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August 16, 2008

GameSetNetwork: It's The Darn Weekend

-It's time to finish up the best posts of the week from big sister site Gamasutra and elsewhere - and now we're getting our new staffers firing on all cylinders, we're getting a lot of high-quality edit up there.

In particular, there's a neat Resident Evil 5 interview talking about the Japanese learning about shared engine and tools tech, as well as Epic on why they signed up with EA Partners, Mark Cooke on moving to Japan to work for Grasshopper Manufacture, AI chatbots explained, and much more.

Good jolly molly:

Gamasutra Features

Co-Op Creators: Resident Evil 5's Anpo and Takeuchi Tag-Team Interview
"2009's Resident Evil 5 is perhaps Capcom's most-anticipated title - Gamasutra talks to producer Jun Takeuchi and director Yasuhiro Anpo on tech, tools, and making the game for a world market."

Sponsored Feature: Introducing DirectX 11
"In this sponsored feature, part of Gamasutra's XNA microsite, Microsoft's Kevin Gee explains in-depth the new features of DirectX 11, from improved multi-threading to Shader Model 5.0 and beyond."

Beyond AIML: Chatbots 102
"Industry veteran Wilcox is creating NPC text chatbots for online world Blue Mars, and this technical article discusses his adventures in AI markup language to create effective human-text interaction."

Gamasutra/Other Site Originals, Specials

Epic's Capps On EA Partners: 'They Give Us What We Want'
"Epic president Mike Capps sat down with Gamasutra to explain why the studio signed its new IP with Electronic Arts and its EA Partners label, explaining of the world's largest publisher: "They give us what we want, checklist-style.""

GCG: Grasshopper's Cooke On Working in Japan
"Mark Cooke left the U.S. for a programming career at Japanese developer Grasshopper Manufacture (No More Heroes) - and he tells GameCareerGuide.com how he got the job, and what it takes to be a non-native speaker working in Japan."

Salen: Gaming Becoming 'More Collective, Not Individual'
"Game designer and researcher Katie Salen sees games, society, and culture colliding, as the world becomes increasingly networked -- but are "video games" as we know it losing its definition? And is that a bad thing? Gamasutra was at her Sandbox Symposium keynote to find out..."

Q&A: GameInvest's Gomes Is A Portugese Man O' War
"If you didn't know there's a Portuguese games industry, you'd better learn, says Paulo Gomes, founder and CEO of upstart Portuguese publisher GameInvest. Now that the company's just debuted its first U.S. title, Toy Shop, Gomes discusses GameInvest's unique "clustering" approach to publisher-developer relations."

IGA's Bartlett: 'We Are Not Spyware, We Are Not Evil'
"IGA Worldwide's Ed Bartlett told attendees at the Edinburgh Interactive Festival that in-game ad companies like his own are neither "spyware" nor "evil," and advocated for the importance of advertising in an environment where development costs just keep going up."

[Want to get RSSed-up with all Think Services' game sites? Quick list goes like this: GameSetWatch's RSS (editor.blog), IndieGames' RSS (indie.games), WorldsInMotion's RSS (online.worlds), GamerBytes' RSS (console.downloads), GamesOnDeck's RSS (mobile.games), Gamasutra's RSS (main.site), and GameCareerGuide's RSS (edu.news).]

COLUMN: Bell, Game, and Candle - 'In Defense of Marc Ecko’s Getting Up: Contents Under Pressure'

['Bell, Game, and Candle' is a regular GameSetWatch column by game commentator Alex Litel, discussing stuff that happens in the game business. This time - he ponders about seeming arbitrariness of adulation.]

In a clip from the preschooler-targeted television series Dora the Explorer, a map hops out of the backpack of a girl named Dora and rolls out to show a rolled-up map inside the map affirming fifteen or so times in song that "I'm the Map." The map follows his cantillation with an exclamation that Dora and her monkey Boots need to get to the big piñata, and he knows the way to the big piñata. (From what I understand, Dora's royalties are stored in the big piñata, and the map is demanding a cut of the royalties in exchange for his expertise.)

Elsewhere, in the Middle East of 2014, wheeling and dealing of protracted, ham-fisted exposition is going on at the 41st Annual International Chain Smokers Summit—the number of assertions that "war has changed" because of a move towards "war economy" because of "PMCs" employing "nanomachines," with the linguistic gait of Dan Quayle channeling Irwin Corey, would put the map's re-affirmative tendencies to shame.

Elsewhere, in contemporary metropolitan mimicry, an Eastern European immigrant with an immaculate command of English bursts on the scene where he attempts to avoid getting burst in an adventure filled to the brink with trite, ham-fisted exposition: "the American Dream is great," "the American Dream is not what I imagined," "am I losing myself?" and "shit, the American Dream is incompatible with my set in stone world-weariness."

I have a hunch if Penthouse and Pynchon was associated with or if the Bee's Knees of NYC emblem adorned the cover of Getting Up: Contents Under Pressure instead of Marc Ecko's name, reaction would have been less insolent and more praiseworthy. Sure, Ecko could have been a little more artful in his statements, but this column is about his game that the ostensible hardcore had decided against prior to Ecko's comments, not Ecko himself. (Also, not playing a game and complaining about it is no different than someone else doing the same.)

Rise, resist, revolt

Mark Ecko's Getting Up: Contents Under Pressure depicts the coming-of-age of young graffiti artist Coltrane Crowley (aka Trane) on his journey for respect in New Radius. However, the journey for respect becomes a crusade for revolution against the recently elected mayor who has decided clamping down on free speech is essential to "cleaning up" his city, and graffiti artists are public enemy number one.

Gaming cognoscente Ian Bogost described Getting Up as "critically underappreciated," and notes that the "game about graffiti" features an equally important "critique of an autocratic police state" in a May 2007 piece. Bogost's words bring me to an impression that was instantaneous—and apparently unique, according to Google—Getting Up's closest contemporary is not the kinetic kitsch of Jet Set Radio, but the French fantasia of Beyond Good & Evil.

Michel Ancel's Beyond Good & Evil follows Jade—a girl who is an orphanage co-operator turned freelance photographer turned muckraking photojournalist with viridescent headband, emerald eyes, green lipstick, olive jacket, virescent pants and an exposed midriff, which apparently makes her the Sarah Vowell of game characters—with her half-human/half-pig uncle Pey'j and this dude Double-H as they go through plot twist after plot twist after plot twist after plot twist uncover the sinister truth and save their planet Hillys.

Of course, there are the cursory comparisons such as the lack of commercial success and backwards compatibility support on Xbox 360, and both were intended to be the first entry in a trilogy. Not to mention that both have all the moral ambiguity of Sylvester Stallone's filmography for the last decade: BG&E shows that beyond good and evil lies rigidly defined good and evil, and Getting Up is not brimming with cognizant dubiety.

Contents under influence

Ecko described New Radius as aesthetically being an amalgamation of 1980s New York and a densely populated place like Kowloon; something that is immediately apparently within a few minutes of playing the game. In GameSpot video interview, Ancel states "We did a lot of researches on realistic places—we did researches on Venice—and we went to, for example, [something] or even New York because we got big buildings. We wanted to collect these realistic informations and translate them into a fantasy world."

I thought about this statement for a second, "New York" and "big buildings," where is this in Ancel's game? I can understand him merely researching New York by watching The Fifth Element (Ubi PR informs Ubi Pictures' technology was not all that cutting-edge) and confusing "buildings" for "cars," as I saw a number of vehicles reminiscent of that film.

Oh, Ancel also says "…the inspirations are coming from the reality because we wanted to not have cartoon or pure fantasy world, but to have modification of reality in the future." Then he started babbling about war in his French lilt.

Unfortunately for Ancel, BG&E is Orwell via Disney; the game is nothing but cartoony and fantastical. To the discerning gamer, this approach severely diminishes the efficacy of the game's attempts to present issues of gravity. Getting Up successfully mirrors the history of graffiti aesthetically and narratively throughout the course of the game; but in BG&E, there is such a vague and clichéd detachment from topicality and normative journalism that their implementation seems entirely based on hearsay from a single conversation—becoming perfunctory elements in an already bush-league, paint-by-number narrative.

No bush-league, paint-by-number narrative would be complete without miscellaneous stereotypes like the easygoing Jamaican mechanic rhinos, rugged Caucasian bartender bull, and sage Asian shopkeeper walrus. Lest we not forgot characters (and much else) seemingly plagiarized from Lucas and the Wachowski brothers—Jade is Luke Skywalker/Neo, Double-H is C-3PO, and Pey'j is Obi-Wan. All of this wrapped in a world when the only personal flaws are amongst the bad folk because they are, you know, bad.

On the contrary, Trane retains a streak of self-centeredness throughout his journey; even as liberator, he never seems entirely selfless in actions. There's a complexity to Trane that seems to be autobiographical of Ecko—the writer of Getting Up—that is nonexistent in Ancel's game: Trane makes some terrible decisions and does not deal with them. The rest of the characters are archetypal, but with a bit more of a twist than the caricatures of BG&E

Despite it being just decent and it not being any grand artwork, BG&E is quite fun—a gallimaufry of photography, fighting, stealth, racing and shooting. While Getting Up is slightly more focused medley of fighting, stealth, acrobatics and tagging. Both games are good examples of not excelling in any of their individual parts, but the sum of those parts is quite the enjoyable experience.

Did you know that Getting Up features the work of renowned culture-jammer Banksy? Did you know the game's score was done by RJD2 and amongst the artists on the soundtrack are DJ Vadim, Nina Simone, and Del tha Funk Homosapien? Did you know it features the voicework of RZA, George Hamilton, Diddy, George Hamilton, Rosario Dawson, and Adam West? Somehow, I think you do not because you probably never really paid attention to Getting Up.

If merely good aggregation as Beyond Good & Evil can be ballyhooed as one of gaming's cult classics, there is no reason why the superior Marc Ecko's Getting Up: Contents Under Pressure cannot have the same fate, even if it requires being avuncular to an outsider who happens to primarily be a fashion designer.

[Alex Litel can be reached at alexlitel@gmail.com and occasionally found at alexlitel.blogspot.com.]

GameSetLinks: An Attention Hog Says Oink

- Ah yes, time for some accumulated GameSetLinks, headed by Ian Bogost's ever-excellent Water Cooler Games teasing out a fun, allegorical casual game about those 'look at me' folks you love to hate - but that's not all, oh no.

Also in here - some more indie film musings alongside Borut Pfeifer's discussions of the missing indie boutique game publisher market, as well as classic Tron game design documents, universal game design musings, and much more.

Com piled now:

Water Cooler Games - Attention Hog
'San Francisco artist Chris Basmajian has created Attention Hog, A casual game about attention-driven social network culture.'

The TRON design documents. | words
Oo, original docs from the classic Midway title. With typical 'not enough time' issues!

witchboy.net » Blog Archive » Finished Braid
Harvey Smith: 'Forbidden words…is Braid better than Mario 64?'

Low Fierce: Sega slaps one of their developers
'I'm sure he didn't bother to check the tools pipeline to see how long it takes to re-iterate on stuff or how often the game kept crashing right before Alpha, and the other 9 billion small things that make developing a game harder then it should be.'

Bob's Game (DS) - Made By One Person Over 15,000 Hours And 5 years - NeoGAF
Fort90 digs out an odd creator with an obsessed-over game.

Universal Game Design | Moving Pixels | PopMatters
'Could there eventually be one universal game design that competently lets you do anything in a game?'

