Bit-tech is running a feature examining the progress PC games have made over the past couple decades. The article highlights aspects of modern games we often take for granted or nitpick, and compares them to earlier games in which such features were implemented poorly or not at all. Quoting: "Doom's legacy is still being felt today in fact and it's a fair bet that you can take any shooter off a shelf, from America’s Army to Zeno Clash, examine it, and list a dozen things that those games owe to Doom. Things like the wobble of the guns and the on-screen feedback that tells you which direction you are being shot from — these were things that id Software invented. On the other hand, from a story perspective, Doom was absolutely rubbish. You start in a room, no idea what’s going on and you are surrounded by demons. You have to read the manual and supporting media to get a grip on it all — something modern games would get heavily slated for doing. Yet the idea that plot was optional caught on and the same flaw was replicated in other games of the era, such as Quake and (to a lesser extent) Duke Nukem 3D. There were years and years where the lessons of early story-driven games were forgotten and all anyone really cared about was having as many sprites or polygons as possible."

2D Boy, the independent game studio behind World of Goo, recently celebrated the game's one-year anniversary by offering it at whatever price buyers cared to pay. They've now released some sales statistics about how people responded to the opportunity. The average price during the sale was $2.03; the game normally retails for $20. According to a survey of why people paid what they did, 22.4% said it was all they could afford at the time, and 12.4% said they already owned World of Goo and were buying it for a different platform. (Yes, there is a Linux version.) Over 57,000 people took advantage of the offer, which was enough for 2D Boy to term it "a huge success." Interestingly, they also saw a significant increase in sales through Steam, and a smaller increase through Wiiware. They've decided to extend the experiment until October 25th.

quintin3265 writes "Yesterday, the video game remix group Overclocked ReMix released its 15th album, 'Humans + Gears: Xenogears ReMixed.' The album highlights work from the PlayStation 1 role-playing game Xenogears. The soundtrack to Xenogears was originally composed by Yasunori Mitsuda, who also contributed to soundtracks such as Chrono Trigger, Chrono Cross, and Xenosaga. The two-discs of 'Humans + Gears,' which began development in mid-2006, include 33 songs mixed by 31 different artists. The collection is free to download in this torrent, and a trailer is up on YouTube that should bring back memories to those who played the game back in 1998."

An anonymous reader writes "Infinity Ward's Robert Bowling (aka fourzerotwo), in an interview with BashandSlash.com on October 17th, announced that one of the mainstays of PC multiplayer gaming, dedicated servers, won't be in IW's upcoming sequel to Call of Duty 4. Instead, players will use the unknown 'IW Net' for matchmaking purposes. No dedicated servers means no player mods, no player maps, no organized competitive play, no clan servers, etc., and strips away what makes PC gaming different from console gaming. Many vocal gamers have canceled their pre-orders, and a petition to reverse this decision is already past 86,000 signatures."

itwbennett writes "The other shoe has dropped on the upcoming preview program for the next Xbox 360 update and it's going to cost you. In a post on the Major Nelson blog, Xbox's Larry Hryb reveals that this next update will lock-out unauthorized storage devices. As blogger Peter Smith reminds us, 'the Xbox 360 comes in two (currently) SKUs, one with a hard drive, and one without. The drive-less Xbox 360 Arcade unit is cheap ($199) but to realistically use it, you'll need to buy a "Memory Unit" (basically a proprietary USB stick) or an Xbox hard drive.... A 512 MB Microsoft branded Memory Unit goes for $29.99 at BestBuy.com. A 2 GB third party Memory Unit from Datel goes for $39.99, and the Datel unit is expandable using microSD cards....If you bought the Datel and it's full of data, between now and the launch of the new update you're going to have to run out and buy 4 of the Microsoft units at $29.99 each, or more likely, pick up the $99.99 60GB Live Starter Pack for Xbox 360.'"

