Podcasts about Wonderbook

Saudações, telegramers. Mais um minipod no ar! No programa de hoje, confira alguns retcons de sucesso, como “Dragon Ball Z” e “Battlestar Gallactica”; acompanhe um debate (filosófico, eu diria) sobre o caráter atemporal da literatura; explore os segredos do livro  “Wonderbook”, de Jeff Vandermeer, uma espécie de manual de escrita criativa; assista ao TrailerOffice de “Gladiador II”; e se prepare para participar da Bienal Internacional do Livro de São Paulo, no dia 15 de setembro. 

¡Bienvenidos a un nuevo Sobre Ruedas! Con despedida ya caducada al no-extinto Más Madera, hablamos de Revive, Bonfire, Principes de Florencia, Wonderbook y demás desvaríos en apenas media horita. ¡Al lio!

Logan and Griffin sit down and discuss Wonderbook by Jeff Vandermeer and how it applies to worldbuilding for gamers. We also give a shoutout to Inkwell Ides and their many, amazing,  tools for worldbuilding!  Wonderbook: https://wonderbooknow.com/ Inkwell Ideas: https://inkwellideas.com/ Want to join the conversation? Join us on Discord: https://discord.gg/gPVH7a9  We are also affiliates with Metallic Dice Games: Follow this link: https://metallicdicegames.com/ref/2478/ and enter the promo code STORYTOLD10 to receive 10% off your order! To help support the show, share it, or rate and review on your podcast service of choice. To support us financially, please donate on Patreon: https://www.patreon.com/thestorytold Website: https://www.thestorytoldpodcast.com Instagram: @thestorytoldpodcast Twitter: @storytoldpod Email: thestorytoldpodcast@gmail.com Twitch: https://www.twitch.tv/thestorytoldpodcast   Follow Fools Moon Entertainment across social media in the links below:   Instagram: @foolsmoonentertain Twitter: @foolsmoonei Facebook: https://www.facebook.com/foolsmoonentertainment/   Our music is composed by James Horan. To contact him regarding composition, send him an email: jhoran99@optonline.net

As we continue on with our Craft-minded series, Write-minded is honored to have Jeff VanderMeer speaking about imagination and how to mine the depths of your imagination to make yourself a better writer. Jeff's classic craft book, Wonderbook, is written for the “imaginative fiction writer” rather than the “realistic fiction writer,” so we're taking a dive into imagination, into creativity. This is an episode about keeping an open mind and having fun, which is the kind of energy anyone who's going into NaNoWriMo next month needs to cultivate. So come on the journey with us. We have your supplies all ready for you! Learn more about your ad choices. Visit megaphone.fm/adchoices

AudioFile's Robin Whitten and host Jo Reed discuss a new initiative to help I'm Your Neighbor Books grow their signature project, The Welcoming Library. The Welcoming Library is a touring collection of 30 picture books that connects readers with stories of immigrant families. Robin and Jo discuss the need for incorporating authentically-voiced audiobooks into the collection, and how Playaway's Wonderbook editions allow for seamless reading and listening experiences. AudioFile is proud to support this important community project, and we invite you to support it, too. Learn more about AudioFile's collaboration with I'm Your Neighbor Books. Find more audiobook recommendations at audiofilemagazine.com Today's episode is sponsored by Naxos AudioBooks. In Moscow an unknown author approaches a publisher, asking him to read and publish his manuscript. The narrator agrees to read it before the author returns three months later. At the heart of the story in the manuscript is a love triangle and themes of corruption, concealed love and fatal jealousy. When one of the central characters is discovered dead, the narrative becomes a murder-mystery as the search for the culprit begins. Written by Chekhov in his early twenties, The Shooting Party is his only full-length novel. It is read by the prolific and popular narrator Nicholas Boulton. To learn more, visit NaxosAudioBooks.com Learn more about your ad choices. Visit megaphone.fm/adchoices

1 Spiel, 2 Blickwinkel 3 sig Minuten maximal - das ist Fux & Bär: Ist das gut oder kann das weg? Dieses Mal mit: Wonderbook von Abacussspiele

Cultisti! Altro episodio, altro viaggio nella grande landa dei giochi e delle avventure con il vostro fuoristrada quattro ruote motrici targato DBC. Naturalmente le ruote motrici siamo noi: Chef, Doc B, il Duca e Jack. Il fuoristrada sono le onde sonore emesse dal vostro device di fiducia, mentre i visitatori della landa misteriosa siete proprio voi, amici ascoltatori. Il quadro è completo, il piede è sul gas (poco che costa un botto), la marcia è ingranata su “DISAGIO”. Siamo prontiiiiii. Avel. Wonderbook. Bloc by Bloc. Via!Buon ascolto e come sempre… Aiutiamo chi è in difficoltà con una donazione. È importante.

Ciao! Ti do il benvenuto su Ti racconto le cronache, il podcast che porta direttamente alle tue orecchie gli articoli di Fustella Rotante il network indipendente di giochi da tavolo e dintorni.Io sono la Sab e oggi ti racconto di:Wonder Book Un Mondo Pop-Up - Anteprimahttps://www.fustellarotante.it/wonder-book-un-mondo-pop-up-anteprima/Scopriamo Wonder Book, un gioco d'avventura su di un libro Pop-up che ne sfrutta la tridimensionalità. Un'idea di DV Giochi.Acquista Wonder Book su DungeonDice tramite il nostro referral per aiutare Fustella Rotante https://www.dungeondice.it/25654-wonder-book-promo-preordine.html?dda=2263184B0Music content on this podcast is licensed under a Creative Commons Attribution 4.0 International license. https://creativecommons.org/licenses/by/4.0/

Join Mark Cecil, a.k.a. The Thoughtful Bro, as he dives deep into the world of speculative fiction with legendary fantasy author Jeff VanderMeer, author of The Southern Reach Trilogy, WONDERBOOK, A PECULIAR PERIL, HUMMINGBIRD SALAMANDER, and so many more. Hosted by Trisha Blanchet