Indie games - a new all-purpose discussion thread. - The Something Awful Forums
Good new megathread from the Goons, even with some stuff that isn't mentioned on IndieGames, maybe!

indieWIRE: FIRST PERSON | Film Department's Mark Gill: "Yes, The Sky Really Is Falling."
Game comparisons worth considering: ' Speaking at the L.A. Film Festival's Financing Conference, the CEO of The Film Department (and former President of Miramax Films) detailed a litany of challenges currently facing independent film, yet offered his audience a happy ending.'

Wing Commander CIC At EA Mythic - Archiving Project
Origin fans doing an amazing archiving job at EA Mythic (where a lot of Origin's kit is now stored). Hope all that data is going somewhere safe - and public, maybe?

The Plush Apocalypse » Blog Archive » The case for more specialty/boutique/indie/etc. publishing labels in games.
Excellent article from Borut - I agree in a lot of ways, but the Internet solves distribution problems if you publish electronically (see: Aquaria), so I wonder if this concept works nowadays. Label reputation is the big plush, though.

August 15, 2008

MUD Co-Creator Bartle Criticizes Gaming And Academia Divide

- [Academia has much further to go to support game development, argued MUD co-creator Richard Bartle at the Edinburgh Interactive Festival, which Mathew Kumar kindly attended for us - and Bartle pointedly criticized many major universities for failing to get on board with support for games programs and research. Some interesting food for thought here for GSW-ers interested in game education.]

Veteran designer Richard Bartle, seminal co-creator of the first ever multi-user dungeon (MUD), says the best undergraduate degrees for game development in the UK come from Abertay, Coventry, Derby, Nottingham Trent, Portsmouth, Sheffield Hallam, Staffordshire and Teeside.

Notice anything unusual? "All of the top computer game courses are at modern universities -- former polytechnics and institutes," he says. Of 72 UK universities listed by UCAS as offering games courses in 2008, only 8 of them were universities in 1992 -- and this divide persists, Bartle asserted during a speech at the Edinburgh Interactive Festival.

"If you look at the subjects these 8 universities offer, they're not really wholeheartedly behind games," says Bartle. "They're titles like computer graphics, vision and games, computer science with games technology... lots of 'ands' and 'withs' there."

Why, then do modular universities, the sort that used to be polytechnic institutes, dominate the arena?

It has to do, says Bartle, with the things modern universities do that their predecessors wouldn't. Modern universities are willing to take risks, he says. "The early adopters bet the farm on computer games, and would have had deep problems if the areas hadn't recruited undergraduates."

Modern universities also benefit from modular course structures and fewer administrative hurdles. But it is possible to shift the paradigm, so why don't older institutions follow suit?

For one thing, they don't consider games "academically respectable," Bartle asserts. For another, computer games staff don't get included in research assessment submissions, because there are no first-class journals specific to the medium -- and, of course, major universities just don't see any money in it, he says.

Bartle, who is currently a Principal Fellow and Visiting Professor at the Department of Computing and Electronic Systems at Essex University, explained ruefully: "None of this would matter if it were without consequences. Unfortunately, there are consequences."

Modern universities focus on training in the way that vocational schools do, says Bartle, while older ones have a tradition of education.

"The difference is that training is the acquisition of skills and knowledge as a result of being taught, while education is the acquisition of skills and knowledge as a result of learning -- a more rounded, think-for-yourself ideal," says Bartle.

The problem is, these modern training houses are doing their jobs, producing plenty of adequately-trained would-be games professionals -- "But because the older universities aren't doing theirs, we're getting too few educated people," Bartle says.

And higher education funding in the UK never goes to computer games research, says Bartle -- they fund "games as education" research, not games research.

"We also see games as AI, economics, psychology, sociology, therapy, training...There's nothing wrong with this, but we're seeing games for everything except for games," he says.

He cites conflicting research on the reasons men and women swap gender in MMORPGs as an example of why universities should fund more games-specific research, and also calls for more quantitative study on what makes good game design.

"Where will the games industry be if the only public money available is for games-as-anything-but-games?" asks Bartle.

"None of this is at all interesting to funding bodies or research departments, but it will be 20 years from now, because today's game-playing students become tomorrow's professors. By then it will be too late."

The oft-controversial professor ended by noting: "I'm not saying we shouldn't use [games] as educational tools -- I'm saying we shouldn't only use them for that."

COLUMN: 'The Gentleman Nerd' - Why I'm Stumbling Around ... GenCon

[The Gentleman Nerd is a not entirely weekly column written by Jason McMaster and is dedicated to the more discerning tastes of the refined dork. Due to Jason's extreme nature, most of his columns will be subtitled 'Why I Love...' or 'Why I Hate...' - in case you were wondering.]

Gary GygaxI know that I haven't written in a while - I have a good reason for that, but I won't get into it now. Instead, let's discuss the heart of why I'm posting: GenCon.

So, true believers, GenCon is back and the Nerd has noticed. It's once again time for me to head to Indy and see what's going on with all the board games and, well, 12 computer games that manage to get shown every year. Shall we?

I know that some of you must be wondering why a hard drinking bastard such as me would even care about a board game convention, or board games at all.

Well, it's because I have a heart. A heart that beats only for the solace that can be brought from popping out cardboard pieces and sealing them in a ziplock bag. The rules and errata from board gaming brings a certain level of control to my otherwise chaotic life. That, and I get into GenCon for free.

Being such an important member of the media has it's perks. For one, I get a free small soda at the movies for showing off my press badge. It's not all THAT glamorous, of course, but there are other little bonuses. Such as getting into GenCon for free, as I mentioned earlier. FREE! GenCon is like hanging out at a bus station and watching a pay TV until it's booze time, except the TV is free and there are many more things for me to break. That's where you come in.

Since I'm a mess most of the time, I can't really commit to seeing things and reporting on them like a normal human being. In fact, I can't really be bothered to commit to actually GOING to GenCon, but I probably will.

That in mind, I'd love to hear from you guys about what you'd like for me to focus my blurred vision on in order to provide much-needed knowledge about all the new card games that creepy people will be playing at Barnes & Noble in the months to come.

In all seriousness, though, I'd like to take a moment to remember Gary Gygax. I never got to meet the man, though I did see him a couple of times. He was always surrounded by a group of adoring nerds. You know, people make fun of D&D and gamers, but they're an interesting and loyal lot. I hope it can be said of me, when I die, that I'll be remembered by tons of faithful nerds.

[Jason McMaster is a freelance writer who has written for Gamasutra, GameSpy and several other publications. He’s currently working on a few small projects and updating his blog, Lamethrower, as often as he can.]

Google Lively's Mel Guymon To Keynote Worlds In Motion Summit

[I've been tangentially involved in helping set up speakers for Austin's Worlds In Motion Summit, and getting a Google Lively keynote is a neat capper to the program, which complements the existing Online Track at Austin and has also just had some new lectures added from folks like Klei's Jamie Cheng and Rebel Monkey's Margaret Wallace.]

Think Services, organizers of the Game Developers Conference (GDC) have announced that Mel Guymon, product manager for Google Lively, will be presenting the opening keynote to the Worlds in Motion Summit taking place at the Austin GDC from September 16-September 17 at the Austin Convention Center.

In his keynote, Guymon will provide a full overview of Lively, including the team’s vision for this product as a tool to enrich social interaction on the web. Guymon will also offer a historical perspective on how the Lively online world evolved from inception to its recent launch.

As a co-founder of the IMVU, the 3D avatar-driven instant messenger and chat experience, and as an early director of online 3D world There.com, Guymon is an authority on virtual world development. Guymon earned a B.S. in Nuclear Engineering and has served as both a submarine officer in the US Navy and a contributing editor for Game Developer Magazine.

His multitude of experience lends a unique voice to the lineup of speakers for Worlds in Motion Summit, which also includes Stephen Andrade, NBC.com's Digital Entertainment general manager, who alongside Bunchball founder and CEO Rajat Paharia is providing a talk on The Office's 'Dunder Mifflin Infinity' gaming-influenced social networking site.

Other topics being addressed at the Worlds in Motion Summit include the future of the metaverse, in-world advertising, and kids' virtual worlds -- with notable participants from Gaia Online, Three Rings, Electric Sheep, Samsung Electronics, Cartoon Network, Rebel Monkey, Sulake Labs, Intel and many more.

The Worlds in Motion Summit is a two day event taking place at the Austin GDC on September 16-17 at the Austin Convention Center. The emphasis of the summit is the careful integration of content and brands into interactive worlds by companies both large and small. The summit marks the intersection of games, business, and entertainment, and seeks to mark the path towards the future.

For more information on the Worlds in Motion Summit at Austin GDC including a list of confirmed speakers and sessions, please see the official website.

GameSetLinks: A LoudCrowd For Calamity Annie

- Charmed, I'm sure, to introduce you to the latest set of GameSetLinks, headed by the Boston Globe poking happily at Conduit Labs' new PC online game project, which appears to have some music boogie going on, rawk.

Also in here - a predictably iffy Chinese 'cover version' of Chrono Trigger for NES/Famicom, as well as odd sci-fi game-ish fiction, Sierra's history in archived games, more on Robotology, 'organic games' exposed, and more.

Yay nay zonday:

The idea factory - The Boston Globe
Aha, what Conduit Labs are up to: 'LoudCrowd, their multiplayer Internet dance game that's been under development for five months.'

CinnamonPirate.com » Blog Archive » Am I a cart dreaming I am worth playing?
The pirate Chrono Trigger for NES is, evidently, one big mess.

The Brainy Gamer: Narrative manifesto
Great post on the evolution of concepts for games.

auntie pixelante › calamity annie v2
Rumor has it that someone not unadjacent to GSW may be a secret character in this version.

Trends in Japan » Tereshibai from Konami for digital storytelling
"A toy television programmed with animated versions of fairy tales. The cool part however is the voice over, which is created by reading aloud the words on the screen into the accompanying microphone."

Adviser - WSJ.com
Notable stat in here which I think is unrevealed elsewhere: 'Mr. Blow estimates that he spent more than $180,000 of his own money during the past three years to develop Braid.' - 55k sales so far is excellent.

Ascii Dreams: Prince Charming
Extremely interesting game-focused sci-fi.

HTTG: 'The Beginnings of Sierra Part 1 | How They Got Game'
More great history and pics from the Cabrinety Collection @ Stanford.

Robotology: Sim vs Game | metablog
More on the N+ sequel: 'Gish and Soldat are maybe the best attempts to properly fuse simulation and game in equal parts, but in both cases it’s still not a perfectly even match.'

Let there be life: Games go organic - Citizen Gamer- msnbc.com
Profiling Flower and PixelJunk Eden, among others.

August 14, 2008

EIF: Guitar Hero, Nintendogs Better Educational Tools Than 'Serious Games'

-[Another write-up from Scotland via Mathew Kumar and Leigh Alexander, and this one was described as genuinely inspirational from our on the spot reporter - yes, folks, 'regular' games can make an educational difference.]

Instead of making serious games for education, why not embrace traditional gaming to enhance kids' lives?

Much is made of the potential for games to enhance education for today's kids living in a so-called "digital world," but traditional approaches seek to make gaming conform to education. At the Edinburgh Interactive Festival, two innovative teachers suggested that teachers ought to embrace -- and employ -- all the ways in which kids are already playing.

Dr. Graham Brown-Martin is the founder of the Handheld Learning UK organization for research and education, and at the Edinburgh Interactive Festival, he was joined by Learning and Teaching Scotland's Derek Robertson to present a new way to look at games and education that embraces the way kids already play, as an alternative to traditional "edugaming" approaches.

Most students in primary school, Brown-Martin says, own phones, and at least one console, including portables.

