Slashdot Mirror

With modern console technology making it easy to develop and distribute small games, more and more companies are taking advantage of gamers' nostalgia to re-release decades-old hits, and to create entirely new titles in older styles. Gamasutra takes a look at what the retro game fad has become, and where it can go from here. What old games or series do you think would translate well onto today's consoles? "Many gamers who bought Mega Man 9 did so because of the game's inherent nostalgia, or because they never had a chance to enjoy the older games on the Nintendo Entertainment System when they were younger. Mega Man 9 is very much a product of its context. Its gameplay is fantastic, but it too is a product of the time period in which it reigned supreme. It suggests the question: can neo-retro games stand the test of time? Will games that mimic or lampoon the 8-bit era remain relevant and interesting to the masses long after its original audience has disappeared?"

Guitar Hero: World Tour's recent launch saw boxes of plastic instruments flying off store shelves, quickly selling out in many areas. Unfortunately, many players reported problems with the bundled drums sets, prompting Activision to release a drum "tuning" application and a free midi-USB cable to connect the instruments to a PC. Otherwise, reviews for the game have been largely positive, and MTV's Multiplayer Blog did an analysis of using Rock Band drums in GH:WT, and vice-versa. Kotaku looked at which set was louder, coming to the conclusion that while they sound different, decibel levels are very similar. The early success in sales for GH:WT caused Activision to say holiday demand may not be met, and that they're examining two methods in particular to develop the franchise: instrument upgrades (hopefully less ludicrous than Logitech's $250 axe) and the possibility of a subscription-based model for user-generated content. "[Activision Blizzard CEO Bobby] Kotick says that there are now 25,000 user generated tunes that have been created for the game, and projected 'up to 100,000 songs' by the end of this year."

Gamasutra is running a piece by game designer Brice Morrison questioning the lack of games for grown-ups — or, more accurately, the lack of an intellectual progression in games like that which exists for books, movies, and other creative works. "While my interests in other media grew substantially more adult — from Nickelodeon to CNN, from Dr. Seuss to George Orwell — games did not seem to have a more intelligent counterpart for me to move on to. As I entered college, I became less interested in mindless entertainment and more interested in encountering new ideas. I didn't want to kill time; I wanted to take advantage of it. I wanted to challenge myself with profound concepts, to learn of new paradigms, processes, and possibilities. ... So what exactly are the barriers of entry for great thinkers (or groups of thinkers) to leave their mark on games? What must happen for games — or interactive entertainment, if you will, to mature as a medium?"

Gamasutra has a summary written by Dan Kline of Crystal Dynamics for this year's Artificial Intelligence and Interactive Digital Entertainment (AIIDE) Conference held at Stanford University. They discussed why AI capabilities have not scaled with CPU speed, balancing MMO economies and game mechanics, procedural dialogue, and many other topics. Kline also wrote in more detail about the conference at his blog. "... Rabin put forth his own challenge for the future: Despite all this, why is AI still allowed to suck? Because, in his view, sharp AI is just not required for many games, and game designers frequently don't get what AI can do. That was his challenge for this AIIDE — to show others the potential, and necessity, of game AI, to find the problems that designers are trying to tackle, and solve them."

Earlier this week, Bethesda released Fallout 3 after a long campaign of defending and protecting the game's reputation from claims that it contained inappropriate content. Ads for the game in Washington DC's subway system were pulled after they upset some touchy travelers over the depiction of post-apocalyptic Washington landmarks. Shortly before the game's release, early trailers were removed as well. Earlier this year, the game was banned in Australia for its in-game use of morphine, causing the drug's name to be changed to Med-X. On the issue of sensitive content, Bethesda's Emil Pagliarulo wrote in Edge Magazine about the design decision to disallow the killing of children in the game. Gamasutra ran an opinion piece on the same subject, and the Washington Post discusses the role of Washington DC in Fallout 3. On the DRM front, the game does come with SecuROM, but Bethesda says it's only used for a disc check. Reviews for the game have been overwhelmingly positive so far, despite reports of bugs with the save system and occasional lock-ups.

Earlier this week, Bethesda released Fallout 3 after a long campaign of defending and protecting the game's reputation from claims that it contained inappropriate content. Ads for the game in Washington DC's subway system were pulled after they upset some touchy travelers over the depiction of post-apocalyptic Washington landmarks. Shortly before the game's release, early trailers were removed as well. Earlier this year, the game was banned in Australia for its in-game use of morphine, causing the drug's name to be changed to Med-X. On the issue of sensitive content, Bethesda's Emil Pagliarulo wrote in Edge Magazine about the design decision to disallow the killing of children in the game. Gamasutra ran an opinion piece on the same subject, and the Washington Post discusses the role of Washington DC in Fallout 3. On the DRM front, the game does come with SecuROM, but Bethesda says it's only used for a disc check. Reviews for the game have been overwhelmingly positive so far, despite reports of bugs with the save system and occasional lock-ups.

Gamasutra is running an article discussing the influence of games and gamers on the 2004 and 2008 presidential elections. The connection, while minor, is continuing to strengthen, from allowing people to register to vote through their consoles, to in-game advertising, to games about and involving the candidates. However, it may still be an uphill climb as media-sharing becomes easier. From Gamasutra: "There are reasons games have grown slowly compared to other technologies for political outreach. The most important one is also the most obvious: since 2004, online video and social networks have become the big thing, as blogs were four years ago. Instead of urging voters to 'play my game,' as Loftus and I surmised, candidates urged their constituents to 'watch my video.' Online video became the political totem of 2008, from James Kotecki's dorm room interviews to CNN's YouTube debates."

