Monday, 10 October 2011

viedogame: Monkey Island to Portal: Whose story is it, anyway?

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Monkey Island to Portal: Whose story is it, anyway?
Oct 10th 2011, 17:40

Who was there: Telltale Games design director Dave Grossman gave a presentation at the 2011 Game Developers Conference Online on the different ways a game writer can tell the story they want while still allowing players to do what they want in the game.

What they talked about: Grossman began his talk by describing two polar-opposite approaches to providing players with gameplay. There's the open sandbox, where no authorial guidance is given and players are offered a paralyzing amount of freedom, and then there's the one where there's not enough player agency. He said neither of them are interactive, because there needs to be some back and forth between the author and the audience.

There's a spectrum that encompasses everything from books (a heavily authorial medium) to toys, which have designers but most of the enjoyment is created by the audience. In the middle, Grossman said there's actual conversation between two equals. Pen-and-paper games like Dungeons & Dragons also reside some place near the middle, Grossman said. However, games fall in all along the spectrum, with Snakes and Ladders set up to give the creator of the game complete control, while Minecraft puts the responsibility for the experience almost entirely in the hands of the audience.

However, Grossman said it's not a linear spectrum, and game designers face an issue with choice of freedoms more so than the freedom of choice. He pointed to The Secret of Monkey Island and Portal, both of which are considered achievements in storytelling in games.

In Monkey Island, players have a lot of options at any given time, Grossman said, with nine different verbs to experiment with and an inventory full of items that modify those verbs. On the other hand, Portal has one main tool that is used to solve almost all of the player's problems. Monkey Island has an open environment where players can explore a bunch of different environments at their leisure, while Portal is a rigidly structured set of environments that happen in the same order every time. Monkey Island also has a wealth of goals for players to keep in mind at any given time, while Portal always has the single goal of making it to the end of each level.

Given all those assessments, one would think that Portal would be the more authorial controlled game, Grossman said. However, when asked subjectively which game feels like a more open experience, Grossman said Portal is almost universally considered the more open experience. That's the result of designers choosing exactly which parts of the game players had freedom with, Grossman said.

The key choices in Portal are made based on the way the physics of the world works, Grossman said, which is something that speaks to what he called the reptilian brain. However, the choices made in Secret of Monkey Island are based around the scripted ways people work in the game, and that speaks more to the frontal lobe of the brain.

Grossman pointed to a scene from the upcoming Walking Dead game, in which a player will be in the back of a squad car and looking around the environment as the car drives through. A highway sign will inform the player that they are on the outskirts of Atlanta, Georgia, provided they pay attention to it. Grossman likened it to The Truman Show, where the game designer/storyteller's objective is to ensure that players feel like they're in control of a great story, even when it's heavily authored.

They wound up centering the camera on the courthouse, and players would find walking elsewhere uncomfortable because it brought the main character too close to the camera. In a more open game, for example, Grossman said the designer can use architecture as a subtle lure to attract players where they need to be. For Telltale's Back to the Future, Grossman said they had a sequence where they wanted to guide the player to a courthouse without resorting to a cutscene. They wound up centering the camera on the courthouse, and players would find walking elsewhere uncomfortable because it brought the main character too close to the camera. Grossman said that violated their sense of personal space and made them more likely to explore the courthouse instead.

Designers can also impact what people do in a sandbox based on the tools they give players, as well as how they portray them. For example, player actions will change depending on whether the designer gives the player a fishing pole, a shovel, or a watering can. Grossman talked about the portal gun in Portal and how it inherently lets players break the rules, which further speaks to the character of Chell and her motivations.

It's also important to consider how clearly the choices are conveyed to players. He pointed to sequences from Monkey Island, where over the course of the game, the dialogue options in the game ran the gamut of player freedom. Some dialogue scenes had an obvious right choice and a handful of joke choices, others had a variety of equally interesting and viable options, while others presented players with four separate ways to say essentially the same thing.