The "Digital Divide"

"The PC industry is bending over backwards to be seen as inclusive, but yet mobile and entertainment devices are outselling PCs and laptops by three to one," says Brown-Martin.

"They are more inclusive than any other, and as a result there are powerful devices in the hands of many learners. Good teachers can use off the shelf software as ‘powerful contextual hubs for learning’ in and out of the school."

The education industry, Brown-Martin asserts, expects that "technology happens after you're born." In other words, he says, students live in a tech and media-rich environment -- but find there is a "digital divide" between their experience of learning inside versus outside of school.

"As a consequence, many kids are bored of school," he says -- but adds that this is not about "serious games."

"I have great respect for that industry," says Brown-Martin, "but I think they're still looking for the door marked entry. Serious games are seriously boring.”

Not Learning Games

He explains that bringing off-the-shelf games into the classroom is like bringing a skateboard into a school – it’s not just a toy, you can use it to teach physics, explain the mechanics, and take them apart for rebuilding.

"We're not talking about serious games -- we're talking about game-based learning."

He cites obvious examples like Brain Training, as well as less-obvious ones like Nintendogs, Guitar Hero and Endless Ocean that "offer big improvements in learning without needing to be didactic or boring."

Fellow educator Derek Robertson also agrees. "The domain of the school is presented to kids, but we have to pay more attention to children’s own domains -- in this case merging the games domain and school domain," Robertson says.

Kids pleasantly surprised by the discovery of Guitar Hero, he says, are open to the excitement of writing about and learning more on the musical experience. The impact is particularly significant on at-risk youth, he says, who challenge educators in conventional channels.

"This is to have an understanding that children don't come to school from a vacuum -- they come from homes, a society, a culture, and we have to take this on board," he says. "Children come to school from a world where everything involves technology. Schools dismiss this, and will become irrelevant if they don't pay attention.”

The Nintendogs Budget

As a result, Learning and Teaching Scotland have created The Consolarium, a Scottish center for games and learning. Robertson brings educational managers from regional councils and encourages them to try hands-on with current games to think about how they can be used for learning.

"They come in with their power suits on and go, ‘what is this pish?’ -- and walk out raving," says the ebullient Robertson.

And it’s not all anecdotal – Learning and Teaching Scotland is measuring the impact of these games on learning. After measuring the impact of Brain Training on children’s arithmetic across a 10-week study - 20-25 minutes in the morning with one brain age check per week compared with a class not using Nintendo, the pre versus post scores "rocketed up" from 20 percent scores to over 65 percent in tests.

Kids also worked on their math skills by using their budgets in Nintendogs to calculate how much they'd need to get the pet accessories they wanted, and honed writing skills as they blogged about their experiences raising the virtual dogs.

The message to educators is to embrace, not dismiss off-the-shelf games, says Robertson. "Be wary of the development of 'worthy' education games," he warns. "Kids can spot the phony."

Game Time With Mister Raroo: 'How to Afford Games When Your Cash Flow is Low'

- [Mister Raroo returns with his regular 'Game Time' column to discuss how his personal finances no longer permit him to buy games in the same quantity as he used to - and why that isn't necessarily a bad thing, given the multitude of choices and alternatives available to today's gamer.]

From Surplus to Deficit

It’s interesting how just a short amount of time can make such a difference on your perspective. Videogames certainly have the potential to be an expensive hobby, and a few years ago I didn’t think twice about dropping $50 on any game that caught my attention. I had enough disposable income that the price of games was never a factor in my decision-making process. Instead, if something looked interesting, I went for it. I was spending hundreds of dollars a month on games because, quite simply, I could.

Today, however, it’s an entirely different story. In a nutshell, I can’t afford games like I used to be able to, and I know from speaking with many of my peers that they’re in the same boat. Not only has my salary remained stagnant while the cost of living has gone through the roof, but I have more expenses than ever. Back when I was able to buy games on a whim, I didn’t have to worry about mortgage payments, child care costs, or climbing gas prices. Money is a lot tighter now, and that has had a serious impact on my spending habits.

I’m happy to report I’ve managed to find ways to continue purchasing and enjoying games, though not without making many sacrifices and significantly changing my spending habits. The days of buying any game that catches my fancy may be long gone, but I’m continuing to find ways to fund my favorite hobby. I might not be able to spend hundreds of dollars a month, but I can still buy new games from time to time.

There are many strategies I’ve employed to help free up some gaming funds, and overall I think I’ve been very successful. I might not be buying games at the frequency I did in the past, but in many ways I’m actually getting more enjoyment out of my game purchases. Without sounding too much like an infomercial, I must point out that the fiscal tactics that have worked for me may not be the right fit for others, but hopefully this article will give readers some ideas on how to still afford games even when their wallets may be getting awfully thin.

- Learning to Budget

During my period as a big spender, I was under the impression that I was doing moderately well keeping track of my finances. As it turns out, I wasn’t. I never kept a formal budget until a few years ago, and it wasn’t until that point that I was able to see an accurate representation of the amount of income I had to work with in relation to how much money I was spending. It was rather shocking to see that the quantity of outgoing money was dangerously close to matching or even exceeding my income. It was painfully clear: I was a bad budgeter.

Actually, I have to admit that if it weren’t for one particular incident, I probably wouldn’t have started taking budgeting so seriously. Years ago, when we were first living together, my wife Akemi and I were out grocery shopping and when we got to the checkout counter, Akemi asked me whether she or I would be paying since we were still rookies on how to split our finances. I told her I was pretty much cleaned out until my next paycheck and so that led to the obvious conclusion that she was paying. She stood there for a minute looking at me incredulously, then took out her wallet and paid the cashier. By time we got to the car, her disbelief turned into utter frustration and she asked, “But didn’t you just buy a couple of new games earlier this week?”

Sheepishly, I admitted that indeed I had purchased some games but that I had figured we could put off getting more food for longer since I had been accustomed to skimping on necessities in favor of games or music when I was single. Besides, I was going to get paid in a few days, and I could buy groceries then. Now, my wife is a small package—she stands about 5’3” and weighs only about 100 pounds—and she one of the nicest and most thoughtful people you’ll ever meet, but if you make her angry enough, you may summon what I like to call the “Akemi Monster.”

Akemi Monster only comes out on rare occasions. For instance, one time at a San Diego Padres game an inebriated fan behind us was yelling out racist comments about Ichiro Suzuki. Akemi, being of Japanese descent, did not stand for that and quickly turned around to give him an earful, which certainly took the man by surprise.

So, when the Akemi Monster appeared because of my fiscal irresponsibility, I knew I was in hot water and had been acting foolishly. It was at that moment that I decided I needed to get serious about budgeting. Never again did I want to hear the sharp words repeated, “You have money to buy games, but you don’t have money for groceries!?” And, all of these years later, I’m proud to report that the Akemi Monster has never made a repeat appearance (well, at least not over this issue, anyway!).

Plotting out all my expenses via the computer program Quicken was the solution I needed to learn how to successfully budget my income. I find it very helpful to be able to see my finances in a format other than the jumbled mess of my thoughts. I plan out all my income and expenses for the next month or two, give myself a cushion for any unexpected costs that may arise, and take a look at what is left over. It is from this remainder fund that I decide the amount of money I have to spend on games.

Keeping on top of my personal bookkeeping is actually a more challenging task than I thought it’d be. Every single time I make a purchase, I enter it in my Quicken spreadsheet as soon as possible. I also regularly match up the Quicken data to my online banking data, and it’s startling how often I make a small mistake or typo in my bookkeeping. If it weren’t for continually keeping tabs on my budget situation, I’d probably be in big trouble!

-Cutting Out Unnecessary Expenses

Once I was able to see my finances clearly laid out in Quicken, it dawned on me that I was spending way too much money on things that weren’t necessary. I was regularly dropping $5 here and $10 there without thinking much about it, but those costs really added up. If I wanted to have funds to buy games, I’d have to cut those unnecessary expenses. It was actually pretty freeing to do away with many of those ephemeral costs.

To begin with, I decided to stop going out to eat during my lunch breaks at work. Since my job is located in a mall setting with numerous food establishments within walking distance, I used to eat out on a daily basis, but now I pack a lunch instead. Every weekend Akemi and I go grocery shopping and I buy my lunch supplies for the upcoming work week. The cost of a week’s worth of homemade lunches just about matches one day’s worth of buying lunch. In addition, the time I save by not going out to eat gives me some additional moments to enjoy some gaming during my break!

Beyond work lunches, I also decided to cut out the number of times I went out to eat in general, opting instead for home-cooked meals. Just as with my work lunches, eating at home is far less expensive than going out for meals, and it also ends up saving me time. I can now fit more activities into my evenings and weekends, which means I have a little more breathing room to do more of the things I want to do, like play videogames. Besides, the meals I eat at home are a lot healthier than the food I was bringing home from the likes of Jack in the Box and the other fast food restaurants I used to frequent.

I’ve also managed to do away with many other expenses that on the surface didn’t seem like much, but together added up to a sizeable sum. For example, I’ve stopped buying DVDs, music, and books, have opted not to renew magazine subscriptions, rarely go to the movies, and have the most basic cable option. I no longer make impulse buys at the store and I always shop sales and look for bargains when I legitimately need to buy something. Little by little, doing away with even small expenses has helped me to pool some spending money that I would otherwise not have. And, honestly, I don’t really miss most of the things I’ve cut out.

-Making an “Essentials” List

Ever since I first learned to write, I have enjoyed creating massive wish lists for my birthday and Christmas. Holidays and birthdays are a great way to get your hands on games that you may otherwise not be able to afford. My tradition of lists is still in effect almost 30 years later and my family knows to expect one whenever it’s getting close (say, within a month or two!) of my birthday or Christmas. Even though it’s kind of embarrassing that my game-filled wish lists are almost exactly the same as those of my nine-year-old nephew, I always manage to score some choice games whenever a holiday or birthday rolls around.

My wish lists have actually served to demonstrate to myself that I don’t just want a lot of games—I want a ridiculous amount of games! But the lists also help me keep track of what games are on the horizon, so I decided to expand my list-making into a year-round practice. Every few months it seems like I’m scanning the upcoming releases on various retailers’ websites to generate my absurdly-long wish lists. It is from these lists that I plot out what I can actually afford.

Once I create a list of games, I try to cut out some duds to pare everything down to what I consider to be a reasonable number (which is usually still too large for my budget!). I then run the list by Akemi who, because she is pretty keen on figuring out what games I’d actually like and which I should kick to the curb, helps me shorten the list even more. It’s a good thing I use Akemi’s outside perspective, too, otherwise over the years I would’ve probably purchased such “hits” as Enter the Matrix, Driv3r, and Leisure Suit Larry: Magna Cum Laude.

After cutting the list down to its “essentials,” I let it sit for a few days before going back to decide if any of the games truly qualify as “full price purchases.” More often than not, most of the games on the list aren’t worth paying for on day one. Even though $50 or $60 might not have seemed like a considerable amount of cash when I had money to burn, today I view it much differently. $50 can pay for the bulk of a grocery shopping trip, a couple boxes of diapers, or four months of basic cable. Unless a release is something truly special to me, such as a new Castlevania or Super Mario game, chances are I won’t be paying full price for it.

I’ve also broadened my “essentials” idea to downloadable games on services like Xbox Live Arcade, the Playstation Store, and the Wii Shopping Channel. Because their price is so low, it’s very tempting to snatch these games up each week when the networks are updated with new content. I quickly realized, though, that buying a few downloadable games a month quickly piled up. It’s tempting to purchase something just because it’s cheap, but my way to deter this urge is to ask myself, “Is this something I’d actually go to the store to buy?” Super Stardust HD is definitely a game I’d make a trip to purchase, but a disappointment like TiQal, on the other hand, is not. Although something may be inexpensive, it still isn’t worthwhile if it doesn’t make the cut on my “essentials” list.