LucasArts and Bioware held a press conference today to confirm what has been suspected for a long time: they're working on a Star Wars MMO. It will be called Star Wars: The Old Republic, and it will be a continuation of the Knights of the Old Republic franchise. Further coverage is available at Gamespot, and IGN has some of the concept art. An official website for the game was launched as well. "According to the game's official announcement, Star Wars: The Old Republic is set thousands of years before the rise of Darth Vader, with the galaxy divided by war between the Empire and the Sith. That's about 300 years after the events of KotOR, a time frame that, according to Zeschuk, 'is completely unexplored in the lore.' Players can take the role of either a Jedi, a Sith or other classic Star Wars characters -- and, as perhaps can be expected from BioWare, Muzyka says story will be a major component, underlying and driving all of the player's actions."

Gamasutra is running a series of studies on what people from certain demographics want from games. Their most recent article takes a look at former gamers, from the age of 25 to 35, and how they view their old hobby. Many seem to have replaced games with social networking during their non-productive time, and they also tend to favor games they can play with friends in the same room, rather than anonymous online interaction. Previous parts of the study focused on family gamers and older gamers. "We had some of our test consoles rigged up to an internet connection to see how these Missing Gamers would respond to online play. But whilst they were initially impressed at the ability to play with other people all over the world, they soon picked up on the fact that many of the people they were playing with were either too good, or too immature to endure for any length of time. It wasn't long before the online games were abandoned in favor of the simpler split-screen local multiplayer offerings. The ability to nudge, rib, and cajole each other on the sofa (not to mention share snacks and drinks) was simply too much fun to resist."

Gamasutra is running a series of studies on what people from certain demographics want from games. Their most recent article takes a look at former gamers, from the age of 25 to 35, and how they view their old hobby. Many seem to have replaced games with social networking during their non-productive time, and they also tend to favor games they can play with friends in the same room, rather than anonymous online interaction. Previous parts of the study focused on family gamers and older gamers. "We had some of our test consoles rigged up to an internet connection to see how these Missing Gamers would respond to online play. But whilst they were initially impressed at the ability to play with other people all over the world, they soon picked up on the fact that many of the people they were playing with were either too good, or too immature to endure for any length of time. It wasn't long before the online games were abandoned in favor of the simpler split-screen local multiplayer offerings. The ability to nudge, rib, and cajole each other on the sofa (not to mention share snacks and drinks) was simply too much fun to resist."

Gamasutra is running a series of studies on what people from certain demographics want from games. Their most recent article takes a look at former gamers, from the age of 25 to 35, and how they view their old hobby. Many seem to have replaced games with social networking during their non-productive time, and they also tend to favor games they can play with friends in the same room, rather than anonymous online interaction. Previous parts of the study focused on family gamers and older gamers. "We had some of our test consoles rigged up to an internet connection to see how these Missing Gamers would respond to online play. But whilst they were initially impressed at the ability to play with other people all over the world, they soon picked up on the fact that many of the people they were playing with were either too good, or too immature to endure for any length of time. It wasn't long before the online games were abandoned in favor of the simpler split-screen local multiplayer offerings. The ability to nudge, rib, and cajole each other on the sofa (not to mention share snacks and drinks) was simply too much fun to resist."

With Guitar Hero: World Tour set to launch on October 26th, Activision has released a list of downloadable content that will be immediately available. Activision has also apparently included a trailer for Guitar Hero: Metallica (which will arrive sometime next year), and they recently trademarked the name 'Guitar Hero Modern Hits,' which may be part of their plan to increase the amount of Guitar Hero content they produce. Meanwhile, new Rock Band 2 DLC tracks are coming as well, and the release dates for the PS2, PS3, and Wii versions have been set. Early reports say the Wii version made the platform jump better than the original Rock Band, and that all currently existing DLC will be available for Rock Band 2. MTV's Multiplayer blog took a look at Wii Music, which creator Shigeru Miyamoto calls, "Not quite a game and not quite an instrument."

Several readers have pointed out that Sony's much-awaited LittleBigPlanet has hit a snag and will be delayed worldwide. The delay came after it was discovered that a song licensed for use in the soundtrack contained audio samples from the Qur'an. All advanced copies sent to retailers for the target release of October 21 in North America, 22 in PAL territories, and 24 in the UK and Ireland, have been recalled. "The post, by user 'Solid08', indicates of the specific references in the composition: 'In the 18th second: "kollo nafsin tha'iqatol mawt", literally: "Every soul shall have the taste of death' ... almost immediately after, in the 27th second: "kollo man alaiha fan", literally: "All that is on earth will perish."'"

Kotaku recently ran a story questioning whether the survival-horror genre still exists, and how Dead Space may or may not fit into it. With reviews for the game starting to come in, Ars Technica reports that the game is, indeed, both scary and good. Gamespy wrote up a Dead Space survival guide, and Gamasutra has a lengthy interview with the game's senior producer. In the production of the game, the developers studied things like car wrecks and war scenes to increase the level of realism. They also want the game's sounds to terrify players, including appropriately timed silence. The launch trailer is also available, though it does contain spoilers.