Quote: "It's telling what choices you are given, and more importantly, what choices you are not given."--On making players feel like they're in control in an enjoyably guided experience.

Takeaway: Grossman said designers should think of themselves as partly storytellers, and storytellers should be partly designers as well. There's a time and a place for both to exert their authorial influence at the expense of player freedom, just as there are times to give up control and allow players to direct the experience themselves.

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viedogame: Atari founder on the end of consoles

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Atari founder on the end of consoles
Oct 10th 2011, 16:17

GDC Online 2011: Games guru says there's no need for another Xbox or PlayStation, Facebook games are "too stupid to live," and recalls wanting to fire early Atari employee Steve Jobs.

Who was there: Atari founder and serial entrepreneur Nolan Bushnell, oft-referred to as the godfather of the games business, kicked off the 2011 Game Developers Conference Online with a presentation on the future of narrative in games.

What he talked about: Bushnell started off his wandering presentation with a bit of foreshadowing.

"It was a dark and stormy night. There were problems, big problems in the castle," Bushnell said, launching into a simple narrative about villains, a damsel in distress, and a hero that saves the day. But looking back at the early days of gaming, even that was a hard story to tell.

"Story was really, really hard in the early days. It was hard to get nuanced expression when you had quarter-inch pixels." Bushnell recapped the genesis of the gaming industry, name-checking pioneers of the '50s and '60s, calling Willy Higginbotham as the inventor of the video game, and saying Steve Russell's Space War first convinced him that arcades could be big-time money makers. It wasn't until 1970 that Bushnell actually got into the business with Syzygy (renamed Atari in 1972), but games still didn't have much story. It wasn't until games like Donkey Kong and Zelda hit that stories were clearly being told in games. He also pointed to Doom as a watershed game in terms of story, even though its narrative is generally considered quite lightweight.

However, Bushnell said the end game for narrative has always been clear. It's the interactive fantasy of "jacking in," along the lines of those depicted in Westworld, Brainstorm, and The Matrix. He said eventually it's going to happen, suggesting that neural implants could be a reality in 20 years or so.

"I actually think parents are going to have a bit of pushback on this, but I'm not sure," Bushnell quipped to laughter from the audience.

"Ralph Baer always thinks that I copied him, and in some ways I did. I thought, this is a crappy game, I bet we can do better." However, there's a problem with games and narratives, Bushnell said. With movies, the objective is that the audience becomes immersed in the story presented by the director and screenwriter, and every time the audience is asked to make a decision, it pushes them back into their own bodies. He called it the difference between being a voyeur and being an actor. As an actor, one can't have the fantasy of being immersed in the experience.

Bushnell said he tries to do something different every year, and this year's project was to write a science fiction book. In writing the book (Videogames 2070, which he called "a rollicking romp through the future with some cool people and really hot chicks"), Bushnell said he experienced an intersection between the joys of being the creator and being a member of the audience. Partway through the writing process (he wrote the book in six weeks), Bushnell found himself wondering what his characters were going to do next, experiencing the enjoyment of reading while doing the writing.

"Everybody here is going to do a really crappy game…If you're not crashing, then you're not trying. You're not pushing the envelope enough." Taking one of many detours from the topic of the presentation, Bushnell predicted an end to the console wars.

"I don't believe that there will be another major console," Bushnell said. While he said that Nintendo's Wii is "pretty crappy," the PlayStation 3 and Xbox 360 are as close to photorealism as people need. Despite that, he expects the PC and mobile markets to grow considerably, and he suggested cloud gaming and episodic entertainment will lead to an equivalent of Seinfeld in the gaming industry in the next five years.

Social networks are also in their infancy, Bushnell said, calling their current incarnation "really just too stupid to live." The churn of social games will overtake the market unless the games themselves get significantly better, Bushnell said.

In the Q&A session, Bushnell was asked about recently deceased Apple cofounder Steve Jobs, whose first job was working at Atari. Bushnell described Jobs as a "very smart and very difficult" person. He talked about how Jobs was "about to get fired because he didn't play well with others." As a last-ditch attempt to make the situation work, Bushnell put Jobs on the night shift to create Breakout, which wound up being a tremendous hit.