We Make Books is a podcast for writers and publishers, by writers and publishers and we want to hear from our listeners! Hit us up on our social media, linked below, and send us your questions, comments, and concerns for us to address in future episodes. We hope you enjoy We Make Books! Twitter: @WMBCast  |  @KindofKaelyn  |  @BittyBittyZap Instagram: @WMBCast  Patreon.com/WMBCast   Links for this episode: Worldbuilding for Masochists Podcast Dungeons & Dragons Dungeon Master's Guide Wonderbook by Jeff Vandermeer Episode Transcript (by TK @_torkz) [Upbeat Ukulele Intro Music] This is We Make Books, a podcast about writing publishing and everything in between. Rekka is a published Science Fiction and Fantasy author, and Kaelyn is a professional genre fiction editor. Together, they'll tackle the things you never knew you never knew about getting a book from concept to finished product, with explanations, examples, and a lot of laughter. Get your moleskin notebook ready. It's time for We Make Books. We Make Books Ep. 60 Transcription   After intro: [00:26]   Rekka: She was tuuckered out yesterday. I was tuckered out yesterday. [laughing] The trainer had us running around a field and it was the first time I had done any real, like, quick movements, certainly out in the sun on an 80 degree day, when I had forgotten water for both me and Evie, and the trainer only said “oh I have some in the car,” she only gave it to Evie, she didn’t give me any. But she’s like “jump around! Be active! Be real animated!” And I’m like ohh my goodness, do you not realize, that this is me animated.   [both laughing]   Rekka: So I was like, how about I lay down and pretend to be a dead squirrel, dogs love dead squirrels. [laughing]   Kaelyn: [laughing] Aww.   R: So we were all tired yesterday. So today, we are talking about worldbuilding.   K: We are.   R: We are. We are talking about mostly not overdoing your worldbuilding.   K: And because it’s me, we’re certainly going to be talking about some of the elements of worldbuilding as well. Worldbuilding is the process of creating, constructing, and coming up with the rules for an imaginary world, or sometimes an entire fictional universe. There’s a lot of elements that go into this - interesting fact that I found while doing some research for this: the first time “worldbuilding” was used was actually in 1820.   R: The term, or..?   K: The term “worldbuilding” was first used in 1820 in the Edinburgh Review.   R: Okay.    K: Fiction has existed in one form or another all through the course of humanity, obviously, you know, as we got into more recent centuries, literature became a little more organized? I guess? For lack of a better term.   R: So that’s the first time it appeared in print as far as we know, in English, and presumably someone would have said it aloud and said “hey that sounds pretty good.” K: Yeah, you know what, I have to - I’ll try to dig up the article because I am curious but, the Edinburgh Review was, of course, just reviewing published stories and literature and reviews of different things. So the term really gained a lot of traction in the early 1900s when we saw a lot of science fiction and fantasy writing. A really good example, actually of thorough worldbuilding based off of existing history, would probably be Huxley’s Brave New World, and I think that was 1932, I believe.    K: Regardless of where your story is set, what time it’s set, how much you’re using and building off existing human history, or if this takes place in a galaxy far, far away, there’s certain elements you have to have in worldbuilding. One of the good places to start is geography. If it’s Earth: you’re done. No problem. [laughing] You have established that the world is Earth.   R: But do you? Do you even say [laughing] that you are writing a story on Earth, if you are on Earth?    K: You name a place that the reader would presumably have context for. If, you know, the story is set in Delhi, India then yes we’re on Earth. Tokyo, places we’ve heard of.   R: So in fair Verona, on planet Earth where we lay our scene.   K [laughing]: On planet Earth, yes, Shakespeare did always make sure to specify that.   R: That’s what I was kinda saying is that -   K: Yeah.   R: - because of context, because of cultural understanding, some books, current for the audience they were intended for, are going to need less explanation of the setting than others.   K: Yeah, now the other component of geography then, especially if you’re writing a fantasy or a science fiction story, there’s probably some hidden world elements in there. It may not be a hidden world story, but there’s probably some things that regular people don’t see, or some locations that you have to create. So that’s part of establishing your geography.   R: Hidden or invented?   K: Well, invented and hidden.   R: I’m just making you define your definitions.   K [laughing]: Okay.   R: When you say hidden, do you mean literally, like underground caverns? Or do you just -   K: Could be! R: - mean secret societies -   K: It could be any of those. For secret society, we’d be talking about the place that the secret society meets. In some cases, this could be established places that you’re repurposing for your story, but you still need to establish the geography of what these are and where these are.   R: The Mall of America.   K: Exactly.   R: Where my cabal meets every Sunday.   K: Wait, that’s where I’m hiding my Deathstar.   R: It’s a big mall.   K: It is a big mall. Yeah.   R [overlapping]: You could do both things.   K: So [laughing] geography is just a good way to get yourself grounded of where things are especially in relation to each other and that’s very important if your story is set on the road. Because otherwise we start ending up with some Game of Thrones style jetpack -   R: You mean like fast travel? [laughing]   K: Yeah, there were some characters that the running joke was like, for them to have gotten from place A to place B in that amount of time they must have some secret Game of Thrones jetpack that they’re [laughing] doing this with.   R: Well, then you need fossil fuels.   K: Yeah, or dragons.   R: This really - well, yeah, how about you just hop on a dragon! Turns out, everybody was riding dragons in these books -   K [laughing]: Yeah.   R: - it’s just that some people made a bigger fuss about it than others.   K: [laughing]   R: We all ride dragons! All the time! You’re not that cool.   K: So geography is a good way to get your story grounded, so to speak. Now if you’re building one from the ground up—a world, that is—you may not know exactly where everything is when you start writing, and that’s okay. But having a rough idea is very helpful, especially - as I said - if your characters are going to be traveling from place to place because knowing how long it should take them to get from place to place is critical to the story.   R: Yeah, I was just gonna say this is a very story critical element, not just -   K: Yeah.   R: - the setting, some stories could happen almost anywhere, and the setting is not 100% ingrained in the story.    K: Yes, and geography then also plays into one of the other major elements of worldbuilding, which is culture. So where your characters live and what their setting and environment looks like, is really going to affect what type of people they are. But if you have an entire village set on a rocky island in a stormy area in the middle of nowhere isolated from the rest of the people of this kingdom, and those people aren’t good with boats, that’s probably a problem.   [Both laughing]   R: Well, it depends how rough the water is, maybe the water is an actual obstacle.   K: Well, see? And there you go.   R: [laughing]   K: Because the geography there comes into play, because maybe this is an isolated group that never gets off this island because the water is too rough.   R: Maybe the water’s frozen!   K: Maybe the water’s frozen!   R: [giggles]   K: This is going to feed into their culture and what these people are like. This isn’t just culture based on their surroundings though, you have to establish everything about culture which is: their past, their current social structure, religious elements, what do they eat, what do people do there for a living, are they part of a greater entity and if so, what is their contribution to this greater entity.   R: I feel like now would be a good time to make a nod to the podcast Worldbuilding for Masochists.   K: Yes! Yes. [laughing]   R: Which, if you haven’t heard it, goes episode by episode just taking one aspect, and for a while there the hosts were actually building a world with no intention of writing for it, just literally like “okay what’s another thing to consider about this world?” and each host was handling a certain element or a certain region and it’s good evidence of how you can worldbuild and never ever ever get to your story. Because as Kaelyn’s outlining, there’s a lot to go into a finely detailed world for your narrative story, so this way trouble lies -   K: [laughing]   R: - if you are on deadline, for example. [laughing]   K: And there’s a good example of this: Tolkien.   R: Mhm.   K: Tolkien wrote a lot of his books because he was a linguist and he came up with all of these languages and then created history around the languages - because languages are intrinsically linked to history - and then developed this very rich, millenia-long history of Middle Earth, and then he wrote a story set well after he’d actually established all of these things. So he spent a lot of time creating a world and this history to not tell stories that were necessarily set in that, but to tell stories that were a product of everything that he had created.    R: But for this later world that he writes his setting into, the history he created is their history and you can tell.   K [overlapping]: It’s very important to the story as well, yes. If you’ve ever read the Lord of the Rings trilogy, you will know that there is an exhaustive amount of time spent with characters having conversations in different languages, and that’s because this is what Tolkien was all about.   R: That's what he really wanted to write. [chuckles]   K: Yeah, he was very into creating languages. And that, by the way, is why people can learn Elvish, because it’s an actual language with an alphabet - so to speak, if you want to call it that - grammatical rules, syntax, all of the things that need to be there to create a language.   K: But anyway, so culture elements are important because, especially if you are creating a brand new world, if you’re fabricating or you’re building from nothing, you have to have a world that these people live in. You can’t just take a group of people, plop them down, and say: “and then one day a dragon came!” Because we have no context then for: is this a good thing? are they happy the dragon’s there, or did the dragon come to eat them? Is this a frequent problem, are dragons kind of like rats, do they just pop up every now and then and you’ve gotta deal with it? Do they have methods for this? If the dragon eats all of them, is that the end of the story, or what happens to the dragons? [laughing]   R: Was the dragon prophesied? Have they been anticipating their arrival or -   K: Exactly.   R: - was it a surprise? [laughing] like surprise dragons.   K [laughing]: A surprise dragon! The best kind of dragon.   [both laughing]   K: So, establishing the culture, apart from being good for worldbuilding, helps a writer figure out how characters would react or act based on certain events. Leading in from culture, next I would say is cosmology. And I’m gonna put this in two different perspectives here: the science fiction and the fantasy. For science fiction, you gotta establish what’s up there.   R: [giggles]   K: Stars and planets and who lives on what and how fast can you get to them, what's the gravity like, what’s the air situation like, are they all just the planet Venus which is incredibly toxic, or are they all just Saturn and we don’t really know what they’re made up of? [laughing] For worldbuilding and science fiction, that’s very important especially if your story is set in space. And you still, by the way, can absolutely have science fiction set on Earth, in which case the cosmology is ours. And that’s fine, just establish that. But anytime you’re involving space marines, aliens, wormhole travel, you gotta establish, not just Earth, but everything else that we’re interacting with.   K: So then on the fantasy side, it’s a little bit more metaphysical. This kind of leads into the culture aspect. We need to know you know, on this planet - or setting or town or wherever it is - how do these people think about their place in the universe?   