The Axe swings again

While all our attention was focused on the bells and whistles of E3, bad things were happening back in Viena. My condolences to the over 100 guys and gals who are now looking for another job. Special best wishes to ex-democoder fellow and great dude Erik Pojar. It’s eerie that this news comes a week after Take 2 decided to close their Salt Lake City studio Indie Built, and just a few days after they announced the opening of a new studio in Shangai.

Hm, advertising management software can be incredibly insensitivesometimes (nice catch Bak!).

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SpacePaint available

Inspired by the 48-hour game compo and Jari Komppa’s excellent And The Sky Is Full Of Stars, I sat down and wrote a little minigame, unimaginatively named SpacePaint. Source code included so you can have a laugh. It served as a nice learning tool for the most basic OpenGL, which I had actually never used before (go figure).

Even though the difficulty is not properly balanced, I’m quite happy about the way this strange gameplay concept worked out.

Edit: Uploaded a tweaked version with installer.

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Original IP?

From EA’s press release: "At E3, EA will debut of Orcs & Elves, id Software’s first original intellectual property since Quake"

Orcs & Elves are original. Woooohoooo! 🙂

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The birth of the 360

The GameSetWatch people continue to be a great source of interesting reads. This time it’s about the process of creating the XBox 360.

One excerpt surprised me: "Microsoft’s brass was worried that Sony would trump the Xbox 360 by coming out with more memory in the PlayStation 3. So in the spring of 2005, Microsoft made what would become a fateful decision. It decided to double the amount of memory in the box, from 256 megabytes to 512."

Having been one of the many developers who believed that 256 megs of RAM was going to be a disaster of epic proportions (and I wrote as much in my feedback report), I can’t help but disagree with the term "fateful". 🙂

I don’t think I’m breaking any NDAs if I say that Microsoft did a great job of listening to developer feedback. Almost all of the major concerns that most developers had with the system and plans were addressed quite successfully.

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Word of mouth

Apparently, Hollywood is scared to death because they can’t make crap and get rich like they used to. Lynda Obst points at videogames and other distractions (your guess) as reasons why teenagers are not as interested in visiting the movie theater and digesting their latest piece of shit. Gasp! Could teenagers have suddenly become smarter? Surely not.

The secret that is about to kill the movie industry turns out to be word of mouth. Woah! The idea is that, with the very quick methods of communication available today, all the marketing power in the world can’t make a turd sell well beyond its opening night. If people think a movie is crap, they will tell friends in a matter of hours and the movie will instantly tank.

The conclusion: Movie studios are going to have to work hard at making good movies for people who want to pay to watch them, instead of cashing in on cheap thrills for kids. Hopefully she realizes (although it’s not clear) that a whole generation of adults in our 30’s now also prefer to play a good game rather than watch a bad movie.

Of course, game developers must not lose sight of the lesson, lest we make the same mistake. According to many, we are already in the same boat as far as the crap-O-meter is concerned.

The article is equally irritating, humorous and interesting. The story about how the Doom movie took a nosedive after opening night is particularly thrilling.

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The Inside Man

What a wonderful, entertaining and intelligent movie! I’ve never been a fan of Spike Lee, but with The Inside Man he manages to disguise as a "standard" cop movie what really is a diatribe about deception, racism and how everyone can be fooled by appearances and preconceptions. The movie has many characters, but with just a few lines of dialogue, they all communicate a lot about their personality, background and motivations.

A masterpiece of the rarest kind.

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That time of the year

Back home from work at 23:30 (that’s 11:30pm for you americans)… hm, yeah, it must be that time of the year. I’m not travelling to E3 this time, and I can’t say that I’m terribly sad about that. I mean, it’s always cool to get some hands-on experience with new stuff, and see old friends sweating behind closed doors in the epic fight against sensory overload. But the media coverage for E3 has grown so comprehensive, that I would expect to come back and the people here had seen things I hadn’t even heard of on the showfloor. This year Microsoft will kindly provide even more material via XBox Live! Doesn’t get more convenient than that.

For developers, during the weeks leading to E3, it always becomes tough to balance keeping your steady progress in the internals of gameplay, logic, optimizations, etc. with the need for including as much flashy, memorable and NOISY stuff, as well the appearance of polish wherever your project is still underdeveloped. But making the effort to work to those details is worth it if you have a reasonable plan that took the event into account. It’s never perfect, and the aftermath of wrapping up an E3 demo is usually filled with unwinding pieces of code and content that you hacked during the last days.

So, to any colleagues burning the midnight oil these days, best of luck and have a great show!

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Oblivion

So I sat down and spent a few more hours with the Oblivion on the 360, trying to enjoy it. And I’m almost there! Almost… but not quite! I realized that I was reliving the Everquest 2 experience (and Black & White before): a game that is interesting and has many things to do, but I end up not having fun doing them. A game where I like some bits of the graphics but never stop feeling like it’s all just cardboard cutouts. A game where every time I want to do something, I find some bureaucracy is required.

The world has day/night cycles and people go about their lives accordingly, but they often don’t fit into my private playing agenda, unless I force myself to follow those cycles too. It is initially impressive and immersive, but I always end up feeling immersed as an observer, as a spectator, as a participant, but not as a player.

Automatic level scaling means I can do things in whichever order I want, but also that I never become very powerful compared to how I was in the beginning. I’ll never be able to go back to a previously rough spot and just rip them apart for revenge. I’ll become a hero through my participation in the quest lines, not out of sheer power improvements. Level progression becomes a strange annoyance instead of one of the main indicators of advancement (indeed, a friend finished the main quest at level 2). They should have simply taken levels out of the game.

The interface is brilliant, but still fails to put in my hands the power of a very complex character sheet, with dozens of spells, scrolls and potions. With only 8 hotkeys for everything (4 of them very unreliable) and which can’t really be used while moving, I fight the interface more than I fight the creatures.

So… what kind of game is this, what’s the key to its success? Is it fun? Is it interesting? Is it impressive? Is it hype? If nothing else, it’s a huge world with many choices of things to do, and a bunch of predefined content lines to provide some guidance and goals.

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Kenta Cho speaks, you listen

Little Mathematics has recently interviewedKenta Cho. He knows how to make beautiful, engaging and unique games, he releases them for free including source code, and he does it all out of sheer love for the classic shooting genre.

And of course, he loves Geometry Wars on the 360. 🙂

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