Damm, I’m freezing my balls off here, and you don’t even have your cloak on. Are you made of stone or what?
John the Barbarian: This cold is nothing compared to the things I endured during my training as a young boy.
Jake the Rogue: Really?
John the Barbarian: I clearly remember the first time we crossed the blizzard of..

The second seems more fun, right? Not only does the DM have a gazillion things to track and is usually to busy to remember your stoic superpowers, it’s also a lot more fun when your players interact with you.

It also gives player permission to remark on those things. Perhaps women make your character uneasy, but you are succesfully working hard to keep this hidden. It’ll be glaring if other characters bring it up. Even if you don’t mind, players might not bring it up unless they have a go-ahead sign. If you write it down and share it, they know they can bring it up.


I would like to portray my character’s stoicism, my positive thinking under duress, my negativity, my traditional values, my oldfashionedness, my agorafobia, my ocd, my emotional outbursts, my mysticism etc.

3. What scenes do you like to play?

Certain scenes might set your heart on fire more than others, you may need some scenes to reach the evolution needed for your story. Some scenes might just be a lot of fun. Is there any harm in letting your fellow players know what you like to play? Especially if you as a player like different things than your character does, or if you enjoy playing your character in not so flattering circumstances. Perhaps you are looking for opportunities you wouldn’t normally get.

If you let it be known you want a few scenes where your character can show how caring anf friendly she is, perhaps another player will let you bump into their character when they’re clearly in need of a shoulder to cry on. Something they wouldn’t do if you hadn’t made it clear what you were looking for. If you like to play your character as comic relief, other players might feel more free to do that when they explicitly know you enjoy it.


I enjoy scenes where my character can confound people with my mysterious one-liners
I enjoy scenes where my character can build trust with other characters
I enjoy scenes where my character can show he has a temper
I enjoy scenes where my character’s compulsive lying is found out
I enjoy scenes where my character can resolve a fight
I enjoy scenes where my character can indulge his flirtateous nature

I don’t know, I think guidelines like these might make a difference in trust and enjoyment while playing. Under the right circumstances they could (paradoxically) promote both character flexibility (‘eventhough my character is too polite to ask questions, in this scene I’ll ask about the mysterious background this player wants to talk about) and character depth.

I can also see it going wrong very badly (“I’ve already given you three opportunities to showcase your kind nature and you haven’t remarked upon my stoicism even once!”), or can see people feeling it’s too contrived and such things should happen spontaneously or just flow out of play. But i’m kind of curious what a game would be like if it was at the forefront of every game, if every thing in the game became a tool to make another character awesome.

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Let’s do it a dada

Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision.
– Salvador Dali

Nimrod mentioned a review of Itras by, a Norwegian roleplay game whose description alone is enough to fall madly in love with. The setting is a 1920’s sort of city with automobiles, industry and bowler hats, but with heavy surrealistic influences…

Beneath the veneer of normalcy there is a dark side; cannibals prey on the poor (and sometimes the rich as well), giant spiders head important government offices, and the deep catacombs beneath the streets house wonders and terrors most wish to ignore.

While pretty much anything can happen in Itras by, the surreal, dream-like nature of the city means that these things blend with normalcy. There are prides of backyard-lions (once escaped from Itra Zoo) living in the city, chain-clouds on the horizon, talking apes (some of which holds prominent positions), and a street that only exists on Fridays.

Those of us living in Fallen Londen may find the idea especially appealing.

The character making procedure features no-stats, but focuses on story points. It reminds me of Over The Edge character creation. Nice, but not especially novel. The conflict resolution system (pdf)), however, is quite interesting.

There are eight resolution-cards, ranging from Yes, and… through Yes, but only if… to No, and… The neat thing here is that if you decide to draw a card, another player, or the GM – your choice – draws the card, and decides what happens based on the draw.

An example of a succes:

Yes, but only if… You can get what you want – but only if you choose to make a certain sacrifice. Describe how the character realizes that a sacrifice is necessary to achieve his aims.

An example of a failure:

You need help. You end up understanding you need the help of someone not currently in the scene to achieve this. Describe how the character’s attempt is botched, and suggest his realization that he needs help, maybe even whose help is needed.