R: Is it the center of the universe? Do they have awareness of other life sustaining planets? Do they understand that there are planets or is it just sparkly things in the sky?   K: Are they the dominant species? Is there another one that’s equivalent to them? But also how do they see themselves in the world? Are they a chosen people of a deity that put them there? Are they the rejected children of an angry god? Did they just accept that they evolved from whatever was swimming around in the primordial ooze and now that’s -    [both laughing]   K: - that’s where they are? A lot of times in fantasy, there’s beings of varying degrees of power and there’s frequently like a hierarchy of these and now, granted, some of them - they may be all the same species and some of them are just more powerful than others.   R: Mhm.   K: But typically when you involve magic there’s an otherworldliness to it; the magic is coming from somewhere, so that’s something that needs to be addressed in the cosmological metaphysical scale, if you will.   R: Okay.   K: So then that bleeds into the fourth one, which is physics.   R: You know what, just throw physics out the window, it’s very optional.   K: Well, ‘cause you gotta decide: are you sticking to real world physics? If so, what are you gonna do when you need to invent things, are you gonna try to apply the rules that we theoretically would apply to these things? Or are you just gonna kind of make up like, “yes and we’ve invented a way to take dark matter and make it into energy.” Don’t do that unless you can really back that up. [laughing]   R: Hey, lots of people try. The other thing is, if you can find out the largest argument against doing that, like if other people have tried it in their books and real world physicists have offered their criticism of the method, then you have a scene where one character says: “how did you solve the such and such quandary?”   K: Yes.   R: And you invent a method, give it a name but do not explain it, and just hand wave the heck out of it.   K: Yeah, so how much are you gonna stick to real world physics, and how much is gonna be magic? And obviously magic tends to dabble more into the fantasy side, but you can still apply physics to this. You still have Newton’s primary laws involved there, you know an object in motion tends to stay in motion, okay so a spell that’s already cast tends to continue to be cast -   [both laughing]   K: Maybe you get a little more into a Fullmetal Alchemist with the equal exchange principal, which by the way, is also rooted in physics: matter cannot be created or destroyed.   R: Right.   K: That, though, ties into cosmology frequently which is: where is the magic coming from?   R: Mhm.   K: All of these things that I’ve talked about here, these are how you are going to establish your “rules” of this world. Be they geography, travel, physics, magic, society and culture - this is how you have to set these up in order to place your characters in a setting that makes sense.   R: Okay. Would you say that concludes the definition?   K: Well I would say those are my four elements that I would highlight.   R: Okay.   K: There’s definitely more, and like, subelements within those but I think those are always a good place to start.   R: Okay. So this episode topic was proposed to us as: how do you create worldbuilding that doesn't trap you in both rules and details? So now that you’ve just told people to invent everything -   K [overlapping]: [laughing]   R: - from the Big Bang to the point of your story, how do you make sure you don't?   K: I’m assuming in this scenario we’re talking about multiple books or short stories set in the same world.   R: Why does it have to be multiple?   K: Because, if you are building a world and worried about trapping yourself, you would be able to write your way out of it if it was one book.   R: You think.   K: I think, yes.   R: My answer to this is don’t put all the details in the book.   K: Yeah, absolutely.   R: Understand your rules and understand your basic principles, but don’t reference them in the book because that does then therefore hold you accountable when you get readers who are so enthusiastic about the world you’ve created that they start to write these things down.   K: Writing yourself into a corner with world building - I’m not saying this to be critical of anyone’s writing style, but this is why planning is important. There are certain things that you kind of just need to know are gonna happen in the story in order to construct the world properly. If you get too far into it, you keep adding too much backstory, too much history of the characters, you’re gonna start to run into situations where - like Rekka was saying - there’s contradictions. When you really start to have problems with writing yourself into a corner is when your stories and characters get large enough that they have to keep expanding, that you’ve gone on and on and on in this world for a while.    K: George R.R. Martin has fans who are sort of archivists for him, that he will send them the books or novellas or even like preview chapters, to check against what he’s already written to make sure he’s not contradicting himself in any way. He let them write The World of Ice and Fire book, that was written by just fans of the series that were documenting all of this stuff, so they worked in conjunction with Martin on this, and even with that, he still - things still slip in those books. The scale and sprawl of the world in A Song of Ice and Fire is gigantic; I would argue it’s the biggest problem in getting these books released now -   R: Mhm.   K: - because you’ve flung all of these characters to such far corners and come up against these problems of how do we get this person to here to interact with this person but then get them back over to where I need them to be at the end of this story.   R: A dragon with a jetpack.   K: Yes. Yes. Oh, so the dragons have jetpacks now?   R: I mean it makes more sense; they’re the fireproof ones.   K: That’s a good point, yeah. So in terms of not writing yourself into a corner. This isn’t maybe the most encouraging answer, but I’m going to say that if your world keeps growing and you have to keep adding history and new characters, it’s going to happen.   R: It’s absolutely going to happen. This is a problem that, on the one hand is frustrating, but on the other hand can be good to have. You end up writing more about your worldbuilding and more about your details than writing out your story.   K: This, again, falls into a lot of early epic fantasy where it felt more like there were characters that we were just watching interact with a world so that we could learn more about the world. And the story itself [giggling] wasn’t as important. There’s definitely a balance, but the thing about worldbuilding - about good worldbuilding - is that once you establish it, your reader shouldn’t need a lot of context for it. They should kind of understand: this is the world that this story and these characters are set in, and be able to apply that to the rest of the book as they’re reading it.   K: I wanna distinguish here between setting and worldbuilding, because worldbuilding is not necessarily describing a specific place -   R [overlapping]: Mhm.   K: - it’s describing all of the places and giving the reader context for them. A setting is “places that the characters are.”   R: Right, but if you are showing off your worldbuilding -   K: Yes.   R: - by describing your setting -   K: They certainly can cross, yes, but they -   R [overlapping]: - how do you stop yourself from doing that? Just get a really good friend to smack your hand and tell you “no you’ve gone too far here?”   K: You mean when you’ve gone too far in the world building and we’re getting into like, an exposition dump?   R: Yeah!   K: Yeah, that’s editorial to be honest with you. That’s something that you revisit in drafts, that’s something that you get feedback on. If you have a really richly built and developed world with history and culture and all of these interesting things that you’ve spent time and effort thinking about, there’s gonna be this inclination to just dump all of it at once, to just do a lot of: “these such and such people lived here, and they had spent a lot of generations at war with this and that people who were allies of the third people.” There’s ways to do this and it’s a skill you have to develop, it takes a certain amount of finessing.   R: Usually, some allow more for it than others.   K: Yeah absolutely, and there’s a lot of clever ways to squeeze this in there, and by the way, this isn’t to say that there’s something wrong with a character giving the reader information - either through an internal monologue or explaining something to someone. There’s all sorts of great articles - and, I would imagine, Youtube videos, subreddits - about worldbuilding tips and tricks. So there are ways of incorporating that into your story without having to give a long, tiresome, and confusing explanation. Dropping a lot of information on the reader, they’re not going to retain that.   R: Mhm.   K: Whenever I’m reading a book where I have to keep track of certain places or groups of people or what different types of magical abilities do and mean, I need to re read that a couple times. When there’s a page that has information on I usually bookmark it so that when later -   R [overlapping]: [laughing]   K: - I see it referenced, I can go back and be like okay, yes, those are the people that control fire, you know? [laughing]   R: Kaelyn doesn’t read with bookmarks, she reads with post it notes. [giggles]   K: I - yes. I do still read physical books and sometimes it is bookmarks and post it notes. [laughing]    R: So that brings to mind the idea of how much a reader has to remember what you write in your exposition. If you’re just describing a setting, can you get away with more than laying out the way things work?   K: My experience tends to be that readers will remember descriptions well, because when they’re reading through something and you’re describing, you know, vast mountains capped with snow and trees stopping at a certain point because of the -   R: So that’s imagery.   K: Yes, because you’re giving them something to picture in their mind. What is kind to do for readers, especially if these are things you’ve made up - let’s pretend in Avatar, waterbenders were called something specific. [laughing] You remind them, Katara was a whatever the word is, she controlled water. There are ways to drop those reminders in there so that readers don’t get frustrated by like “I don’t even know who this person is or where they’re from at this point.”   R: But that is a good point. When you’re naming things -   K [overlapping]: Mhm.   R: - consider being a little bit more explicit in the name than to come up with secondary world terms.   K: Yes but, if you do decide to do that - this is where I’m gonna, not derail us a little bit, but talk about another element in the book that can be helpful here which is maps and glossaries.   R: Mhm.   K: We did a whole episode about maps and why they’re so useful and helpful, one of the great reasons is worldbuilding. It’s really nice to open a book and, assuming you can do it without spoilers, see a map there to give the readers some context of where the world is and what’s going on there. I always, whenever I get a map, I like to take a look at it and look at some of the names of places and get an idea of like “okay so I guess we’re going here eventually, we’re probably going there eventually.”   R: Mhm.   K: Glossaries are good for that too, especially when you have to create a lot of stuff, it’s good for the reader to be able to flip back to one of those terms to go like “oh yes, okay, that’s this kind of magic.”   R: Right, and this is a spot where unfortunately, digital and audio do not help us.   K [overlapping]: No.   R: Like if you’re reading a paperback of something you can flip to these things, you can keep your finger in it as you go through, as opposed to - you can put a post it in it! - whereas it is really difficult on, say, a digital reader. It’s still not as natural an experience -   K [overlapping]: Yeah.   R: - as flipping to either the start or the finish. All of my Peridot books have glossaries in them and I feel bad every time I think of anyone reading it in audio.   [both laughing]   R: Because it’s not there, and while yes you can download the files to pair with the audio, you’re generally doing something while you’re listening to an audiobook.   K: Yeah.   