"Vous faites quoi dans la vie ?"
"Je travaille au New York Times."
"Vous êtes journaliste?"
"Non, je fais des jeux vidéo..."
C'est un peu ce que Ian Bogost va pouvoir dire à présent. Un point en plus pour les "serious games".
Le NYT publie les jeux de Persuasive dans sa rubrique Opinion. Les News Games forment une classe à part dans le domaine. En choisisant un thème de société ou d'actualité, leurs propos sont souvent proche de la critique par caricature, en s'offrant de plus le luxe d'illustrer interactivement le point que l'auteur essait de faire passer....
As Persuasive founder Ian Bogost note, this move by the New York Times is unprecedented. "I think it represents another important shift in videogames as a medium ... The fact that the Times is often considered the national newspaper of record makes this moment even more notable, and gratifying," he said.
[ via Joystiq ]
Aujourd'hui, c'est Halo 2 qui en a fait les frais, à cause de cet innocent petit message d'erreur dans les outils d'exports fourni avec la version Windows Vista:
Past Splinter Cell games weren't exactly inviting to those who weren't willing to get past the steep learning curve and figure out the controls. Simply opening a door involved a series of button presses as you approached it, peeked through, and then chose from a list of entry methods.The developers at Ubisoft knew this would not fly in Conviction. A game that requires players to make quick reactions must have a control scheme that allows for easy interaction with the environment.
To meet this necessity, a three-button schematic has been put into place. One button will be for grabbing on to objects, say a chair, a doorknob or an enemy. Another will be for aggressive interactions. Depending upon the context, it might be used to kick open a door (or just throw a shoulder into it if you're running) or punch a cop that has the drop on you.The last button will be for stealth. Pushing it near a desk will cause you to duck underneath to hide, slowly open a door, or imitate the crowd around you. You can see how combinations of these buttons will allow for more complex interactions whereby you can do things such as picking up a table and then hiding behind it for cover or throwing it at an enemy as a weapon.
So here we are, ready to start development of our first game. We have the time, the resources, and the game idea itself. Where do we start?
Since both Charles and I are tech guys, we knew we could implement our game idea without any problem and make it sing and dance at a silky-smooth 60 fps. But would it be fun? Now that we have these brand-new designer hats, finding that always elusive fun factor is a big concern. The idea of waiting for a couple of months before we could tell if our game idea was fun seemed too risky, so we tackled that problem first and head-on by prototyping.
We could start at the bottom, write some low-level input handling, some graphics rendering, a basic asset pipeline, and all the other usual suspects. The problem is that, even if we try to keep things as simple as possible, it would still be several weeks or even months before we can actually start implementing the game itself. And even when we do, we'll always be running up against incomplete technology and having to spend time fleshing it out as we try to make a game come out of the other end.
Instead, we decided to start with a prototype. This isn't supposed to be a "prototype" that eventually morphs into a shipping game, or a prototype that uses the same technology as the production code, or even a prototype that's used to impress the big-wigs to squeeze some money out of them (ha!). No, all that stuff detracts from the ultimate goal of our prototype. Our approach was very similar to what Chris Hecker and Chaim Gingold described in their GDC presentation. We had the need to answer one very specific question: "Is our game idea fun?" And we wanted the answer as quickly and cheaply as possible. Everything else was secondary.
Robin Hunicke revient sur le pouvoir que les histoires exercent sur nous, au point que nos préférons de jolies mensonges à la simple vérité. C'est un principe intense, que de nombreuses industries ont bien comprise...
It’s that last one that really works, at least, for me. Right now, I’m looking at the story of different players and using that to communicate how different people might experience alternate tunings. Sure - the data can be crunched from save files and displayed in beautiful graphs with the help of spreadsheets and so on… but it’s the story that makes people nod and smile. Even when I’m talking about a player very different from them.
What makes stories so effective - even when they sell the wrong information? Something about us just loves the way they wrap everything up into an explainable phenomenon, I suppose...
[ GewGaw ]
Ah, nos amis analyste, futurologue et autres prévisionistes, que ferait on sans eux ? ^_^ Alors, voyons voir...