Kotaku recently ran a story questioning whether the survival-horror genre still exists, and how Dead Space may or may not fit into it. With reviews for the game starting to come in, Ars Technica reports that the game is, indeed, both scary and good. Gamespy wrote up a Dead Space survival guide, and Gamasutra has a lengthy interview with the game's senior producer. In the production of the game, the developers studied things like car wrecks and war scenes to increase the level of realism. They also want the game's sounds to terrify players, including appropriately timed silence. The launch trailer is also available, though it does contain spoilers.

Fallout 3 is due to be released in a few weeks, and Bethesda recently announced that all versions of the game have gone gold. They provided the systems specs for the PC release as well. Unfortunately for them, the Xbox 360 version was leaked onto torrent sites almost three weeks early. Bethesda is "looking into" how the game was distributed. In preparation for the launch, game director Todd Howard spoke at length with Gamasutra about the scope of the project, and the differences from their previous games, such as Oblivion. CrispyGamer recently ran a three-part series detailing their four hours of hands-on time with the game. We've previously looked at some gameplay videos for Fallout 3, and discussed the fact that no mod tools will ship with the game.

Fallout 3 is due to be released in a few weeks, and Bethesda recently announced that all versions of the game have gone gold. They provided the systems specs for the PC release as well. Unfortunately for them, the Xbox 360 version was leaked onto torrent sites almost three weeks early. Bethesda is "looking into" how the game was distributed. In preparation for the launch, game director Todd Howard spoke at length with Gamasutra about the scope of the project, and the differences from their previous games, such as Oblivion. CrispyGamer recently ran a three-part series detailing their four hours of hands-on time with the game. We've previously looked at some gameplay videos for Fallout 3, and discussed the fact that no mod tools will ship with the game.

Gamasutra has an opinion piece by the 'father of music games,' Masaya Matsuura, who questions the evolution of video game music (or the lack thereof) as the industry's technological advancements give rise to the capability for greater complexity. "Most games these days seem to use gorgeous orchestral soundtracks. While these large-scale soundtracks may generally be lovely to listen to, if we really think about it, isn't it all a bit lacking in imagination? Thinking about it from a simplistic visual perspective, while films are basically just watched, games are interactive." He also discusses the predilection for games to encourage "competitive fun," as opposed to "cooperative fun." GameSetWatch has a related article which talks about how excellent musical scores can help to create an emotionally charged experience, rather than simply occupying one's mind for a time.

Gamasutra is running a story examining the development of the Warhammer Online community since its recent launch. The author explains how the gameplay and rules tend to affect social interaction. GamerDNA has a related piece looking at numbers for actual players involved with Warhammer's launch, and how it's affecting populations in other MMOs. "Getting on the computer to play WAR apparently reminded the WAR fanatics that they had a computer, because overall, their gameplay went up as a whole. They logged in more often to titles like COD4, Oblivion, and even AOC. But the MMO bug bit hard, and logins to LOTRO and EVE more than doubled after the launch of WAR."

Gamasutra did an in-depth interview with Yoshi Ono, producer of Street Fighter IV, about trying to bring the series back to the quality and popularity of the '90s. Ono also talks about broadening the market to include casual players, who were slowly driven away from the game by the increased focus on competitive play. Quoting: "If you think about chess for instance, a kid and a grandfather can play the same game, with the same ruleset, and understand what's going on. I think through our competitive spirit back then; we were always out to out-complicate each other, and make our systems deeper and deeper. It was ok then because there was a wide player base who understood how to play these games, but that's not true anymore. What we're trying to do with Street Fighter IV is bring them back in. There's not a whole lot of other fighting games out there to compare it to, but hopefully, if we play our cards right and get people back in to the genre, we can blossom the genre itself again and spread things out and get it back to the way it was."

simoniker writes "Following the recent announcement that Microsoft-owned Age Of Empires creator Ensemble Studios would close after the completion of Halo Wars, Gamasutra has discovered that a now-canceled Halo MMO was in development at the studio, unearthing prototype UI and level screenshots of the Ensemble-developed project. The prototype art, which was at one point made available on an Ensemble-linked online artist portfolio website, further confirms previous rumors that the studio was working on an MMO based on the Bungie-created sci-fi franchise." We discussed the future closing of Ensemble Studios a couple weeks ago. The set of pictures which seem to be screenshots and graphic models from the canceled Halo MMO has been posted on Flickr. In other Halo news, Bungie may be teasing the announcement of the next game on their website.

Gamasutra has an interview with Mark Jacobs, GM and co-founder of Mythic, about the recent launch of Warhammer Online. He talks about handling the heavy demands on the servers, and how the launch is going better than the opening of Dark Age of Camelot (during which "somebody parked a truck on our internet"). Jacobs also blogged about the glee with which he and his team have been banning gold spammers: "We don't wait and let them stay in the game and ban them en-masse, my guys ban their useless, time-consuming butts right away. We have a strike team whose sole job it is to get these guys off our servers as quickly as possible. This weekend, we unveiled a new wrinkle in the fight against them, the public ban message. Players on our Phoenix Throne server have been treated to special messages when a gold seller/spammer is banned. I've given them a wide leash to come up with creative messages to tell the entire community who has been banned and we keep it within the Warhammer universe."

Upcoming world creation game LittleBigPlanet has gone gold, and will be officially released on Oct. 21st in the US. The game will come out exclusively for the PS3, in part due to the fact that it fills up a Blu-ray disc. The list of trophies was leaked alongside the announcement. Groups of students at Parsons will be using a 24-hour period this weekend to create levels for the game. Gamespy has a collection of videos and previews for LittleBigPlanet. To protect users' creations, it will feature an in-game copyright system.