When Jobs left to start Apple with fellow Atari employee Steve Wozniak, Bushnell said he was given the chance to invest and own one-third of the company for $50,000. Bushnell declined, and said he's regretted that once or twice. Bushnell also clarified his characterization of Jobs as prickly, saying the Apple icon simply didn't suffer fools gladly, and that can ultimately be a good thing.

Quotes: "It's been a French company for a while, and that's a problem. This too can be fixed."--Joking about the current incarnation of Atari.

Takeaway: Bushnell's talk on the future of gaming narrative devolved into a general talk on the future of gaming, with the takeaway simply being a collection of predictions about where the industry is headed and how long it will take to get there. From cable channels dedicated to e-sports to PicoNets (local wireless multiplayer) and the return of virtual reality, Bushnell had no shortage of "next big things" to point to as the future of gaming.

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viedogame: Zune creative director leading Next Xbox development

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Zune creative director leading Next Xbox development
Oct 10th 2011, 18:28

Speculation is rampant that Microsoft will be unveiling its next-generation Xbox at the 2012 Electronic Entertainment Expo next June. And while specifics on the next Xbox remain under wraps, information has begun to leak out on who will be leading development on the new console.

Today, online super sleuth Superannuation unearthed a handful of LinkedIn profiles that point to Jeff Faulkner as creative director on "Xbox Next Gen." According to his profile, Faulkner's previous experience includes Zune brand creative director. Faulkner is no stranger to the Xbox brand, having also previously served as the director of "Xbox User Experience."

Notably, Zune and Windows Phone 7's Metro interface have been the inspiration for many future user interface designs, including the Fall 2011 Xbox dashboard update and Windows 8.

Beyond Faulkner, Superannuation also turned up a variety of other individuals that may be working on the new console. Patrick Corrigan, who is currently the founder and design director at wkem, lists involvement with developing and integrating branding "for next-gen Xbox," while Microsoft hardware intern Joe Langevin boasts that he "simulated high speed data buses to prevent electromagnetic interference in next-gen devices."

Microsoft has been hiring in earnest for rank-and-file developers on the next Xbox since March 2011. At that time, the Redmond, Washington-based software company posted a number of job reqs seeking individuals who would be "responsible for defining and delivering next generation console architectures from conception through implementation."

Microsoft had not commented on the job listings as of press time.

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viedogame: Microtransaction missteps in Eve Online

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Microtransaction missteps in Eve Online
Oct 10th 2011, 20:55

Who was there: CCP Games associate producer Ben Cockerill showed up at the 2011 Game Developers Conference Online to share lessons learned from the introduction of virtual item sales into its venerable sci-fi massively multiplayer online role-playing game Eve Online.

What they talked about: Earlier this month, CCP CEO Hilmar Veigar Pétursson issued a public apology for changes the company made to Eve Online of late, specifically the introduction of virtual item sales that he described as rather underwhelming (emphasis his). Cockerill showed up at GDC Online to detail exactly what went wrong--and right--with the game's virtual item launch.

Cockerill began his talk with a quick history of the subscription-based game, from its 2003 launch to today. While CCP introduced the tradable "Pilot License Extension" in November 2008 (technically a virtual item), the company didn't launch a wider virtual goods model until recently. When the developer introduced avatars to the game (previously players would only see themselves as a spaceship), it believed that opened the door to the personalization and collection display impulses that can help drive virtual goods sales. Given that its upcoming PlayStation 3 shooter Dust 514 (slated for release next year) would also rely heavily on virtual goods sales, Cockerill said CCP wanted to build its experience and expertise in the field with Eve Online as quickly as possible.