-Staying Six to Twelve Months Behind

It’s always at least a little painful to pay full price for a game that, only a couple months later, is on clearance for less than half the original cost. While a handful of games become rare and actually go up in value months or years down the line, the majority of games can be purchased for a fraction of their former price not long after their release. My new strategy for buying games, then, has been to put myself six to twelve months behind the current releases. That said, at times it can be rather excruciating to know I’m missing out on playing a game that so many other people are enjoying at that very second!

Waiting for six to twelve months means not only am I usually able to buy games for a cheaper price, but many times I end up realizing I can do without the games, period. Release hype can be a dangerous thing, and in the past I’ve often bought the latest, hottest games just because the excitement surrounding them was so irresistible. In retrospect, many of those titles turned out to be disappointments and before long they were collecting dust on a shelf. Why did I spend top dollar on Devil May Cry 2, for instance? Removing myself from the hype by steering away from buying most games upon their release has helped me to save a lot of money over the past few years.

It’s also worth pointing out that by not being up-to-date with the newest releases, I’m actually able to buy more games in the long run. Even though I might not be experiencing the excitement of playing an eagerly-anticipated game right when it hits store shelves, waiting a fairly short period of time means the money I would’ve spent on a game at full price will buy me not only that title when it’s discounted, but possibly a couple other games as well. Although there are always a few select games like Panzer Dragoon Saga which wind up being impossible to secure for a low price after their release, most other games will be selling for a portion of their price within a relatively short amount of time.

Speaking of rarities like Panzer Dragoon Saga, a major reason I used to be so hesitant about waiting for games to go down in price is because I was worried that I wouldn’t be able to find them in the future. I would buy games based solely on the notion that they’d become rare and collector’s items. This idea led me to purchase games I didn’t necessarily want to play. I was also reluctant to buy games unless they were in complete and mint condition. Shaking the collector’s mentality has been difficult, but it has ended up saving me a lot of money. Some games may become extremely rare, but if I truly want to buy them at a later date, there’s always a way to do so.

Now that I’ve learned to let go of the impulse to buy games on their release dates, I’ve discovered that there is something rather satisfying about snatching a few superb titles from a bargain bin, knowing you saved a great deal of money in the process. Shopping the bargain bins exclusively is actually a way of life for many people. My young nephew Mario, for example, isn’t allowed to buy new games until they appear in what he calls the “special section.” Now that my finances are so tight, I’ve also become a frequenter of the “special section,” and I have even lamented to Akemi on many occasions that certain games I want to purchase need to hurry up and make their way to the “special section” so I can finally take them home!

-On a quick tangent, I’ve got to mention the most notorious “special section” of all: the dumpster. Because I used to think like a collector, I had kept every single superfluous bit of packaging for games and systems for as long as I can remember. This past Fall when Akemi and I were moving to our new home, I decided to do away with all the unnecessary boxes and other paraphernalia and took them to our apartment complex’s dumpster (I still kept all the cases and instructions booklets, though!). When we happened to walk by the dumpster not ten minutes later, someone had already descended upon the numerous boxes, ripping them to shreds in what I’m guessing was the hopes that I had thrown out the actual games, systems, and accessories.

Selling, Trading, Renting, and Borrowing

Perhaps because I work in the library field, I enjoy having a sizable collection of games and I like to go back and revisit many of the titles I own, sometimes years later. It’s fun to think of the games I own as being my own personal videogame library, with me being the head librarian overseeing the collection’s development. I’m not crazy when it comes to cataloging, but I separate my games by system and region.

All libraries need to weed outdated and underused materials in order to remain healthy and relevant, and my game collection is no exception. I’ve purchased a rather depressing amount of games that I haven’t touched since the day they came home with me. I may have had fun playing them for a brief stint, but beyond that initial period, those games have just sat untouched, cluttering up my shelves. Like any good librarian, I realize that from time to time I need to weed my own collection.

There’s no point in holding on to games that you’re never going to play again, so trading them or selling them to a game store in order to generate some funds for new games can be a smart move. That said, it’s important not to get ripped off! Some stores will only offer a small amount of cash or credit for a trade-in, only to turn around and sell the game for three times that price. I believe that finding a good “mom n’ pop” business is often the way to go as they can sometimes give better trade-in deals, especially to loyal and responsible customers.

-However, it has been my experience that the selling games online provides the most money in the end. I’ve had great success selling via eBay, though I’ve had to be wary of bidders that were scammers and flakes. Providing as much upfront information as possible about a game’s condition, being exceptionally clear about the payment and shipping guidelines, and providing photos of the product has yielded the best results. Selling online requires more work than trading games at a store, but the extra revenue from my efforts has been well worth it.

Making permanent trades with other gamers is another great way to get your hands on some new games. Many gaming message boards have specific sections set aside just for trading, and there are even specific websites set up just for that purpose, too. I’ve had some really nifty trades with friends I know through a couple gaming of message boards. My recommendation is to always remember to be prompt in shipping out your games, package them well, and don’t be afraid to throw in a bonus or two for good measure! The better your reputation, the more likely others will want to trade with you.

In the past couple of years I’ve started renting more games and have found it to be a great way to play some of the titles I’m interested in without having to pay full price. These days, there are numerous game rental options available to gamers, ranging from brick and mortar establishments to by-mail services to online accessibility. With so many choices available, it’s easy enough to find an option that caters to one’s particular budget and level of necessity. I have a plan through Blockbuster Online that allows me two free game rentals a month, which works out to be just about right for me. Actually, I’m rather lucky because Akemi and I signed up for Blockbuster Online years back and the two free rentals a month is a perk no longer available to new members.

The problem with renting games is that doing so requires money, so borrowing from or temporarily trading games with friends is a great way to play new games when funds are low. If you’re lucky enough to have friends to swap games with, make sure you’re a good borrower! Nobody wants their games to be returned with smudges or scratches. In fact, I no longer lend out my games because I’ve been burned too many times by jerks that either mysteriously “lose” the games or bring them back in terrible condition. Even though ideally those irresponsible people should replace the games they’ve lost or trashed, it’s often an awkward situation and I’ve just bitten my lip and cut my losses. Accordingly, my game library has gone from being public to private.

If you’ll briefly pardon me for one additional tangent, I’ve got to take a moment to plug public libraries. Though the practice is still very much in its beginnings, videogames are quickly becoming more and more commonplace as circulating resources in library collections. Most library systems allow patrons to place holds on materials free of charge, too, so users can put themselves in line to check out the latest games. In addition, many libraries host gaming programs and tournaments for their patrons, with participants sometimes being treated to refreshments and even prizes. Go check out your local library and if they don’t circulate games, make a suggestion that they start doing so!

-The Bottom Line: Enjoy What You Have

Most (if not all) serious gamers have a “pile of shame” of some sort—that is, a stack of games they’ve been meaning to play but haven’t gotten around to giving those games the time they deserve. Buying fewer games and focusing your attention on your own personal stockpile of underplayed games will lead to more gaming enjoyment in the end. It’s silly to buy a game only to end up never playing it, but that is something I’ve been guilty of, and I know plenty of other people who have done the same. It’s absurd to buy games that won’t be played!

When I was a kid, I played each game to exhaustion. I explored every corner, knew every secret, and could probably even beat some games with my eyes closed. I can’t say the same is true today. As an adult, there are many games in my collection that I’ve barely touched, and that makes me feel more than a little ashamed. The child version of Mister Raroo would shake his head in disgust if he could see me now.

Especially given that finances are so tight, there is no justification for wasting money on games that won’t be played and enjoyed. Just because I mean to get around to playing a game doesn’t excuse the fact that it’s sitting untouched. If I’m not going to get my money’s worth out of a game, I might as well put those dollars towards something else. The $50 I wasted on an underplayed game could’ve gone into my son’s college fund or towards paying off my mortgage. Instead, it went to buy a plastic disc in a plastic box that does nothing but sit idly on a shelf.

Even though I’ve definitely gone through a major transformation in my gaming spending habits, there is still room for improvement. While I don’t buy as many games as I used to—and I certainly don’t spend full price on most of the games I buy—I still purchase too many games and don’t end up getting the most out of all of them. I’ll be the first to admit that I definitely have some distance to go in learning to be fully content with what I have and not be so concerned with what I don’t. As the gap between the cost of living and my salary widens, I’m going to need to continue to become smarter with my personal finances or face the consequences of monetary irresponsibility… not to mention the wrath of the Akemi Monster!

[Mister Raroo is a happy husband, proud father, full-time public library employee, and active gamer. He currently lives in El Cajon, CA with his family and many pets. You may reach Mister Raroo at mister.raroo@gmail.com.]

GameSetNetwork: Best Of The Mid-Week Madness

-How did it get to be Wednesday already? Fortunately, we're GameSetWatch-highlighting a bunch of neat features, interviews and write-ups from big sister site Gamasutra and elsewhere - headed by our '20 Breakthrough Developers' feature, which we spent some time compiling and commenting upon, and is hopefully fun/educative.

Also hanging out in here - reports from the Edinburgh Interactive Festival (that's Scotland!), the Sandbox Symposium preceding SIGGRAPH (that's Los Angeles!), and neat features on casual games and the state of Sega - plus Richard Garriott discussing in-game languages on GCG and more besides.

Go go link zola:

Gamasutra Features

The Gamasutra 20: 2008's Breakthrough Developers
"In a special feature, the Gamasutra 20 for 2008's Breakthrough Developers honors those special game creators our editors think are making big professional leaps this year, from 2D Boy to Media Molecule [LittleBigPlanet pictured!]"

The State of the Casual Games Industry in 2008
"As the casual game biz gets more complex, and the mainstream game biz examines complexity - where to now? Notables from PopCap, PlayFirst and Reflexive explain the state of the downloadable PC casual game space."

The Evolution Of Sega: A Conversation With Simon Jeffery
"In an in-depth conversation, Gamasutra quizzes Sega's U.S. CEO Simon Jeffery on developer acquisitions, developing for a global market, the future of Sonic - and that inevitable hardware question."

Other News, Interviews, Highlights

SCEA's Steinberg On 'Future-Proofing' A Ten-Year PS3
"SCEA marketing VP Scott Steinberg has been talking to Gamasutra about keeping Sony's consoles relevant for ten-year life cycles -- a steep directive, but possible? He explains how Sony is "future-proofing" the PS3 with a little help from Blu-ray and the PS2 as Trojan horse."

Koster: 'The Sandbox Is Exploding'
"Raph Koster points enthusiastically to all the ways that the "future" has shown itself to defy the futurists, and at SIGGRAPH's Sandbox Symposium, he advises devs to take advantage of the thinning barrier between Web and real life --lest "that crazy Japanese genius" beat everyone else to the next Wii Fit."

EIF: Deering Says Only 3 Of 10 Games Recoup Costs
"At the Edinburgh Interactive Festival, former Sony Europe boss Chris Deering said current development costs mean only 3 out of 10 games recoup their expense, exacerbated by the decline he sees coming for software sales -- even while worldwide console userbases are set to jump with the PS3 ultimately in the lead."

GCG: Richard Garriott On In-Game Languages
"Gamasutra sister site GameCareerGuide has debuted a piece on Richard Garriott’s thoughts on in-game languages, with the Ultima/Tabula Rasa creator setting out rules on familiar sounds (don't go Klingon!), grammar, and ideas behind alternate languages in games."