The Development Director for EA's upcoming free-to-play action game, Battlefield Heroes, spoke with Gamasutra at the Austin Game Developers Conference about creating the game under an abnormal business model (abnormal for EA, anyway). He spoke about using the "Scrum" development model, and how the web platform was the most difficult part to create. Gamespy has written some initial impressions, and Joystiq has a basic description of the game.

After four days of "head-start" players getting the run of the servers, Warhammer Online launched today to the rest of the public. Mythic took the opportunity to explain why they think World of Warcraft players should give them a chance, highlighting their focus on PvP (or Realm-vs-Realm in this case), and their desire to keep time-intensive activities to a minimum. Creative director Paul Barnett says it's "a bit like Batman." 1.5 million copies of the game have already been sent to retailers, so they're clearly expecting a solid launch. The folks over at Massively have developed an excellent series of guides for players looking to get into the game. They explain and contrast general career choices and look at individual classes as well. They also have a variety of interviews and descriptions of gameplay.

Tom Willits of id Software took some time recently to speak about storytelling as it relates to id's previous games, and how it will be a part of their upcoming shooter, Rage. He also dispelled rumors that Rage would suffer content cuts due to Xbox hardware limitations. Unfortunately, he called into question whether mods will be a possibility for the game, saying that the issue is still under consideration.

Tom Willits of id Software took some time recently to speak about storytelling as it relates to id's previous games, and how it will be a part of their upcoming shooter, Rage. He also dispelled rumors that Rage would suffer content cuts due to Xbox hardware limitations. Unfortunately, he called into question whether mods will be a possibility for the game, saying that the issue is still under consideration.

Gamasutra is running a story about how the "hard" modes in games can be designed to include difficulty, but not frustration. They give some examples of the changes made to several games as their difficulty settings are increased, and they discuss some of the simple options, such as increasing the number of required button presses, or increasing the relevant numbers by an arbitrary amount (a boss on easy may hit you for 10 damage, whereas a boss on hard may act the same but hit you for 100 damage). They also talk about maintaining the "illusion of fairness." Quoting: "Bungie's Halo series is often praised for its excellent execution of difficult play in the form of its Legendary mode. Not surprisingly, the team took a very well-thought out approach to introducing and tuning difficult play. Halo 3 gameplay designer Francois Boucher-Genesse explains that it's not just a case of one formula fits all. 'It's not like we just cranked every enemy's health by 200% and called it Legendary,' he said. 'There was a good amount of custom changes made per mission as well. In that sense we encourage players with previous Halo experience to play at least on Heroic, since they get to see the game in its full scale.'"

Erik J writes "Electronic Arts has abandoned plans to absorb Grand Theft Auto IV publisher Take-Two Interactive, the company announced earlier today. Following over half a year of hostile buyout offers by EA, the pair went into talks under a confidentiality agreement in late August. From the official announcement: 'EA continues to have a high regard for Take-Two's creative teams and products, [but] after careful consideration, including a management presentation and review of other due diligence materials provided by Take-Two Interactive Software Inc., EA has decided not to make a proposal to acquire Take-Two and has terminated discussions with Take-Two.' The announcement caused Take-Two's stock to drop by 30%, and analysts expect a bidding war to ensue for employment of the GTA creators."

Gamasutra sat down with Jonathan Blow, creator of the successful independent game Braid. He talks about going through the three-year-plus development cycle as a one-man team, and how his concept of the game changed as he worked on it. He also discusses what he feels is the difference between "natural rewards" and "artificial rewards." "... for the most part, when you're playing Tetris, you're enjoying it because you enjoy fitting the blocks together. Whereas when you play World of Warcraft — and what I'm about to say is a generalization, since different players enjoy different things, obviously — a lot of the appeal of playing World of Warcraft is not in the core gameplay mechanic, because it's boring, a lot of the time. ... I think what keeps them in there is, at first, the level ding, because it's very addictive to get that. 'Okay, I've got more gold. Whatever.' And eventually, they've made this huge time investment and they've got a character there and they know what that level ding feels like and the next one is pretty far off, but they can get there! And it's not any better, because this is like number 67. It's got to be better than 66!"

IceDiver writes "I used to be an avid PC gamer. However, I have only bought 1 game in the last 18 months because I am sick and tired of the problems caused by the various intrusive, and sometimes damaging DRM schemes game publishers insist on forcing upon their customers. Once burned, twice shy! The EA announcement that upcoming releases will include SecuROM, along with verification requirements and major restrictions on installations left me wondering which recently released or upcoming games (particularly major titles) are being released without DRM? Are there any? How has DRM affected your game purchasing? Will EA be negatively affected by their DRM decision?" The ongoing DRM controversy was stirred by the recent launch of Spore. We discussed the public outcry from Amazon's reviews (which were subsequently taken down and then re-posted). EA's response to the outcry was to say that only one percent of accounts tried to activate the game more than three times, which is the limit without help from their customer service. Meanwhile, their efforts to find a "balance" between preventing piracy and not hampering legal users may not have been as successful as they hoped. According to Forbes, a P2P research firm found that illegal copies of Spore had been downloaded over 170,000 times already. So, is it time to create a whitelist for game publishers and developers?

