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The Installer writes with news that Nintendo is seeing a significant financial downturn to match the general slowdown in the rest of the industry. "Sales of the once unstoppable Wii console have tumbled for the first time since its launch three years ago, sending the gaming giant's quarterly profit down 61 percent." Meanwhile, Sony is feeling the pain as well; the company sold 500,000 fewer PS3 consoles than in the previous quarter, and PSP sales saw an even bigger drop. Interestingly, Sony also revealed that the manufacturing cost of the PS3 has now dropped 70% since it was released. The drop in sales has caused the resurgence of rumors about console price cuts.

A few days ago at Comic-Con, Sony Online Entertainment president John Smedley spoke about the success of Free Realms, their free-to-play MMORPG that relies on microtransactions for a business model. The game was released at the end of April, and by mid-June there were upwards of three million registered users. Now that total is approaching five million, with no sign of slowing down. Min Kim, another panelist at the discussion, said, "When people started talking about it back in 2003 or 2004, people said Western games would never want to do this, to play a game for free and then buy items. And now everybody is saying, 'We're going to have microtransactions as part of our business model.'"

After enjoying several years of popularity, music games seem to be drawing less and less interest from gamers lately. Guitar Hero and Rock Band titles have been conspicuously absent from a list of the 20 best-selling software titles in the past two months, and one report estimates that revenue from those games has dropped by almost half. Analyst Jesse Divnich suggests that there's no longer much room for dramatic improvements in game play, saying, "it would be erroneous to assume that any franchise or brand can grow unless it brings something new to the table. After a while, utility to the gamer will diminish and he/she will surely move on." Nevertheless, the companies are happy to continue to rely on DLC sales while working on new releases. Harmonix is showing off a trailer and a partial set list for The Beatles: Rock Band, and Neversoft has detailed a number of new features and tracks for Guitar Hero 5.

An opinion piece on Gamasutra discusses how, in spite of the fancy new motion control systems that have come to console gaming, the PC's keyboard and mouse setup is still unreplaceable for many titles and genres. Quoting: "With over 100 keys to choose from (back of the box quotation right there), the possibilities are near endless, if you start to think of shift and control functions altering the purpose of keys. It means that, when the developers start to make their game, they don't have to worry about the limitations of the interface, knowing that, if all else fails, they can always assign the compass to K, even if that's a bit of a stretch to all but the pianists. The keyboard is the friend of ambition, and ArmA 2 is the testament to that, in all its surrealist, broken glory. ... It's the same reason RTS games have found a home on the PC for so long, able to use the skills people accumulate moving around windows and clicking on icons to command troops and manipulate their battle lines. Developers taking advantage of what we already know to teach us something we don't is what gaming is all about."

simoniker writes "In a new interview, BioShock creator Ken Levine has been talking about his studio's philosophy and teasing, at least abstractly, his next project, of which he says 'we had a scope and ambition in mind which is more ambitious than anything we've ever done. Even more, substantially more ambitious than BioShock.' He also commented on 2K Marin, currently working on BioShock 2, wishing them luck but making it clear that he is not majorly involved in the game: 'I'm not working on BioShock 2. I make no claim to anything on BioShock 2, and I think it's important that that's their product, and their culture. Because you can't just clone a studio.'"

Gamasutra has an in-depth interview with Gareth Davis, Facebook's platform manager, about how social networks and online gaming are intersecting more and more as each industry matures. He says, "There's a cultural shift towards people being willing, excited, and preferring to use their real world identities online. We all know that 10 years ago, you were as anonymous as possible online, right? And today, we spend a lot of our time putting our real world identities out there and sharing them ... And we've seen this occur on Facebook.com, where as more and more people join Facebook and your social graph is more complete, you have the ability to have these social experiences with people you've never had before, and you're playing games with people whom you didn't play games with before, with your family members, with your parents, with friends in remote locations. There's this new gaming activity happening that we believe will translate to the consoles as well."

Earlier this week, we discussed news that games industry veteran Dave Perry had posted a demo of his upcoming cloud gaming service Gaikai. Now that people have had time to speak with Perry and evaluate the demo, reaction has been surprisingly positive. Quoting Eurogamer: "What struck me about the presentation was that there was absolutely nothing unbelievable in it whatsoever. There were no claims of streaming 720p gameplay at 60 frames per second — games were running in differently sized windows according to how difficult they were to compress, and video itself runs at the internet standard 30FPS. There was no talk of world-beating compression systems that annihilate the work of the best minds in video encoding today, the demo was using the exact same h264 codec that we use ... And finally, there was nothing here to suggest that we were looking at a technological breakthrough that would make our PS3s and Xbox 360s obsolete... just that this was a brand new way to play games in an ultra-accessible manner." By contrast, OnLive was received with much more criticism, in part due to their dramatic promises. While playing online games with Gaikai will naturally add some amount of latency, the article points out that single-player games need not lag more than you'd expect from a console controller. Meanwhile, unlike OnLive, Gaikai is not trying to compete directly with the major console manufacturers, instead trying to work with them in order to deliver their first-party games to new audiences.

