Thursday, March 31, 2011

Force Unleashed 2 producer walks UPDATE

IGN reports that Haden Blackman -- executive producer and writer on The Force Unleashed 2 -- has left LucasArts after 13 years at the company. Specifics aren't clear, but LucasArts says development on FU2 won't be affected.

Blackman's statement to IGN reads:

"I've had a fantastic time working with the team at Lucasfilm and am really grateful for their ongoing support. While the decision to leave LucasArts did not happen overnight or come easily, I really feel that now is the best time for me to move on and explore new creative challenges and I look forward to the next phase of my career."

We've contacted LucasArts for clarification on the situation and will update this story as necessary. Blackman's work on the Star Wars franchise at LucasArts stretches well beyond The Force Unleashed games and it's not clear if he will continue to contribute to that body of work.

Source:
Force Unleashed Producer Resigns [IGN]

UPDATE: LucasArts responded with the following statement -- "After 13 years of service, Haden Blackman has resigned from LucasArts. From launching Behind the Magic to delivering Star Wars: The Force Unleashed I and II, Haden has been an invaluable member of the team during his tenure with the company. We are extremely grateful for his many contributions, fully support him in his new endeavors and wish him all the best in the future."

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Lord British wins $28 million in NCSoft lawsuit

Game developer Richard "Lord British" Garriott won a $28 million lawsuit against former employer NCSoft today for breach of contract. The Korean-based software company fired him while he was in space.

Lord British wins $28 million in NCSoft lawsuit

No, seriously -- Garriott took a leave of absence from NCSoft (which bought Garriott's company, Destination Games, in 2001) during the year of 2008 to pursue his dream of space flight. After traveling with Russian Soyuz spacecraft to the International Space Station, he was informed during post-flight quarantine that his time at NCSoft was up.

At issue in the lawsuit is whether or not NCSoft violated their contract with Garriott about what to do with his stock options in the company if he ever left. The contract said his stock options were supposed to remain in place "in the event of his termination by the company, but would expire within 90 days in the case of his voluntary departure."

NCSoft claimed Garriott left voluntarily, thus forcing him to sell his stock options early in a lousy market (think mid-recession), which cost him millions of dollars, Garriott's lawyers argued. The jury agreed that the contract was breached and awarded Garriott $28 million in damages.

Not like he needs the money, but firing someone while they're in space and then saying he left voluntarily is a raw deal. Sure, he technically did drop off the face of the planet, but it was a planned leave of absence.

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Daily (Stale) Bread: The news we didn't post on August 17th, 2010

Despite our best movie-going efforts, Scott Pilgrim doesn't do too well at the box office, World of Warcraft: Cataclysm gets a collector's edition, and Persona 3 gets a mobile-phone spin-off.

Geeks on a bad streak at box office
AJ: This isn't directly game-related but very interesting. Apparently, geeks won't shell out to see movies, but older chicks will, so Eat, Pray, Love kicked the shit out of Scott Pilgrim at the box office despite Scott Pilgrim being the better film in the eyes of critics

Will: I would Eat, Pray, Love to head-butt Julia Roberts until she exploded into coins.

Dave: I saw Scott Pilgrim on Saturday at noon at a divey San Francisco theater. The venue and time may have played a part, but there were only six people at the show.

AJ: Our theater was half-empty, too, but everyone cheered like crazy.

Will: Mine was pretty packed, and it was on a Sunday night.

AJ: Will lives in a cool neighborhood.

Will: *pops collar, puts on shades* Deal with it.

Blizzard unveils collector's edition of 'World of Warcraft: Cataclysm'
Will: There's something horribly daunting about the Cataclysm Collector's Edition box.

Tae: What, like all the souls soon-to-be lost to its infinite glory?

Will: Something like that.

Persona 3 Social Announced For Mobile Phones
AJ: Dammit -- I read this thing about Persona 3 social on phones and got all excited, but then I realized they cut out the dating sim segments, so, you know, what's the point?

Will: The game's story and engaging characters?

AJ: Ha, yeah, right, but seriously...

Will: ...

AJ: Okay, I'm off to my doctor's appointment.

Dave: I give you this blessing:

Tae: Awesome. Now I'm protected against laughing.

Dave: That clip has falsetto, a fake mustache, and weird religious tribalism. According to my math, it's hilarious.

Tae: Carry the one, Dave, and you'll see it actually results in negative hilarity x infinity.



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LucasArts confirms staff layoffs

Reports this morning say there's a 30 percent staff reduction at LucasArts going into effect today. We got confirmation from LucasArts with the following statement:

"LucasArts is reorganizing its teams to better address the needs of the internal studio. Unfortunately, this means adjusting staffing. LucasArts continues to be committed to creating a first-class internal studio – and to fostering relationships with trusted external partners – in order to deliver quality games that amaze and inspire fans."

The representative we spoke to declined to name the total number of staff gone, or which departments suffered the most drastic cuts. The initial report began at Kotaku as a rumor a little over two weeks after Haden Blackman left the company.