EIF: Codemasters' Cousens On Why Britannia Rules
"At the Edinburgh Interactive Festival, Codemasters managing director Rod Cousens defended the virtues of the UK development community in the face of high labor costs, a supposed talent scarcity and competitive subsidies from overseas, pointing to a creativity forged in the fires of early computing's limitations."

August 13, 2008

Exclusive: Behind The Scenes of Penny Arcade Adventures

-[We're going to be posting some of the highlights of the latest issue of Game Developer, and here's some neat postmortem bits from Gabe and Tycho's magnum opus.]

The latest issue of sister publication Game Developer magazine includes a creator-written postmortem on the making of Hothead's Penny Arcade Adventures: On the Rain-Slick Precipice of Darkness -- Episode One, the company's first foray into downloadable episodic games.

These extracts reveal how the recently-formed company faced development obstacles on a project of smaller scale than those to which its members were accustomed, due to the episodic nature and development experience of the Penny Arcade license holders, as well as how those obstacles were overcome through experience, outsourcing, and studio independence.

Hothead COO Joel DeYoung crafted the postmortem, which was introduced in Game Developer as follows:

"Hothead has brought both downloadable episodic games to both PC and console with this Penny Arcade partnership, and along the way learned some valuable lessons, from the difficulty of working with fresh licensors to the trouble with and benefits of outsourcing. A sidebar from Jerry 'Tycho' Holkins and cover art from Mike 'Gabe' Krahulik round out the piece."

Mike And Jerry's First Game

Early in the postmortem, DeYoung noted the benefits of working with Penny Arcade's Holkins and Krahulik, part of which stemmed from the duo's willingness to contribute a significant amount of artwork and dialogue. But being new to the development process also meant they did not always know what to expect:

"Apart from coming to terms with the sheer amount of work they had to do, probably the biggest shock for the Penny Arcade guys was seeing a game that was half finished.

"As developers, we took for granted that we could look at the game when it was midway through production and envision where it would end up as additional layers of polish were added. For them, it was much more of a shock to see their characters and world in a half-finished state. We needed to be more diligent in helping them understand what was still first-pass, and how we were going to make it complete.

"The game length problems were exacerbated by their lack of experience as well. Story and dialogue are the key factors that determine the length of an episode, and those items came directly from Penny Arcade.

"Since virtually no one at Hothead had worked on adventure games before, it was like the blind leading the blind with no one having intuition about how the current story translated into game length. This was one of the factors that led us to work with LucasArts adventure game veteran Ron Gilbert.

"A final issue was managing who was in charge of certain decisions. As we progressed, it became clear that the dividing line between their responsibilities and Hothead's was blurry.

"For example, the nonlinear dialogue trees in the game are all script: Jerry wrote every word. But finding your way through the dialogue is gameplay, and the type of information that gets revealed, reiterated, or emphasized during each dialogue encounter is key to making a solid adventure game and to ensuring that the player is always aware of what she or he needs to be doing."

Managing Scope

Moving on, DeYoung commented on a problem that frequently afflicts developers moving from the traditional full-length retail game segment to smaller, downloadable games: that of scope. He described the issue:

"Old habits die hard. We started Hothead on the principle of making smaller games, experiences that could be digested in a reasonable amount of time. The episodic format is a great way to achieve this, so we planned the game series' story arc appropriately and scoped each episode to have several hours of gameplay.

"And yet, numerous times during the project, we noticed the scope creeping larger, as the team fell into old habits we all had from making larger games destined for retail.

"At one point, the issue grew to such an extent that we had to step back and rethink how big we were making the game. We realized we were setting a trend with the first episode that we would need to maintain with future releases. These adjustments were not easy to make and cost us extra time.

"As a large portion of the team rolled onto the second installment, I started hearing discussions on the team that made it clear we were thinking about Episode Two as a sequel rather than an installment of a series. With episodic delivery, it is imperative to think of each release as an iteration on story and content using a static engine.

This principle is important when we plan to deliver new episodes every four months and perhaps even essential if we consider the episode-per-month schedule adopted by Telltale Games on its Sam & Max series.

"Looking ahead, we will have to ask ourselves if we are sticking to those practices or if we are sliding back into older, more familiar habits that will prevent us from reaching our goals."

A New Development Model

As far as what went smoothly, DeYoung pointed to the company's early decision to stay independent, with faster game releases and direct distribution models like Steam and Xbox Live Arcade providing the necessary revenue stream to do so. As he noted, the decision had positive repercussions for creativity as well as income:

"Focusing our company on selling games online and funding the games ourselves meant that we could remain independent of publishers. This created a genuine indie feel on the team throughout production. Team members felt empowered to make the kind of game we wanted, which gave everyone an extra sense of ownership and motivation to make a great game.

"This model was a big change for everyone at Hothead, with virtually all our veteran staff coming from work-for-hire developers. The change in dynamic was most evident because we were no longer shipping off monthly milestones to a publisher.

"Despite the appeal of this, we realized midway that monthly milestones provide a convenient pressure to keep a project on track. We had to come up with other ways to motivate ourselves to hit interim milestones -- a surprisingly difficult task when they are not tied directly to revenue.

"Despite that, it was a refreshing change to be able to make a game from beginning to end, answering only to ourselves."

Additional Info

The full postmortem, including a great deal more insight into Penny Arcade Adventures: On The Rain-Slick Precipice of Darkness -- Episode One's development, with "What Went Right" and "What Went Wrong" reasoning, is now available in the August 2008 issue of Game Developer magazine.

The issue also includes an analytical study of FPS shooting mechanics, an examination of the AI middleware market, and an interview with former Sonic Team and Naughty Dog designer Hirokazu Yasuhara (Sonic the Hedgehog, Uncharted: Drake's Legacy) - plus tool reviews, special career sections, and columns from Bungie's Steve Theodore, Lucasarts' Jesse Harlin, and BioWare's Damion Schubert.

Yearly print and digital subscriptions to Game Developer are now available, and all digital subscriptions now include web-browsable and downloadable PDF versions of the magazine back to May 2004, as well as the digital version of the Game Career Guide special issue.

In addition, the June/July 2008 issue of Game Developer is available in paid single-issue digital form (viewable in a web browser, and with an associated downloadable PDF).

COLUMN: Quiz Me Qwik: 'Beer and Loathing With Matt Hestill'

hes1.jpg['Quiz Me Quik' is a weekly GameSetWatch column by journalist Alistair Wallis, in which he picks offbeat subjects in the game business and interviews them about their business, their perspective, and their unique view of life. This time - an enlightening chat with Matt Hestill.]

It’s been interesting reading Michael Walbridge’s series of interviews with prominent games journalists, and Simon Parkin's recent column on the same subject. It’s really given me pause to think about some of the people I admire in the field; Michael is actually interviewing a number of them.

There’s plenty of other people who I think exemplify the great things about games journalism – intelligence, an ability to think critically and a desire to move journalism past its occasional stagnancy in the mass-market commercial field. While a disappointing number of people writing about games are all too satisfied with towing a line of mediocrity, these people are pushing forward and asking, ‘Why can’t we expect more?’

Unfortunately, all of those people were too busy to talk with me, so I contacted my old acquaintance Matt Hestill instead.

You might know Matt from his blog, It’s Matt Hestill, Stupid - a surreal collection of self-obsessive rants and reviews, all written in Hestill’s somewhat underwhelming stream of consciousness style, punctuated with the odd bit of freeform poetry.

Or it was, anyway, until Hestill snapped in late January and deleted every single post because “the comments were just annoying and you people don't deserve my insight into the games industry anymore so you can all just get fucked”.

“Hey Matt,” my initial email read. “I want to interview you for GSW, man. What have you been up to since you stopped the blog? Are you even still writing? Haven’t seen anything around lately. I thought you were meant to be doing some stuff for 1Up or something.”

“Wallis,” he replied. “Busy always. Here’s the interview’s focus: I am the next evolution of games journalism. The blog was my chrysalis. I was the pupa. Shutting the blog was the pumping of the hemolymph into my wings so that I might emerge stronger and more beautiful; flowering and rocketing. Now I am the butterfly, Wallis. Soon I will fly above the caterpillars of games journalism. Skype me.”

So, it quickly emerged that Matt had recently had something of an epiphany while rereading Kieron Gillen’s reknowned New Games Journalism manifesto. And then reading everything he could find on games journalism's need for a Lester Bangs. And then reading Fear and Loathing in Las Vegas. And then, the following is what transpired, immediately after connecting to Hestill via Skype.

Matt Hestill: It's early here. I'm drinking a beer.

GSW: What?

MH: A beer. This is my second for the day. It's very early. I'm working on my second day of this bender. It's going to be big, man. Classic stuff. People are going to be talking about what comes out of this bender for years to come! Hestill's great video game journalism bender of 2008!

GSW: Right.

MH: [Laughs] Wallis, have you considered what we games journalists need to do?

GSW: In regards to what, Matt?

MH: To burst forth from our skins and rejoice as artists and doctors of journalism in the true sense, man. Cast forth commercialism. Lean forward like Cameron and Ferris and that hot chick, pressing our faces against the glass, looking down on the people below: 'I think I see my Dad!' Embrace our own destinies and win the race, holding the cup high above our heads screaming 'You fuckers! We've taken [Matt yells too loud at this point, rendering the rest unintelligible because the speaker distorts wildly]

[Pause]

Man. Man, you know, right? You know what we need?

GSW: Matt, are you sure you've only had two beers?

MH: Wallis, here's the thing, right? That's not the point! What are you, man?

GSW: What?

MH: You're a journalist, man! But are you the best you can be? Do you push it in directions you never saw as possibilities; dragging and kicking at it, telling it that it's for its own good that this happens? Man up, journalism! Take it! Take it, you prick!

GSW: I...hang on, what? Are you directing that at me?

MH: Take it!

GSW: Right. I'm still not sure what you think we need, Matt. What do you think is wrong with game journalism?

MH: It's...it's lotion on the coffee table, man.

[Pause, punctuated by the sound of an opening bottle]

GSW: I have no idea what that means.

MH: It's lube. It's a masturbation aid. It's sitting there on the coffee table in front of you, next to a box of tissues – next to a whole roll of toilet paper! - and you're staring at it, and then you're looking down at your pants, watching your desire struggle to free itself from your jeans and you're licking your lips, man, because you know that when you load up that browser and read your Metal Gear Solid 4 review and see that it got a ten, that fucking lotion is going to feel so good and cold and slippery, and...BAM!

You're unleashing it to that, man.

Golden ropes. On the table.

GSW: So, you think it's pandering to its audience and what they want to hear?

MH: What they want to do, Wallis! And you know what they want: golden ropes! And games journalism says, 'Hey hey, man, I got just what you need to make that easier. You're gonna love me, cause I'm slippery and wet. I know you've got a fire, and we're gonna stoke it all over the coffee table.' Blogs, review sites – all of them.

GSW: Right.

MH: And you know what I am, Wallis?

GSW: I'm sure I have no idea.

MH: I'm that toilet paper, but I'm a roll of toilet paper made of sandpaper. I'm there when you're cleaning up, but I'm chafing – ripping and shredding, tearing your bits to bits when you want soft four-ply, man.

GSW: I'm not really seeing how this is going to help games journalism's problems.

MH: I won't compromise, man! I'm not there to be soft, damp and clean you up; I'm there to shred your genitals when you least expect it! Don't you want me to shred your genitals, Wallis?

GSW: I can't say that's an entirely appealing prospect, Matt.