simoniker writes "As the latest in his Game Design Essentials series for Gamasutra, writer John Harris examines 10 games from the Western computer RPG (CRPG) tradition and 10 from the Japanese console RPG (JRPG) tradition, to figure out what exactly makes them tick. From the entry on Nethack: 'Gaining experience is supposed to carry the risk of harm and failure. Without that risk, gaining power becomes a foregone conclusion. It has reached the point where the mere act of spending time playing [most RPGs] appears to give players the right to have their characters become more powerful. The obstacles that provide experience become simply an arbitrary wall to scale before more power is granted; this, in a nutshell, is the type of play that has brought us grind, where the journey is simple and boring and the destination is something to be raced to. Nethack and many other roguelikes do feature experience gain, but it doesn't feel like grind. It doesn't because much of the time the player is gaining experience, he is in danger of sudden, catastrophic failure. When you're frequently a heartbeat away from death, it's difficult to become bored.' Harris' Game Design series has previously spanned subjects from mysterious games to open world games, unusual control schemes and difficult games."

simoniker writes "As the latest in his Game Design Essentials series for Gamasutra, writer John Harris examines 10 games from the Western computer RPG (CRPG) tradition and 10 from the Japanese console RPG (JRPG) tradition, to figure out what exactly makes them tick. From the entry on Nethack: 'Gaining experience is supposed to carry the risk of harm and failure. Without that risk, gaining power becomes a foregone conclusion. It has reached the point where the mere act of spending time playing [most RPGs] appears to give players the right to have their characters become more powerful. The obstacles that provide experience become simply an arbitrary wall to scale before more power is granted; this, in a nutshell, is the type of play that has brought us grind, where the journey is simple and boring and the destination is something to be raced to. Nethack and many other roguelikes do feature experience gain, but it doesn't feel like grind. It doesn't because much of the time the player is gaining experience, he is in danger of sudden, catastrophic failure. When you're frequently a heartbeat away from death, it's difficult to become bored.' Harris' Game Design series has previously spanned subjects from mysterious games to open world games, unusual control schemes and difficult games."

simoniker writes "As the latest in his Game Design Essentials series for Gamasutra, writer John Harris examines 10 games from the Western computer RPG (CRPG) tradition and 10 from the Japanese console RPG (JRPG) tradition, to figure out what exactly makes them tick. From the entry on Nethack: 'Gaining experience is supposed to carry the risk of harm and failure. Without that risk, gaining power becomes a foregone conclusion. It has reached the point where the mere act of spending time playing [most RPGs] appears to give players the right to have their characters become more powerful. The obstacles that provide experience become simply an arbitrary wall to scale before more power is granted; this, in a nutshell, is the type of play that has brought us grind, where the journey is simple and boring and the destination is something to be raced to. Nethack and many other roguelikes do feature experience gain, but it doesn't feel like grind. It doesn't because much of the time the player is gaining experience, he is in danger of sudden, catastrophic failure. When you're frequently a heartbeat away from death, it's difficult to become bored.' Harris' Game Design series has previously spanned subjects from mysterious games to open world games, unusual control schemes and difficult games."

simoniker writes "As the latest in his Game Design Essentials series for Gamasutra, writer John Harris examines 10 games from the Western computer RPG (CRPG) tradition and 10 from the Japanese console RPG (JRPG) tradition, to figure out what exactly makes them tick. From the entry on Nethack: 'Gaining experience is supposed to carry the risk of harm and failure. Without that risk, gaining power becomes a foregone conclusion. It has reached the point where the mere act of spending time playing [most RPGs] appears to give players the right to have their characters become more powerful. The obstacles that provide experience become simply an arbitrary wall to scale before more power is granted; this, in a nutshell, is the type of play that has brought us grind, where the journey is simple and boring and the destination is something to be raced to. Nethack and many other roguelikes do feature experience gain, but it doesn't feel like grind. It doesn't because much of the time the player is gaining experience, he is in danger of sudden, catastrophic failure. When you're frequently a heartbeat away from death, it's difficult to become bored.' Harris' Game Design series has previously spanned subjects from mysterious games to open world games, unusual control schemes and difficult games."

simoniker writes "As the latest in his Game Design Essentials series for Gamasutra, writer John Harris examines 10 games from the Western computer RPG (CRPG) tradition and 10 from the Japanese console RPG (JRPG) tradition, to figure out what exactly makes them tick. From the entry on Nethack: 'Gaining experience is supposed to carry the risk of harm and failure. Without that risk, gaining power becomes a foregone conclusion. It has reached the point where the mere act of spending time playing [most RPGs] appears to give players the right to have their characters become more powerful. The obstacles that provide experience become simply an arbitrary wall to scale before more power is granted; this, in a nutshell, is the type of play that has brought us grind, where the journey is simple and boring and the destination is something to be raced to. Nethack and many other roguelikes do feature experience gain, but it doesn't feel like grind. It doesn't because much of the time the player is gaining experience, he is in danger of sudden, catastrophic failure. When you're frequently a heartbeat away from death, it's difficult to become bored.' Harris' Game Design series has previously spanned subjects from mysterious games to open world games, unusual control schemes and difficult games."