To start, CCP looked at how other games handled microtransactions from a behavioral-psychology perspective. One of the things that surprised the team when they looked at other games' virtual items is that they tended to congregate sales around three specific price points, such that there were bargain, standard, and premium tiers. CCP's strategy was to try and position their offerings like a clothing boutique rather than Walmart; they focused on a small number of items with high graphical quality. To enable sales, they also introduced a new currency into the game: Aurum. Currently the only use for Aurum is to buy virtual items in the in-game store, but Cockerill expects to expand its uses in the future.

The store launched in June with just eight items, and Cockerill said, "We received a lot of negative feedback post-launch." That adverse reaction included an protest with hundreds of players working together to try to destroy an in-game memorial to make their point. He acknowledged part of the protest was related to other changes made with the introduction of avatars to the game, but added there was definitely a bit of virtual-item rage as well. The concern among players was that success in the game would eventually become determined more by how much money people spent rather than how much time and expertise they displayed.

Of the eight original items, Cockerill said all but one of was in the mid- to high-tier price range. Players naturally assumed the lower-tier range would be neglected going forward, which served to push some of them away. The second wave (and the forthcoming fourth wave) feature more lower-tier options, but it wasn't enough. Cockerill said virtual-goods sellers should release a range of goods at all of their price points to start with, or else they'll face the wrath of the user base. What's more, the team should have targeted the desires of its then-current user base, who cared much more about having virtual clothes for their ships instead of their avatars.

Mistakes aside, Cockerill said the team did get some things right. He pointed to the $65 monocle that players can purchase in-game, and said despite the controversy it generated among players, it was the highest grossing item for the virtual-goods launch. Additionally, the introduction of virtual items could have unbalanced the game's player-driven economy, but apart from a temporary fluctuation around launch, Cockerill said the game's virtual currency prices have been stable.

Quote: "We learned a heck of a lot in a very short amount of time, which might not have been the nicest way to do it."--On Eve Online's virtual items launch.

Takeaway: Despite player protests and a public apology from the CEO, Eve Online's virtual goods launch was by no means an unmitigated failure. CCP learned a lot about what works and what doesn't, and is looking to implement those lessons into its next microtransaction effort, next year's PS3-exclusive Dust 514.

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viedogame: Netflix backtracks on Qwikster, 'still considering' games

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Netflix backtracks on Qwikster, 'still considering' games
Oct 10th 2011, 19:41

Online rental service cans plans to bifurcate streaming, DVD-by-mail branding; game integration now a maybe.

Netflix is on quite the tear when it comes to rankling its subscriber base. After hiking its subscription rate by as much as 60 percent in July, the company announced last month that it would effectively be splitting itself in two. The Netflix brand would offer on-demand movie streaming through its website, while a second website, called Qwikster, would handle by-mail physical media.

However, the Qwikster brand that emerged from that decision has proven to be short-lived. Today, Netflix announced that it has canceled plans to spin off its by-mail physical media business into the Qwikster brand. As a result of that decision, Netflix subscribers will continue to use the company's website for physical media and streaming content.

In a company blog post, Netflix CEO Reed Hastings said that while July's pricing changes were necessary and will be retained, following through with the re-branding plan, "would make things more difficult" for consumers.

When Netflix announced Qwikster, the company also revealed plans to add Xbox 360, PlayStation 3, and Wii games to the subscription service as a premium priced offering. However, it appears as if those plans are now in question. Speaking to GameSpot, Netflix VP of corporate communications Steve Swasey would only confirm that the company is "still considering" the inclusion of games.

That tone is a marked change from the initial Qwikster announcement, where Hastings wrote, "Members have been asking for video games for many years, and now that DVD-by-mail has its own team, we are finally getting it done."

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Sunday, 9 October 2011

viedogame: Shippin' Out October 9-15: Forza 4, Dead Rising 2: Off the Record

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Shippin' Out October 9-15: Forza 4, Dead Rising 2: Off the Record
Oct 10th 2011, 01:49

The crucial holiday sales quarter kicked off last week with the launch of Rage and Dark Souls, but the biggest titles of the frenzied buying period are still to come. This week offers some prime picks of its own in Forza 4, Dead Rising 2: Off the Record, and Ace Combat: Assault Horizon.