Gamasutra is running a feature from Game Developer magazine in which Bioshock's project leader writes about what went right and what went wrong making last year's award-winning shooter, Bioshock. He talks about what the developers learned from fans and focus groups, how long it took them to firmly define what the game was supposed to be, and how they tried to reconcile their ideas with their capabilities. Quoting: "...just after the first beta, the entire design team plus a contingent of 2K producers headed off to see how a group that knew nothing about our company or BioShock would react to the first level. It was brutal. The first level, they said, was overly dense, confusing, and not particularly engaging. Players would acquire new powers but not know how to use them, so they stuck to using more traditional weapons and became frustrated. They didn't interact with the Big Daddies, and they didn't understand (or care) how to modify their characters. They were so overwhelmed by dialogue and backstory that they missed key information. A few of the players did start to see the possible depth of the game, but even they were frustrated by the difficulty of actually using the systems we had created."

IGN has an interview with Cliff Bleszinski, design director for Epic Games, in which he discusses the achievements and unlockable content in Gears of War 2. He mentions that the game won't be getting a PC version as its predecessor did. Gamasutra has a related interview with Epic's Rod Fergusson, who talks at length about developing the new game after experiencing the popularity of the old one, and how he manages the franchise's growth into other forms of media. He also explains the decision-making process behind issuing Title Updates.

Gamasutra has a feature discussing some of the extremely common trends in current game design. Many publishers are looking at multi-player content and downloadable additions as necessities, rather than luxuries, for modern titles. Also on the rise is a focus on micro-payments; offering small-scale games, updates, and add-ons for a smaller fee than a full game. Similar to these is the subscription-based model, which Scott Jennings of NCSoft recently called "an arms race that few can even hope to compete in, much less win." From Gamasutra: "Games relying on micropayments are founded on a somewhat different logic. Like fast gaming, these games are conceived to be immediate hands-on experiences, but are also designed to entice the players to deepen their experience of the game by purchasing affordable additional components. This economic model is fast-growing in Asia, and we can expect to witness an important impact on the west — perhaps even a major one. The design for such games will have to be thoroughly adapted, even for established genres such as racing games or shooters."

Gamasutra is running a story deconstructing the mechanics of Portal's teleportation programming. They present a snippet of Portal's code and a downloadable demo. They ran another article in this series earlier this year with an analysis Mario Galaxy's unique take on physics. We've discussed the development of Portal in the past. "Teleport mechanics in video games are nothing new. Puzzles from the original Gauntlet were memorable -- and more than likely, that wasn't the first game to use teleportation as a gameplay mechanic. The difference between Portal and all those that came before it is that Portal's teleportation acts as a frictionless tube between point A and point B. Physics are still hard at work inside the frictionless tube. Instead of simply repositioning an object from point A to point B, the player enters point A with full velocity and exits point B with the same speed, but moving in a new direction." Update: 8/26 at 19:37 by SS: Dan notes that the code was not directly from Portal; it was written to approximate Portal's physics.

Gamasutra is running a story deconstructing the mechanics of Portal's teleportation programming. They present a snippet of Portal's code and a downloadable demo. They ran another article in this series earlier this year with an analysis Mario Galaxy's unique take on physics. We've discussed the development of Portal in the past. "Teleport mechanics in video games are nothing new. Puzzles from the original Gauntlet were memorable -- and more than likely, that wasn't the first game to use teleportation as a gameplay mechanic. The difference between Portal and all those that came before it is that Portal's teleportation acts as a frictionless tube between point A and point B. Physics are still hard at work inside the frictionless tube. Instead of simply repositioning an object from point A to point B, the player enters point A with full velocity and exits point B with the same speed, but moving in a new direction." Update: 8/26 at 19:37 by SS: Dan notes that the code was not directly from Portal; it was written to approximate Portal's physics.

Gamasutra reports that "ESPN and MLB Advanced Media are extending their current digital rights agreement through 2013, and expanding it to allow Major League Baseball content delivery through video game console services. In addition to delivering live game streaming through ESPN properties ESPN360.com and ESPN Mobile TV, the cable television network's agreement expansion includes 'alternative platforms,' like Xbox Live via its Marketplace, along with other download services like the iTunes Store and portable devices like Microsoft's Zune." Further details for the rest of the digital rights agreement are also available.

simoniker writes "Over at Gamasutra, Steve Fulton has published a massive 23,000-word history of Atari from 1978 to 1981, encompassing '... some of the most exciting developments the company ever saw in its history: the rise of the 2600, the development of some of the company's most enduringly popular games (Centipede, Asteroids) and the development and release of its first home computing platforms.' Best quote in there for Slashdot readers, perhaps: 'Atari had contracted with a young programmer named Bill Gates to modify a BASIC compiler that he had for another system to be used on the 800. After that project stalled for over a year Al was called upon to replace him with another developer. So ... Al is the only person I know ever to have fired Bill Gates.'"

Gamasutra posted an article written by Jason Hayes, a developer for Volition Inc., which is known for its production of the Saint's Row, FreeSpace, and Red Faction series. Hayes discusses the division between graphical artists and coders, who often clash because their aims are so disparate and their areas of expertise do not necessarily overlap. It has caused some companies, such as Volition, to develop an intermediary "technical artist" to find a balance between the two. "Integrating technical artists into a studio frees up the programmers from being solely responsible for the development and maintenance of the game's tools and pipelines. While programmers still have a hand in the design (and sometimes implementation) of those tools and pipelines, the technical artist is the driving force behind them and is looking out for the best interests of both parties."

