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jjp9999 sends word of a game in development that mashes up Super Mario Bros. and Portal. Dubbed Mari0 by its developer, the game is being built on the Löve framework and will be released for free. The original Super Mario Bros. levels will be included, as well as some puzzle-style maps and a level editor. They also plan to include simultaneous multiplayer.

We've previously discussed a few projects by game system hacker Ben Heck, including his PS3 laptop and Xbox 360 laptop. Now, GameSetWatch points out two videos produced by Ben showing and explaining new projects. First, he designs and builds a disc-changer for an Xbox 360, and then he turns an old Sega CDX system into a portable console.

At the recent Game Developers Conference, industry vet Brian Moriarty spoke at length about the old videogames-as-art debate. Moriarty found himself reluctantly defending one part of Roger Ebert's infamous argument against the notion: "No one in or out of the field has ever been able to cite a game worthy of comparison with the great dramatists, poets, filmmakers, novelists and composers." What followed was a thoughtful discussion of how games fit in with the definition of art and how the commercialization that almost universally surrounds them can inhibit true artistic expression. Quoting: "Unlike Mr. Ebert, I have played many of the games widely regarded as great and seminal. I have the privilege of knowing many of the authors personally. But as much as I admire games like M.U.L.E., Balance of Power, Sim City and Civilization, it would never even occur to me to compare them to the treasures of world literature, painting or music. ... Video games are an industry. You are attending a giant industry conference. Industries make products. Video game products contain plenty of art, but it's product art, which is to say, kitsch art. Kitsch art is not bad art. It's commercial art. Art designed to be sold, easily and in quantity. And the bigger the audience, the kitschier it's gonna get."

Ron Carmel, co-founder of game developer 2D Boy, which created the indie hit World of Goo, gave a speech at Montreal International Games Summit in which he encourages large game publishers to put more time and money into smaller, indie-like teams. Quoting GameSetWatch: "'We need a medium-sized design studio. Something that is larger than a typical indie, but has the same propensity for of talent density, focus, and risk-taking,' said Carmel, formerly an employee of major publisher Electronic Arts prior to going independent. Notably, a focus on profit must be eliminated from the equation. 'Creating this within a major developer doesn't present a problem,' said Carmel. With a budget of $1-$2 million dollars, 10 staffers could be hired to work on 'creatively ambitious and forward-thinking projects.' He likened it to the automobile industry, which alongside its mainstream consumer products works on concept cars — few of which enter production as regular models. The concept car is, said Carmel, 'a marketing expense to build your brand, and say, "Look at all the amazing things we're creating."' It also helps with recruitment. Said Carmel, 'there's no reason the larger game companies can't do that.' He also said that developers must move away from the notion that a team comprised primarily of programmers and artists can create a great work. Why do Valve's games have such amazing environments? Because, said Carmel, 'Valve has architects on staff.'"

Rock, Paper, Shotgun reports that upcoming action MMOG APB: All Points Bulletin will use in-game audio advertisements as part of its business model. The number of ads you hear will be limited: "you'll only hear an ad when you go into a new zone, and that's only once every three hours." Nevertheless, some gamers are upset that these ads will be included on top of APB's already unusual payment plans. The game is set for release next Tuesday. Producer Jesse Knapp says of Realtime Worlds' goals for APB, "We looked at other online action games, and we saw things we felt could be better. Only 12 to 32 players in a match, bad connection due to peer-to-peer, dead cities, way too much time in lobbies, things like that. So what we set out to do was to make a game that has that online player vs. player action game experience in a large city with other players around, no lobbies, dynamic matchmaking, dedicated servers, great experience, and that's been one of the driving factors of APB from the very beginning." CVG recently previewed the game.

Now that E3 attendees have had a chance to try out the new revision of Nintendo's portable console, critiques of the 3D effect and updated layout are starting to filter in. Opinion thus far has been mostly positive. Wired writes, "The graphics, which are much more advanced than you’d expect from Nintendo, left me pretty much in disbelief. They're on a level with Sony’s PSP, probably even a little better than that. But the eye-popping 3-D effect makes everything that much richer." According to the Guardian's Games blog, it works "beautifully." They add, "You can perceive 3D only if the console is directly in front of you, but this is fine for handheld gaming. I actually found it pretty adaptable in terms of viewing from different vertical positions. It was much more sensitive if the handheld was turned slightly to the left or right, but really, it coped perfectly with the slight shifts and jerks you'd get on a morning commute." During Shigeru Miyamoto's annual dev roundtable, he explained how Nintendo felt that particular types of games, such as shooters, benefit more from the 3D effect than others, and how Nintendo hopes to update as many older games as they can to incorporate 3D gameplay in addition to 3D graphics.