Pretty cool, right? Instead of just flat results, skill and other conflict checks become just another opportunity to expand the story. A fail may mean you experience a complication in your story, a success may open up new story venues for you. It’s similar to the fudge dice system we’d like to use (successes, neutrals, failures), but with a little more push to dive into the story side of things.

Having another player describe how this resolution plays out is also interesting. I really love the idea of coöperative DMing or storytelling but would it work well in practice?

Also, there’s chance cards (pdf) to spice the game up every once in a while, add inspiration or a surrealist vibe, though it’s not explained how and when you play them. Cards might say

Flashback. Play a scene that has occurred in the past where your character is right now. The player who pulls the card sets the scene and distributes NPCs for the other players to control.


Stare not into darkness Your character feels an irresistible urge to do something he will regret. Do it!


Slow motion. This scene is played in slow motion. All players must speak calmly, using slow, tempered movements. Since it’s slow-mo, you’ll notice a lot of details which would otherwise pass unseen. Any player may at any time interrupt the scene to describe a seemingly inconsequential detail. Afterwards, every player around the table must add another detail before the scene may continue.

And so on. The more I read of it, the more interesting it sounds. Unfortunately, the actual book is only translated into other Scandanavian languages we are unable to comprehend. So, a few years of waiting is in order until some brave bilingual soul out there decides he needs an obscure translation project in order to find life fulfillment. Come on, brave soul!

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Cutesy Mass Effect story

The Bioware Blog has a weekly profile of a Staff member, quizzing them on their geeky tendencies and such. This week’s profile had a nice Mass Effect anecdote (a funny Red Dead Redemption one as well, but I haven’t played that yet ;):

Favorite BioWare moment Game related/thing you are most proud of at BioWare:

“When Mass Effect 2 shipped, someone got hold of a store copy had broken the street date by a day. He was broadcasting his playthrough online, and a bunch of people were watching him and commenting in a little chat room attached to his video stream. He was doing a serious Renegade Shepard playthrough — every Renegade option, every time — and people were cheering as he shot half the characters and generally took the most Renegade option on every mission.

And then he got to Tali’s loyalty mission. When the big reveal came, and Tali begged Shepard not to turn over the evidence that would exonerate her but brand her father a war criminal, the chat room went crazy. Everyone started saying, “Wait, dude, don’t do it! Hang on, man, be cool, you can’t do that to her!” The guy gets to the trial, hits the dialog option, and as the chat room goes crazy with people yelling for him not to do it, he pauses and then types: “I don’t know what to do, guys. I don’t want to hurt Tali.”

He was enjoying having his Shepard be the most ruthless Renegade possible, as was everyone watching. At that moment, all of us who had worked on Tali’s loyalty mission — the writers and editors, the cinematic and level designers, the character artists, the VO team and fantastic voice actress Liz Sroka — we created an experience that made this person care about the character enough to modify his playing style. Creating ways for players to maybe be emotionally hooked like that… that’s what gets me out of bed every morning.”

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Solo RPG adventures

After Conception, we’re always full of roleplay fervor. I went scouring on the internet to see if I could find the RPG version of Boardgamegeek; wouldn’t it be cool to have a huge site like that only for roleplay games, with subforums for every system, DM-only threads to exchange stories and advice and bitching about players, players sharing diaries, and advice and also bitching… All of the roleplaying world flocking to this great big site of likeminded geeks.

Costumes optional, but encouraged!

Turns out, there is no such thing. There’s a few small sites where D&D addicts bicker about rule interpretations. There’s a lot of forums that have roleplay threads where you actually do your roleplaying in the forum. There’s all kind of splinter stuff, but few of it interesting and nothing approaching a Grand Unified Theory of Gaming. Well you know what I mean.

I did find some nice blogs, the first of which was the RPG Solitaire Challenge. A competition to make roleplay games that you can play on your own.

When talking about a role playing game, it’s a bit problematic to think about playing one alone. With war games it is commonly done, not rp. How can one play a role if there is no one else there to witness and respond to it in kind? But playing a role is not impossible alone. And it is not the only element of role playing games. There are many other things which make up this kind of fictional play, that are equally as integral and pleasurable.

