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Ponca City, We Love You writes "Brandon Erickson has an interesting post about an experiment on players' emotional reactions to killing and being killed in a first-person shooters (FPS) with a group of students who played James Bond 007: Nightfire while their facial expressions and physiological activity were tracked and recorded moment-to-moment via electrodes and various other monitoring equipment. The study found that "death of the player's own character...appear[s] to increase some aspects of positive emotion." The authors believe this may result from the temporary "relief from engagement" brought about by character death. "Part of this has to do with the intriguing aesthetic question of precisely how the first-person-shooter represents the player after the moment of death," says Clive Thompson. "This sudden switch in camera angle — from first person to third person — is, in essence, a classic out-of-body experience, of exactly the sort people describe in near-death experiences. And much like real-life near-death experiences, it tends to suffuse me with a curiously zen-like feeling." An abstract of the original article, "The psychophysiology of James Bond: Phasic emotional responses to violent video game events" is available on the web." Obnoxiously this alleged scholarly research is not available for free, so we'll just have to speculate wildly what it says based on the abstract.

For some folks artisitic merit or financial success of Halo 3 isn't what's really important: it's about how many pixels are on the screen. After there were some complaints about the 'truth' of the game's HD nature Bungie posted a missive on their site clarifying the output process for Halo 3's visuals. "Halo 3 uses not one, but two frame buffers - both of which render at 1152x640 pixels. The reason we chose this slightly unorthodox resolution and this very complex use of two buffers is simple enough to see - lighting. We wanted to preserve as much dynamic range as possible - so we use one for the high dynamic range and one for the low dynamic range values. Both are combined to create the finished on screen image. This ability to display a full range of HDR ... gives our scenes ... a steady and smooth frame rate, which in the end was far more important to us than the ability to display a few extra pixels."

Last week's new diatribe from Roger Ebert on the merits of games had some people up in arms. Commentary ranged from the respectful at Ars Technica, to the dismissive statements at GameCritics. N'Gai Croal, of Newsweek's LevelUp, has a lengthy and thoughtful look at the issue from both sides. From his comments: "It's the right of someone with the maturity of an honest and articulate four-year-old to forget the history of his own favored art form and close his mind to the potential of another. In the meantime, those of us who care about the possibilities inherent in this medium will have to rely upon ourselves and one another to keep doing the heavy lifting necessary to suss out where the art of videogames lies; to determine how the craft can enhance that art; and to continue the fight to push this young medium from squalling infancy into graceful adulthood. Let's get cracking."

Thanks to NTSC-UK for its interview with scriptwriter Paul Rose regarding Zed Two's tactical RPG Future Tactics, as he discusses some of the issues with current game scriptwriting ("You may think there's nothing wrong with them, but to someone like myself who makes a living out of writing scripts and stories, they set my teeth on edge. Especially when you get developers, or publishers, going on about their Hollywood-style scripts"), as well as the sad demise of Zed Two (then a part of Warthog) just before the game's release ("A big, big shame, given that Zed Two's ethos was to produce genuinely innovative and interesting games.") Elsewhere, Gamecritics.com has a thoughtful review of the PS2/Xbox/GC game, "saddled with poor cover art and positioned as a budget release", but considered "a breath of fresh air" by the reviewer, though NTSC-UK's review is a little more ambivalent, arguing: "It can only be hoped that [the developers'] inventiveness is met with the time and budget to do their creativity justice [in the future]."

Thanks to GameCritics.com for its series of interviews with 'booth babes' at this year's E3 videogame show, discussing "the tales these women had to tell." A model promoting Saga Of Ryzom is asked "if she's comfortable with so many guys posing with her", and answers: "It's weird when they put their arms around me... but then I feel them shaking and I'm like, whatever, if it's so important to you... it's funny when guys come up to me and tell me that it's their first time touching a girl." Girls at the Nintendo booth are also interviewed, complaining of the trade-show melee: "It's funny that people act this way over little stuffed toys... there have been people attacking us for free stuff. People will walk up to us and just try to grab it."