R: But I agree with you about the map. The worldbuilding that you get out of a map is pretty impactful in terms of the distance between things, as you started off saying, like how many jetpack refuels does your dragon need -   K: [laughing]   R: - to get from point a to point b in your story.   K: I’ve also seen a lot of books now, especially where there’s a large caste of characters and certain groups or family units, in the beginning of the book they’ll just have a list of them or maybe a family tree.   R: Speaking of Romeo and Juliet again like you have the dramatis personae -   K: Yes, exactly.   R: - a real quick rundown of how they relate to other characters and stuff, again not helpful in audio. Again, this is front matter back matter -  if you had the clout, you could print a separate book of your world bible.   K: And by the way, if you have a glossary, a map, a dramatis personae in this, that is not an excuse to not do the worldbuilding.   R [overlapping]: Right, that’s what I was gonna come back to was like, okay so you’re sticking it outside the actual story, but I would argue that it’s important to be able to read the story and understand everything without supplemental reading material.   K: Yeah, that should be there either for prestory context - reader, I’m gonna throw a lot of people at you, I know it’s gonna be a little tricky to keep track of it have this helpful guide to who these people are -   R: Mhm.   K: - or it’s just a “hey heads up here’s everyone in here,” but that still means you need to do the actual worldbuilding and do the work in the book.   R: Right. So using a prime example, a recent example is the Gideon the Ninth -   K [overlapping]: Ah, yes, one of our favorites [garbled through laughter]   R: [overlapping]: - The Locked Tomb Trilogy. I would much rather talk about Gideon all day than A Song of Ice and Fire, let’s be real.   K: [laughing]   R: So, it begins with names from each of the houses. Not only that but it sets a little bit of tone  -   K: Yeah.   R: - for each of the houses without saying “these houses are like this.” So it begins with, in order of House appearance: “The Ninth House, keepers of the Locked Tomb, house of the Sewn Tongue, the Black Vestals.” And that in itself is worth like six paragraphs of explanation that -   K: Absolutely.   R: - this is just what goes with that name. And then you have the multiple names of the characters that you’re going to encounter from this House, and no explanation as to what they’re like or anything like that. So you’ve gotten a tone for the setting, the Ninth House, you get that like, the names all sort of have a structure to them, and that’s what you get from that pre reading list. And then you get in and then you get the characterization, just like you would if you were not going to have forty characters dumped on you in the course of this book.   K: Yeah, and by the way, because this author is diabolical, by the time we get to the second book, the dramatis personae in the beginning is doing an extra level of work here because they had to do it without spoiling things. So it’s actually creating this air of mystery - which absolutely contributes to worldbuilding by the way. There’s something weird going on here because there’s some contradictions in this, or some people that you can tell are deliberately left out, and then you have to start wondering why.   R: And Kaelyn was very aware of this -   K [overlapping]: I -   R: - jumped right on those little details after reading it the first time, before the second book was out; the second book came out, Kaelyn read it and was texting me like “I have questions!”    K: [laughing]   R: But yeah in the first book you’re introduced to twenty-eight people in three pages, and their alliances that they’re gonna start the book out with, and then you get to meet them. So a dramatis personae is not all the details, it’s not the hair color, it’s not attitude, it’s not history, it’s just “here are the names so you can keep them straight, who was that again, okay that was this person” and maybe then you remember that they had a pinched little mouth.   K: There’s a [laughing] a lot of ways to do this, it just depends the amount of effort and detail you wanna put into it.   R: And some genre expectations too.   K [overlapping]: And some genre expectations, to be sure, absolutely.   R: Always.   K: This can get as straightforward as set in Denver in the present day, and it's primarily just regular human beings and -   R: At a grocery store.   K: At a grocery store, yeah. You still need to establish that so you’re still building your world there -   R: Mhm.   K: - or you can take this as far as something like -   R: New Denver Colony!   K [laughing]: Yeah, exactly, something like Lord of the Rings or Star Trek where there’s just layers and layers of history and characters and different races and species and it’s so expansive that you can just keep adding and adding to it. So what’s the right way to make sure you don’t write yourself into a corner? Well the thing is, if you’re gonna keep developing your worldbuilding, you’re going to [write yourself into a corner] eventually.   R: Yeah. The fun part of being a writer is figuring out how to get yourself out of that corner without being able to change the stuff that’s already been published. I’ve done it! [giggles]   K: Yeah! Leaving yourself some backdoors, if you will, is not a bad idea.   R: Although that requires that you -   K: Plan them.   R: - predict a little bit of the trouble you might run into.   K: Which is a very possible thing to do.   R: If you have a magic system that has a bunch of rules, you could always say “but then there’s Chaos Magic.” And then Chaos Magic can just be a little bit of the antirule that you need later on.   K: Yeah, making something forbidden or the lost art, something that no one has access to, just to have in your back pocket -   R: But just know your readers are gonna wanna hear about it.   K: Yes, absolutely.   R: You might have to write a novella outside your main storyline just to satisfy some readers about that lost locked tomb art of chaos magic.   K [overlapping]: Yeah, Chekov’s Chaos Magic. But again, Rekka’s right then, if you bring something like that up and you’re like yeah, well, that’s forbidden, nobody practices that anymore, you don't have to say, but you have to indicate why. Was it because they destroyed the world, was it because whoever used it died horribly -   R: [giggles]   K: - was it because they just forgot how to do it? There’s historical instances of that, Greek fire is a real thing that existed that we lost the recipe for and nobody can make. There’s theories as to what it was but [laughing] no one can recreate it.   R: And maybe we should leave it that way.    K: Yeah probably but -   R: But what kind of book would it be if we did?   K [laughing]: Exactly.   R: And that’s the other part of it, it’s not just making it explained ‘cause you don’t wanna be like “there’s this forbidden art which we don’t do ‘cause it killed people,” like okay yeah fine, but that forbidden art is gonna be in this book. You say forbidden as a storyteller and I expect somebody to crack that nut.   K: Yeah, the readers will start salivating at that point.   R: Mhm.   K: I’ve read books where there were things that were mentioned that never were discussed again and it's infuriating.    R: Yeah, what happened to the fireworks factory?   K [laughing]: Yeah that’s exactly -   R: That’s a Simpsons reference, yeah.   K: Got too close to the Greek fire.   [both laughing]   R: Yeah, well, there ya go.   K: So how to not write yourself into a corner, the best advice I can give is try to leave yourself a backdoor. And this means that you have done a really good job of worldbuilding, because as Rekka said, you’re anticipating where you could run into problems. And that doesn’t mean that you shouldn’t go down that road, it just means that you also need to have another road that you can diverge onto -   R: [laughing]   K: - in order to circumvent this problem and come up behind it, attack it, defeat it, be victorious over your own book.   R: I mean that’s the goal every time.   K: Yeah. Yeah, you really are just sort of in the act of defeating something.   R: Take your project and beat it into submission.   [both laughing]   R: That’s actually writing.   K: [laughing] Will be defeated into the ground.   R: Hey, I am learning right now with puppy training that what you wanna do is be more interesting than the problem -   K: Yep.   R: - so that you can distract and be fun, and reward. So I feel like that’s a good way to - can we apply that to writing, can we just distract the reader from the flaws -   K: No.   R: - in our logic, and the rules -   K: Nope.   R: - that we backed ourselves into?   K: Nope. [laughing]   R: But it works - what if there are liver treats?   K: [laughing] I don’t want any of those.   R [overlapping]: Squeak toys?   K [laughing]: Okay, I’ll take a squeaky toy.   R [laughing]: Okay.   K: But you know, the thing is Rekka, eventually I’m gonna chew the squeaky toy apart and then I’m gonna be like hey, wait, hang on, you promised me forbidden chaos magic.   R: Well, too bad, I have to take you to the vet because you swallowed the valve and now we have to have [laughing] your stomach operated on.   K: [laughing] Yeah, so you can keep trying to distract the reader but eventually you’re gonna have to answer for these things.   R: Okay what if your story is so interesting that the forbidden magic is actually the least interesting thing that you’re talking about in your plot?   K: Alright, I’ll give you a pass there.   R: Alright! I win!   K: [laughing]   K: I’m curious what you’re gonna come up with that’s more interesting than [laughing] forbidden chaos magic.   R [overlapping]: I didn’t say I was gonna write this. I’m not gonna write this.   K: Now I need it, I need to know what you’re gonna come up with that’s more interesting than forbidden chaos magic.   R [groaning]: Fiiiine.   K: [laughing]   R: Fine, I’ll work this into my next project.   K: Excellent. So yeah, I think that’s some of the fundamentals on worldbuilding. I’m sure we'll talk more about this in the future. Oh, you know what, one last thing. If you’re having trouble with worldbuilding and you just really do not know where to start, go get the Dungeons & Dragons official manual, because it actually has a guide for worldbuilding in there.   R: Hm.   K: It’s not perfect, it’s not the end all be all, but if you’re just really at a loss, not a bad place to start to help get some of your thoughts organized. And there are things online that are similar to this, they’ll give you steps to take like, “okay think about this, now think about this.”   R: Yeah I would say that Wonderbook by Jeff VanderMeer et al is about writing but it’s also - there’s a lot of worldbuilding in there and could get your brain really juiced about different things to consider.   K: By the way, if you’re having trouble with worldbuilding, if you’re going, well I need to create this whole alien society and culture and religious system and everything and you’re really having trouble coming up with it, maybe that’s a good time to take a step back and go: maybe that’s not the kind of book I should be writing right now. Can the story be set on Earth and with people and maybe the aliens are just on Earth so that’s minimized your worldbuilding requirements.   R: It’s about the size and shape of the story you enjoy writing. Because you could enjoy watching a movie where it’s all way deep space, but do you enjoy writing it as much as you enjoy when other people do that work.   K: Yeah, exactly.   R: You have a choice.   K: Got a few of them. [laughing]   R: Unless you were hired to ghostwrite this story and you’re stuck.   K: No, then that’s your problem.   R: If you’ve gotten to the point where you’re being hired to write other peoples’ stories, it probably means you already know what to do here.   K [laughing]: Yeah.   R: So write in and tell us.   K: And Rekka, if they wanna write in -   R: You can find us on Instagram and Twitter and at WMBcast.com for all our old episodes and if you are loving the commentary [laughing] along with the puppy barks and actual useful advice from Kaelyn, then you can support us at Patreon.com/WMBcast.   K: Hopefully as always, this was at least educational and entertaining.   R: Or at least useful.   K: At least a little bit useful, yeah, if nothing else, you go to hear some puppy sounds in the back.    R: Yes. [laughing]   K: That’s always a bonus.   R: Let’s see how many I can edit out.   [both laughing]   R: This might just be Evie’s episode, co-host Evie.   K: So thanks everyone and we’ll see you in two weeks!   R: Talk to you next time.