Gamasutra has an interesting article about how the push toward realistic graphics and extremely lifelike characters in modern games is making the term "murder simulator" — once laughed off for referring to pixelated dying Nazis — a concept to take more seriously. The author is careful to simply explore the issue, and not come to a specific conclusion; he doesn't say that we should or shouldn't prevent it from happening, only that it's worth consideration. (One section is even titled "Forget the kids," saying that decisions for what children play fall under parental responsibility.) Quoting: "We should start rethinking these issues now before we all slide down the slope together and can't pull ourselves back up again. Or, even worse, before governments step in and dictate what can and can't be depicted or simulated in video games via legislation. ... Obviously, what makes an acceptable game play experience for each player is a personal choice that should be judged on a person-by-person basis (or on a parent to child basis), and I believe it should stay that way. As for me, I'm already drawing the line at BioShock — I can barely stomach the game as it is. Sure, I could play it more and desensitize myself, but I don't want to. And that's just me. It's up to you and a million other adult gamers to decide what's best for yourselves and to draw the line on virtual violence where you feel most comfortable."

A class action lawsuit has been initiated against Square Enix over the fees they charge for subscription-based MMO Final Fantasy XI. The court filing alleges "deceptive advertising, unfair practices, and fraudulent concealment" of information about the game's pricing model, essentially saying Square Enix doesn't clearly advertise that there is a monthly fee, and that failure to pay can result in late fees and account termination. The plaintiff is seeking a settlement in excess of $5,000,000 and including "all persons who purchased or played the online games four years prior to the filing of this lawsuit."

Gamasutra is running a few articles about this year's Social Gaming Summit, a conference dedicated to how the increasingly popular social media market is influencing the design of games and how they are played. It's a unique market, in which relatively unknown games can attract millions of players over mere weeks, and where the players themselves often become the distributors. When discussing platform support and compatibility, Sebastian de Halleux, COO of developer Playfish, said, "For us, the next-generation platform is Facebook." However, Facebook's own Gareth Davis thinks the future of gaming will rely heavily on compatibility across many different devices, from conventional consoles to devices like the iPhone. Christian Nutt, the Gamasutra writer who attended the Summit, is optimistic about the possibilities this will open up, but is worried that creativity and fun will get bogged down by traffic analysis, marketing, and micro-transactions. He mentions one company who "spent $2 million developing a game called Guild of Heroes, but never launched it because 'it didn't drive the right metrics.' This makes business sense; these kinds of decisions are made everywhere all of the time. The disquieting thing is that the topics of fun or creativity — or any of the virtues most in the game industry like to inject into their commercial products — were rarely if ever addressed."

Gamasutra is running a few articles about this year's Social Gaming Summit, a conference dedicated to how the increasingly popular social media market is influencing the design of games and how they are played. It's a unique market, in which relatively unknown games can attract millions of players over mere weeks, and where the players themselves often become the distributors. When discussing platform support and compatibility, Sebastian de Halleux, COO of developer Playfish, said, "For us, the next-generation platform is Facebook." However, Facebook's own Gareth Davis thinks the future of gaming will rely heavily on compatibility across many different devices, from conventional consoles to devices like the iPhone. Christian Nutt, the Gamasutra writer who attended the Summit, is optimistic about the possibilities this will open up, but is worried that creativity and fun will get bogged down by traffic analysis, marketing, and micro-transactions. He mentions one company who "spent $2 million developing a game called Guild of Heroes, but never launched it because 'it didn't drive the right metrics.' This makes business sense; these kinds of decisions are made everywhere all of the time. The disquieting thing is that the topics of fun or creativity — or any of the virtues most in the game industry like to inject into their commercial products — were rarely if ever addressed."