Thanks to GameCritics for its (semi-NSFW?) feature discussing the history of sex in videogames, intended to "excavate and document those lucky digital few who managed to get their swerve on." Games profiled include the original Leisure Suit Larry ("the father of modern 'mature' videogames... despite being a screwball comedy at heart... one of the most realistic portrayals of sex in any videogame"), and the ever-notorious Fear Effect 2: Retro Helix ("the two female protagonists [may have been] straddling each other in their underwear for the print ads, but the actual game wasn't the promiscuous orgy that ads teased.")

Thanks to GameCritics for its (semi-NSFW?) feature discussing the history of sex in videogames, intended to "excavate and document those lucky digital few who managed to get their swerve on." Games profiled include the original Leisure Suit Larry ("the father of modern 'mature' videogames... despite being a screwball comedy at heart... one of the most realistic portrayals of sex in any videogame"), and the ever-notorious Fear Effect 2: Retro Helix ("the two female protagonists [may have been] straddling each other in their underwear for the print ads, but the actual game wasn't the promiscuous orgy that ads teased.")

Thanks to Yahoo for reprinting an Electronic Arts press release officially announcing the first-person shooter GoldenEye: Rogue Agent for PS2/Xbox/GameCube, a title "being developed by EA's Los Angeles studio" (and clearly hoping to trade off the immense popularity or Rare's original GoldenEye FPS for Nintendo 64), with the new game featuring a plot that allegedly "breaks all the rules by transporting players to the dark side of the Bond universe to experience life as a high-rolling, cold-hearted villain." With screenshots not yet forthcoming, Eurogamer drills a little deeper into the previously rumored game's name, explaining: "The idea apparently is that Goldfinger is locked in a war with Dr. No for control of a massive criminal organisation... so then, you might be wondering, why is it called GoldenEye? Because, it says here, your nameless henchman lost an eye in an encounter with Dr. No, and Goldfinger's technicians replaced it with... a... golden... eye... Nice one, EA." Update: 05/05 23:38 GMT by S : GameSpot has a few more details on the title, which they note "revolves around run-and-gun action."

Thanks to GameCritics for its interview with Alex Rigopulos of Harmonix Music Systems, discussing how the company "is breaking new ground by putting a uniquely North American spin on the music game genre", including titles such as Frequency, Amplitude, and Karaoke Revolution. He explains of their games: "People didn't want to learn a bunch of new skills, so we decided to use [the gaming skills] that people already had and repurpose them onto the task of making music", but reveals there may not be a sequel to Amplitude, lamenting that "...in order for that to happen, we need to sell, at a minimum, hundreds of thousands of units of each title, which is not a sales level we achieved with those games."

KaiEl writes "The Video Game Ombudsman has a breakdown of the myriad reports stemming from a Nihon Keizai Shimbun story (picked up by GameCube Europe) that says Nintendo 'has decided not to release a new video game console to follow its current GameCube for the time being,' and 'will instead diversify games and sell newly developed peripherals mainly for the GameCube.' Despite the existence of some breathless initial stories from IGN and 1UP, this story may already be dead in the water thanks to firm denials by both Nintendo of America and its Japanese parent, Nintendo Co. Ltd. Still, just the intimation that Nintendo may be planning to sit out the next round of the console race will surely have the Internet rumor mill buzzing."

Thanks to GameCritics for their feature discussing how a person's videogame experiences change as they get older. Talking with gamers as old as 30 (!), they ask if reflexes are dulled ("The only time I notice slowed reflexes is when I stop playing twitch games for while, which is pretty rare"), consider shifts in preferred genres ("Now that I'm older, I really don't have the time to play long, drawn-out games anymore"), and discuss how gaming affects their relationships ("I'm pretty single right now so I can't answer, but my email address is listed on the bio page. I just wanted people to know that.")