The Installer writes "Wizards of the Coast is in the process of settling its claim against several individuals for illegal distribution of its newest copyrighted handbook. 'In one of three lawsuits brought by Wizards of the Coast LLC, a subsidiary of Hasbro Inc., US District Judge Thomas S. Zilly on Friday accepted a settlement in which Thomas Patrick Nolan of Milton, Fla., agreed to a judgment against him of $125,000.' These were the lawsuits that went along with WotC's decision to stop selling the handbook in .PDF format. 'According to court filings, more than 2,600 copies of the handbook were downloaded from Scribd.com, and more than 4,200 copies were viewed online before the material was pulled from the document-sharing site at Wizards' request.'"

An article at Gamasutra explores the decisions by Microsoft and Sony to launch significant hardware additions — their respective, upcoming motion-control schemes — in the middle of a console cycle, rather than waiting until the next generations of their systems are ready. It's indicative of a change to the established pattern of console wars; nowadays, it's more about adding features and gadgets to improve existing products than developing entirely new ones. Quoting: "... for Sony and Microsoft, motion controllers are their next-gen consoles. And it's a damn sight easier than launching Xbox 720 or PS4. They can debut these peripherals without needing to engineer completely new boxes for consumers, potentially bundle them over time, and they have a much better chance at getting exclusive games, thanks to the specificity of the hardware (something that's happened a lot for the Wii). Thus, both hardware manufacturers and publishers like EA see these controllers sparking new interest in Xbox 360 and PS3, which will delay the next dreaded console transition for another few years."

Martyn Zachary writes "The Slowdown has posted a new critique, 'Avataritis,' that attempts to portray the utilization of character customization as a pandemic, emotional response on behalf of publishers and developers to finding the easiest, most efficient solution to the very unique dilemma presented by the enlarging, widening player base of video games. 'No mechanisms are in place stopping developers from writing and designing heterogeneous yet fully structured, narrative-based computer games with carefully constructed and immutable, unchangeable characters.' The article discusses the emergence and role of gender criticism and research in relation to the recent proliferation of the customizable avatar. The story also dissects the very act of character creation, subsequently aiming to clarify several semantic distortions related to the terminology utilized in character creation, and in turn breaking apart the concepts of relatability and understandability, wholly differentiating the two. The overarching analysis is finally related to examples from the gaming marketplace, where many continue to corroborate apparent falsehoods and misunderstandings in relation to the utilization of the avatar. Ultimately, the writer hopes to dissuade readers, developers and players from believing that written narratives are going away as customization and emergent content are entering video games with full force."

When Nintendo returns to its roots next month by releasing a new, 2-D, side-scrolling Super Mario Bros. game for the Wii, it's trying to do more than simply hop on the retro bandwagon many publishers have ridden in recent months. Speaking at a roundtable discussion in New York this week, Nintendo game designer Shigeru Miyamoto talked about how they're trying to satisfy fans of the series who want challenging gameplay in addition to attracting new or casual players just looking for an entertaining platformer. Quoting: "... you can play the story mode single-player all the way through from beginning to end, and at any point along the way, you can add players from the world map and have up to four players cooperate to complete the levels. And beyond that, there are two dedicated multiplayer modes, one of which is free-for-all, which lets you select the stages from story mode ... so you can easily find the stage you like. And then there’s also a coin battle mode which is a competitive multiplayer mode, in which you’re actually competing for points and you’re getting ranked based on how many points you’ve collected. The free-for-all mode has kind of a similar feel to something like Mario Kart where you just happen to have four people over and you want to sit down and play a quick match in your favorite level."

An anonymous reader writes "Love, the home-made MMO game by Eskil Steenberg, has hit alpha. Check out the News page for details on the testing. A Linux version of the game is a possibility; Steenberg said, 'The numbers right now look good (around 1600 players), but I don't trust that that many will return next month, so I would still say the viability of the project is in limbo. In order to do ports to OSX and Linux I will need at least 2000 returning players.' Rock, Paper, Shotgun recently got a look at an early version of the game."