Gamasutra is running a few articles about this year's Social Gaming Summit, a conference dedicated to how the increasingly popular social media market is influencing the design of games and how they are played. It's a unique market, in which relatively unknown games can attract millions of players over mere weeks, and where the players themselves often become the distributors. When discussing platform support and compatibility, Sebastian de Halleux, COO of developer Playfish, said, "For us, the next-generation platform is Facebook." However, Facebook's own Gareth Davis thinks the future of gaming will rely heavily on compatibility across many different devices, from conventional consoles to devices like the iPhone. Christian Nutt, the Gamasutra writer who attended the Summit, is optimistic about the possibilities this will open up, but is worried that creativity and fun will get bogged down by traffic analysis, marketing, and micro-transactions. He mentions one company who "spent $2 million developing a game called Guild of Heroes, but never launched it because 'it didn't drive the right metrics.' This makes business sense; these kinds of decisions are made everywhere all of the time. The disquieting thing is that the topics of fun or creativity — or any of the virtues most in the game industry like to inject into their commercial products — were rarely if ever addressed."

NinjaBee Games writes "A continual debate rages about the nature of making independent games. 'What is Indie game development?' This argument endures throughout the year, but it's almost never heard louder than right after the announcement of finalists or winners of an Indie game development contest. The debate currently is in full swing after Microsoft's recent announcement that they will be changing the name of the Xbox Live Community Games section to Xbox Live Indie Games. In light of this important debate, Brent Fox of Indie developer NinjaBee has written a blog post in which he claims he has finally found the 'clear and undeniable' definition of Indie."

simoniker writes "Over at Gamasutra, a new feature article discusses how much money free-to-play MMO games make, with specific real-world stats from game developers willing to discuss how they make money with microtransaction-based PC games. In particular, Puzzle Pirates co-creator Daniel James reveals that 'the average revenue per user (ARPU) is between one and two dollars a month, but only about 10% of his player base has ever paid him anything. As a result, he says, approximately 5,000 gamers are generating the $230,000 in revenue he sees each month.' It's obviously quite a different model from the regular $15/month for World Of Warcraft, but it evidently works for some companies."

Valve's announcement that Left 4 Dead 2 would be released only a year after the first game has generated a great deal of controversy among fans of the game. There are concerns that Left 4 Dead will not get any additional content, the community will be divided, and that the quick development cycle won't do justice to the sequel. Now, Valve devs and execs are going out of their way to address those concerns. Left 4 Dead project lead Chet Faliszek said, "It just became very clear that this was a cohesive, singular statement we wanted to make, not a more slow update thing... too much stuff was tied together with too many other things." Developer Tom Leonard was quick to point out that work wouldn't cease for the first game: "We are doing updates across the summer, adding new matchmaking features, and new features to facilitate user maps after the SDK is out. ... Additionally, those maps can be transported into Left 4 Dead 2." Doug Lombardi said simply, "Trust us a little bit," explaining that Gabe Newell is "always talking about providing entertainment as a service — it's not about making a game any more."

With the recent E3 demonstrations of new motion-based control for consoles — Microsoft's Natal, Sony's Motion Controller, and Ubisoft's camera-based system for the Wii — analysts now expect the current console generation to last longer than normal. Microsoft exec Shane Kim said he expects the Xbox 360 to last until around 2015, in part due to Natal and new services available through Xbox Live. Signal Hill's Todd Greenwald thinks this cycle may not need to end at all: "Microsoft and Sony have invested so much in their current hardware line, as have third party publishers, that we don't think any party is seriously interested in throwing away these investments and starting over from scratch. For all of these reasons, we think this cycle will last longer than those in the past, and don't see new hardware coming until 2011 at the earliest, and 2012 to 2013 more likely (if at all — if new services like OnLive take off, or if Xbox Live and PlayStation Network become more and more robust, there may not be a need for another console cycle).'"

Briareos was one of several readers to write with news that TellTale Games, along with LucasArts, will be bringing new Monkey Island games later this year. Tales of Monkey Island will be a series of episodic games released for PC and WiiWare in the coming months, and The Secret of Monkey Island: Special Edition will be a remake of the original 1990 game, available on the PC and Xbox Live. A trailer is available for the former, and this is what the press release says about the latter: "The development team at LucasArts is bringing the game into the modern era with all-new HD graphics, a re-mastered musical score, full voiceover, and an in-depth hint system has been added to help players through the game's side-splitting puzzles. Purists will also delight in the ability to seamlessly switch between the updated HD graphics and the original's classic look." Grumpy Gamer has a nostalgic look back at the franchise.

This article at Gamasutra takes a look at how the compulsion to hoard and accumulate objects, as well as the desire to accomplish entirely abstract goals, has become part of the modern gaming mindset. "The Obsessive Compulsive Foundation explains that in compulsive hoarders: 'Acquiring is often associated with positive emotions, such as pleasure and excitement, motivating individuals who experience these emotions while acquiring to keep acquiring, despite negative consequences.' Sound familiar? The 'negative consequences' of chasing after the 120th star in Mario 64 or all 100 hidden packages in Grand Theft Auto III may be more subdued than those of filling your entire house with orange peels and old cans of refried beans. But game designers know that it's pretty damn easy to tap into this deep-rooted need to collect and accumulate. And like happy suckers we buy into it all the time, some to a greater degree than others."

