Published on 27 Aug 2015
What’s the matter, Tommy… are ze Germans coming? Actually yes, they are and they’re in dirty great Battleships! I think we’re going to need bigger guns…
September 27, 2015
August 17, 2015
July 12, 2015
I really haven’t been following the uproar over the gaming journalism narrative … so this story may be completely off-base (but it does at least match some of what I’ve heard from folks who are invested in the argument):
Video game journalists: those guys who use phrases like “high octane,” “balls-to-the-wall” and “artistic integrity“; the sadomasochists who label factions of their own community xenophobes and fascists, for daring to express an ironic sense of humor; the enlightened few, who described fans as whiny and “entitled” for voicing their displeasure over the conclusion to a beloved franchise.
These past few years have not been kind to the gaming community. To put it mildly, of late, video game journalists have not been too generous to the gaming community.
“Give us your clicks, your Facebook shares, your unfaltering loyalty,” they say, all doe-eyed and loving. “Oh, and please don’t enable AdBlock!” Video game journalists excitedly invite their readership to view their news articles, reviews and opinion pieces, only to kick them to the curb when they’ve siphoned up the ad money. If that’s not how the state of play is, that’s certainly how it feels.
It’s like a depressing, unfulfilling booty call, where, ultimately, everyone comes out a little crustier and disease-ridden. The games journalists may earn some clicks for cash, but they lose little pieces of their souls, their innocence, their Bambi-like demeanor. Meanwhile, angry gamers hop about social networks, gnashing their teeth and venting their disdain for the press. The fans’ incredulity over the behavior of these journalists, in turn, makes the journalists just as incredulous. The fans feel downtrodden and used, the journalists feel violated and misunderstood, and a toxic cycle of hate ensues.
A number of culture critics and social crusaders have helped foster an atmosphere of tension and animosity, striking a war between gamers and members of the games press. However, while these individuals struck the match of the debate, the journalists hurriedly gathered the canisters of gasoline. In fact, little did the community realize, these self-interested people had not been on “their side” for quite some time.
H/T to Perry de Havilland for the link, and the rather eye-catching GIF:
July 7, 2015
I’ve been keeping an eye on World of Warships, if only due to the renderings of the various ships (as a kid, I used to love the diagrams of ships in publications like Purnell’s History of the Second World War). I doubt I have the time to play the game very much, but I’ll probably sign up for the open beta which began last week.
At Massively Overpowered, MJ Guthrie talks to the developers:
Immersion. That’s not a word you often hear associated with lobby-based PvP games. But in the case of World of Warships, the third title in Wargaming’s WWII-era trilogy, it’s more than just fitting; it’s defining. Although not a battle simulation, WoWS offers a genuinely immersive experience thanks to the historical authenticity and the level of detail in both the audio and visual departments. You’ve heard the devil is in the details? Well that’s where the immersion is, too. And now that open beta has started, more players are finally able to dive in and experience this for themselves.
To learn more about how the development team achieved such a high level of immersion, I went to the source: I visited Wargaming’s headquarters in St. Petersburg and talked with the devs who create everything you see and hear in the game. And after watching the creation process in action, I appreciated the ambiance all the more when I jumped in for a hands-on in the closed beta.
Accuracy must take second place to what the players say they want, however:
Sounds really start to shine through once you turn the music down. Although the game’s smart music slider suppresses it when you fire, try clicking it off sometime to focus on the many ambient sounds. Tohtash said that the team has already added “about 3,000″ different sounds to the game. Players will actually hear different metallic sounds from the engines and hulls when the ships change speeds and from the guns when they fire. Engines have four different sound elements (engine, turbine, resonance, and post effects), and guns have three (attack, body, and echo or tail), which combine with recoil, load, and double echo. Using the various elements, the team took care to make different caliber of guns have different sounds. On top of all the types of sounds is the fact that they are positional, changing depending on what view players are in. If your camera is too close to the gun, you will get ringing in your ears after the shot!
Artillery sounds in World of Warships are something that diverges from historical accuracy. The team has access to reference videos, but focus groups have not wanted the more accurate gunfire sounds; they favor big booming ones. Tohtash admitted that actual sounds alone are a bit dry, but once effects such as implementing the bass and the full range of frequencies are added in, the sound is richer and fuller.
June 17, 2015
Yesterday, Arenanet announced that the first Guild Wars 2 expansion, Heart of Thorns is now available for pre-purchase at http://buy.guildwars2.com. There is still no definite release date, but pre-purchasing will allow you to take part in the upcoming beta weekend events (just as they did for the original game).
May 20, 2015
At Techdirt, Karl Bode pours some scorn on a deserving demographic:
Like many people, video games have been an integral part of my life for about as long as I can remember. From my days visiting Wildcat! BBS systems where I’d play Trade Wars 2000 — to obsessing over the Apple IIe, IIc and IIgs — video games were not only an integral part of my childhood, they actually helped forge an adult career path. Swapping out graphics cards and building new PCs to play Quake 2 led to a job in Manhattan legal IT, which in turn resulted in a life focused on writing about technology. Aside from a few tics, I like to believe I wound up relatively normal, and video games have made my life immeasurably more rewarding.
