Posted on Nov 30, 2009 under Main |
Unexpof writes “A man has been arrested by the British Police Central e-Crime Unit (PCeU) accused of stealing the usernames and passwords from players of the RuneScape MMORPG. Security experts report that this is one of the first occasions when a Brit has been apprehended for “virtual robbery”, although incidents have happened in the past. For instance, the CEO of the sci-fi trading game Eve Online stole 200 billion “kredits”, which he then used as a deposit on a real-world house, and in October last year a Japanese woman was arrested by police after allegedly hacking her virtual husband “to death”.
Posted on Nov 30, 2009 under Main |
j-beda writes “In June 2009, Dr. Neil Johnson published a paper titled ‘Human group formation in online guilds and offline gangs driven by a common team dynamic’ in Physical Review E that found the way in which WoW ‘guilds’ form can be described by a mathematical model that can also be applied to an unrelated group of people: street gangs in Los Angeles. Since ‘Any group that satisfies these fairly autonomous, competitive criteria would also (fit the model),’ said Dr. Johnson, the findings are of interest to those combating international as well as local terrorist cells.”
Posted on Nov 28, 2009 under Main |
eldavojohn writes “Reuters explains how the National Science Foundation’s Cyber-Enabled Discovery and Innovation (CDI) program is funding research used to implement real life crimes in a CSI-like game. They will use IC-CRIME’s laser scanner technology and the Unity platform (which recently enjoyed the release of a freeware version) to recreate the crime scene as closely as possible. The crime scene will then be hosted for multiple remote crime scene investigators to explore concurrently while discussing what they see, sharing their data and experience as well as learning and asking questions.”
Posted on Nov 26, 2009 under Main |
A post on Pixel Poppers looks at the psychological underpinnings of the types of challenges offered by different game genres, and the effect those challenges have on determining which players find the games entertaining. Quoting: “To progress in an action game, the player has to improve, which is by no means guaranteed — but to progress in an RPG, the characters have to improve, which is inevitable. … It turns out there are two different ways people respond to challenges. Some people see them as opportunities to perform — to demonstrate their talent or intellect. Others see them as opportunities to master — to improve their skill or knowledge. Say you take a person with a performance orientation (’Paul’) and a person with a mastery orientation (’Matt’). Give them each an easy puzzle, and they will both do well. Paul will complete it quickly and smile proudly at how well he performed. Matt will complete it quickly and be satisfied that he has mastered the skill involved. Now give them each a difficult puzzle. Paul will jump in gamely, but it will soon become clear he cannot overcome it as impressively as he did the last one. The opportunity to show off has disappeared, and Paul will lose interest and give up. Matt, on the other hand, when stymied, will push harder. His early failure means there’s still something to be learned here, and he will persevere until he does so and solves the puzzle.”
Posted on Nov 26, 2009 under Main |
A recent report from a games industry analyst suggests that among a number of factors leading to the purchase of a video game — such as price, graphics and word of mouth — the game’s aggregated review score is the least important measure. Analyst Doug Creutz said, “We believe that while Metacritic scores may be correlated to game quality and word of mouth, and thus somewhat predictive of title performance, they are unlikely in and of themselves to drive or undermine the success of a game. We note this, in part, because of persistent rumors that some game developers have been jawboning game reviewers into giving their games higher critical review scores. We believe the publishers are better served by spending their time on the development process than by ‘grade-grubbing’ after the fact.”
Posted on Nov 26, 2009 under Main |
Hugh Pickens writes “BBC reports that astronomers have invented a game to help uncover the basis of galactic collisions, showing players images of colliding galaxies and asking them to match those to simulations. These galactic mergers could be the key to why the Universe contains a mixture of different galaxies — some with trailing spiral arms, others more like compact balls of stars. Astronomers say that humans are ‘much better than computers’ at spotting the patterns and similarities. ‘The strength of the game is that it takes results from many people,’ says Dr Chris Lintott from Oxford University, one of the members of the Galaxy Zoo team. The developers describe the game as a ‘cosmic fruit machine’ (i.e., slot machine). The game shows players one real galaxy image and, on command, eight randomly selected simulations pop into the ’slot’” surrounding that image. The aim is for players to choose the simulations that look most similar to the real galaxy and take those through to the next round to examine them further. The simulated images show the different aspects of galaxy formation, so as people play, they will generate data that will help astronomers understand these collisions. ‘These collisions take millions of years to unfold,’ says Anthony Holincheck, a graduate student at George Mason University and another member of the team. ‘All we get from the Universe is a single snapshot of each one. [With] simulations, we will be able to watch each cosmic car crash unfold in the computer.’”