5. Traditional movie DVD, music CDs, and single-player console DVDs will fall 75% in 2012 relative to 1992 in the same markets. For the billions of young consumers in the new markets, purchase of intellectual products on media is effectively zero.
6. But revenues will come from services. Rentals, streaming, downloads, friend channels. Companies will have moved from a product focus to a service focus.
Yep, le passage d'une industrie du contenu a une industrie du service semble être une évolution raisonable. Quand les biens de consommation deviennent de plus en plus courant, c'est le service qui ajoute la plus value que le consomateur recherche...
7. What does the living room look like? All TV is on a PC box. The channels dedicated to communicating with pals are dominant. User-interface will be gesture-based. Revenue models are based on individual micro-purchases of content or of lots of low-cost subscriptions to content or channels.
LOL !!! Moi je dis que la télécommande est pas prêt de disparaitre...
8. The distinction between virtual goods and real goods will be seen as quaint. Virtual items and virtual worlds will lose the ‘virtual’ word. Virtual items will be seen simply as property
9. User generated content within games will be a given. All games will allow users to trade between each other safely and securely. Games that don’t allow this will fail.
10. The idea that game companies own the content that their players have bought or generated will be seen as an absurdity. If the user buys it – they own it.
LOL bis. La possesion des biens virtuels va être un sac de noeud aussi complexe que celui de la propriété intellectuelle. Aujourd'hui, quand on achete un CD, vous ne devenez pas pour autant propriétaire de la musique. Il n'y a pas de raisons économiques pour que cela change...
[ Next Gen ]
Juste LOL !!!
Le jeu épisodique, c'est comme le Graal, tout le monde en parle, mais personne ne l'a vu pour de vrai. Pourtant, c'est une idée qui semble porteuse...
Halper’s company has produced 120 episodes of games over the past five years including a series of shooters tied to the History Channel and fast-turnaround levels based on news events, almost always violent.
He said that episodic gaming is “incredibly immature” but emerging as a valid alternative to full-priced retail games. “It has many promises but also it has problems,” he conceded. “Episodic games are relatively inexpensive.
You can spend $500,000 on four episodes and you know very quickly if you want to proceed, or make changes or pull back. The games can be turned around quickly, in just three weeks, so we can react to events elsewhere.
They engender loyalty and appointment-to-play. Our players know when a new episode is coming up. And the games are not subject to the same [critical] dissection as boxed games, as players have a different set of expectations.”
But he said there are drawbacks. Right now the market is in flux as companies seek to find the right model. Episodic games might include very large titles like Sin or Half Life 2: Episode 1, with long lead times, or they might be paid-for content like Sam & Max. But he believes in the ad-supported model.
[ Next Gen ]
On dit souvent qu'Internet a aboli les distances. Et c'est vrai que notre génération a sans doute une vision du monde sans commune mesure avec celle de nos grands parents.
Ce que j'aime avec Twittervision et Flickrvision, c'est que ces deux dérivées de Google Maps remettent le monde en perspective. Observer en tant réel l'activité de Twitter de Flickr sur la surface du globe est vraiment une activité hypnotique...
Next Gen est devenu le grand spécialiste des listes en tout genres ^_^. Aujourd,hui, ce sont les studios Européens qui s'y colle. Sans grande surprise, l'Angleterre se taille la part du lion...
We have given each studio a point score based on the result of the analysis – the top rated studio on the list is worth 50 points, the number two studio 49 points, and so on. We have summed these points based on the developer’s home country, creating a leaderboard of the top European nations in the game industry. We present this leaderboard in the spirit of friendly international competition!
1. England – 887 Points
2. France – 109 Points
3. Scotland – 77 Points
4. Sweden – 58 Points
5. Germany – 51 Points
6. Denmark – 37 Points
7. The Netherlands – 16 Points
8. Ukraine – 12 Points
9. Norway – 9 Points
10. Romania – 8 Points
11. Finland – 7 Points
12. Russia – 4 Points
[ Next Gen ]