Forza Motorsport 4 is at the front of the pack this week. Turn 10's Forza series is a touchstone of simulation racing on the Xbox 360, and it has been a full two years since Forza 3. Kinect support is a first for the franchise as well with Forza 4 offering in-race head-tracking, voice-controlled menus, and a virtual showroom feature allowing a close-up look at two dozen of the 500+ cars in the game.

Microsoft and Turn 10 are also introducing a $30 season pass that will net players access to six downloadable content packs slated to hit between the game's release and April 2012. A demo is now available via Xbox Live.

Gamers who are in the mood for more zombie-slaying action this fall are in luck, because Capcom is set to deliver just that. Dead Rising 2: Off the Record for Xbox 360 and PS3 marks the return of fan-favorite Frank West. Arguably games' most famous wartime photographer, Frank is heading to Chuck Greene's turf to provide a different perspective on the events of the ill-fated Fortune City.

Story-infused dogfighting is back this week with Ace Combat: Assault Horizon, but it's not all about jets this time. Helicopters are a new addition that look to offer a fresh spin on Namco Bandai's aerial action series on Xbox 360 and PS3.

Billed as a living storybook, the Kinect-powered Once Upon a Monster sees players engaging in a series of minigames to help a lovable group of monsters solve their problems. Much like the show, the Sesame Street characters are sure to impart a few life lessons along the way as well.

For further details on the week's games, visit GameSpot's New Releases page. The full list of downloadable games on the PlayStation Store, Xbox Live Marketplace, and Wii Shop Channel will be revealed later this week. Release dates are based on retailer listings and are subject to change.

MONDAY, OCTOBER 10
Red Dead Redemption: Game of the Year Edition--X360, PS3--Rockstar Games

TUESDAY, OCTOBER 11
Ace Combat: Assault Horizon--X360, PS3--Namco Bandai Games
Aliens Infestation--DS--Sega
DanceDanceRevolution II--Wii--Konami
Dead Rising 2: Off the Record--X360, PS3, PC--Capcom
Dragon Age II: Mark of the Assassin--X360, PS3, PC--Electronic Arts
Forza Motorsport 4--X360--Microsoft Game Studios
Gabrielle's Ghostly Groove--3DS--Natsume
Go Vacation--Wii--Namco Bandai Games
Hulk Hogan's Main Event--X360--Majesco Games
Imagine Fashion Designer--3DS--Ubisoft
Kinectimals: Now with Bears--X360--Microsoft Game Studios
Mahjong Cub3d--3DS--Atlus
Marvel Super Hero Squad: Infinity Gauntlet--3DS--THQ
Michael Phelps: Push the Limit--X360--505 Games
Rune Factory: Tides of Destiny--PS3, Wii--Natsume
Sesame Street: Once Upon a Monster--X360--Warner Bros. Interactive
Sideway: New York--PS3--Sony Online Entertainment
Wipeout 2--X360, PS3, Wii, 3DS, DS--Activision Blizzard

WEDNESDAY, OCTOBER 12
1001 Touch Games--DS--Maximum Family Games
Blackwell Deception--PC--Wadjet Eye Games
Crimson Alliance: Vengeance Pack--X360--Certain Affinity
Guardian Heroes--X360--Sega
Insanely Twisted Shadow Planet: Shadow Hunters--X360--Fuelcell Games
Orcs Must Die--PC--Robot Entertainment

THURSDAY, OCTOBER 13
Batman: Arkham Asylum--Mac--Feral Interactive
Might & Magic: Heroes VI--PC--Ubisoft

FRIDAY, OCTOBER 14
Renegade Ops--PC--Sega
Rugby Challenge--PC--Sidhe Interactive

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Classic Video Games: What's Hot Now: Steve Jobs

Classic Video Games: What's Hot Now
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Steve Jobs
Oct 9th 2011, 10:05

Everyone knows Steve Jobs as Co-Founder and CEO of Apple Inc., and that alone makes him a major historic figure in classic computer games, but one little tidbit that has been nearly forgotten in the history of gamedome is that one of Jobs first gigs in the industry was as a designer on one of Atari’s most successful video games.
  • Name: Steve Jobs
  • Born: February 24, 1955
  • Passed Away: October 5, 2011
  • Mark In Gaming History: Co-Founder and CEO of Apple Inc., Co-Designer and Developer of Atari’s Breakout.