MH: We need it, though. That's what we all need.

GSW: We all need Matt Hestill to shred our genitals?

MH: That's right! Don't you see that every other journalist is just letting themselves be used as a masturbation aid? I'm not letting that happen, man. That's why I stopped the blog. I don't care what people think. They need to be rubbed raw, and no one else is doing that, man – you can still keep your oh-so-fucking-witty tabloid Kotakustiq and publisher-handjob commercialism review templates, but I'm here for something else entirely.

GSW: So you're the great saviour of games journalism?

MH: Damn right, man. I'm the new, new james journalism.

GSW: James journalism?

hes1.jpgMH: Shut up, man, you know what I mean. You know that whole Lester Bangs of games journalism thing? Screw it - screw being Lester Bangs of games journalism, man, just screw it. Screw it. You know what we need? We need a Hunter S. Thompson of games journalism.

We need someone who's going to take a whole boatload of acid and go to E3; rock up to press conferences wondering why they've suddenly replaced Don Mattrick with Budgie the goddamn Little Helicopter and why Pippa the Plane is playing Wii Music at the Nintendo event, belching blue green halitosis at our industry's journalistic savior in an effort to try and sell to a market won't even be watching while still keeping a bunch of chronic masturbators on message boards under the impression that the company still gives a shit about them and their pathetic excuses for incomes. Jeff Green gone power mad on drugs. Pure gonzo games journalism. Burning E3 to the ground. Nothing left but Kirby Dots.

And liveblog the whole thing on 1Up! They need me there to say, 'I'm Matt Hestill, stupid, and this is how the goddamn hell it is,' There's nothing like a crystal clear acid come-down to make you realize, 'Oh hell, they really don't care about you anymore'. The indies and the devs with half a brain in their head? They might give a shit, but why are journalists pandering to the lotion-rubbing fanboys who honestly believe that Sony care that they're upset about Final Fantasy on the 360 and the guys who think that Microsoft are really very sorry for the inconvenience caused when they sent their third Xbox back in?

Stockholm syndrome, man. Capitalism taken to an extreme never before seen, where you start defending and proffering love for the ones who charge you money. But no kissing on the lips, and they won't love you in the morning! Battling on boards for a bunch who see you as a number? Man, it's battery hens sent to war. I hate those guys, man – detest them with a fury that sometimes overwhelms me. Hands off it, boys! And I'm not afraid to tell exactly how much contempt I have for them; for my prospective audience.

Couldn't be much worse than the pedestrian crap that comes out of most of those blogs anyway, right?

GSW: I think you're missing the significance of Thompson's work a little, Matt. Besides, no one's going to pay you to write about E3 on drugs. And now that you've mentioned it, they're not even going to let you in next year.

MH: If not next year then the year after, man! I'm doing this. I have to, and I know you know that I have and you want me to as well.

GSW: I'm not sure that's really something I'd want to be known as a supporter of, Matt. You're kind of on your own with this one.

MH: Man, I don't need your help. I don't need 1Up or IGN or Gamespot or any of the blogs. Did Hunter S. Thompson need shit like that?

GSW: Well, I'm pretty sure that most of his work was actually at least started as commissioned pieces...

MH: But now we're in a different time, Wallis! People even read your blog, for God's sake. [Sound of another bottle opening] I'll be self-published, self-made – Giant Bomb isn't the new Gamespot, I am.

GSW: You'll forgive me for suggesting that this sounds a little more like the increasingly drunken rantings of a possible madman than a manifesto actually promoting something.

[Pause]

MH: Oh, hell, man. You want a manifesto, Wallis? You just wait. [Call ends]

GameSetLinks: Cryptozookeepers Vs. Kenji Eno

- So, all kinds of good GameSetLink-age to be done here, and it's headed out by an interview for a pretty darn weird mutant text adventure, thanks to Renga In Blue.

Also hanging around in this particular mix - an absolutely excellent longform Kenji Eno interview at 1UP, Ste Pickford on game tutorials, more Moshi Monsters (pictured!) discussion, a gorgeous R-Type craft model, indie pricing discussions redux, and much more besides.

Eu ree ka:

Interview with Robb Sherwin and Cryptozookeeper Preview « Renga in Blue
Insane new indie text adventureness: 'Cryptzookeeper is basically a cross between Monster Rancher, Zork, and a good call on Coast-to-Coast AM.'

I Am Not Smart Enough For Fantastic Contraption | Rock, Paper, Shotgun
V.notable Flash physics game.

1UP: 'Kenji Eno: Reclusive Japanese Game Creator Breaks His Silence'
Incredibly good Mielke interview with possibly the most eccentric Japanese game creator.

Ste Pickford's Blog: 'Tutorials Are Hard'
More excellent think pieces from the super-veteran UK indies (mm, Zub.)

The Escapist : Game Design Sketchbook: Testing the Limits of Single-Player
Interesting Rohrer piece with attached game.

Subatomic Brainfreeze: I'm playing children's card games: Kongai
Sirlin's tres interessant card game gets a little analysis.

T=Machine » Moshi Monsters Review
Precise and excellent critique of the kids online worlds we've also covered on WiM.

Shoot The Core: Sweet, sweet model-age
Wow, insane R-Type ship boss model - not sure if this is custom or actually commercially available in kit form, I presume the latter.

Tales of the Rampant Coyote: Interview: Cliff "Kudos" Harris on Being an Indie Game Developer
Excellent interview taken from an Escapist article.

The Independent Gaming Source: 'On Braid and Pricing'
There's some awesome discussion in here, led by Derek, who charged $30 for Aquaria on PC, and ran into similar pricing ???s.

August 12, 2008

In-Depth: Rainbow Six Sidequest Ad Could Be A Game-Changer

- [In-game ad firm Massive's participatory 'Tropic Thunder' campaign in Rainbow Six: Vegas 2 actually enters the game mechanics as a sidequest. But how do you draw the line where the game ends and the ad begins, and might the Xbox 360 and PC-exclusive content play a role in the platform wars? Our own Leigh Alexander is on the case...]

When it comes to in-game advertising, how do you draw the line between ad and game if the ad is a sidequest?

Massive, Microsoft's in-game ad agency, recently hooked up with Ubisoft to place ads for Paramount's film 'Tropic Thunder' in Tom Clancy's Rainbow Six: Vegas 2. As in-game ads continue to proliferate alongside increasing development budgets, this is not at all an unusual occurrence -- but when you look at what's different about this particular campaign, a few interesting wrinkles appear.

Ads As Game Design

Massive global sales VP Jay Sampson calls it a "game-within-a-game." It places a series of branded clues into the game environment that players pursue, creating a scavenger hunt sidequest. The ultimate reward is a mobile text number players input for entry into a prize drawing.

"There's kind of a uniqueness... to first-person shooters, in that they lend themselves nicely to all kinds of games-within-a-game, from an ads perspective," says Sampson.

Since FPS mechanics generally require players to observe and be engaged with their environment, a simple background billboard is a less-effective way to advertise in this kind of game, Sampson says -- but that environmental attention can be leveraged to place an ad campaign among the same sorts of clues players follow to achieve other gameplay objectives.

Gamers have grown accustomed to seeing billboard ads in racing titles, or, say, athletic wear branding in sports games -- and studies have shown that many users find that this branding enhances the realism in games that are simulations of real sports arenas.

But in this situation, advertising moves from background asset into the game design itself -- and it was Ubisoft who spearheaded the sidequest design.

Is There An Intrusion?

The 'Tropic Thunder' campaign integrated into Vegas 2 was "really the brainchild of Ubisoft," says Sampson, who calls the publisher "the most progressive publisher in the in-game ad space." It was designed, with input from Massive, to integrate into the game for the purpose of selling ads; then Paramount, who was Massive's first customer back in 2006, signed on to use the quest structure to promote its film.

But when ad becomes game, does Sampson worry gamers will find it intrusive? He says the sidequest is wholly optional, and designed not to disrupt players who don't make the initial decision to engage with its chain of events -- and with the potential prizes up for grabs for players who pursue the optional quest, he hopes players will find it rewarding.

"I guess I view this as kind of a value add for those that want to self-select into the game-within-the-game," says Sampson. "For those that don't, it's not going to bother anybody, as any consumer can avoid messaging in any other media format."

Platform Advantage, Or Disadvantage?

Also interestingly, the fact that Microsoft-owned Massive currently serves ads only on the Xbox 360 and PC has the potential to make this a platform issue.
Users of those platforms may enjoy the opportunity to "self-select," as Sampson says, into a prize giveaway driven by game mechanics, and prefer a multiplatform SKU that allows them to do just that.

On the other hand, users that may prefer to avoid the entire issue have the option of buying the same game, 'Tropic Thunder'-free, on the PlayStation 3. But Sampson says that Massive aims to work with Sony eventually, too.

"I think the PS3 is a brilliant platform," he says. "We're in talks with Sony frequently on a number of issues.. while we are a Microsoft-owned company, and I realize there's competition between consoles, we just say, 'can we provide, through advertising, value back to the publisher, perhaps to the platform, and hopefully do cool stuff for the gamer?"

"If the gamer doesn't like what we do, then it's a house of cards."

Massive's data finds that an average of 70 percent of gamers have agreed with statements that past dynamic in-game ads "contributed to realism," "fit the games" in which they appeared, and looked "cool."

Says Sampson, "If the environment is ad-relevant, they actually prefer to see real brands and real messaging that mirrors their terrestrial experience, versus fake stuff."

2nd Annual IGF Mobile Awards Debut, Call For Submissions

- [So, we're bringing back IGF Mobile again this year, after a neat first year, and there's a few good new things. Submission is now free, there's $20k in prizes again, we're looking forward to seeing lots of iPhone entries alongside the cellphone, PSP, and DS indie/homebrew entries, and there's a 'Next Great Mobile Game' live pitch contest added. Tell your handheld-centric buddies, plz.]

Submissions are now open for the second Independent Games Festival Mobile, celebrating creativity and innovation on handheld platforms from the iPhone through the cellphone, PSP, and DS - with finalists being showcased at GDC 2009, and a new 'Next Great Mobile Game' live pitch category added.

Following the success of the first IGF Mobile, a sister event to the main IGF competition, the second year of the festival will feature independently developed handheld games for all mobile devices including cell phones, Apple's iPhone, Nintendo DS, Sony PSP, and Windows Mobile devices.

The competition will include a new category for developers to pitch new ideas at the GDC Mobile-hosted award ceremony. IGF Mobile submissions are being accepted at the official website through November 17, 2008; finalists will be announced in January 2009.

NVIDIA, manufacturer of the Tegra family of applications processors for mobile devices returns this year as a Founding and Platinum Sponsor. In keeping with the company’s philosophy of encouraging and fostering innovation in mobile game development, the company will support "The Next Great Mobile Game" competition.

This prize category, in a change from the traditional awards, will be accepting five finalists on the basis of a written pitch and an in-progress prototype. The finalists will pitch their product in detail and show completed prototypes at the IGF Mobile Awards, where an audience of peers will select the winner.

The new award joins returning categories such as the $10,000 Best Game award, Innovation in Mobile Game Design, and the awards for audio, art direction, design and technology.

Finalist games, displayed in the IGF Mobile Pavilion at the Game Developers Conference in March 2009, will compete for $20,000 in prizes, including awards for innovation and execution in mobile game development, as well as the coveted $10,000 Grand Prize. Winners will be announced at a ceremony during GDC Mobile, and will also be showcased during the main IGF Awards, presented at the Game Developers Choice Awards ceremony.