Posted on Nov 25, 2009 under Main |
2K Games announced today that the first game add-on content for Borderlands, The Zombie Island of Dr. Ned*, is now available for download from the Xbox LIVE Marketplace for the Xbox 360 video game and entertainment system from Microsoft and the PlayStationNetwork for 800 Microsoft Points and 6.29, respectively. Developed by Gearbox Software, The Zombie Island of Dr. Ned is the first in a series of electrifying downloadable expansions that continue the exhilarating Borderlands experience while upholding the franchises core gameplay elements.
Tasked with keeping the workers of Jakobs Cove alive, Dr. Ned does his job a little too well, creating flesh eating zombies and other ghastly abominations that now run rampant in this region. Players will have to work alongside Dr. Ned as they embark on an explosive journey to cure the decaying inhabitants of Jakobs Cove in this expansion filled with new formidable enemies, new grueling quests and rare loot drops.
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Posted on Nov 25, 2009 under Main |
drroman22 writes “Schools are working to put real-world relevance into computer science education by integrating video game development into traditional CS courses. Quoting: ‘Many CS educators recognized and took advantage of younger generations’ familiarity and interests for computer video games and integrate related contents into their introductory programming courses. Because these are the first courses students encounter, they build excitement and enthusiasm for our discipline. … Much of this work reported resounding successes with drastically increased enrollments and student successes. Based on these results, it is well recognized that integrating computer gaming into CS1 and CS2 (CS1/2) courses, the first programming courses students encounter, is a promising strategy for recruiting and retaining potential students.” While a focus on games may help stir interest, it seems as though game development studios are as yet unimpressed by most game-related college courses. To those who have taken such courses or considered hiring those who have: what has your experience been?
Posted on Nov 25, 2009 under Main |
bleedingpegasus sends word that the US Air Force will be grabbing up 2,200 new PlayStation 3 consoles for research into supercomputing. They already have a cluster made from 336 of the old-style (non-Slim) consoles, which they’ve used for a variety of purposes, including “processing multiple radar images into higher resolution composite images (known as synthetic aperture radar image formation), high-def video processing, and ‘neuromorphic computing.’” According to the Justification Review Document (DOC), “Once the hardware configuration is implemented, software code will be developed in-house for cluster implementation utilizing a Linux-based operating software.”
Posted on Nov 24, 2009 under Main |
Aeonite writes “The third book in a pseudo-trilogy, Writing for Video Game Genres: From FPS to RPG, offers advice from 21 experts in the field of video game writing, pulled from the ranks of the IGDA’s Game Writers Special Interest Group and wrangled together by editor Wendy Despain. It follows in the footsteps of Professional Techniques for Video Game Writing and Game Writing: Narrative Skills for Videogames, and in keeping with the trend, offers the most specific, targeted advice for how to write for an assortment of game genres.” Read below for the rest of Michael’s review. Writing for Video Game Genres: From FPS to RPG author Wendy Despain (editor), Sande Chen, Richard Dansky, et al pages 300 publisher A.K. Peters Ltd rating 10 reviewer Michael Fiegel ISBN 978-1-56881-417-9 summary Genre-specific advice for game writers, from game writers Depending on your particular poison, the authors of each chapter might be immediately recognizable or complete unknowns. Possibly most likely to be familiar to a general audience are Sande Chen (The Witcher) and Richard Dansky (Tom Clancy’s Splinter Cell, Far Cry), but Lee Sheldon (the Agatha Christie series), Andrew Walsh (Prince of Persia) and David Wessman (the Star Wars: X-Wing series) might also ring a bell.