Interesting, right? The competition entries mostly turn out as solo dice games or story building games. Dice gaming and writing a novel are not my idea of fun roleplay. The fun of roleplay is still very much in the fact that someone/something responds in kind. That’s why I liked the Choose your own adventure entry. You need to print out the entire file (2 digital pages on one paper page works nicely) in order to play. It asks you not only to make choices but also fill in the story with drawings, additions, quotes, letter contents. But then the story still continues the way it was written. There’s a feeling of interaction that I enjoyed.

An example from the game (spoilers below!): At one point you get a small description of the town you’re visiting, along with an assigment

As you neared the town, you saw its skyline. Ancient spires towered above cobbled streets, antique and timeless. Sketch this skyline briefly.

So I do. I draw small cottage shapes, tall spire shapes and, for the hell of it, a big building that looks like a traffic cone in profile.

Imagine my happy suprise when the next page starts with

What, however, most caught your eye? Was it the highest spire (6), the hidden streets (7) or a strangely-shaped building (8)?

How cool! I’m getting a good illusion of interaction here. I play on in the story, adding my own story to it. For a while, my story and the hardwired story really work well together. I put a twist on the tale, and turn the monster that has been stalking me into a monster ‘that eats my regrets’. It seems the game supports this move, since it nexts asks if the monster’s nature terrifies or comforts me. I explain that it comforts me, and the game goes on to ask me about memories of the past, that I turn into memories of regret. Turning this monster story into a pensive reflection on the tragedy of human being. Twang!

Unfortunately, near the end the story assumes the monster can only be malevolent. I escape, but it goes on to hunt others. That’s when I felt my story started chafing against the reigns a bit. On the upside, I got to draw my monster.

You're probably behind the couch cowering in fear right now!

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Dragon Age

Obsession of the week, eh? More like the year. I started playing Dragon Age fairly soon after it came out but quickly realised playing it to completion would mean failing my last year of classes, so I relucantly shelfed it. Until august when I finally got to play  the best RPG in a fairly long time (I’m dissing you, Mass Effect!). After reaching the game’s epic conclusion, I just couldn’t let it go. The only way to make room in my head for other important things was to spew forth this cathartic spoilerous mass of words about Dragon Age. So here we are. Spoilers, ho!

One of the best things about Dragonage was it made you want to roleplay it. Though your character only has a set amount of reply options and only a few ways to deal with moral dilemma’s, there’s still enough room to create your own character concept and to play it consistently throughout the game. Almost everyone I spoke to has done this while playing, and I think more so than with other RPG’s.

I made a human noble and ended up with a very pretty, dainty looking avatar, unnervingly so. She looked very highborn, pretty much the polar opposite of the burly gore-covered Wardens. I hadn’t intended to play her in a specific way, but now it was clear to me that she was a true noble: refined, spoiled, uneducated about the real world, good with etiquette, polite to a fault, innately good but with no ambition to save the world. Ladylike, definitely not a tomboy.

Noble blood, inside and out!

In the prologue my character concept was chafing at the reigns a bit. The first scene my dad and his good friend Arl Howe told me that they were going off to war and that I couldn’t come like I undoubtedly wanted to, and that this Warden was in the castle and that I couldn’t join him either like I wanted to as well. Am I adopted?

Me, my dad, and the two biggest dicks in the game

I was pretty happy for them to go off to war while I made floral arrangements in the castle and had secret liasons with other nobles and/or their servants. Anyhow, I was able to give the least enthusiastic reply and be done with it. Coincidentally, I was super nice to Arl Howe which made him shift uncomfortably. I even offered to meet his son who was looking for a nice girl to get married off to. He actually looked guilty for destroying my family and home the same evening, lethally interrupting my evening’s nude entertainment.

I spent a while fighting my way through the castle, ending up at the feet of my dying father in a room about to be overwhelmed by enemy soldiers. Conveniently, Duncan arrives and promises my dad to get me to safety, but only if I join the Wardens. “But I don’t want to,” I say. If I can’t make pretty things and secude nobles in this castle, I’ll do it in some other one thank you very much. My blood-soaked father begs me to join the Wardens. Gah, emotional blackmail! I can’t help but point out that this really doesn’t feel right for me, so Duncan uses the right of conscription. For the rest of the adventure my character thought Duncan was a HUGE, HUGE dick.