Thanks to GameCritics.com for their 'Critical Hit' editorial discussing if consumers are actually interested in buying groundbreaking/unique videogames. Giving the example of Sega's PS2/DC shooter, Rez, the author asks: "United Game Artists' answer to the cries of gamers looking for those new and original games was largely met with ambivalence by those very same gamers.... Why is Sega, or any publisher for that matter, obligated to support a game or games that no one is interested in?" The article concludes: "...how do you criticize the industry when it produces these games yet consumers repeatedly flock to the likes of Square's, Konami's and Capcom's sequels and rehashes?"

Over the next few years, says a new book, the sales of software and video game consoles could top $17 billion. Video games already generate more revenue than films. Video games are becoming one of the world's most popular entertainment forms, affecting TV, education, Hollywood, even the Pentagon and the way we view and conduct high-tech, game-like, remote-control military conflicts.

Here's some stats that may cause jaws to drop in classrooms or around dinner-party tables.

• Total video game software and hardware sales in the United States reached $8.9 billion last year, versus $7.3 billion for movie box-office receipts. Of that, $6.6 billion of the videogame receipts were from software sales, retail and online.
• Over the next three years, sales of game consoles and software in the U.S. are expected to generate more than $17 billion.
• The average child in the U.S. plays video games 49 minutes a day -- but the average age of videogame players is now estimated to be twenty-eight.
• Increasingly, adults -- evenly split between men and women -- choose video games over other forms of entertainment. In fact, according to The Wall Street Journal, Americans named video games as their favorite form of entertainment for the third year in a row in l999. Twice as many people nominated videogames as chose watching TV, three times as many preferred videogames to renting movies.

Some of you won't be shocked by these numbers (especially those who browse sites like myvideogames.com and mygamecritics.com), but the vast majority of non-tech, non-gaming people -- especially those who depend on mainstream media for technology news -- will be amazed. If the Net really turned kids' hearts dark, the streets would be awash in blood.

Videogames have created an ebullient universe all their own, inspiring and pressuring Hollywood and the music industry, increasingly shaping culture and creativitity and also, and -- according to a new book by British journalist Steven Poole -- affecting military training and war.

But most education and media institutions still refuse to take this new form of culture seriously, dismissing videogamers as either a trifling teen entertainment, or a corrosive influence on young minds. They also refuse to recognize that the compulsively entertaining and stimulating nature of games makes schools and other environs seem boring, even suffocating.

Steven Poole gets it right. In Trigger Happy: Video Games and the Entertainment Revolution, he writes, among other things, about the impact of the legendary Lara Croft, the pistol-toting, ponytailed, hotpants-and-shades digital star of the l996 game, "Tomb Raider." Lara has appeared on the cover of The Face and been the subject of countless magazine features in Europe. She's become such a recognizable icon that she now advertises other products, appearing in computer-generated TV commercials for Lucozade and Nike.

Eidos, the publisher of "Tomb Raider," has sold more than 16 million copies worldwide of the first three games in the series, and was named Britain's most successful company in any industry in l999. Add in estimated sales for the fourth installment, "Tomb Raider: The Last Revelation", and Lara, predicts Poole, is close to becoming a billion-dollar babe.

One of the world's first virtual celebrities, Croft is one of the initial video game characters to break out in so global and commercial a way, as synergistic marketing propels her way beyond the videogame culture.

Poole also takes note of growing evidence that videogames are breaking film's monopoly on the moving image. They've lovingly appropriated set-piece forms from the cinematic milieu of horror, action and science fiction, he writes, citing the enormous monster, the car chase, the space dogfight. Meanwhile, movies have stolen ever more brazenly from videogames' hyperkinetic grammar, exaggerated sound effects, and disregard for gravitational laws.