Kheldon writes "The MMO Gamer recently sat down with Lorien Gremore, lead producer on SOE's upcoming spy-shooter MMO, The Agency. They discussed various aspects of its development, such as the 'stickiness' of session-based games, striking a balance between FPS and MMO players, and whether or not The Agency even falls under the definition of a traditional MMO at all. 'You might be in Prague, and experiencing play with a lot of different other players; you might have come in at your field office and gone out into the city, encountering many other players doing missions that you are also doing,' Gremore said. She added that the game's areas are large enough to have 'lots of different people in them, collecting intel, engaging in public combat, all of those types of things. These areas are big enough that there’s shops, there’s secret spaces, photos to be taken of suspicious objects, things like that. They’re all out there in the world. We’re really trying to create a balance, where you’re encountering a lot of social situations, chances to get into groups with other people, just by merit of the fact that you guys are doing the same sorts of things in the same sorts of places.'"

An anonymous reader writes with this excerpt from Yahoo Tech outlining a system currently being researched: "Card counting is perfectly legal — all a counter does is attempt to keep track of whether the cards remaining in a deck are favorable to his winning a hand (mainly if there are lots of tens and aces remaining in the deck) — but it's deeply frowned upon by Vegas casinos. Those caught counting cards are regularly expelled from casinos on the spot and are often permanently banned from returning. But given the slim house odds on Blackjack, it's often said that a good card counter can actually tip the odds in his favor by carefully controlling the way he bets his hands. And Vegas really doesn't care for that. The anti-card-counter system uses cameras to watch players and keep track of the actual 'count' of the cards, the same way a player would. It also measures how much each player is betting on each hand, and it syncs up the two data points to look for patterns in the action. If a player is betting big when the count is indeed favorable, and keeping his chips to himself when it's not, he's fingered by the computer... and, in the real world, he'd probably receive a visit from a burly dude in a bad suit, too. The system reportedly works even if the gambler intentionally attempts to mislead it with high bets at unfavorable times." It's not developed in Vegas, though, according to the brief description (the other projects are also interesting) from the University of Dundee's release, but rather in conjunction with the Dundee Casino.

An anonymous reader writes "In this week's issue of Nature, scientists from Princeton University trained mice to navigate around a virtual environment using a setup that resembles a combination of a giant trackball and a mini-iMax theater displaying a virtual world rendered using a modified version of the Quake 2 open source game engine. (Here's the academic paper, subscription required.) They hold the mouse's head still atop a giant trackball, which the mouse turns by running. The scientists use the rotations to move the mouse around in the virtual environment, and when he reaches certain places, he gets a reward. Because they are able to hold the head still, they can stick microscopic glass electrodes into individual neurons in the hippocampus of this mouse as it 'navigates.' They find the neural activity that resembles activity during real life navigation, and learned new things about the inputs and computations that are going on inside these neurons, which weren't known before. No word as of yet whether the scientists plan on giving the mice control of the gun. Wonder whether John Carmack ever envisioned this when he opened up the Quake code?"

This opinion piece takes stock of Sony's PlayStation Store, examining its flaws and the areas Sony needs to improve as their gaming systems come to rely upon it more and more. The problems and suggested solutions involve everything from UI elements to demo availability to pricing inconsistencies. "Some people may say that the Microsoft Points scheme is a little confusing, but it is consistent. If a game is 800MSP in the US, it's 800MSP everywhere else. What a MSP is worth is up to the store, but for the most part they're close. The PlayStation Store on the other hand can be all over the place. While most games in North America keep to the same price point — such as $9.99 or $14.99, converting that over to Europe is another thing entirely. For example, Flower came out earlier this year for $9.99USD. In Australia a $10USD game gets converted to $12.95AUD. Or does it? Bomberman Ultra just came out, and it's $15.95AUD. Heavy Weapon gets released for $12.95AUD, while Capcom’s previous efforts, like Commando 3, convert to $15.95. The same thing also happens for more expensive titles. Both Battlefield 1943 and Fat Princess were released for $14.99 in the US, but in Australia they're priced at $19.95AUD and $23.95 respectively."

babboo65 writes "Dungeons and Dragons Online is enjoying a second life in terms of player count and buzz, all thanks to its new business strategy: giving the game away. Turbine is making their MMO as accessible as possible, and that includes making players who don't pay anything as happy as possible. Subscriptions are up 40 percent. Ars explores how free can be very profitable."