Yeah, my hero and savior... I hope he chokes on his beard

So me and my evil stepdad travel to Ostagar and meet the king and my new thieving and raping co-recruits who turn out to be fairly nice, so hey, this isn’t so bad, right? And there’s this Alistair guy who who’s funny and I needed a laugh what with my family getting killed by my ex-future-father-in-law and my getting kidnapped by crazy end-justify-the-means beardy man. Even adventuring isn’t so bad since I have a bow and can stay miles away from the baddies.

Then we do the joining ritual. My rapist buddy drinks from the cup and dies instantly. My thieving buddy gets cold feet and refuses to drink so Duncan beheads him. Dude, all he needed was a time out and some strong liquor! Did I mention Duncan is a HUGE dick? Still, I like my head where it is, so I drink from the cup and don’t die. Yay?

At the battle of Ostagar, Alistair and me turn out to work well together and Duncan dies, definite yay! Unfortunately we lose the war and are nursed back to health by Morrigan who insists on coming with us. I don’t like the floozy one bit but I’m very nice and polite anyway because that’s what I do. After that, we head on to the mage tower because I know I can pick up a healer there.

Enter the two themes that Dragonage wants you to make up your mind about: Magic and Religion. Those are fun because you get to voice your own opinion at every occasion without falling into the saint Theresa/babykiller spectrum. My character is very accepting of magic, siding with the mages and sparing evil mages’ lives. This changes when she runs into a group of four blood mages with thugs in a rundown house in Denerim. After hours of frustrating reloads, my character decides magic is just too dangerous, and leaves a bloody trail of mage corpses behind her for the rest of the story.

Anyhow, mage tower. I meet Wynne and instantly like her, except for the constant complaining about how old she is when she clearly has the body of a 20 year old. Wynne is great. When you talk to her in camp she takes the classic pc-npc relation for a spin by asking YOU about YOUR background, giving you a great opportunity to play your character, and becoming an advisor of sorts. A very cute way of building a relationship and showing why it’s different from your other npc relationships.

So we destroy the demons, I let the mages have their tower and we go off to greener pastures. I get attacked by a fairly incapable gigolo assassin. Of course I spare his life. Killing him wouldn’t be very nice and my party needs more DPS. Though his randy adventures are amusing, we never really build up a bond of any kind, even though he’s the only one to stick with me after the end *eerie foreshadowing*.

We go to Redcliffe and run into Liliana and her little lisp who I thought was fairly annoying but she does bring in the religion side of things, culminating in finding Andraste’s Sacret Ashes. You get a lot of freedom to abandon or embrace religion (even more so if you’re a dwarf). My character was a bit religious but mostly respectful of other people’s religions and so got along with everyone.

The ashes allow me to heal uncle Eamon and get to Alistair exposition-ville, so now we can get into why Alistair is so cool. For starters, think back to other Bioware male npc romances, a disproportionate number of which featured Paladins or paladin-wannabe’s. Knights in shining armor, baby! Except they weren’t, they were either boring or total dicks:

  • Ajantis (BG I) boring and a dick,
  • Anomen (Baldur’s gate II, the only choice for a female pc!) – total dick.
  • Kaiden (Mass Effect, boring!),
  • Carth (Knights of the old republic) – boring.

The non-paladin choices (Jade Empire’s Sky, Baldur’s gate’s Coran and Xan) were better, but they still weren’t the kind of characters you got attached to, or stories you were touched by. You just play along because, hey, who wants to play a character that can’t even get laid?

With the previous NPC romances, you often had to play the part of the nice girl, affirming their beliefs, encouraging their convictions, giving compliments whenever possible (worst example being Persona 3, where you actively had to encourage people to sink further into their disfunctions in order to become friends with them). Often it meant picking the most boring answer from your choice of options, hidden between tantalizing insults and sarcastic remarks that would end your romance instantly. With Alistair, no such thing. He actually liked it if you cracked a joke at his expense every once in a while. Sure, he worshipped Duncan as a demigod, but my character was too polite to complain about the dickish dead. And besides, being able to poke fun at someone goes a long way.

Alistair was well written, had an actual personality (admittedly voice acting gives it an additional advantage over BG1&II), and allowed for really cool interaction. What makes interaction really cool? Basically, stuff you wouldn’t expect. Exceptionally good, original, dialogue is part of that, as are the small touches. In Jade Empire at the eve of war, Sky would refer back to an answer I picked out of a list of options about four hours or gameplay ago, and explained how that answer affected him. It’s a simple trick but I found it was very touching.