An editorial at GameSetWatch makes the case that game developers' relentless drive to make games more real has led to missed opportunities for creating unique fictional universes that are perhaps more interesting than our own. Quoting: "Remember when the norm for a video game was a blue hedgehog that ran fast and collected rings and emeralds? Or a plumber that took mushrooms to become large, and grabbed a flower to throw fireballs? In reality they do none of those things, but in the name of a game, they make sense, inspire wonder, and create a new universe. ... We’ve seen time and time again that the closer you try to emulate reality, the more the 'game' aspects begin to stick out. Invisible walls in Final Fantasy, or grenades spawning at your feet when you go the wrong way in Call of Duty: Modern Warfare 2 are examples of kicking the player out of that illusion of reality, and letting them know that yes, this is a game, and yes, the rules are designed to keep you in the space of this world, not the real world. In reality, as a soldier I could disobey my orders and go exploring around the other side. I could be cowardly and turn back to base. Games shouldn’t have to plan for every eventuality, of course, but it’s not so hard to create universes that are compelling but where the unusual, or even simple backtracking, is not so unfeasible."

The Wii and various mobile gaming platforms have done wonders for the trend toward casual or "easy" games. But the success of a few recent titles, despite their difficulty, has caused some to wonder whether the pendulum has swung too far; whether a little frustration can be seen as a good thing. Quoting: "The evidence is subtle but compelling. For one example, look to major consumer website GameSpot's Game of the Year for 2009: Atlus' PS3 RPG Demon's Souls, which received widespread critical acclaim – none of which failed to include a mention of the game's steep challenge. GameSpot called it 'ruthlessly, unforgivingly difficult.' Demon's Souls was a sleeper hit, an anomaly in the era of accessibility. One would think the deck was stacked against a game that demanded such vicious persistence, such precise attention – and yet a surge of praise from critics and developers alike praised the game for reintroducing the experience of meaningful challenge, of a game that demanded something from its players rather than looked for ways to hand them things. It wasn't just Demon's Souls that recently flipped the proverbial bird to the 'gaming for everyone' trend. In many ways, the independent development scene can be viewed on the macro level as a harbinger of trends to come, and over the past year and into 2010, many indies have decided to be brutal to their players."

An editorial at GameSetWatch examines whether game publishers really deserve all the flak they get from gamers and developers alike. While some questionable decisions can certainly be laid at their feet, they're also responsible for making a lot of good game projects happen. Quoting: "The trouble comes when the money and the creativity appear to be at odds. ... Developers and publishers often have a curious relationship. The best analogy I can think of is that of parent and child. The publisher or parent thinks it knows best, because it's been there before (shipped more games), and because 'it's my money, so you'll live by my rules.' The developer — or child — is rebellious, and thinks it has all the answers. In many ways, it does know more than the parent, and is closer to what's innovative, but maybe hasn't figured out how to hone that energy yet."

In a podcast recorded at PAX, a former Interplay developer named Thom Robertson talks about the problems he encountered while working on the company's Star Trek titles. In particular, he was the lead designer of the canceled Star Trek: The Secret of Vulcan Fury, and mentioned how incredibly ambitious initial plans for the game were. "Just one of the many reasons why that project was doomed to failure was because the team and the management had really no concept of exactly how expensive a proposition they were imagining when they set out to do it. I saw the plans. They were looking at four to six hours of created video, and they were planning on doing it at maybe a 1/20th of the budget of a Toy Story movie. Something did not connect." He also discussed how Interplay was "too close to Hollywood," and the problems they ran into while filming for Starfleet Academy The full podcast (MP3) is available from 1Up; Robertson's interview begins 42 minutes in.

Hork_Monkey writes "CCP Games, developer of the popular MMO EVE Online, has announced a new game called Dust 514. Building on the EVE universe, this game will provide planetary combat from an RTS and FPS perspective, with significant impact into the space combat aspects of EVE Online. Love or hate EVE Online, this appears to be an innovative way to expand the overall universe by catering to a different gamer audience. A video with a trailer and further explanation was posted from GDC Europe."