“The rise of rich 3D mobile devices such as the iPhone and smartphones – as well as the PSP and DS - are starting to make all kinds of intriguing independent gaming ideas possible,” said Mathew Kumar, Content Director, IGF Mobile. “We look forward to seeing some of the top indie handheld content that the festival will draw.”

Submissions to the competition are now open to all independent developers working on mobile platforms, including game development for cell phones, iPhone, PSP, DS, and other handheld devices. The important dates for IGF Mobile in 2008-2009 are as follows:

August 11th, 2008: Submissions Open
November 17th, 2008: Submission Deadline
January 26th, 2009: Finalists Announced
March 23rd-27th, 2009: Game Developer's Conference 2009
March 24th, 2009: IGF Mobile Awards Ceremony
March 25th-27th, 2009: IGF Mobile Pavilion @ GDC
March 25th, 2009: IGF Awards Ceremony

For a complete list of IGF Mobile 2008 information, please visit the official IGF Mobile website.

GameSetLinks: Robin With The Hood

- Moving into the week, this is a happily eclectic set of GameSetLinks, I do believe, headed by some nice ideas from the Tale Of Tales folks about how to promote their upcoming short-form PC game, The Path.

Also hanging out in here somewhere or other - a great new free indie game soundtrack label, as well as a Battlefield: Bad Company critique of note, discussion of the fast-leveling insanity of the new World Of Warcraft offer, and a great deal of other design and gameplay-centric links.

Woo hah:

Tale of Tales» Blog Archive » Introducing: Robin!
Little Red Riding Hood personas for The Path: 'While we are continuing production, Robin will be sharing the remainder of her young life in her very own Livejournal.' Neat.

49-6-dev - Taking Over The World
'Finally Taking Over The World is interactive fiction programmed in brainf*ck. It is completely written by hand without the use of any compiler or the like.' Absolutely no idea what is going on here - via The-Inbetween.

The Independent Gaming Source: 'Plus - Free Indie Soundtracks'
''II (“Pause”), the retro/chiptune music label and community, has launched a new section to their website called Plus, which is specifically devoted to free indie/doujin game soundtracks.'

Versus CluClu Land: I have not told my garden yet/ Lest that should conquer me;
'The emergence of the downloadable space in this console generation has been a real blessing for the console gamer.'

PC World - Inside Nintendo's Classic Game Console
Benj Edwards has found a great niche doing retro stuff for PC World, neat - this time, taking apart a Famicom/Disk System.

witchboy.net » Blog Archive » Frostbite’s first offering
Harvey Smith's excellent (brief) critique of Battlefield: Bad Company.

Game Libratory at CRCA, UCSD (NOTCOT)
Just a little library, but good to see more universities collecting and making available game collections - via Driph.

z a c k h i w i l l e r » First Turn Win
Nice, 'Things I hate About Games' bingo, heh.

Zen of Design»Blog Archive » God’s Gift to Multiboxers
Damion Schubert on a fascinating World Of Warcraft offer which really tweaks the leveling speed.

Trends in Japan » Play and save with RPG piggy banks
Not just BankQuest, some love-centric ones too.

August 11, 2008

COLUMN: 'Game Mag Weaseling': Beach Blast British Style

['Game Mag Weaseling' is a weekly column by Kevin Gifford which documents the history of video game magazines, from their birth in the early '80s to the current day.]

ranre.jpg

Look! Raku is playing with free crap that came with a UK magazine! That must mean it's time for another Mag Roundup, Brit-edition!

nrev-0808.jpg   ngamer-0808.jpg

N-Revolution (Imagine) and N-Gamer (Future) are the two kid-oriented Nintendo mags in the UK; Future also publishes the slightly more upscale Nintendo: The Official Magazine in the region, much like it published both MEGA and Sega Power at once 15 years ago. (Tone-wise, Nintendo Power is somewhere in between the two, leaning a fair bit towards N:TOM territory.)

In terms of freebies, N-Rev wins by a country mile, thanks to my ferrets (and dog) going crazy for the packed-in miniature beach ball. There's also an enormous -- I'm talking movie theater-sized here -- double-sided poster for Opoona and Viz anime MAR; nothing interesting content-wise but I've never seen any mag in the US pack in such a massive poster. N-Gamer has more "stuff" -- one SSB:B guidebook, one Mario iron-on patch (randomly inserted from a set of four), stickers from New International Track & Field, and a Guitar Hero On Tour-themed Nintendo DS decal -- but plainly my animals can sniff out the better freebie out of the lot.

Between the covers, both mags have the usual reviews, previews and silly features. N-Rev seems a little bit more packed, with lots of tiny columns interspersed throughout, while N-Gamer occasionally seems to stretch out its text to fill up its 112 pages (though it's admittedly a slow time in N-Land over in Europe).

Advantage: N-Rev

totalpcgaming-9.jpg   pczone-0809.jpg

Total PC Gaming (Imagine) doesn't compete directly with PC Zone (Future) or Future's other mag, PC Gamer, as much as it tries to trump 'em both by not packing in a DVD and being way cheaper as a result, despite boasting more pages (132 vs. 118).

I've written about both of these mags in the past, but I still like 'em both for separate reasons -- TPCG for its incredibly exhaustive reviews and intensely readable features (a little reminiscent of old-school Computer Gaming World, assuming CGW had modern art design), PC Zone for taking the exact opposite approach and being undoubtedly the silliest game mag in the English language.

Advantage: Really tough to say. I'm repeating myself here, but I wish PCZ would drop the DVD and get cheaper.

gamesmaster-0808.jpg

Finally we have GamesMaster (Future). Yes, this is the cover of the mag -- GM, like PC Gamer UK, keeps covers extremely simple and uses the polybag for all the coverlines and eye-catching character art instead. One of the last multiplatform mags in the UK and certainly the most young-skewing, GamesMaster is looking a little anemic these days -- only 100 pages, staple-bound, and offering pretty lame freebies, a general cheat book and the same Guitar Hero DS decal we saw in N-Gamer.

It's still a pretty successful mag sales-wise, though (its latest given ABC figure is 51,389), and I think it all comes down to how well it knows its audience. The internals are packed -- text and screenshots dotted all over the place, giving you tons and tons of content to feast your eyes on with every spread and creating an effect that reminds me of the cell phone wallpaper/games/ringtone ads you see in some mags. In other words, it's the closest thing we have to Famitsu in the English language. I like it a fair bit, even though I wouldn't buy it regularly.

Imagine publishes Pokemon World in the UK, a sort-of competitor to GamesMaster that covers the entire realm of kid-oriented games despite its name.

GameSetLinks: Professional Bending In Dead Space

- Starting off the week with some only slightly old GameSetLinks - headed by the box art for the upcoming, D&D-heavy Futurama straight-to-DVD movie, which I may, just possibly, have been mentioning at every opportunity.

Also wandering around in here - all sorts of Braid ephemera from late last week, of course, as well as some Final Fantasy commentary, Warren Ellis on Dead Space, Jay Leno in Warhammer Online, and a plethora of other strangeness.

Going for silver:

Futurama DVD news: Box Art for Futurama - Bender's Game | TVShowsOnDVD.com
'All-New Feature Length Quest' - all very game-like.

Infovore » Stories built around core mechanics
Comparing Braid to Stephen Moffat's Dr. Who episodes - two rather wonderful things.

ICv2 - PAX Coming to East Coast in 2010
Didn't spot this bit: 'The event will be organized by Reed Exhibitions, the convention organizer behind New York Comic Con, New York Anime Festival, Book Expo America, and over 500 other events in 38 countries.

Back of the Cereal Box: The Tiny Earth
Fun, random ramblings on Final Fantasy VI.

Xbox Live Arcade Sales - First Day & Weekend Preview, 8/07/08 | VGChartz - Top selling hardware and software, industry news, financial reports
'Braid is looking to easily clear 20,000 units sold for its first week on market.'

Warren Ellis » DEAD SPACE
'This is the third game I’ve been employed as writer on: the others were HOSTILE WATERS (known in the US as ANTAEUS RISING, I believe) and COLD WINTER.'

Music Thing: Audio Damage Automaton: 'Game of Life' vs glitch
Blimey, "...a glitch/buffer override effects unit controlled by cellular automata a bit like Conway's Game of Life."

Penny Arcade! - For Your Consideration
Someone asked me if my reasonably high-profile editorial on XBLA games being underpriced might have affected the decision (which I consider correct - I have bought the game) about Braid's price. To which I say - no idea!

YouTube - Warhammer Online - Paul Barnett on Jay Leno Tonight Show
Uh wow.

NCS gets home cart NOS - Neo-Geo Forums
Crazy, a warehouse find of original Neo Geo U.S. home carts, going fairly cheaply ($40 each) - not the best games tho.

IndieGames: The 20 Most Addictive Browser Games

[Delighted to be featuring this list, courtesy of the IndieGames.com weblog - I actually suggested to my most excellent colleague Tim W. that we make this, because I haven't seen many similar lists focusing on instantly playable indie games. Good stuff.]

In a special countdown feature compiled by GameSetWatch sister site IndieGames.com, we pay tribute to the developers who are responsible for the most addictive Flash and Java-based browser games of all time, or simply prolific enough to create a library of games which most of us have spent numerous afternoons on.

Each game has a link to a special page hosted on IndieGames.com with screenshots, videos, and multiple links (where appropriate) for each of the picked games.

There's an index page for the '20 Most Addictive Browser Games' on the IndieGames.com site - and here's links to each of the top 20 picks:

  1. Dino Run
["In Pixeljam's Dino Run, players are transported back in time just moments before a giant asteroid crash lands and wipe out the entire dinosaur population on Earth."]

  2. Grow series
["There's something about ON's creations that draws in the crowd to his web site. Most of his games are puzzles which players would have to solve by clicking on a selection of objects in the correct order.."]
  3. KDice
["Originally conceived by Taro Ito of GameDesign as a single player strategy game, Ryan Dewsbury has taken the concept to new levels by adding online multiplayer, scoring system and chat features."]
  4. Kingdom of Loathing
["Kingdom of Loathing as a simple game that had stick figures for character illustrations, seemingly random items and odd combat encounters with inhabitants of the land."]
  5. The Last Stand
["The Last Stand is was a very popular zombie survival game in which the player has to stay alive for twenty nights."]
  6. Line Rider
["Line Rider is a Flash physics toy originally created in September 2006, but quickly became an internet phenomenon shortly thereafter."]
  7. Moai series
["In this series of action games by Takahiro Miyazawa, players are required to move the mouse pointer over as many Moai statues as they possibly can before time runs out."]
  8. Nanaca Crash
["There is something very enticing about crashing into the main character, sending her sky high and attempting to get her to land as far as possible from her starting point - only to have it repeated at the whim of the player for their amusement and betterment of their previous best effort."]
  9. N
["A perennial favorite among many, N is a freeware Adobe Flash computer game originally created by Raigan Burns and Mare Sheppard of Metanet."]
10. Nitrome
["Nitrome is a Flash game churning factory - package a simple gameplay element with good pixel art, include anything from twenty to fifty levels, then ship it out to the delight of their fans."]
11. Orisinal
["Ferry Halim has not released too many Flash games in recent years, but his creations will always have a place in the hearts of those who discovered the Orisinal web site."]
12. Picross
["There are a wide variety of Picross versions to play online, and TONAKAI interactive's Picture Logic seems to be the friendliest of the bunch."]
13. Powder Game
["Powder Game is one of those interesting web toys with no specific challenges or goals."]
14. Samegame
["Collapse, same game; they all point to the addictive puzzler which is easy to learn but a challenge to master. The game involves clicking on two squares or more with the same colour which are adjacent to each other to remove them."]
15. Samorost
["The mark of a great adventure game is when players are left wanting for more by the end of the final scene."]
16. Submachine
["Though Mateusz Skutnik had attempted scrolling shooters, platformers and simple action games in the past, he is still best known for his point and click adventure creations."]
17. Sudoku
["There are attempts to... package this popular pastime into a retail product but a link to at least one of the free versions playable online can always be found in the bookmarks of any Sudoku fan."]
18. Tower Defense
["Players are usually allowed limited resources to erect all manner of defense mechanisms around a winding path, and must ensure that no enemies pass through or run the risk of having to replay the level again."]
19. XSketch
["XSketch is one of the many implementations of the popular word guessing game charades, where a group of people can join any table and attempt to guess what is drawn on the board for points."]
20. Zoo Keeper
["It's difficult to deny the lure of Zoo Keeper. The same gameplay elements have been duplicated, repackaged and resold a thousand times over in nearly all casual game portals - while still managing somehow to turn in a profit for their developers."]