In this episode Laura confuses Squiggy and Slazo with Wonderbook for the PS3, and we talk about the PSP launch lineup.

Sara and Nicole read the first paragraphs from their current picks for new book releases in this slightly different formatted episode. Sara's Picks: Stranger in the Lake by Kimberly Beale https://mcpac.mcpl.lib.ny.us:446/record=b2013750 Sin Eater by Megan Campisi https://mcpac.mcpl.lib.ny.us:446/record=b1992258 Thin Girls by Diana Clarke https://mcpac.mcpl.lib.ny.us:446/record=b2011213 Threshold by Rob Doyle https://mcpac.mcpl.lib.ny.us:446/record=b2005503 The Golden Wolf by Linnea Hartsuyker https://mcpac.mcpl.lib.ny.us:446/record=b1958408 The King’s Beast by Eliot Pattison https://mcpac.mcpl.lib.ny.us:446/record=b2004274 The King’s Evil by Andrew Taylor https://mcpac.mcpl.lib.ny.us:446/record=b1971281 Nicole's Picks: The Voting Booth https://mcpac.mcpl.lib.ny.us/record=b2016314 Crying Laughing https://mcpac.mcpl.lib.ny.us/record=b1970189 The Gravity of Us https://mcpac.mcpl.lib.ny.us/record=b1980341 Changing the Equation: 50+ US Black Women in STEM https://mcpac.mcpl.lib.ny.us/record=b1990489 Curse of the Nightwitch https://mcpac.mcpl.lib.ny.us/record=b2004478 King and the Dragonflies https://mcpac.mcpl.lib.ny.us/record=b1977165 Blueberries for Sal (Wonderbook) https://mcpac.mcpl.lib.ny.us/record=b2013568 Malala: My story of standing up for girls' rights (Wonderbook) https://mcpac.mcpl.lib.ny.us/record=b1986039 It Began with a Page: How Gyo Fujikawa Drew the Way https://mcpac.mcpl.lib.ny.us/record=b1959877  