Phaethon360 writes "The film industry, the music industry and the gaming industry — three factions of entertainment in the grasp of a vicious and unbridled tyrant. The internet is a toddler with a handgun, and its whims shall be met — and with great abandon. It can be a source of great wealth or utter failure. But what's striking is the fact that no one seems to be taking the necessary precautions to ensure a smooth and prosperous transition. I'm talking, of course, about doing away with the middle man; the gaming magazine." Dan Amrich, former editor of OXM, recently argued the other side of this issue, saying that game-related print media doesn't get the respect it deserves for breaking stories earlier than online media, and for not just waiting "until the information came to them, in the form of a PR release and a video." A related piece at GameSetWatch suggests that the print media is doing a decent job of undercutting itself through unsustainably-low subscription fees.

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.'"

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."

A piece at GameSetWatch questions whether modern game companies are taking accessibility a step too far in their rush to attract people who don't typically play video games. This worry was inspired, in part, by the news that Nintendo's New Super Mario Bros. Wii would have the capability to play itself in order to let a human player get past a tricky part. Quoting: "Bigger audiences finishing more games is certainly a worthy goal, and Nintendo has shown that accessibility is the servant of engagement. History has rarely — if ever — dared to disprove the wisdom of Miyamoto's foresight. History has also never disproven, however, the principle that any medium and any message degrades the wider an audience it must reach. Art was never served by generalization, nor language by addressing all denominators. Entertainment for the masses ultimately becomes empty. There must exist an absolute point beyond which greater accessibility means less engagement. Making a game so easy it can play itself for you at the push of a button just might be that point."

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."

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.'"

GameSetWatch takes a look at the issues involved in creating an MMO that does not split its users among many different servers. They suggest that running a single "shard" is the next step in the evolution of MMOs, since it better allows player choices to have a meaningful impact on the game world; supporting different outcomes across multiple shards is a technical nightmare. They estimate, from the hip, that the cost to develop the technology required to support a massive amount of players (i.e. far more than EVE Online) on a single server to be roughly $100 million. Another recommendation is the strong reliance on procedural and user-generated content creation to fill a necessarily enormous game world.

GameSetWatch is running an opinion piece (sparked by a lecture at NYU by Deus Ex developer Warren Spector) about the difference between game experiences that are specifically planned by the game's creators and experiences that are either constructed by players or arise unexpectedly. Quoting: "One thing Spector said during the NYU discussion was that he feels multiplayer games are 'lazy.' This is the designer in him talking, of course — his theory that in letting players build stories via Left 4 Dead-style happy accidents in open worlds, the designer doesn't have to tackle complex challenges like making choices meaningful, or making characters believable. Spector wants to take on those challenges, and he doesn't like the idea that user-driven play, from his standpoint, effectively allows game design to bypass them. It's actually an idea I relate to a lot as a writer — I was raised in an era of authoritative media, when individual voices drove culture, opinion and information. The internet's changed everything, of course; the authoritative voice has evolved into a conversation between writer and audience, and the writer now leads the community discussion rather than acting as a single determiner, a unilateral judge."

GameSetWatch has put up an article about the characteristics that give games in the survival-horror genre the ability to unnerve, startle, and scare players in ways that most games don't. The genre has seen a resurgence lately, with titles like Dead Space, F.E.A.R. 2, and Left 4 Dead posting strong sales numbers. What triggers your fight-or-flight impulses in games like these? From the article: "Being visual creatures, humans are most comforted by sight because of our ability to discern objects, action and consequences based on a picture. As a result, cutting visual stimuli and sticking purely to audio or speech is one of the best ways to keep a player on their toes. Even with weapons, it's very hard to find what you cannot see, and what you do not know. Even if visual stimuli is used, limiting or obfuscating the player's view can enhance the horror in a game, especially if the player sees it for an incredible short time. This can hint both at the difficulty of an upcoming encounter, or even allude to matters earlier in the narrative that the player will soon have to face."

The Quake Live team has announced that the beta will open to the public on Tuesday, February 24th. On Monday, they will take the servers down, wipe all stats and prune inactive accounts, then re-open on the public site. Personal settings and current account info will be maintained for active accounts. They also said, "We're going to post some additional information in the Developer Notes about the opening of the game, what it means to leave the 'beta' tag on the site during this time, and discuss some features and functionality that we're planning for the next couple of months that we know you'll be interested in." GameSetWatch ran a story recently by a columnist who tried out the closed beta, and we discussed John Carmack's thoughts on the game a few months back.