Vigile writes "When you sell over 100 million handheld gaming systems, everyone wants to be involved in your success; just ask Nintendo. As a company with many different obstacles in its path, NVIDIA could definitely use the boost in revenues that would come from partnering with a company like Nintendo on a handheld system, and it looks like the Tegra processor will make that happen. The NVIDIA Tegra processor is an SoC that runs a set of ARM cores, a GeForce-based graphics core and an HD video processor capable of 1080p output that would definitely give the current Nintendo DS/DSi systems a performance boost in line with the Sony PSP. The 'Nintendo TS,' as it has been dubbed, will apparently be ready for a late winter 2010 release and should put a spark in the mobile gaming market and give Nintendo's developers the power to bring higher quality games to the platform."

Gamasutra is running an article about the state of game development on Android. The author explains some of the strengths and weaknesses of the platform, and makes comparisons to development on the iPhone. Quoting: "While iPhone apps are written in Objective C, the Android SDK uses relatively more programmer-friendly Java. The iPhone store charges developers $99 a year to distribute their apps, while Android has a one-time $25 fee for developers. And the review process for iPhone apps grows increasingly lengthy — sometimes weeks or more — and it's somewhat arcane. Android apps go live as soon as the developer hits the publish button. Google handles the review process post-hoc, and is much more lax in terms of content. ... For now, if a developer decides to implement a game exclusively for a particular smartphone platform, and the choice is between the iPhone and Android, the tradeoff is between trying to get noticed in an incredibly crowded and competitive market where the potential payoff is huge for those at the top, or entering a market with low barriers, little competition, currently low returns, but the possibility of potential growth."

The Entertainment Software Rating Board has been around for 15 years now, overcoming an ineffective start and a host of controversial events to become a fairly well-respected ratings agency. However, as this article at The Escapist points out, the world of video games is changing, and the ESRB does not seem to be adapting along with it. "The most pressing problem is the ESRB's reluctance to address online interactions. Seeing as we're moving more and more toward online and internet-enabled games, this inevitably limits the ESRB's authority as a ratings board. Although the ESRB rates the submitted developer content within online games, these ratings are always qualified by an important disclaimer: 'Online Interactions Not Rated by the ESRB.' To date, this has meant that the rating given to the designed game content doesn't cover chat and other forms of player-to-player communication. That's unfortunate, because the ESRB's intimate relationship with the game industry could provide it with a unique vantage point from which to evaluate aspects of online games that are beyond the purview of other would-be raters, including the quality of the game's moderation system, programmed restrictions on chat and known player demographics."

jtogel writes "Many games use 'rubberbanding' to adapt to your skill level, making the game harder if you're a better player and easier if you're not. Just think of Mario Kart and the obvious ways it punishes you for driving too well by giving the people who are hopelessly behind you super-weapons to smack you with. It's also very common to just increase the skill of the NPCs as you get better — see Oblivion. In my research group, we are working on slightly more sophisticated ways to adapt the game to you, including generating new level elements (PDF) based on your playing style (PDF). Now, the question becomes: is this a good thing at all? Some people would claim that adapting the game to you just rewards mediocrity (i.e. you don't get rewarded for playing well). Others would say that it restricts the freedom of expression for the game designer. But still, game players have very different skill levels and skill sets when they come to a game, and we would like to cater to them all. And if you don't see playing skill as one-dimensional, maybe it's possible to do meaningful adaptation. What sort of game adaptation would you like to see?"

TheProphet92 sends along a speculative piece about the future of EA's popular RTS franchise, writing: "EA's real-time strategy games don't have the luxury of extensive funding the way some other franchises do. EA has been milking their game engines for all they're worth and then some. They have been using various versions of the 'Sage' engine for the past half-dozen or so RTS games, and they need money to make a new one. Perhaps an MMO is the way to go for EA, using none other than their famous Command & Conquer franchise."