An article by game designer Ian Bogost takes a look at what type of value we attach to games, and how it relates to price. Inspiration for the article came from the complaint of a user who bought Bogost's latest game and afterward wanted a refund. The price of the game? 99 cents. Quoting: "Games aren't generally like cups of coffee; they don't get used up. They don't provide immediate gratification, but ongoing challenge and reward. This is part of what Frank Lantz means when he claims that games are not media. Yet, when we buy something for a very low price, we are conditioned to see it as expendable. What costs a dollar these days? Hardly anything. A cup of coffee. A pack of sticky notes. A Jr. Bacon Cheeseburger. A lottery ticket. Stuff we use up and discard. ... I contend that iPhone players are not so much dissatisfied as they are confused: should one treat a 99-cent game as a piece of ephemera, or as a potentially rich experience?"

simoniker writes "Over at Gamasutra, there's a massive new interview with Epic (Mega)Games founder Tim Sweeney, the guy who's still a key technical figure at the Unreal Engine/Gears Of War developer. He discusses his early programming days, the story behind classic shareware game/tool ZZT, the origins of Epic, the '90s shareware business, and even a bit about the future as well. Particularly neat is his revelation that you can still order ZZT via mail, with orders fulfilled by his dad: 'My father still lives at the address where Potomac Computer Systems started up, so he still gets an order every few weeks... he's retired now, so he doesn't have much to do. Every week, he'll just take a stack of a few orders, put disks in them, and mail them out.'"

New research from the NPD Group has found that the number of Americans who play video games has surpassed the number who go to movies. In a survey of over 11,000 people, 63% had played a video game within the past six months, while only 53% had gone to a movie. They also found that the purchase of game consoles was on the rise, as were new methods of accessing the games themselves, such as playing over a social networking site or downloading a game onto a mobile phone. The report said, "the average gamer spent just over $38 per month on all types of gaming content" in the first three months of 2009, adding that "video games account for one-third of the average monthly consumer spending in the US for core entertainment content, including music, video, games."

Jon Jordan writes "Pocket Gamer has been getting its fingers inside the unique new Zeebo console — a sub $200 system designed for emerging markets — to discover it's based on a hacked version of the T-Mobile G1 Google phone. It effectively consists of the chipset from the HTC Dream/G1 Android phone, plus some extra I/O to deal with TV screens, controllers and the like. If this gaming, entertainment and educational console for the billion-strong middle classes in emerging economies such as Brazil and India catches on, HTC could become a serious global gaming force. Qualcomm's Mike Yuen said in an interview, 'We have this mass market chipset, and our next-generation chipset is getting faster. What we announced, [Qualcomm's] Snapdragon [chipset], is going to netbooks; it bumps it a few notches above that. The cell phone business, including us, is never going to build a processor that's going to match or surpass what the video game guys do. So, why chase that?'"

One year after its rocky launch, Age of Conan has stabilized and seen a growth in its player base, reports FunCom. What's more, they say, is that players seem to be playing for longer periods of time as well. Game Director Craig Morrison said in his May letter that work on the next major update, 1.05, is nearing completion, and provided some more details about the new features. This is the same patch which, due to the sweeping stat and equipment changes, will allow players who have a character at level 50 or higher to create a brand new character already at level 50. Reader Kheldon points out a two-part interview with Morrison in which he discusses the laundry list of changes they've made in the past year to improve the game, as well as some broader thoughts about storytelling in the MMO genre. FunCom also released some early details yesterday on two new, free-to-play MMOs they're working on, one of which is browser-based and one of which is Java-based.

eldavojohn writes "It's a simple model — you buy used games for a third of the price of a new one from patrons. Then you turn around and sell the game for two-thirds the normal price to other patrons that have not yet enjoyed the title. Such has been the model for stores like GameStop. The great part about that business is a recession can sometimes help their market, as gamers look to save a few bucks any way possible. Well, today Wal-Mart launched kiosks in 77 of its stores that vend used video games. Looking like a RedBox DVD kiosk, these automated machines are full of bugs, but spell trouble for businesses like GameStop. This should also pique the interest of used-game opponents and provide a bigger target for them to go after if they get the politicians on their side."

Erik J writes "Cryptic Studios has announced that their upcoming superhero MMORPG, Champions Online, has suffered a delay. The title, originally slated to arrive for PC and Xbox 360 on July 14th, has been pushed back to September 1st of this year. The studio claims the postponement stems from the need to make the game as polished as possible. 'It is critically important for an MMO to be as good as it possibly can be at launch,' said executive producer Bill Roper. 'Through our constant dialogue with our vocal and supportive community of beta testers, we quickly realized that in order to implement certain features that we all considered important the development of Champions Online would require more time.'" Roper also spoke recently about the lessons he's taken from his years in the MMO industry, commenting on why big-budget games are such a gamble, and why it's ridiculous to measure success by comparing a new game to World of Warcraft.