Jobs Gets a Job at Atari:

The life and history of the ground breaking icon of the computer age, Steve Jobs, is filled with his strives in home computing and entertainment technology, from one of the earliest lines of personal computers to the modern age of mobile and tablet devices, Jobs led the charge in trend setting and molding the industry and maintaining a quality standard like no other.

However before the days of iPhones, Macbooks, and the Apple II Computer, Jobs was a poor college drop out who moved to California and was focusing all of his efforts on learning technology while taking a job at Atari to pay the bills.

While working there, Jobs was tapped by Pong designer Allan Alcorn to build out an affordable circuit board for a new game idea conceived by Atari founders Nolan Bushnell and Steve Bristow. The basic concept was a single-player variation of Pong, only instead of two paddles bouncing a ball back and fourth, the game would have a paddle hitting a ball against a series of blocks, breaking one apart every time it hit. The final title of the game was Breakout.

The problem was, the circuit board for Breakout required so many chips that it was too costly to manufacturer. Alcorn assigned Jobs to build a prototype and promised a bonus for every chip he was able to remove from the circuit board without sacrificing the quality of the game.

Jobs sought out the assistance of his friend and future Apple co-founder Steve Wozniak to help him redesign the circuit board and they were able to remove 50 chips and still have a functioning game.

While this was a brilliant design, it was too complex to manufacture on a massive scale so Atari eventually had to come up with a separate design that required more chips. Regardless the final version of Breakout was identical to the one designed by Jobs and Wozniak, and went on to become a big hit in video arcades and on the Atari 2600.

Goodbye Atari, Hello Apple:

A year after Breakout released, Jobs left Atari and teamed up with Wozniak once again to found Apple Computer, Inc. with an eye on becoming one of the first to enter the emerging home computer market.

Apples first computer, the Apple I, was considered a hobbyist computer, meaning that computer enthusiasts received it as a kit and had to put it together themselves. What made it unique among hobbyist computers was that the circuit board came pre-assembled.

Their next dive into home computing was on a massive scale with the Apple II computer. A megahit when it released in the late ‘70s, the Apple II line wrung in the computer age of the 1980s. In addition to the 8-bit computer revolutionizing word processing and software development, the Apple II held extraordinarily advance computer graphics and memory capabilities, allowing for developers to release more elaborate games to the public, and making home computers major competition for the console video game market.

The Apple II was even used to create new types of video games such as the adventure game genre created by Ken and Roberta Williams, who developed their most historic titles on the Apple computers.

Some of the most notable games developed for the Apple II computer include Lode Runner, The Oregon Trail, Zork, Castle Wolfenstein, Mystery House, Ultima, Kings Quest, Ultima and Leusure Suit Larry.

Eventually when PC computers allowed open-source development, not requiring game publishers to obtain a license to release on the platform, the PC overtook Apple computers as the preferred computer system for video games.

The iPhone and iPad Gaming Revolution:

In 2007 Steve Jobs led the technology revolution yet again with the advent of the iPhone, and eventually the mobile device's big brother, the iPad. While mobile phone companies had spent years trying to create phone devices that would double as gaming outlets, Jobs and his team at Apple successfully launched one, turning their iOS devices into a major platform for gaming.

Today hundreds of classic video games have been ported to iPhone and iPads, with retro gaming publishers such as Namco dedicating entire development divisions to bring titles like Pac-Man, Dig Dug and Frogger to Jobs' mobile gaming gadgets.

After years of battling cancer, Steve Jobs passed away at his home on October 5th, 2011 leaving behind him a mournful industry and a legacy that will live on as long as technology exists.

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