That background usually forces me into the role of video game evangelist when surrounded by folks that, all too frequently, are engaged in hand wringing over the diabolical moral dangers games purportedly present. At a party recently, some friends expressed muted shock because a colleague’s kid was, instead of being social, playing a game in which he was “herding human beings and keeping them in a barn to eat.” I had to explain (skipping the part about how you’d need a mod to actually eat them) how this behavior wasn’t indicative of a Jeffrey Dahmer in training, he was simply engaged in normal problem solving behavior on the new frontier […]
Despite the fact that Minecraft is simply an amazing evolution of the Lego concept for the modern age, the moral panic surrounding the game never quite seems to abate. The latest case in point is over at the BBC, where the outlet implies it has heard all of the pro-Minecraft arguments before, it’s just choosing to ignore them in order to portray the game as an unpoliced virtual-reality hellscape that’s rotting the brains of children everywhere. While there are some good points embedded within, there are notably more bad ones, like the argument that kids should instead be reading, because reading engages imagination and builds character
May 9, 2015
BBC News picked up the story of a Guild Wars 2 player who’d been cheating on a massive scale:
A character controlled by a hacker who used exploits to dominate online game Guild Wars 2 has been put to death in the virtual world.
The character, called DarkSide, was stripped then forced to leap to their death from a high bridge.
The death sentence was carried out after players gathered evidence about the trouble the hacker had caused.
This helped the game’s security staff find the player, take over their account and kill them off.
Over the past three weeks many players of the popular multi-player game Guild Wars 2 have been complaining about the activities of a character called DarkSide. About four million copies of the game have been sold.
Via a series of exploits the character was able to teleport, deal massive damage, survive co-ordinated attacks by other players and dominate player-versus-player combat.
To spur Guild Wars‘ creator ArenaNet to react, players gathered videos of DarkSide’s antics and posted them on YouTube.
The videos helped ArenaNet’s security head Chris Cleary identify the player behind DarkSide, he said in a forum post explaining what action it had taken. Mr Cleary took over the account to carry out the punishment.
H/T to MassivelyOP for both the original story and the BBC News link.
April 30, 2015
A picture really can convey a thousand words:
I’ve often contend that three of the most significant influences on my adolescent years were: LEGO building, computer programming, and playing Dungeons & Dragons. With this latest mosaic project, I more or less bring all of those things together (the LEGO and D&D are obvious, while behind the scenes I have the software program I wrote to help me map out the whole mural).
For those not quite as nerdy as myself, here’s the background on this image. It is the cover to the boxed set of the 1977 version on the game Dungeons & Dragons. This was the first version of the game released as the “Basic” set. It was the first set that my brother and I owned and played with. Obviously, the countless hours I spent reading the rulebook and perusing the illustrations made a pretty big impression on me. In fact, I still run a Basic D&D campaign semi-regularly using this very set.
April 28, 2015
Ever have one of those fever dreams where you’re moving through the terrain of a video game? Want to recreate that experience for some reason? You’ll want to download Doomdream:
Ever play a video game so often that it shows up in your dreams?
That’s the idea behind Doomdream, an interactive experience created by Ian MacLarty to simulate what his own dreams look like after he’s been playing the classic 1993 shooter Doom all day.
Although there are no enemies, no combat or really any plot, it generates a labyrinth of pixelated gray tunnels and bloody stalagmites for you to wander in forever, recreating the nightmare of so many players who got lost in the purgatory of Doom‘s looping levels, searching fruitlessly for an exit sign.
H/T to BoingBoing for the image and story.
April 18, 2015
March 11, 2015
I’d expect some legal action is pending over this little contracting embarrassment for Undead Labs:
Undead Lab’s State of Decay became a cult hit when it released back in 2013. Last year, the developer announced State of Decay: Year One Survival Edition. This updated iteration packs in previously released DLC along with a 1080p graphical overhaul. And once the visuals became clearer, developer Undead Labs realized their contracted help for the game hid an abundance of phalluses in the game.
While working on State of Decay, Undead Labs hired contractors to help build some of the backgrounds. For reasons unknown, those contractors scattered a collage of genitalia across the backgrounds. However, the original version of the game was a low enough resolution that the naughty bits flew under the testing radar.
“Some of our contractors worked a ridiculous amount of genitalia into the background,” says Geoffrey Card, senior designer at Undead Labs in an interview with XBLA Fans.
H/T to John Ryan for the link.
March 4, 2015
Video game communities, social economies, give us something that we never had as economists before. That’s something of an opportunity, a chance to experiment with a macroeconomy. We can experiment in economics with individuals. We can put someone behind a screen and experiment on the subject, and ask him or her to make choices and see how they behave.