GameSetWatch has a story questioning whether modern game developers are putting more effort into immersion than they should, sacrificing other aspects of the game that are more important for an entertaining experience. Quoting: "Look at popular Wii games, and at casual games. These are generally rules-emergent games, with no pretense of 'immersion.' Arguably, Nintendo chose not to compete in the technology-driven 'realism' field with the Wii, and most casual games are 2D, not 3D. The high numbers of buyers and players of these games suggests that a significant proportion of the audience — if not the majority — wants to play games, not immersive 'simulations.' Put another way, is the immersive simulation (Star Trek Holodeck, Matrix) only the desire of some of the hardcore fans? ... It seems there's a significant number of adults who want to play a video game for a while to relax, to have their attention diverted from ordinary life. They don't want to be immersed in some simulation, some dream-fulfillment — if nothing else, they don't have the time for it!"

TorrentFreak has posted some statistics on the most pirated games of the past year. Leading the list by a large margin is Spore, made infamous even before its release for the draconian DRM attached to the game. It was downloaded through BitTorrent roughly 1.7 million times, with The Sims 2 and Assassin's Creed following at just over a million each. (It's worth noting that Spore came out in September, so that figure is essentially for a mere three months.) GameSetWatch has posted a related piece discussing the countermeasures involved in dealing with piracy. It's the second article in a series about piracy; we discussed the first a couple days ago.

Ars Technica is running a story about recent comments by Valve's Gabe Newell in which he bluntly stated, "As far as DRM goes, most DRM strategies are just dumb. The goal should be to create greater value for customers through service value (make it easy for me to play my games whenever and wherever I want to), not by decreasing the value of a product (maybe I'll be able to play my game and maybe I won't)." Ars then points out a response by Microsoft's Games for Windows Community Manager Ryan Miller suggesting Rockstar Games' recent decision not to have install limits for the PC version of GTA IV made the use of SecuROM acceptable. GameSetWatch has a related piece discussing the difficulty in measuring piracy and enforcing infringement laws.

GameSetWatch is running a feature discussing the value of graphics styles in games. The authors point out that while certain genres, such as first-person shooters, benefited immensely from the advent of 3-D graphics, some types of games didn't handle the transition as well. A player's perspective, and his interaction with the game's camera, can often make or break an otherwise excellent release. "Before making the full jump to 3D, many genres made a move from classic 2D to isometric 2D as an intermediary step. For example, the original Civilization had a traditional top-down grid view while Civ 2 had a three-quarters isometric view. While this new perspective gave the game world a more life-like appearance, the change did come at a cost to the user's game experience. Namely, distances are much more difficult to judge on an isometric grid as the east-west axis takes up twice as many pixels as the north-south axis. To solve this problem, for Civ 4, our 3D perspective actually hearkened back to the original game as we showed the game's grid straight ahead and not at an angle. The easier the players perceive the grid through the graphics, the better they can 'see' their possible decisions."

Microsoft has announced that the first pack of downloadable content for Fable II will be available on December 12th. It introduces a new island called "Knothole," which contains new quests and dungeons, as well was various items and character customization effects. An interesting article about Fable II's morality system is up at Valuable Games. The author says, "In many ways the game's moral dimension feels more like a feature, similar to the implementation of new shaders or an upgraded AI system. It is not that the morality system is tacked on; it is a central part of the gameplay. But, compared to the enormous amount of work that must have gone into designing the world (i.e. creating artwork, a coherent narrative and the world itself), there seems to be far less time spent on developing (minor) emergent moral choices and major moral dilemmas in the game's overall narrative." GameSetWatch has a related story about how the game approached storytelling.