Brad Wardell of Stardock and Ron Carmel of 2D Boy recently spoke with Gamasutra about their efforts to move the games industry away from restrictive DRM. Despite the fact that both have had their own troubles with piracy, they contend that overall piracy rates aren't significantly affected by DRM — and that most companies know it. Instead, the two suggest that most DRM solutions are still around to hamper a few more specific situations. Quoting: "'Publishers aren't stupid. They know that DRM doesn't work against piracy,' Carmel explains. 'What they're trying to do is stop people from going to GameStop to buy $50 games for $35, none of which goes into the publishers' pockets. If DRM permits only a few installs, that minimizes the number of times a game can be resold.' ... 'I believe their argument is that while DRM doesn't work perfectly,' says Wardell, 'it does make it more difficult for someone to get the game for free in the first five or six days of its release. That's when a lot of the sales take place and that's when the royalties from the retailers are determined. Publishers would be very happy for a first week without "warez" copies circulating on the Web.'"

yerktoader writes "There are rumors that Apple might buy EA, but some interesting counterpoints abound. File this one firmly under 'unconfirmed,' but it's nevertheless a tantalizing rumor. According to Fast Money's Guy Adami, Apple is 'eyeing Electronic Arts as a takeover target.' EA is currently the second-largest games publisher in the world and owner of the smash hit NFL-licensed series of football games. Could we be facing the possibility of an iMadden? Well, probably not. Apple has indeed been bolstering its games know-how, hiring a major Xbox strategist away from Microsoft in recent weeks. And EA is no stranger to Apple platforms: in the last year it's brought several of its major franchises to the iPhone (with more on the way), including Sim City, Tiger Woods, and Spore, with considerable success. But it's a far cry from there to a takeover, and that's putting it mildly. Video games analyst Michael Pachter seems to agree. Speaking to Gamasutra, he pointed out that if Apple was looking to make some entertainment acquisitions, it could buy Warner Music — which controls 20% of the music industry — for roughly half of EA's estimated price."

Om writes "Richard Garriott, lead designer of the now-defunct NCSoft game Tabula Rasa, is suing former employer NCSoft to the tune of $24,000,000. GamePolitics has details on the legal filings, but contrary to official postings from 'General British' himself, it appears this split wasn't exactly amicable."

blacklily8 writes "Gamasutra has published "The History of Rogue: Have @ You, You Deadly Zs." Despite only the most 'primitive' audiovisuals, Rogue has continued to excite gamers and programmers worldwide, and has been ported, enhanced, and forked now for over two decades. What is it about Wichman and Toy's old UNIX RPG that has sent so many gamers to their deaths in the Dungeons of Doom, desperately seeking the fabled Amulet of Yendor? This article covers the history of the game, including the Epyx failure to make a ton of cash selling it in 1983. It also goes into rogue-like culture and development."

Gamasutra has an interview with members of Off Topic Productions, the team behind the recent completion of The Nameless Mod, a Deus Ex modification that was in development for seven years. They talk about how they stayed interested in such a lengthy, unpaid project, and also how their vision for the mod shifted over the years as a result of experience and feedback. "We estimate that we recreated everything we did during the first 2 or so years because we got better. The plot went through 4 revisions in the first year and was continually tweaked, expanded, and revised. Most of it also simply came about as we experimented with the game and the engine and grew familiar with what we could do — originally we were planning something even more open and free-form than we ended up with, but when we realized how fundamentally the game was built for a completely different type of structure, we reigned ourselves in and adjusted our design. ... Also, I don't know if you ever go back and read what you wrote 6-7 years ago, but in my experience that's a great way to embarrass yourself — I spent a lot of time rewriting old dialogue to be less embarrassing."

We recently got a look at some hard numbers related to the piracy of Demigod , a new game from Stardock and Gas Powered Games. Now, two weeks later, Stardock CEO Brad Wardell has essentially declared the game a success in spite of the piracy, and reaffirmed the company's stance that intrusive DRM is a bad thing. The game's sales figures seem to bear him out. Quoting: "Yep. Demigod is heavily pirated. And make no mistake, piracy pisses me off. If you're playing a pirated copy right now, if you're one of those people on Hamachi or GameRanger playing a pirated copy and have been for more than a few days, then you should either buy it or accept that you're a thief and quit rationalizing it any other way. The reality that most PC game publishers ignore is that there are people who buy games and people who don't buy games. The focus of a business is to increase its sales. My job, as CEO of Stardock, is not to fight worldwide piracy no matter how much it aggravates me personally. My job is to maximize the sales of my product and service and I do that by focusing on the people who pay my salary — our customers."