That has nothing to do with macroeconomics. Macroeconomics requires a different scenario. You conduct controlled experiments with a large economy. We are not allowed to do this in the real world. But in the video game world, we economists have a smidgen of an opportunity to conduct controlled experiments on a real, functioning macroeconomy. And that may be a scientific window into economic reality that we’ve never had access to before.
Yanis Varoufakis, talking to Peter Suderman, “A Multiplayer Game Environment Is Actually a Dream Come True for an Economist”, Reason, 2014-05-30.
February 22, 2015
At Open Culture, Dan Colman looks at how Monopoly evolved and changed before it became a fixture in children’s games, despite the intent of the original designer:
The great capitalist game of Monopoly was first marketed by Parker Brothers back in February 1935, right in the middle of the Great Depression. Even during hard times, Americans could still imagine amassing a fortune and securing a monopoly on the real estate market. When it comes to making money, Americans never run out of optimism and hope.
Monopoly didn’t really begin, however, in 1935. And if you trace back the origins of the game, you’ll encounter an ironic, curious tale. The story goes like this: Elizabeth (Lizzie) J. Magie Phillips (1866–1948), a disciple of the progressive era economist Henry George, created the prototype for Monopoly in 1903. And she did so with the goal of illustrating the problems associated with concentrating land in private monopolies. As Mary Pilon, the author of the new book The Monopolists: Obsession, Fury, and the Scandal Behind the World’s Favorite Board Game, recently explained in The New York Times, the original game — The Landlord’s Game — came with two sets of rules: “an anti-monopolist set in which all were rewarded when wealth was created, and a monopolist set in which the goal was to create monopolies and crush opponents.” Phillips’ approach, Pilon adds, “was a teaching tool meant to demonstrate that the first set of rules was morally superior.” In other words, the original game of Monopoly was created as a critique of monopolies — something the trust- and monopoly-busting president, Theodore Roosevelt, could relate to.
For more on the modern game, here’s the Wikipedia page.
February 9, 2015
In the Chicago Sun-Times, LeeAnn Shelton reports on an arrest in Las Vegas for computer-related crimes and (effectively) attempted murder by falsely reporting a serious crime at another address to get the SWAT team to raid that location.
A gamer known online as “Famed God” — who made up a murder to get police to go to an unsuspecting west suburban resident’s home last year — is behind bars in Nevada awaiting extradition.
Brandon Willson, 19, was arrested Thursday after authorities searched his home in the 4600 block of El Presidente Drive in Las Vegas, a statement from the Will County state’s attorney’s office said.
Willson used a computer to contact Naperville’s 911 center on July 10, 2014, and claimed a murder had happened at a home in the city, prosecutors claim. Naperville’s Special Response Team responded but found no crime.
The practice involves someone falsely reporting a dangerous situation to send police to another person’s home. It is known as “swatting” because the hoax calls can lead to deployment of SWAT teams.
Calling it a “dangerous prank,” State’s Attorney James Glasgow plans to craft legislation that would make swatting a felony in Illinois, the statement said. The bill would also require anyone convicted of swatting to reimburse municipalities for the cost of the emergency response.
February 2, 2015
James Lileks on when gaming stops being fun … because of the damned controller:
My wife asked if we had an xbox 360, and I said we did. She said that someone on the neighborhood mailing list wanted one and could we sell it. I balked. I haven’t played it for some time but there were two games I wanted to get back to, some day. Why had I stopped? Because I can’t play console games. I can’t aim. I can’t figure out the buttons. Once upon a time I was an ace at Halo, but that was long ago, and now there’s just TOO MANY BUTTONS. I’m a keyboard-mouse man and so it has ever been.
I will never finish those games. The reason they were unfinished was because my characters had walked into walls and fallen off horses and the controller felt like a ceramic croissant in my hand. One of them started out interesting, but turned into a driving game as I chased a suspect. My inability to drive had no bearing on the story; even though I rammed the car into phone poles and fire hydrants and mowed down pedestrians by the dozen, all I got was a “be careful!” from my partner.
Every standard image of console gamers shows them sitting back on a sofa, right? Plinking away, trash-talking, relaxed. Every good game I’ve played on a computer has had me on the edge of my seat. Literally. Tense. It’s the difference between playing and inhabiting, between popping in a game disk like you’d put in a movie or turn on the radio, and entering a world. It’s odd, really: the computer screen feels interactive, responsive, an immediate field of action, perhaps because it’s a couple of feet from my face. When I’m sitting in front of a TV, it feels peculiar to interact with it, because it’s supposed to be doing all the work. ENTERTAIN ME! If you do nothing during a game your character stands there, and that makes the TV screen like the real world. It’s like walking away from the TV for a few hours and coming back to see the news anchor is sitting at the desk eating a sandwich.
So out it goes. It’s a relief, really. When entertainment feels like obligation it’s best to look elsewhere.
I wonder if James was playing L.A. Noire, as that was pretty much the point at which I stopped trying to play the game … and my partner said something remarkably like “Be careful!” before I put down the controller and turned off the console.