Dr. Zowie writes "The 10th annual Nethack Tournament just started over at nethack.devnull.net, so put on your Hawaiian shirt, grab an expensive camera, and head for the dungeon. The tourney runs through the month of November each year, with volunteer game servers dotted around the world. Fewer than 1% of contestants actually finish the game by retrieving the Amulet of Yendor and ascending to demigodhood, but take heart: there are many prizes for intermediate goals, and prizes for team effort. For those too young to remember games older than Halo, Nethack is the apotheosis of the Roguelike genre of role-playing games, rendered in ASCII. Gameplay is phenomenally complex, and the game is somewhat sadistic; there are no 'checkpoints,' so if you manage to kill yourself somewhere in the dungeon you must start over from the beginning. The dungeons are quasi-randomly generated, so every game is different."

eldavojohn writes "Nintendo icon Shigeru Miyamoto stated in an interview that 'What I've been saying to our development teams recently is that The Legend of Zelda: Twilight Princess was not a bad game, by any means. But, still, it felt like there was something missing. And while, personally, I feel like Super Mario Galaxy was able to do some things that were very unique, at the same time, from another perspective, certain elements of it do feel somewhat conservative. This is something I've been talking to both of those teams about ... hopefully [the next Mario and Zelda] will feel newer and fresher than their most recent versions.' MTV Multiplayer also commented on Portal's mechanics and gameplay, to which Miyamoto responded, 'I think Portal was an amazing game, too.' GameSetWatch has a related article criticizing Nintendo for relying on the Wii's input devices to develop game franchises rather than improving actual gameplay."

CVG is running a piece discussing the current state of WiiWare, and where they expect it to go in the future. They point to the success of Mega Man 9 on WiiWare and other platforms, but worry that the perception will arise that certain games are "too good" to be featured on WiiWare. GameSetWatch has a related interview with independent developer Ninjabee discussing their recent games and comparing WiiWare with Xbox Live Arcade. Meanwhile, Microsoft has announced that the new Xbox Experience coming in November will included their Community Games initiative, which will allow amateur game developers to create and share games using the XNA development tools.

CVG is running a piece discussing the current state of WiiWare, and where they expect it to go in the future. They point to the success of Mega Man 9 on WiiWare and other platforms, but worry that the perception will arise that certain games are "too good" to be featured on WiiWare. GameSetWatch has a related interview with independent developer Ninjabee discussing their recent games and comparing WiiWare with Xbox Live Arcade. Meanwhile, Microsoft has announced that the new Xbox Experience coming in November will included their Community Games initiative, which will allow amateur game developers to create and share games using the XNA development tools.

GameSetWatch is running a piece discussing some of the ways in which gameplay can progress from simple to complex. The author talks about how acquiring items, new abilities, or just increasing the player's overall effectiveness can make it difficult for game designers to keep their content balanced and interesting. Quoting: "What do I mean by progression? There are at least two distinct types of progression in computer games, which I'll label player progression, and character progression (narrative progression is arguably a third). Player progression is the increasing aptitude of the player in mastering the game: whether through learning and understanding the technical rules of the game (surface play) or the implications of those rules (deep play). ... Character progression is the unlocking of additional rules of play, or altering the existing rules, by choices or actions within 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.

GameSetWatch has an interesting essay about the relationship between games and art. Matthew Wasteland discusses the difficulty in translating other artistic creations to video games, giving Moby Dick as an example. "If Melville had so much as allowed for any possibility at all where Captain Ahab 'wins,' no matter how remote, the work's message and its interpretation of the world completely changes. Instead of destiny and fate, we would now speak of probability and chance." He then goes on to examine whether the logic systems and rules that define a game can achieve the status of art. "Distancing the work from the 'entertainment' of popular games is fine, but even the most artsy, obscure and difficult works must connect with an audience somehow. I am not sure a system of rules by itself is the best method to achieve that. If rules are art, could not one just as easily publish a rulebook, and leave it at that?"

We recently mentioned an event at the Parsons New School for Design and Technology in which students were divided into teams, given copies of LittleBigPlanet, and had 24 hours to develop levels for the game. GameSetWatch has the story of how the design contest went, what the winners and other notable finishers designed, and how the judges were surprised that "what they played could be completed in 24 hours." Further coverage is available at GameSpot, including a videos of several different levels. "Team Good Sportsmanship's level consisted of a single massive moving monster. SackBoy had to find his way up the monster, go through its digestive track while dodging stomach acid and eventually get on top of its head. The level featured an anatomical tour of the beast, complete with rib cage, beating heart even a dangling uvula. Once the player made it up to the brain, there was a hand-drawn animation of what the beast was thinking: eating SackBoy. Once the player got past the teeth and used the tongue to lob themselves on top of the monster's snout, the level was over."

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.