Gamasutra is running an interview with Simon Jeffrey, Sega of America's CEO, discussing the gradual change of the company from a hardware manufacturer to a game publisher. Among other things, he talks about how the transition was intended to help keep up with rival manufacturers at a time when Sega was clearly falling behind. "We were on the cusp of the next generation, and on the cusp of Nintendo changing into a different company and opening up a new part of the market. So it felt like the time was right for Sega to reinvent itself. Really what I tried to do was ride that train and make the most of that point in time, bringing new people into the company and start building the kind of products that would get a leadership position in the next generation on the Wii and the DS, rather than just playing catch-up with everybody else, which is what we've traditionally done."

Nintendo has added a new title to their WiiWare shop, Strong Bad Episode 1: Homestar Ruiner from developer Telltale Games. The new title features the infamous boxing-glove-adorned character in the first of five installments of Telltale's "Strong Bad's Cool Game for Attractive People." "The point-and-click adventure game stars Strong Bad, the lucha libre mask-wearing character from web cartoon series Homestar Runner. Players can create 'Teen Girl Squad' comics, play a retro-styled minigame titled Snake Boxer 5, and send pictures and messages to their friends through the Wii's message board system." In addition to the new title, two classic titles have also been added for virtual console, Break In, and Star Parodier.

Early next week, NVIDIA will release the GeForce Experience Pack to demonstrate the 'PhysX' engine it bought from AGEIA earlier this year. The pack is free, and it will contain a stand-alone action game, maps for Unreal Tournament 3, and various demos. Gamasutra notes that the UT3 maps are "designed to 'fundamentally change' the game's mechanics."

With all the E3 wrap-up and deconstruction flying around Yahtzee has once again done a stellar job of summarizing and unmasking the standard bullshit in his own Zero Punctuation-style review of the E3 "trailer park". Labeling this year as "sequel boulevard" and questioning the lack of any meaningful amount of gameplay footage, this year was almost a universal disappointment. There are rumblings of some improvements next year, perhaps returning things to some small measure of their previous glory, but only time will tell.

eldavojohn writes "A neat little device called the R4 allows for homebrew on the DS ... and as micro SD prices fall, it is becoming easier and easier to put on these cartridges binary dumps of games people don't have the right to play. Which is why Nintendo will see them in court. Note, it's not just the console maker pressing charges, it's also Capcom, Koei, Square Enix, Tecmo, Bandai Namco, and Sega. Is this truly a case of fighting piracy, or is it also an attempt to stop homebrew from stealing the market?"

Lunatrik writes "In a not entirely unexpected turn of events, Flagship Studios, the producers of the bug-ridden (at release!) game Hellgate: London is going under, as reported by multiple sources. In addition, many current subscribers to the game are finding themselves unable to cancel their subscriptions due to 'technical errors.'"

Gamasutra is reporting that E3 is continuing its downward spiral due to forced downsizing of the show and limitations placed on attendees. While this year's show will be returning to the LA Convention Hall, the size of the show will still remain artificially small, which some are saying is stifling the spirit of the show. "These changes have in part been made to encourage the event as a more useful business event, but most of those interviewed in TheStreet.com article are critical of its continuing usefulness. 'E3 had much more of an impact when it was a show,' comments IGN.com vice president of games content Tal Blevins. 'The video game industry is about fun and entertainment, and we should have a show that reflects it.'"

Aeonite writes "Dungeons and Desktops: The History of Computer Role-playing Games chronicles the rise and fall of the Computer RPG industry, from Akalabeth to Zelda and everything in between. While the bulk of the book is devoted to the genre's 'Golden Age' in the late '80s and early '90s, author Matt Barton explores the entire history of CRPGs, from their origins in the mid '70s to the very recent past. While not entirely comprehensive, the book covers not only the major players and award-winners, but also dozens of obscure 'also-ran' as well as notable games in related genres." Keep reading for the rest of Michael's review. Dungeons and Desktops: The History of Computer Role-playing author Matt Barton pages 451 publisher A.K. Peters Ltd rating 7 reviewer Michael Fiegel ISBN 978-1-56881-411-7 summary A detailed history of CRPGs Barton first defines the genre, insofar as one is able to do so, explaining that a CRPG generally includes elements such as: a system of statistics to track characters (ability scores and skills); the ability to advance characters via experience points; and randomized combat. Barton further attempts to define the genre by comparing CRPGs to what they are not, including JRPGs (Final Fantasy), MMORPGs (World of Warcraft), Adventure Games (Zork), and Strategy Games (Warcraft). A bit later, he explores the origins of the CRPG, listing Baseball Simulation Games (such as Strat-O-Matic), Tabletop wargames (Chainmail), Tolkien, Colossal Cave Adventure, and (of course) Dungeons & Dragons as having had an impact on the creation and evolution of the genre.

The next nine chapters of the book are devoted to the history of the CRPG, which Barton breaks down into six phases, somewhat akin to Hesiod's Five Ages.