Several sources are reporting that work on The Witcher: Rise of the White Wolf, a console port of the popular PC game, has officially been suspended. CD Projekt, makers of the original game, were working with WideScreen Games on the new version. WideScreen says that CD Projekt missed a significant payment for their role in the development, leading them to stop work on the game. They are emphatic that development won't continue until CD Projekt makes good on the debt, but CD Projekt says, "All payments were done on time according to milestone plan. ... Truth is that payments were later than originally planned but this was solely due to delays in production. The delays were growing in the project due to WSG [continuing] to miss the deadlines." The game's future is uncertain.

Hugh Pickens writes "June marks the launch across Brazil of Zeebo, a console that aims to tap an enormous new market for videogaming for the billion-strong, emerging middle classes of such countries as Brazil, India, Mexico, Russia and China. Zeebo uses the same Qualcomm chipsets contained in high-end smartphones, together with 1GB of flash memory, three USB slots and a proprietary dual analogue gamepad. It plugs into a TV and outputs at a 640 x 480 pixel resolution. 'The key thing is we're using off-the-shelf components,' says Mike Yuen, director of the gaming group at Qualcomm. This approach means that, while Zeebo can be priced appropriately for its markets — it will launch at US $199 in Brazil compared to around US $250 (plus another US $50 for a mod chip to play pirated games) for a PlayStation 2 in the region — and next year the company plans to drop the price of the console to $149. But the most important part of the Zeebo ecosystem is its wireless digital distribution that gets around the low penetration of wired broadband in many of these countries, negates the cost of dealing with packaged retail goods, and removes the risk of piracy, with the games priced at about $10 locked to the consoles they're downloaded to. Zeebo is not meant to directly compete with powerful devices like Sony's PlayStation 3, Microsoft's Xbox 360, or the Wii. 'In Latin America, where there's a strong gaming culture, that's what we'll be, but in India and China we can be more educational or lifestyle-oriented,' says Yuen. One Indian gaming blog predicts Zeebo will struggle, in part due to the cultural reluctance toward digital distribution and also the lack of piratable games."

In a lengthy interview with Gamasutra about the state of the Playstation brand in 2009, Sony's senior vice president of marketing, Peter Dille, made some interesting comments about how piracy has affected their popular portable console, the PSP. He said, "we're convinced that piracy has taken out a big chunk of our software sales on PSP," a platform that was slow to start anyway due to the lack of early interest from game developers. Dille mentions that while they can fight piracy with hardware upgrades in new versions, that doesn't do anything to help the roughly 50 million PSPs already out there. He goes on to address other aspects of the PlayStation line, including complaints about the pricing and exclusivity.

In a lengthy interview with Gamasutra about the state of the Playstation brand in 2009, Sony's senior vice president of marketing, Peter Dille, made some interesting comments about how piracy has affected their popular portable console, the PSP. He said, "we're convinced that piracy has taken out a big chunk of our software sales on PSP," a platform that was slow to start anyway due to the lack of early interest from game developers. Dille mentions that while they can fight piracy with hardware upgrades in new versions, that doesn't do anything to help the roughly 50 million PSPs already out there. He goes on to address other aspects of the PlayStation line, including complaints about the pricing and exclusivity.

On Monday Bethesda announced a new title in the popular Fallout series called New Vegas, set for release sometime in 2010. It's planned for the PC, Xbox 360, and PS3. They said it wasn't a sequel to the highly-acclaimed Fallout 3, but rather a brand new game set in the same universe, though they confirmed that it will be similar in style to Fallout 3. The new game will be developed by Obsidian Entertainment, a studio containing members of the original Fallout team, which Bethesda's Pete Hines discussed in an interview with Shacknews. The Fallout series also made headlines earlier this week when Bethesda trademarked the name for TV and film.

On Monday Bethesda announced a new title in the popular Fallout series called New Vegas, set for release sometime in 2010. It's planned for the PC, Xbox 360, and PS3. They said it wasn't a sequel to the highly-acclaimed Fallout 3, but rather a brand new game set in the same universe, though they confirmed that it will be similar in style to Fallout 3. The new game will be developed by Obsidian Entertainment, a studio containing members of the original Fallout team, which Bethesda's Pete Hines discussed in an interview with Shacknews. The Fallout series also made headlines earlier this week when Bethesda trademarked the name for TV and film.

Parz writes "In June, Nintendo will be releasing a peripheral called MotionPlus. This small device attaches to the bottom of the Wii-mote and acts as a more sophisticated motion-sensor to the controller as it currently stands. Its goal is to bring greater parity between a user's movements and the animations that they bring to life on-screen. Gameplayer got some hands-on time with the device, and they are extremely impressed." The MotionPlus will only affect new games; Nintendo has said they have no plans to add support for older titles. Virtua Tennis 2009 will be the first game to support it, and Eurogamer has a look at the game both with and without the MotionPlus.