At this year's Austin Game Developer's Conference, sci-fi author Bruce Sterling gave a keynote speech about the gaming industry — looking back from the year 2043. GameSetWatch has a summary of the speech, and the full transcript is also available. "So do people make games for this platform? Sure. Not the sort that were built for flat glass screens. We don't do those anymore, cumbersome, like a covered wagon. We don't pretend a glass screen is a window into another virtual worlds. The idea sounds silly, it's all the same world. It's always been the same world, it just changes. What we do is hang the towel [his metaphor for cheap, ubiquitous, unremarkable computers in the future] up in midair and gaze through it. And all the light that hits the far side passes through it except that the image is tagged and altered. We don't call it augmented reality, because we think reality is real, but you can still have fun with a game interface is that is everything you see."

GameSetWatch is running a feature about the evolution of game characters' physical presence. In many games, you can look down and not see your feet, or pass right through other players or NPCs. Other games rely on a believable model that can animate and collide with its surroundings. Tom Cross examines some of those scenarios, and also games that raise the bar for having a physical presence, such as the new Alone in the Dark. "Edward Carnby's body is a distinct factor in everything that the player does. Your inventory is carried inside Carnby's leather jacket. To use, drop, or combine items, you must open it wide and look down at your own chest. The healing mechanic, too, reinforces the oft-forgotten fact that you have a body. To heal yourself, you must look at the parts of your body (arms, leg, chest) that are wounded, and then spray them with first-aid liquid. Likewise, when you equip an item, Edward reaches for it, palming it and then switching back to the stock third or first person view."

Zonk did an interesting interview with Ed Stark and Dave Williams, employees for an MMO developer named Red 5 (and experienced tabletop game designers). They talk about their ideas and plans to bring about the next step in MMO gaming: increased persistence in online worlds, where an objective, once completed, stays completed. Williams said, "Right now for most of these games, when the player saves the princess and he starts walking away from the tower — if he looks back he's going to see the princess at the top of the tower again." Regarding their current work, he continues: "If you save the village, it stays saved — you saved it! But maybe now that village becomes an objective for another player; maybe something has to be done now because that village wasn't destroyed. And so on, and so on, and so on. Building those mechanisms to make it a world that reacts to a player's actions instead of existing in a static state. That's the world we're talking about."

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.'"

Raven Software game developer Manveer Heir takes a look at the design mechanics of Braid, a recently released puzzle game for Xbox Live Arcade (a review is available at Gamespot). Heir commends Braid's focus on taking an interesting mechanic and exploring it fully through level design, rather than generating complexity with the interaction of many different mechanics. "One of my favorite worlds has time move forward as the player moves to the right, and rewind as the player moves left; Time is being controlled spatially. Another world has the player make a recording of themselves that can interact with certain objects, similar to Cursor*10. ... What is amazing is how complex and devilish some of the puzzles can still be, even though they revolve around the single mechanic for that world. ... Feeling like you have to guess what the designer was thinking is how many old adventure games played out, and it was rarely fun. Feeling like you just made a discovery on your own is what makes this game and games like Portal work so well."

Game Designer Manveer Heir has another installment of his "Design Lesson 101" series where he takes a look at a game from a designer's standpoint and attempts to learn something in the process. In this installment he takes a look at the RTS, World in Conflict that has an interesting twist on resource management. "World in Conflict has a simple resource management system. The player is given a fixed amount of resources to obtain units with. Shortly after you requisition units, they are air-dropped into the game, eliminating the need for building bases. Immediately, this leads to a unit-centric, tactical feel to the entire game. [...] When a unit dies, however, the resources that were allocated to obtain the unit are not lost forever. Instead, what World in Conflict does is return the resources to the player. Not immediately, however. Instead, the resources trickle back in over time. Your resources aren't constrained by how well or poor you are doing in the game (at least not constrained for very long). By doing this, World in Conflict avoids the snowball effect that exists in many real-time strategy games."