Poole believes that the The Matrix is one of the best and most successful examples of the two media in-breeding with one another. "In its exaggeratedly dynamic kung fu scenes, in which actors float through the air and smash each other through walls, The Matrix contains the most successful translations to date of certain videogame paradigms to the big screen." The film is also a reminder, Poole notes, that virtual reality is a very old idea, which the philosopher Descartes conceived of as a "malin genie" or evil demon. Just like the computers in The Matrix, it caused Descartes to have thoughts and perceptions he would normally have believed to be the signs of a real, external world. Poole also relates some Jackie Chan and Hong Kong guns'n'kung-fu films to video games, and vice versa.

Trigger Happy has also caught the evolution of plot and character as they relate to video games. Poole describes the use of the Marvin Minsky's AI theories in "Outcast," one game he deems especially important because it has taken the use of NPC's (non-playable characters) to sophisticated new levels. "Outcast" has tackled one of gaming's toughest challenges: How can you make computer-generated characters behave in a convincingly lifelike fashion? "Outcast's" Gaia computational engine uses Minsky's concept of "agents," mental homunculi with specialized jobs: one agent represents hunger; another represents curiosity; another, fear. Put enough agents together and you have a crude model of consciousness.

As Poole's book makes clear, the psychology of videogames is unique. No other medium is as interactive, or offers as many satisfying opportunities to win and keep on winning. Currently, he says, the third-person game -- Tomb Raider, Metal Gear Solid or Zelda 64 -- has the edge over the first-person game like Quake III, which has a viewpoint that makes the player feel as if he or she were inside the digital environment.

Video games, says Poole, will never be as good as films at telling stories visually, or as good as books at weaving "cerebral tapestries" of ideas and human lives. "But video games are already extremely good at providing an exhilarating blast of the animal emotions. Fear and triumph -- that is why you play a videogame at the moment." Modern videogames are fun, a means of leisure and relaxation.

But that's not all they are. One of Poole's more interesting chapters comes towards the end, when he looks at the impact of video games on U.S. military training and the increasingly popular American idea -- displayed both during the Gulf War and in Bosnia -- that war can be fought on high-tech, video game-like terms without any real human sacrifice, the high-tech, "risk-averse, "politically palatable war. This is a dangerous notion, since it involves the use of military conflict without political risk, a radically new kind of idea. Military aircraft and tanks used by NATO now have weapons of such range that it isn't at all usual to make direct visual identification of a target; instead, icons are tracked on computerized displays and weapons are locked automatically. Since attacks in Desert Storm and Serbia were fought at the greatest distance possible to insure that there were no American casualities, there were numerous reports of ineffective bombing runs and of friendly fire. Allies tanks were destroyed, hospitals and at least one embassy was bombed. Relying on pixels rather than eyes is dangerous, claims Poole, because computers can malfunction, and pixels can lie.

This link between video game culture and war is, says Poole, reflecting a common (but rarely heard in the U.S.) European perspective, a "lethal failure of imagination. And it is in this way that I do think videogames must have a type of moral responsibility. Of course, we cannot blame videogames for the deaths of Serbian civilians, yet video game-seeded technologies have contributed to the potentially alienating culture of simulation that allowed them to be killed so easily, so cleanly. I think the duty of video games, therefore, is an imaginative one -- an aesthetic one."

In Poole's view, videogames are nothing less than a TV screen reclaimed for individual control. He's eloquent about their possibilities. "If television replaced the log fire or the wireless as a focus of domestic attention, the videogame re-engineers TV's relentless blaze as a colorful zone of play, a new world to explore, a rich and strange place to pit your wits against the dazzling inventions of others," he writes. " The pixels dance to your tune. You're not watching, you're doing. And when videogames are at their best, what you're doing is something vastly more creatively challenging than watching a docusoap or a quiz show. Your reasoning, reflexes and imagination are tested to exhilarating limits. That hunk of molded plastic, that Play Station or Dreamcast, is a magic box that allows you to play with fire."