Welcome to A Shot of Butterbeer! We thought it would be fun to release the occasional mini-sode to sprinkle in some Harry Potter canon during your month. Today Michael is sharing about the Levitation Charm's invention, which we learned about in Wonderbook of Spells. We will also be responding to emails and comments from our listeners, so please be in touch with your own ideas about Harry Potter canon and they might be discussed on another episode.Are there any obscure pieces of Harry Potter canon you'd like to hear on this new series? We'd love to hear from you! You can reach us by email at holdmybutterbeerpod@gmail.com, on Instagram at www.instagram.com/holdmybutterbeerpod/, and on Facebook at www.facebook.com/holdmybutterbeerpod/ --- Send in a voice message: https://anchor.fm/holdmybutterbeer/message Support this podcast: https://anchor.fm/holdmybutterbeer/support

The author of Borne, Annihilation and Wonderbook joins us to talk about his new novel, holiday gift book ideas, and why we're all obsessed with Watchmen.  Learn more about your ad choices. Visit megaphone.fm/adchoices

En esta edición del podcast, reseñamos el libro Wonderbook de Jeff Vandermeer Les explicamos la “teoría de la hielera”. Hablamos de Nils Müller y entrevistamos a @allan05 de @socialfm podcast de @dixo #CreativeWar --- Send in a voice message: https://anchor.fm/creative-talks/message

Find a great gift idea with these books that are only available, or only really work, in physical dead-tree form, from a lavishly illustrated history of Dungeons & Dragons to the creativity-inspiring Wonderbook. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dear listeners, it's time to start plugging things in! Get out yer old Guitar Hero controller. Fire up the GunCon. Bust out that Wonderbook. "Peripherals" are the topic of this episode. Dave discusses the worst massage he's ever had. Greg talks about the dangers of letting moose into your arcade. Colin thinks immersion is dead. Giovanni discusses the various games that can be played with balls. Make sure you tune in for this one. And as a reminder, you'll only receive the full LTRT experience if you plug your phone into the official LTRT Edition of the W I D E B O Y 6 4.    But dear listener, that's not all we have to offer! Bury yourself in the fully developed cinematic universe of LTRT by following us on Facebook and Twitter. Subscribe to our YouTube channel for exciting secret bonus content. And leave us a review on Apple Podcasts to unlock this podcast's bonus stage.    Games discussed include F-Zero, Gumshoe, DJ Hero, and Marble Madness   Show Notes:    Beat Sabre Gameplay   The Bye Bye Man Cinematic Trailer

Happy Thanksgiving kids! This week we're talking LANGUAGE OF THORNS by Leigh Bardugo and WONDERBOOK by Jeff VanderMeer! Also featured: petit fours, Zach Valenti's wholesome advice, and edits by yours truly. And remember, if you have any questions or comments, feel free to talk to me on Twitter @arglebargles!Click to view: show page on Awesound

Joel gorges on meatballs, reviews the XBOX One S and decides how much more planetary exploration he'll be doing in No Man's Sky. Shane wants a new pair of shoes in order to feel guilty for not running and hopes for CD playback in the PlayStation Neo. Karl preps for a Wonderbook cross Vita system while playing two games that together equal one. 0:06:30 Gaming News XBOX One S is out and Joel has a review PlayStation event perhaps to reveal the Neo scheduled for 9/7/16 0:26:15 Playing Pokemon Go // Mobile Time Clickers // Steam Neverwinter // PlayStation 4 Need For Speed // XBOX One No Man's Sky // PlayStation 4 Overwatch // PlayStation 4   0:59:00 Music Dinosaur Jr. Give a Glimpse of What Yer Not LP Green Day "Bang Bang" single Tune from The Atomic Spins "Salt"   1:17:45 Post Game Shout Outs Cuts (Outtakes)   Music Played In This Episode Intro and Transitions by Tiny Rockets // tinyrockets.bandcamp.com/ Outro by The Atomic Spins "Salt" // theatomicspins.bandcamp.com/track/salt   Join The Community Discord Facebook Group Links Subscribe To Podcast (RSS Feed) Website ABandofGamers.com Twitter @ ABandofGamers Instagram.com/ABandofGamers Email ABOGpod@gmail.com Thank you for listening! If you ejoy the show and would like to support ABOG, please tell a friend and share it on social media.