Movie and Game writer Justin Marks has written an impassioned plea for the industry to concentrate more on artfully story-entwined gameplay, exploring what he thinks major titles are missing these days. "But for the most part, we as an industry are stuck in the same trap that GTA exemplifies. We value narratives in games, we understand their purpose and their necessity, and yet we have no idea how to parse them effectively into the game's interactive structure. As technology gets better, the weaknesses of poor story integration are more exposed."

simoniker writes "Over at Dr. Dobb's, C++ creator Bjarne Stroustrup has given an in-depth interview dealing with, among other things, the upcoming C++0x programming standard, as well as his views on the past and future of C++. He comments in particular on some of the difficulties in educating people on C++: 'In the early days of C++, I worried a lot about "not being able to teach teachers fast enough." I had reason to worry because much of the obvious poor use of C++ can be traced to fundamental misunderstandings among educators. I obviously failed to articulate my ideals and principles sufficiently.' Stroustrup also notes, 'Given that the problems are not restricted to C++, I'm not alone in that. As far as I can see, every large programming community suffers, so the problem is one of scale.' We've discussed Stroustrup's views on C++ in the past."

simoniker writes "In a new weblog post on Dobbs Code Talk, Intel's James Reinders discusses the growth of concurrency in programming, suggesting that '...programming for multi-core is catching the imagination of programmers more in Japan, China, Russia, and India than in Europe and the United States.' He also comments: 'We see a significantly HIGHER interest in jumping on a parallelism from programmers with under 15 years experience, verses programmers with more than 15 years.' Any anecdotal evidence for or against from this community?"

simoniker writes "Over at Dobbs Code Talk, Chris Diggins has been discussing programming languages beyond C++ or Java, suggesting options such as Ruby ('does a great job of showing how powerful a dynamic language can be, and leverages powerful ideas from Smalltalk, Perl, and Lisp') but suggesting Scala as a first choice ('Very accessible to programmers from different backgrounds.') What would your choice be for programmers extending beyond their normal boundaries?"

simoniker writes "Obviously whimsical but slightly mind-blowing — an Eastern European coder has published video and the Excel tables to get full 3D wireframe running in Microsoft Excel. He even has solid polygonal graphics running. This isn't an Easter Egg by the Excel creators. Rather, he's using formulas to output the graphics, using two different methods, and showing all the variables on-screen in real time as the 3D is created."

Game Set Watch is showcasing an interesting homebrew game called Trism from semi-pro developer Demiforce. The new game is designed to take advantage of the accelerometer in the iPhone and iPod Touch. While making use of this feature isn't new, this game certainly is pretty high on the simplicity and neat-factor scales. In addition to details about the game the site is also featuring a short interview with the developer.

Folks at the Gamasutra network had a quick sitdown with the Q-Games team, the people behind the PlayStation 3's new Gaia music visualizer. They discuss the origins of the project, as well as some possible plans for the future. "McLaren explains: 'This representation of the earth is a 3D model with some shaders and SPU trickery going on. We tried to accurately model the earth's atmosphere and have all the correct highlights on the oceans, etc. The texture data is sourced from the NASA Blue Marble project.'"

After the disastrous Xbox Shadowrun title and the closing of FASA Studios, it's not surprising to see Microsoft pushing the rights to videogames made in the Shadowrun IP off to greener pastures. Their new place of residence, though, is a bit of a pleasant shock: a new company founded by Jordan 'Zapper' Weisman. Gamasutra reports: "FASA, WizKids and 42 Entertainment founder Jordan Weisman has announced, via the website of his newest venture-backed startup Smith & Tinker, that he has licensed the 'electronic entertainment' rights to his MechWarrior, Shadowrun and Crimson Skies properties back from Microsoft ... It is unclear as of yet what form Weisman's plans for these franchises might take. But given the transmedia nature of his recent ventures, and job advertisements asking for experts with Web 2.0 and online game expertise, online world/MMO elements to the company's projects seem likely." Simon Carless has a few extra comments on the news over at GameSetWatch.

GameSetWatch notes that the 2007 finalists for the Independent Games Festival have been announced. The IGF is an annual event meant to highlight and praise the work of independent game designers of all stripes; it's run by Slashdot Games editor alumni Simon Carless. Simon puts the spotlight on the Seamus McNally Grand Prize finalists, the 'best of the best' at this year's IGF. My vote goes to World of Goo: "Building off the concepts from Tower Of Goo, one of Kyle Gabler's projects from the Experimental Gameplay Project at CMU, the first game from Bay Area duo 2D Boy uses the hitherto unexplored structural ability of blobs to make an addictive construction-based puzzle action title. There's no release date or demo for the game yet (aside from Tower Of Goo, a kind of 'prequel'), but there's screenshots and a trailer on the official site."