The Dark Age covers the period of time from 1974 through the end of the decade, and includes PLATO and Mainframe games such as pedit, Dungeon, dnd and DND (not to be confused with each other, or with D&D or D&D), Oubliette, Moria, Avatar and Orthanc. Also included here, somewhat out of chronological order, are a discussion of Rogue and Rougelikes (Hack, Moria and Angband) and MUDs all the way through to 1989's TinyMUD. The Bronze Age of the CRPG begins in 1979 with the publication of Lord British's Akalabeth: World of Doom (which would go on to sell thousands of copies, making it the first commercially successful CRPG, if not exactly the first) and includes a host of obscure titles, including Wizards Castle, Eamon, Space and Empire, The Tarturian, Odyssey: The Complete Apventure, and Dunjonquest: Temple of Apshai. In 1983, Bronze turns to Silver with the appearance of the Ultima and WIzardry trilogies, games which truly began to lay the groundwork for all that came after. Also mentioned in this chapter are less well-known games such as Sword of Fargoal, Dungeons of Daggorath, Tunnels of Doom, Ali Baba and the Forty Thieves, and Universe.

The Golden Age dawns in 1985, bringing with it the refinement of prior ideas and the perfection of the genre's underlying systems. Barton divides coverage of this age into three chapters. The first covers the Early Golden Age, beginning with the console crash of 1983 and ending with the arrival of the NES in 1985. The CRPG market survived the crash rather unscathed, and in fact flourished thanks to games such as Phantasie, The Wizard's Crown, Ultima IV, and Autoduel. Most notable of all, of course, was 1985's The Bard's Tale, which spawned two sequels (three, if you count 2004's "spiritual sequel" starring Carey Elwes), both of which also receive some attention here.

It is here where the book's structure begins to drift a bit. By Barton's own admission, progress in the CRPG industry is "neither linear nor orderly," and in fact the attempt to align CRPG titles, trilogies and series along a single timeline almost necessarily breaks down. The Bard's Tale trilogy seems as if it would more properly be discussed in the next chapter (The Golden Age Part I). Instead, Barton calls it "The Dawn of the Golden Age" and places it about a third of the way into the "Early Golden Age" chapter, where it somewhat loses some of its impact. Further confusion surrounds the inclusion here of Might and Magic Book I: Secrets of the Inner Sanctum; published in 1986, it is not only followed by a discussion of Alternate Reality: The City (published in 1985), but is preceded by a lengthy discussion of several games which came after it, including The Magic Candle (1989) and Bloodstone (1993). While the author has thematic reasons for covering these games here, one wonders if a strict chronological order would have served better. Even Barton seems a bit off track when he invites the reader to "turn to the second half of the Golden Age," which runs from 1987 to 1993 (for those not keeping track, the first "half" only ran from 1983 to 1985). I don't mean to nitpick over throwaway segue lines, but in a book with a historical focus, the time-shifting is just a bit disconcerting.

Regardless, "The Golden Age Part I" covers the period of time that many consider to be the era of the CRPG, when companies like SSI, Origin, Interplay, and New World Computing dominated not just the CRPG industry, but the computer game industry as a whole. Ample coverage is justifiably given to SSI's Gold Box games, including Pool of Radiance, Curse of the Azure Bonds, Secret of the Silver Blades, and Pools of Darkness. Somewhat curious (to me) is the omission here of any discussion of AD&D Second Edition, which was released in 1989 and officially introduced the concept of THAC0 (which appeared in Pool of Radiance). Other titles covered in this lengthy chapter include: SSI's Krynn trilogy and Savage Frontier games; the original Neverwinter Nights on AOL; Ultima V, VI and VII; Wizardry VI and VII; Might and Magic II, III and so on; Neuromancer; and Interplay's Wasteland.

The next chapter, "The Golden Age Part II," is devoted to JRPGs and groundbreaking CRPGs with real-time 3d graphics that appeared alongside the aforementioned CRPGs. Covered here in the JRPG category are games such as: The Legend of Zelda and its sequels; The Dragon Warrior series; Final Fantasy; Chrono Trigger; Super Mario RPG; and the Phantasy Star series. The chapter also covers Sierra On-Line's Quest for Glory series; the SSI Black Box games (including Eye of the Beholder); Dungeon Master ("the most successful Atari ST game ever released") and its many clones; and other notable genre-bending games including Beyond Zork and Star Saga.

Here again, we fall into a small hole in the timeline, for The Golden Age ends in 1993 and the next age doesn't begin until 1996. The chapter covering this black hole is called "The Bigger They Come," as if suggesting that Barton was unwilling to give a name to this second Dark Age of CRPGs. Here we see coverage of a variety of bad CRPGs, including Interplay's Descent to Undermountain, Ultima VIII and IX, and the Gothic series (which surely deserves more than the two paragraphs it gets). Covered in more depth is SSI's fall from grace following the publication of an assortment of sub-par D&D titles (including Spelljammer, Dark Sun, Al Qadim, and others) and the ensuing loss of their license with TSR. Some attention might have been paid to the "fall from grace" of TSR itself, which suffered financial ruin in the years that followed and was ultimately purchased by WOTC in 1997.

Ever the optimist, Barton instead moves rapidly into The Platinum Age, which covers the period of time from 1996 to 2001 and includes "the best CRPGs ever made." Covered here in some depth are games such as Planescape: Torment, Icewind Dale and its sequel, Dungeon Siege, Ultima Underworld: The Stygian Abyss, Might and Magic: The Mandate of Heaven, Dungeon Keeper, Arx Fatalis, Bethesda's Elder Scrolls series, Interplay's Fallout and Fallout 2, and Troika's Arcanum. The bulk of the chapter, however, is devoted to two games and their sequels: Blizzard's Diablo and Diablo II, which the author treats with noteworthy disdain, and Bioware's Baldur's Gate and its sequel, which Barton believes is "the best CRPG ever made."