August 10, 2008

GameSetNetwork: End Of Week Round-Up

-We're all finished for the week in terms of 'big stories', so time to round up the remainder of the notable features, interviews and write-ups from big sister site Gamasutra and other Think Services sites - particularly Jill Duffy's excellent Game Career Guide, which has a 'women in games' special this week.

Also hanging out in here - a v.interesting Paul Hyman piece on how developers are using outsourcing nowadays, a BioShock interview with Chris Kline, what's working (and not) from Braid and XBLA thanks to Jon Blow, and more from GCG's Game Design Challenge.

Dude, where's my links?:

Gamasutra Features

Thinking BioShock: From Tech to Philosophy
"Chris Kline is BioShock's technical mastermind, and Gamasutra sat down with 2K Boston's tech director to discuss game engines, the PC market, multithreading, and even BioShock-like Wii experiences."

An Examination of Outsourcing: The Developer Angle
"Outsourcing is a vital, but sometimes underdiscussed part of today's game biz - and Gamasutra talks to Wideload, Kuju Entertainment and THQ to understand the controversy, process, and state of game outsourcing."

Other Featured Articles

Blow: 'Unnecessary' XBLA Hurdles Hurt Game Quality
"As his IGF award-winning Braid debuts on Xbox Live Arcade, indepedent designer Jonathan Blow says unnecessary certification requirements got in the way of the final game's quality -- and he also explains why Braid won't have a sequel anytime soon. [UPDATE: Blow also explains positives of XBLA deal.]"

Results from the Game Design Challenge: Player Aid
"In a recent game design challenge, you were asked to design a player aid, a kind of cheat sheet or quick reference guide of rules, for the board game Risk. Here, we present the three best designs, two honorable mentions, and a few notes on what made the winning entries stand out." Also see: GameCareerGuide.com’s Game Design Challenge: Hero.

Valve's Faliszek: Playtesters Aren't Idiots, It's You
"Talking to Gamasutra, Left 4 Dead's Chet Faliszek [pictured - OK, it's the game, not Chet] has explained why thinking "we got idiots for playtesters" won't make your game any better - sharing stories from the game and Half-Life 2 and concluding of the advantages of frequent external playtesting that it's "just proof to you"."

GCG Opinion: 'Women in Games: Who Cares?'
"Industry veteran (Wizardry/Jagged Alliance) and game design teacher Brenda Brathwaite is tired of being asked what it means to be a ‘woman in games.’ She aired her grievances today in a new opinion piece on GameCareerGuide.com, which has been running a series of articles this week on the theme of women and games."

Column: The Game Anthropologist: 'Game Community Interviews, Part 4 - The Brainy Gamer's Michael Abbott

typewriter.jpg[Regular GSW column 'The Game Anthropologist' is all about gaming communities. Recently, Michael Walbridge interviewed a number of game writers and summarized their thoughts on why so many game writers spend their spare time writing even more on their personal spaces. This week highlights some of the thoughts from professor Michael Abbott of The Brainy Gamer.]

Of the seven people I interviewed, Michael Abbott is the only one who is not a game journalist; he is, however, accurately classified as a games writer. His persona matches his writing: confident, mild, wise, and academic. Still, the two words that keep coming to my mind are "gentle" and "enthusiastic." While the Brainy Gamer is an experiment, he is not far removed from his subject material. It isn't just in text that he gets really excited about games and even more excited that people are talking about them with maturity in an open forum.

Brainy Gamer started in August 2007, a blog dedicated to "thoughtful conversation about video games". Before one year had passed, it had received over 270,000 unique visits, 1,000 RSS subscribers, and an average of 15-20 comments per post. (For those who dig Google Page Rank: 5, purely by word of mouth and text.)

I asked about why he had started it and what it was for. As many know, he is a professor at Wabash College. Brainy Gamer was initially simply a work project, but Brainy Gamer, a living and breathing creature, took on a different life. Even Abbott's opinions have been shaped by the discussion taking place, and now he has new and informed ideas about a myriad of topics, including gaming communities, their formation and evolution, and the place of games in academia.

"I took a sabbatical from teaching; this is my project. It's my attempt to bridge the gap from game community to a new form of game scholarship. Initially, my real purpose was to demonstrate at Wabash that you can be serious about games. The blog started, and it became clear to me that this is something that could be integrated into the liberal arts. It was a lightbulb moment."

"It all started as conversation, but now part of my mission with Brainy Gamer is to convince people that games can and should be a part of a curriculum. It's difficult: we have people who are saying 'just let me play games and have fun,' but there are also those who have never played games and who are saying 'how can we let this in the academy'? I think both groups are resistant, but for totally different reasons."

"What would it take to grow these kinds of communities?" I asked.

He responded, "One thing I'd like to see is for developers to join these conversations with us. Steve Gaynor is one good example, and his blog, Fullbright is terrific. Manveer Heir at Design Rampage is another developer who blogs about design and communicates with the wider community. Developers could add a dimension we often don't see."

"Part of what [game] criticism is doing is that there's a kind of teaching mission. We're presuming we have something interesting to say to help people understand and appreciate games better. Potentially that appreciation will enable the group to grow."

He is still optimistic, though. He added, "I think it's a bigger space than we may think. The community developed, I think, largely due to college and grad students. There are a surprisingly large number of people who write thoughtful essays and comments on my blog. Enough people are interested to make it a critical mass."

We also spoke on the difficulties of it being a stable field. I remembered out loud how many professors become friends simply because of common fields and specializations; he told me a lot about the status of games in academia. He was comfortable with the term game criticism, but had some reservations. Like the rest of us, he is nervous.

brainy%20gamer.png"Narrative games are barely past the infant stage, and critical commentary and analysis about them are even less developed," he warned. "Everyone is still trying to figure out who everyone else is, and in this process communities form themselves. We are on the ground floor of this effort to try to figure out how to talk intelligently about video games - how to analyze them and develop a critical language to discuss them. We're not like other disciplines (I'm not even sure I would call us a discipline yet), because we're all figuring this out together; we don't even have the terms yet."

I had mentioned the other people I was planning to interview. Intellectual discussion has a social growth that's almost academic. "A very typical example: How did I meet Mirch Krpata? Well, someone linked me to something, which linked to him somewhere. I contacted him, and he kindly responded. That's pretty much how it works."

"Well, and it's interesting," I said. "Even, or especially outside of academia people are on unsure footing; Leigh's the only one who dared to suggest a term. For the most part, people seem to be quiet about it."

He told me, "Part of our trepidation about what to call it is that there is already a field called game studies, and some of us aren't comfortable with where that's going or don't feel we quite fit in there. Game studies is taking a fairly traditional academic approach to research and scholarship, and as a professor who has done my share of papers and conferences, I'm trying to go another way. I want to write about games at the place where they are being discussed most vigorously, online and amongst gamers. I greatly respect what game studies is doing - and I've benefited from this work - but I've reached the point in my career where I'm not terribly interested in traditional academic research anymore."

Despite that, he worries about how games will function in academic curriculua. He explained why some academics aren't comfortable with games: "Schools are nervous about games becoming academic without rigor or structured pedagogy. I'm concerned about it too, frankly. I don't want it to be just discussions and nothing else."

In short, he reminded me of what Kieron had said earlier: when we discuss games, the discussion is public and usually on the Internet, and opposition can easily form there. "Between having both the common gamer and academics strongly disapproving of the way you and the rest of us talk, it sounds like you have quite the fight on your hands," I said.

"It's not a fight, it's making a case. What is the place of conversation about video games in the liberal arts? Is it possible to teach the Odyssey and the Metal Gear series in the same class? Can you leverage students' interest in games to get them to think critically, write persuasively, and discuss intelligently, all of which are goals of a liberal arts education? I obviously think the answer is yes."

Michael had a lot to say. But in briefest form, this is the most important thing I learned: the question we should be focusing on isn't if or when, it's how.

Game Developer Research Debuts 'State Of Game Development' Report

-[We just released this new report over on Game Developer Research - while a lot of it is relevant mainly to game biz types who want to know market share for game tools, hardware, etc, also extracted are some fun stats about what game platforms and languages our readership is currently working with. Assembly language ain't dead!]

Sister service Game Developer Research is pleased to announce the debut of its seventh report, the '2008 State Of Game Development Survey'.

The in-depth 180-page report was compiled by surveying almost 2,000 video game professionals from North America and beyond who read Gamasutra.com or subscribe to Game Developer magazine.

It includes answers to over 55 questions about the platforms Western game creators develop for, the market sectors they are working in, the tools they use, and the amount of money they spend on them.

Some of the highlights of the report which Game Developer Research is revealing to the public at this time include the following:

- Overall, 70% of those replying are making games on the PC or Mac, with 43% creating for console and 28% for web platforms - with just 16% making games for handheld platforms such as the DS or PSP.

- Of the surveyed console developers, which represent a notable cross-section of the entire industry, 73% are creating games for Xbox 360, 58% (including some of the same respondents) for the PlayStation 3, and 42% for the Wii - with 15% still creating games for the PlayStation 2.

This implies that the greatest amount of Western console developers by sheer numbers are creating games for Microsoft's console - but due to team size differences, this doesn't necessarily imply that more games will appear on the Xbox 360 than other consoles.

- Again, of the largely North American and European developers surveyed, Nintendo DS had the largest amount of creators by numbers, with 75% of those handheld developers surveyed making games for it - and with 45% making games for the PSP.

Another particularly interesting result that discussing trends in programming language. Of those responding, 76% are currently using C++ to make games, with 31% using C#, and 19% using Java/J2ME in their programming efforts. In addition, 9% of those replying still use assembly language in some way.

The remainder of the survey offers a wealth of extra data into the purchasing habits and development choices of the game development industry, with market share information in areas as diverse as AI tools, game engines, 3D art software, compilers, books, motion capture suites, and computer hardware.

In fact, the survey covers every submarket of purchases made by game makers. This will be of interest to technology companies in the game development space, as well as those looking to enter the market or to survey general game industry trends.

More information on the full, paid '2008 State Of Game Development Survey' - including a full table of contents with questions asked - is available now via the Game Developer Research website.



If you enjoy reading GameSetWatch.com, you might also want to check out these CMP Game Group sites:

Gamasutra (the 'art and business of games'.)

Game Career Guide (for student game developers.)

Indie Games (for independent game players/developers.)

Finger Gaming (news, reviews, and analysis on iPhone and iPod Touch games.)

GamerBytes (for the latest console digital download news.)

Worlds In Motion (discussing the business of online worlds.)


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