The important thing here, however, is not who the writers are, so much as that they deftly cover a wide variety of terrain. As the subtitle suggests the book covers everything from FPS to RPG, from MMO to ARG, and the entirety of alphabet soup in-between. Each chapter covers the particular challenges of writing for one particular genre, and generally offers specific tips on how to overcome those challenges when writing for that genre. The chapter on MMOs, for example, discusses the fact that MMOs have stories that never end, worlds with millions of chosen ones, and a complete inability to control pacing or quest flow. “Writing for Platform Games” emphasizes the need to provide a coherent narrative even while the player is generally busy trying to complete the next jumping puzzle. Other familiar genres covered along the way include Adventure games, Sports games, Flight Simulators and Driving games.
Several of the chapters also venture outside of what traditionally constitutes a “game genre.” For example, Richard Dansky and Chris Klug respectively cover Horror and Sci-Fi/Fantasy, themes that are based on the shape of the narrative rather than any particular gameplay format. Later chapters also explore Sandbox games (which author Ahmad Saad indicates can include everything from Grand Theft Auto III to SimCity), Serious games (being “games that do not have entertainment as a primary purpose”), and Casual games. Chapters are also devoted to specific platforms: Evan Skolnick covers Handheld games, and Graeme Davis explores Mobile Phone games. The fact that some of these categories necessarily include games that might also fall into genres covered earlier is never a problem here, however; each chapter offers specific advice relevant to its particular subject, and there is little if any “what he said” repetition to be found, and certainly nothing like outright contradictory advice from different authors.
While a single numbered outline format is followed throughout the book, each author writes in a slightly different fashion. This means that some authors (such as Andrew Walsh, in his coverage of Platformers) present swaths of dense copy within each numbered section, whereas others break up their chapter with numerous subheads, a single short paragraph beneath each point (as with Daniel Erickson’s chapter on RPGs). Further, while the format of the book’s bulleted lists is consistent throughout, their prevalence is somewhat uneven; Lee Sheldon’s chapter on Adventure games is chock full of bullets, while Dansky’s chapter on Horror games nearly dispenses with them altogether (but for one single list of five items). Certain chapters contain many charts, tables and/or screenshots, while others lack them altogether. One particular design feature — a boxed “Special Note” that intrudes into the margin — is used only a scant handful of times in the entire book, which makes each sudden instance more of a “Hey! Over Here!!” than the “Psst, by the way…” which I think was intended.
None of this is in any way bad: in fact, Despain’s Preface encourages skipping around, and specifically addresses the issue of inconsistency by saying that the chapters are “written as personal essays with the individual style of each author intact.” However, it is a notable feature of the book and worth a mention; this is not a book you read from cover to cover in one sitting.
The larger consideration for the purposes of review is this: should you buy a copy? The book’s intended audience is — as with the earlier books in the “trilogy” — geared towards professionals already working in the game industry. Quotes on the back cover specifically mention “those of us swimming in the murky waters of games storytelling,” and the book’s closing chapter (J. Robinson Wheeler’s “Writing For Interactive Fiction”) dispenses with any illusion altogether, saying “If you’re reading this book, you’re a writer…” Even the Preface says “we” more than “you” when addressing the reader. The assumption is that you’re already “one of us,” and while that’s a warm embrace for me (since I am indeed “one of them”), it might come across as a bit of a lukewarm shoulder for someone outside the industry.
In short, this book — perhaps even moreso than either of the previous IGDA Writers SIG books — is by writers, and for writers. As a “starting point from which we (game writers) can work together to improve the state of the art,” the book provides an excellent foundation, and deserves to be on the bookshelf of any game writer or designer, be they novice or veteran. As for everyone else… if you’re ready to dip a toe in the chilly waters of game writing, you could do far worse than to check out the advice within.
You can purchase Writing for Video Game Genres: From FPS to RPG from amazon.com. Slashdot welcomes readers’ book reviews — to see your own review here, read the book review guidelines, then visit the submission page.
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