NPCs! VR! AR! Rob (game writer, narrative designer, voice director, and writer on Wonderbook, Fallen London, Sunless Sea, and The Assembly) and Emily (game designer specializing in interactive narrative, dialogue, and social interaction modeling, and writer of Galatea, First Draft of the Revolution, Alabaster, Counterfeit Monkey, and more) are here to talk about the importance of streamlining the implementation of your script, looting silos of information and the problem of them not being widely accessible, the value of knowing programming, the storytelling possibilities of VR and who you “are,” disempowered experiences in VR, interactive theater’s influence on games, different solutions for offering branching narratives to players, writing for augmented reality, and the lack of games about maintaining relationships. Our Guests on the Internet Rob's Twitter and Website. Emily's Twitter and Website. Stuff We Talked About Punchdrunk Sleep No More Beyond Branching: Quality-Based, Salience-Based, and Waypoint Narrative Structures by Emily Short Firewatch Wonderbook: Book of Spells Love Stories for High-XP Characters by Emily Short The Novelist In Your Arms Tonight VideoBrains Youtube Channel Our theme music was composed by 2Mello, and our logo was created by Lily Nishita.

We talk to Youtube extraordinaire GadgetGirlKylie! Listen up, as we talk about how she got into making videos, how she clicked with Monster Hunter and Soul Sacrifice, and theres even some cheeky Wonderbook action!

Day Two of the E3 Battle brings a whole slew of new information, including Wonderbook, a Mickey Mouse game we never discuss, Square Enix actually bringing the heat, and Australia's greatest treasure. What could be greater than playing a game of golf with a Crocodile Dundee?

Yet another New Game Netcast podcast episode is upon you, so listen! We're chatting about Assassin's Creed 3, Xbox Live anniversary, Mass Effect, Black Ops 2, Wonderbook, Starcraft 2: Heart of the Swarm, Wii U launch, ArmA 3 developers in trouble, Mirror's Edge 2, GTA V, Kickstarter, and Xbox 720. There's also time to talk about Thanksgiving, living in Manchester, and the anti-Wii U task force.

In our forty-ninth episode, we give out our suggestions for holiday gifts this year. Gifts Under $100 Moga Android Game Controller (http://www.powera.com/moga) Wonderbook (http://us.playstation.com/games-and-media/games/wonderbook-book-of-spells-ps3.html) Gifts Bewtween $100 and $250 Google Chromebook (https://www.google.com/intl/en/chrome/devices/) Apple iPod Touch (https://www.apple.com/ipod-touch/) Gifts Over $250 Nook HD+ (http://www.barnesandnoble.com/p/nook-hd-plus-barnes-noble/1110060512) Wii U (https://www.nintendo.com/wiiu) Wish List Gift PlayStation Vita (http://us.playstation.com/psvita/) Kymera Magic Wand Remote (http://www.thewandcompany.com) You can comment on this episode in the blog post or the new forum at www.lbobi.com, or leave us a review on iTunes. Music generously provided by Jeremy Horn http://www.jeremyhornmusic.com. Follow lbobi on twitter at twitter.com/lbobi Email us at radio@lbobi.com

das Niveau! Denn Thorsten ist mal wieder mit von der Partie und tut, was er am besten kann: Die Dinge beim Namen nennen, ins rechte Licht rücken und klare Ansagen machen. Dass das nicht immer jugendfrei ist, wisst ihr ja. Und dann packt Stange auch noch seine Inselkenntnisse zur Anatomie aus! Gleich fünf play³-Redakteure hatten diesmal Zeit, sich für eure Kurzweil zu unterhalten: Thorsten, Sascha, Viktor, Uwe und Sebastian. Ein paar Kaltgetränke gesellten sich ebenfalls dazu, außerdem ein paar Fragen, schlechte Witze und Videospielthemen. Ein guter Tag! Obwohl wir es anfangs noch bezweifeln, kratzen wir erneut an der 90-Minuten-Marke. Weil's halt auch echt Spaß macht - sich durch eure Fragen zu hangeln, sich über Peter Molyneux zu amüsieren oder mal gepflegt zu spekulieren. Top-Themen im Podcast: Warum haben es neue Marken schwer? Wonderbook ist überraschend gut. Wie kommt es, dass manche Spiele von der Fachpresse kollektiv zerfetzt werden? Was halten wir von GTA 5? Wieso regt sich keiner über Black Ops 2 auf? Und woher weiß der Stange, was ein Priapismus ist? Traditionell wird die Sache mit fortschreitender Zeit immer nur kerniger. Und weil wir drüber sprechen: Baby Mama ist nix für alberne Herren. Oh Mann... was für ein alberner Tag. Wir hoffen sehr, ihr fühlt euch trotz allem (oder gerade deswegen) gut unterhalten und wünschen viel Spaß beim Anhören! Euer play³-Team P.S.: Mit iTunes könnt ihr unseren heimeligen Podcast ganz bequem abonnieren (iTunes-Abolink). Da freuen wir uns übrigens auf Sterne-Wertungen und gut formulierte Reviews! Und wer da blödes Zeug schreibt, den verpetzen wir an Mutti! Ha! Facebook: https://www.facebook.com/play4magazin/

Herzlich willkommen zum zweiten Games-Aktuell-Podcast in dieser Woche! Diesmal pünktlich und wieder vollgepackt mit heißen Themen. Thomas, Andy und Dominik plaudern u.a. über den neuen GTA 5-Trailer, über Bug-Probleme bei Call of Duty: Black Ops 2, über die Wii U-Konsole, die heute in der Redaktion angekommen ist, über Sonys Wonderbook und vieles mehr.

La nuova periferica di Sony si fa rivedere in quel di Milano. Dopo Colonia e un altro evento milanese Wonderbook torna nelle nostre mani. Dopo una completa prova di "Il libro degli incantesimi" sono stati mostrati anche "Walking with Dinosaurs" e "Diggs: Nightcrawler". Per ulteriori informazioni potete leggere l'articolo completo.UpperPad - Facebook - TwitterAbbonamento tramite iTunesCollegamento al Feed RSSLink diretto al Video La nostra pagine FacebookLa mia pagina Twitter

#165: Call of Duty Black Ops 2 is out, i chat to some people who headed out for the Midnight launch in Hornsby - Playstation's Wonderbook is the perfect Potter fan gift, Flight Tycoon for the lovers of business gaming, TomTom's Nike+ Sportswatch and you calls on Outlook, Phone buying, Phone Plans, Android Updates and How to tell if your TV really is what you expected?