Superhero MMO City of Heroes recently went live with its 14th expansion (release notes), one of the main features of which is the Mission Architect, a system to allow players to create their own quest content and then submit it to be implemented into the game. Now, Joe Morrissey of the City of Heroes team has written an article about how they plan to manage the content that players create. "You have to decide how draconian you want to be. The more hardcore you are, the fewer people who will see inappropriate content, but you expose yourself to potential grief voting. Grief voting is when a player flags perfectly acceptable content as inappropriate just because it's fun. If it only takes a single vote to eliminate content from the game, clicking that button is going to be the game for a lot of players. You don't want perfectly good content getting pulled because someone's a jerk."

Gamasutra has an interview with Pete Hines, product manager for Fallout 3, about Bethesda's philosophy for DLC, and how it's changed over the years. Quoting: "All these people are out there playing our game by the hundreds of thousands on a daily basis and we want to be able to bring those folks something they could do in a much shorter time frame, rather than just saying, 'See you next year.' That instantly ruled out doing a big expansion because those things just take so damn long to do. So we started looking at the biggest stuff we'd done that people really liked, but that we could do in smaller, digestible chunks. That's where we came to the Knights of the Nine model — it's substantive and it adds multiple hours of game play and new items, but we can do it in a time frame that allows us to get it out without waiting forever. That's what we've gone for with Fallout 3."

Dave Knott writes "Gamasutra reports that SimCity, Sims and Spore game creator Will Wright is leaving EA/Maxis. He will now be acting as head of Stupid Fun Club, an 'entertainment think tank' that he was previously funding out of his own pocket. From the article: 'The club has focused mainly on designing and building robots, as well as creating video productions based on them. Wright and EA will co-own Stupid Fun Club, which will focus on developing new cross-media IP for games, movies, TV and toys. EA has the right to develop game concepts that emerge from the think tank, and both the company and Wright have an equal stake.'"

Dave Knott writes "Gamasutra reports that SimCity, Sims and Spore game creator Will Wright is leaving EA/Maxis. He will now be acting as head of Stupid Fun Club, an 'entertainment think tank' that he was previously funding out of his own pocket. From the article: 'The club has focused mainly on designing and building robots, as well as creating video productions based on them. Wright and EA will co-own Stupid Fun Club, which will focus on developing new cross-media IP for games, movies, TV and toys. EA has the right to develop game concepts that emerge from the think tank, and both the company and Wright have an equal stake.'"

Gamasutra is running a feature about how the ease of learning new games depends on the types of games a player has seen before. "Pong offers quick pick-up not because it is easier to learn than Computer Space (although that was also true), but because it draws on familiar conventions from that sport. Or better, Pong is 'easy to learn' precisely because it assumes the basic rules and function of a familiar cultural practice." The article goes on to examine how the need to master some games is more akin to the "catchiness" of a song than an addiction. "Familiarity relates to another of Barsom's observations: repetition. Catchy songs often have a 'hook,' a musical phrase where the majority of the catchy payload resides. Indeed, the itch usually lasts only a few bars, sometimes annoyingly so. But games rely on small atoms of interaction even more so than do songs. The catchy part of a game repeats more innately than does a song's chorus. In Tetris it's the fitting together of tetrominoes."

Anonymusing writes "Not long ago, professional video gamer Emmanuel Rodriguez earned a base $30K salary plus prize winnings in the Championship Gaming Series. However, with the economy suffering, sponsors like DirecTV and News Corporation are backing out, leaving Rodriguez with a more typical job for a 23-year-old: store clerk. After the demise of the CPL and the Championship Gaming Series last year, the only major pro gamer league left is Major League Gaming, though it expects to turn a profit this year — some of its players earn more than six figures from the $1 million in prizes given throughout the season, while others are putting off college to work on their gaming careers." A recent story in the LA Times discusses how the games industry slow-down is hitting game developers hard as well. Conversely, the used game market is seeing significant growth — it'll be interesting to see what publishers learn from this.

Gamasutra reports on a talk given at GDC by Peter Molyneux, founder of Lionhead Studios and designer of games such as Black & White and Fable. Molyneux discussed some of the experimentation that went into the development of their various games. Quoting: "After his overview of the process, Molyneux demonstrated a number of actual experiments. He began by showing an early version of Fable II's dog, which he himself designed and which ended up factoring heavily into the full game. 'This is probably one of the most valuable experiments we ever did,' he said. Using the original Fable engine, the team asked itself, 'Why don't we think how the dog can actually move and be a companion to the player?' They decided to focus on exploring what a dog would do, rather than try to slot a canine into existing typical video game companion tasks. This led to the mechanic of the dog running out in front of the player, rather than beside or behind the player as most game AI companions are positioned, which had a huge impact on the dog's role."