With Alistair this kind of specialized interactivity happened in the sense that you get to make a fair few decisions about Alistair’s fate – once again decisions that aren’t right or wrong but that you can motivate from your own character’s point of view. I was utterly smitten with Alistair from the start, so my character’s motivation was (uncharacteristically for a PC) to please him. I waited an excruciatingly long time for him to initiate bedding (because doing it myself had bad results), I didn’t make him king because he didn’t want to be king (and because he would be a horrible one anyway), and I didn’t make him do the nasty things Morrigan wanted him to do because it was the last thing he wanted to do. It was a nice touch of irony  that all this protecting got him killed in the end.

I figured I could sacrifice myself heroically, I’m always up for a good heroic sacrifice. But since Alistair was my only tank I had to take him along and he won the race to self-sacrifice. Which was, again, pretty touching. Afterwards I had to sit through oodles of cutscenes showing how great our victory was and the Alistair-shaped hole in the background made the ending wonderfully bittersweet.

But I’m getting ahead of myself, forgetting to mention the coolest parts in the game. My prime motivation throughout the whole game (you get plenty of opportunity to declare this to your party members and others) was taking revenge on Arl Howe for killing my family. Bloody optional but appreciated. Very near the end of the game the story brings me to Castle Howe and I enjoy myself immensely killing every soldier around before finally getting to the main prize. Howe calls you out, and is haughty and arrogant even after you shoot him through the throat with the special arrow with the rusty end you’ve been saving just for him. It wasn’t Inigo Montoya but it was good vengeance, and this satisfied me more than any Archdemon trophy on my bedroom wall.

My character had started off sweet, polite and kindhearted but had hardened a fair bit along the way, declaring war on blood mages and fostering a maddening desire for vengeance. We took to the Landsmeet and convinced the Bannorn (in a spectacular ‘every persuade roll should be like this’ way) to support me over the reasonable evil Loghain (yes, you read that right. Most reasonable evil villan ever. How awesome and still plenty scary) and he challenged me (or rather my Champion – guess who that was) to a duel.

As Alistair was fighting him, I made up my mind about yet another thing the game wants to you to decide: Loghain could not be permitted to live. Alistair defeated him and I expected a little talk to pop up where (as usual) everyone important goes “Well, what should we do?” and then expectantly looks to you with big doe eyes. Except they didn’t. There was a scared silence, Alistair exchanged a look of agreement with my character and in one mighty blow beheaded Loghain. Which is a set outcome for fightingthat duel with Alistair, but I didn’t know that. All I knew was that ALISTAIR HAD READ MY MIND.

Which was the most immersive, “Fourth wall? What wall?” moment I can recall from a lifetime of computer games. Oh, I’ve cried about them, had nightmares about them, sacrificed my social life to them. But I never wondered whether the game was reading my mind. Which is why Dragon Age is awesome.

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My new obsession: The last supper

The Last Supper is the name of a famous mural made by Leonardo Da Vinci. It represents the final meal where Jesus tells his apostles1 one of them will betray him. (For the details of the Last Supper, see the appropriate Jesus Christ Superstar scene – it may not be  the most accurate version out there, but it’s a musical version, doesn’t that make it canon?2 ).

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Mja, het internet is toch raar. Het is leuk om websites te ontwerpen, te maken, te programmeren en te schrijven, maar in een vlaag van doemdenken realiseer je je al snel dat je niks betekent.

Mocht een meteoor op onze aarde afketsen en een wereldramp veroorzaken, en de overlevende mensheid de maatschappij vanaf de grond moet opbouwen… Dan heb je er niks aan je geneste div’s en je omgekeerde pyramide.

Dan wil je loodgieters, dokters, hutjesbouwers en irrigatie-experts. Geen webdesign prutsers die je vertellen dat je hutje niet gebouwd is volgens geldende usability-guidelines (“78% van de gebruikers verwachten hun tentflap linksvoor te vinden, meneer de ingenieur”).

Het is toch vreemd dat de ene wereldhelft zich fulltime bezig houdt met proberen te overleven, en de andere helft geboeid youtube videos kijkt van mensen die tegen een paaltje oprijden of menthos-rolletjes in cola-flessen stoppen?

Dat denk ik soms.

Soms denk ik “Hey, cool filmpje!”.

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