#165: Call of Duty Black Ops 2 is out, i chat to some people who headed out for the Midnight launch in Hornsby - Playstation's Wonderbook is the perfect Potter fan gift, Flight Tycoon for the lovers of business gaming, TomTom's Nike+ Sportswatch and you calls on Outlook, Phone buying, Phone Plans, Android Updates and How to tell if your TV really is what you expected?

End Time Current Events: 10-21-12–Part 4 Table of Contents: Sony sets a release date for Wonderbook & “Book of Spells” From J.K. Rowling, New Bundle Announced Listener Comment Devils – Orbs Biblical Proactive actions that really make a difference when dealing with evil entities Ecto Fog/Trail-Spirit Fog Exposed! Ways to Pray Regarding Halloween Click Here…

Rise and shine, Little Juans! It's time for Episode 45 of Something Something Joystick! This week, we talk about Billie Ray Cyrus, weird dreams, Cap'n Fishy, my vampire father, our love lives, old people fucking, Skyrim, coffee, Red Dead Redemption, plans for our 50th episode, and the gender of God.We talk about our experiences at IGN's Halo 4 Black Beta and EB Games' EB Expo (including shout-outs to Geek Bomb and the guys from IGN AU, as well as scoops on WonderBook, Tomb Raider, the WiiU and more, some analysis on the retailer-run expo... and Ray Romano).In SSST: Microsoft cuts Xbox 360 prices, Nintendo confirms WiiU region lock, Cliff Bleszinski leaves Epic, ex-Rare employees reunite for new project, Sony announces Vita's 10-year lifespan, Retro City Rampage gets a release date, as does The Unfinished Swan, and the internet creeps all over Dianna Agron.MUSIC USED:SSJ Theme 2 - Xavier Rubetzki Noonanyou and i - areographeHoroscopes - Astrid & the AsteroidsPower Supply - Anamanaguchi / CC BY-NC-SA 3.0CLICK HERE to download!DON'T EAT PORK - NOT EVEN WITH A FORK. CAN'T TOUCH THIS!Add Sandsky on XBL: colourfastAdd Xavier on PSN: xavierrnFREE ADVICE: Try adding a little sugar to your popcorn. The sweetness mixes beautifully with the salt, creating a whole new dimension of flavour. Also, don't try and eat it with your nose.

Nessa edição, os jogadores Lucas Andrade, Bruno Burgarelli, Darth Randy BR, DW, Fábio Porto, Hugo Esteves e Thiago Adamo debatem a nova resolução 4K e a possibilidade de o Playstation 4 vir com suporte a ela, o anúncio do novo jogo da série Metal Gear Solid (Ground Zeroes), bem como do filme baseado na série de jogos; Guild Wars 2 e […]

Editor-in-Chief Steve Cooper talks about what he saw at this year's video game tradeshow and what parents and couples should pay attention to now and this upcoming holiday season. He talks the Ninendo Wii U, Microsoft's Smartglass, Sony's Wonderbook, plus lots of games. For more go to www.hitchedmag.com

The Married Gamers talk about E3 2012 and celebrate their fifteenth wedding anniversary. What games and other cool stuff is coming to consumers that they can't wait to try, play, or watch? All this and more on episode 258 of The Married Gamers podcast. Check out The Married Gamers Facebook Fan Page or if you have a comment, send it to us at mailbag@themarriedgamers.net. The Married Gamers app is available on iTunes and Amazon for $1.99 Want to talk about this episode? Love interacting with The Married Gamers and other awesome gaming communities? Join Nerdvana today!

This week Rothbart, PacManPolarBear and Frawlz dive into Beyond: Two Souls, God of War: Ascension, Wonderbook, The Last Of Us and a few more nuggets of Sony E3 goodness. The post BRB Blu 16: E3 2012 appeared first on Big Red Barrel.

Sony’s 2012 E3 Press Conference and Jack Tretton. All business. Justin, Cole, Ethan, and Josh discussing the highs and lows of the press conference? About as business-like as a brick to the face. Which is still awesome. The Cursed Checkpoint is a topical video game podcast focused on discussions and interviews about a single video game, genre, news headline, or industry story. It features a rotating cast of up to 3 members of the Horrible Night writing staff and/or video game industry professionals. This is a special event episode and a part of our E3 2012 coverage. Check out our our additional coverage of the other press conferences from this years show: Microsoft Nintendo Third Party Games E3 and the Rest of 2012 Episode Background This checkpoint serves as a recap of the E3 2012 Sony Press conference. It is for is intended for anyone who watched the event or who is interested in any of the major games or news items from the event. This is the third episode in our E3 2012 press conference coverage. Join us throughout the week as we take a look at the major press conferences and gaming news. This will be followed up with a live summary show with 2012 predictions next week. Show Notes Cast: Justin, Cole, Ethan, and Josh Runtime: 50:42 Press Conference Archive: On GameSpot Featured Games: The Last of Us, Beyond: Two Souls, Assassin’s Creed III, Wonderbook, God of War: Ascension, PlayStation All-Stars Battle Royale Subscribe to The Cursed Checkpoint – Multiple episodes a month RSS iTunes @HorribleShows – For Horrible Night Media Related posts: E3 12: Nintendo Press Conference – The Cursed Checkpoint #e312b E3 12: Microsoft Press Conference – The Cursed Checkpoint #e312a E3 12: Third Party Party – The Cursed Checkpoint #e312d

Where in we discuss E3 2012, press conferences, browsing the web on your Xbox 360, Wonderbook, Ubisoft boobies, the Wii U, using every mobile device in the world as a remote control, sports that sound like Star Wars characters, teleprompters, games vs. movies, PlayStation All-Stars Battle Royale, Microsoft All-Stars Battle Royale, sports team confusion, free-to-play Star Wars, console strategy games, Bulletstorm, Dark Souls, putting fists through monitors, and one of the most botched game reviews ever. Starring Ryan Scott, Karen Chu, Jeff Green, Eric Neigher, Aaron Simmer, and David Wolinsky.

We are back to basics as Rob de la Cretaz returns after his New Orleans trip to talk E3. We break down Xbox Smart Glass, WiiU's controller methods, and try to figure out how Sony's Wonderbook is good for anyone. All of this and more! Join us live Tuesdays at 7:00 p.m. EST onlive.sorgatronmedia.com! Join the AwesomeCast on Twitter, Facebook and be sure to follow us on iTunes in both video and audio formats, as well as YouTube, Boxee, Roku, and Blip.tv! As always, you can chime in with news, thoughts, or comments at Contact@AwesomeCast.com or 724-25-A-CAST.

James and John continue their DigiBarn series with an Apple II based biofeedback device and the Woz Wonderbook. eBay auctions include a crystal Apple logo sales award and a set of educational slides introducing the Apple III.  Other related links from this episode:YouTube: I Love My Mac VideoMacHEADS the MovieWelcome to MacintoshEngadget: PWN 2 OWN over: MacBook Air gets seized in 2 minutes flatYouTube: Macintosh Developer VideoPCWorld: Anatomy of an Icon: Inside the Apple IIc