While both games receive more or less equal time, it is a bit hard to swallow Barton's dislike for Diablo in the context of a historical overview; nowhere else does he editorialize quite so much, or so vividly. While at first he simply declares that Diablo's consideration as a CRPG "remains a divisive subject," he quickly moves on to less thinly-veiled potshots. At one point, he refers to "hordes of badly behaved teenagers (and middle-aged men, no doubt) scampering to Battle.net, 'pwning' each other and seeking out the latest cheats and hacks to gain an unfair advantage." Later, Barton expresses a "pang of regret over the overwhelming triumph of (the Diablo) series, since it seems to have come at the expense of the older, more sophisticated CRPGs of past eras." He insists that Baldur's Gate "offers much more strategy than Diablo," and argues that Baldur's Gate's multiplayer "helped the game compete against Diablo, whose Battle.net servers had become a swirling vortex for Daddy's money." I don't even know what that means — how can a free service be a vortex for money? The entire argument smacks of something one might find in a Penny Arcade comic strip, such as this one or this one. At the end of the book, Barton goes so far as to predict that "the real-time Diablo and Morrowind-style CRPGs that were so popular throughout the late 1990s and early 2000s seem fated to extinction, usurped by World of Warcraft and other MMORPGs." In the wake of all the buzz surrounding Diablo III's announcement in recent days, this prediction seems slightly premature.

Barton ends the book with a discussion of the Modern Age, "which we are in today." The chapter covers Neverwinter Nights and its sequel, as well as Vampire: The Masquerade and Bloodlines, and Knights of the old Republic and its sequel. After a mention of Fable, Oblivion, more Final Fantasies and Zeldas, and a discussion of why console-based CRPGs seem to be winning out, Barton closes out the book with a look at MMORPGS, from Meridian 59 through WOW and DDO (and every major title in between). He notes (quite properly, in my opinion) that an MMO like WOW has trouble handling a central story and plot as adeptly as a CRPG can, and points out several "emerging trends" concerning CRPGs, including the rise of online gaming, the tendency to announce the death of the standalone, single-player CRPG and — just because we can never have too many digs at Diablo — a mention of the increasing emphasis on action over strategy. "Whereas Ultima Online stressed role-playing, Diablo emphasized roll-playing," says Barton.

Of course, it is Barton's voice which makes the book entertaining; this is no dry history, but the enlightened point of view of a student of CRPGs, shared with the reader in a casual, accessible manner; in many ways, it is a bold manifesto in their defense. Says Barton: "CRPGs are not only the most fun and addictive type of computer game, but possibly the best learning tool ever designed." You may disagree with that, but you can never dispute the author's own dedication to that belief.

Despite the book's somewhat questionable chronological structuring (or, more correctly, its occasional deviations from that structure), the only major flaw worth noting is that the accompanying artwork is, to put it mildly, hideous. The original full-color screenshots look wonderful in Barton's Gamasutra column, but in the book they are mostly reprinted in muddy, blotchy black and white, making it impossible to determine what they depict even with the help of accompanying captions. The book does contain a color insert after page 208, but this 4-page, 8-picture centerpiece is at best forgettable — I flipped past it entirely while reading, and found that upon further review I hadn't missed anything by skipping over it.

Dungeons and Desktops is a mixed bag, somewhat akin to a sack full of Halloween candy. There are some genuinely good pieces of sweetness in there, as well as a great deal of hidden, forgotten gems and some bits you never knew existed. Despite a bit of a jumble towards the middle, taken as a whole the book is well worth picking up if you're a fan of CRPGs or fantasy games in general. Less die-hard fans might find themselves preferring to stick to Barton's Gamasutra columns, and Diablo fans might find themselves gritting their teeth at some points, but then every bag of candy's got a few pieces of black licorice in it, no?

You can purchase Dungeons and Desktops: The History of Computer Role-playing Games from amazon.com. Slashdot welcomes readers' book reviews — to see your own review here, read the book review guidelines, then visit the submission page."

Tomb Raider: Anniversary coder Mike Krazanowski has outlined a new method for rendering particles using pixel shaders and a little bit of math. "Although this method has been employed in games for many years, this article defines a method using shader technology to more physically represent these volumetric particles. This method will give a more accurate visual representation of the simulated volumes as well as potentially decreasing the necessary number of particles, which in turn will help to improve render performance. It should first be stated that the method defined in this article is limited to particles that represent volumes of sub-particles. It is also noted that the analysis that is to follow assumes a uniform density of the particles. There are methods that would allow the user to define more complex density functions, but that will not be covered here."

Gamasutra is reporting that TransGaming, maker of Cedega, has announced the launch of the new Mac video game distribution portal, "GameTree." "GameTree Online hopes to replicate digital distribution offerings for Windows-based PC, enabling consumers to purchase and download Mac games, read gaming news, participate in promotional opportunities, and write game reviews. TransGaming plans to continually add new titles from a mix of genres to its online portal."

spielermacher writes "Gamasutra is running an interesting analysis written by Flying Lab Software Producer Joe Ludwig explaining why there are not more successful Console MMOGs. Some reasons given: lack of keyboard, MMOG players like to play in pairs, business model doesn't always work out for the developer, larger installed base of game-quality PCs, and others."