GamePro will continue to follow this story as it develops.

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Gamer banned for having 'Fort Gay' in Xbox Live profile

The town Fort Gay sits in West Virginia near the Kentucky border. The area was first settled in 1789. In most respects, it's an unremarkable burg. But a town with a name like Fort Gay could land you a ban on Xbox Live.

According to the report from the Associated Press, 26-year-old Josh Moore recently saw his account suspended by Microsoft for a few days for violating Xbox Live service's code of conduct. Although his account has been restored and Microsoft has apologized for this unique situation, the incident brings into question how much wiggle room Microsoft has built into policies intended to protect players from harassment. Would a gamer from locations with suggestive names such as Beaver, Arkansas, Gayhead, New York, Intercourse, Alabama, or South Dildo, Newfoundland and Labrador receive a ban as well?

We left messages seeking comment from Stephen Toulouse, the director of policy and enforcement for Xbox Live, and are waiting for a call back.

According to the AP, Moore attempted to explain that Fort Gay is indeed a real town to Microsoft. But the customer service representative that he talked to allegedly wouldn't check and warned Moore if he returned "Fort Guy" to his profile that Microsoft would cancel his account and keep his Xbox Live fee, which he had already paid for two years of service.

Also according to the AP, the situation began when an Xbox Live agent received a complaint about Moore's account for review. Toulouse rescinded the suspension when it was brought to his attention, says the AP.



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Who could Guillermo del Toro be working with to make games? THQ, duh

Film director Guillermo del Toro previously hinted to MTV that he and a "big company" were talking video game deals. Today, he comes out and tells them it's THQ.

In an interview with MTV News (via MTV Multiplayer blog), del Toro said, "With THQ we're looking at around a three year developing deadline for each game. Big games. More details forthcoming, but we are truly exploring them in a serious manner. Expect the first game, best case scenario, 2013."

THQ isn't one of the studios we originally imagined when del Toro first hinted at the project, but given the publisher's commitment to off-beat projects like Double Fine's Costume Quest and to transmedia intellectual properties, it seems like a good fit. THQ's 2011 lineup includes Homefront, Warhammer 40,000: Space Marine, Red Faction: Armageddon, WWE SmackDown vs Raw Online, a de Blob sequel, and Saints Row 3.

The director said to expect a formal announcement in the next few days. Beyond that, he said of the mystery game, "It's horror...but it's a very different type of horror game. It's not survival horror. It's truly a strange, geeky mix. It's a Lovecraftian thing. Let's leave it at that."

Representatives from THQ did not respond to request for comment on this story.

UPDATE: THQ shot us the following response, "At THQ, we are focused on the highest level of creative development by putting artists first. Guillermo is one of many creative artists that we respect and would be interested in working with. However, at this time, we do not have any formal announcement to make."

Source:
Guillermo del Toro Confirms, Details THQ Game Series [MTV Multiplayer]

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Industry reacts to "EA Louse" blog post

An anonymous blog poster calling themselves "EA Louse" (get it?) dominates video game industry gossip today. Here's the breakdown of reactions.

ETA: EA Louse claims they're about to be dismissed from BioWare Mythic (and we can infer that they're in the art department, although we don't know in what position), the studio that produced Warhammer Online: Age of Reckoning. Among other claims in the blog post (like the one about Star Wars: The Old Republic costing EA $300 million in development so far), Louse says that the game failed due to incompetence of their superiors.

1) The media: (Mostly) hated it
Gossip is fun to write about, but with no verifiable facts on which to base a straightforward report, most media sites like Gamasutra, Kotaku, and Joystiq avoided EA Louse (so far). As of press time, only Develop, 1UP, and VG247 picked up the blog post to run as a rumor story around some of EA Louse's more outrageous claims about layoffs and EA's development costs.

2) The developers: Hated it
Count on God of War developer David Jaffe to let loose wherever he sees injustice. Rather than coming down on EA's management, however, Jaffe sides with the so-called "higher-ups" EA Louse calls out in his original blog post. "What the f*** is it about making games where it brings out the worst, most immature, most obnoxious sides of certain types of people on a team?" Jaffe's blog post reads. "Everyone thinks they always know better than the people in charge."

3) The publishers: No comment
We reached out to EA for comment this morning and discovered that its public relations arm was unaware of the post. After waiting for publicists to see the material in question, we received the following response from Tammy Schachter, vice president of public relations: "Sorry but we don't respond to rumors or anonymous blogs." Other larger publishers, notably Activision, have also avoided public comment.

4) The audience: Loved it
With over 600 comments less than 24 hours after its posting, it's clear EA Louse struck a chord with people. Though there's no definitive explanation for what that might be, we have some ideas. First, notice how EA Louse has about four times the number of comments the Wives of Rockstar San Diego blog letter generated on Gamasutra in January. Comparing the two works reveals a pattern: Louse names names while the Wives speaks in general terms; Louse's post is easy to read and contains striking words like "f***," "fail," and "joke" while Wives are formal to the point of obscurity; Louse complains about a job they already lost while Wives complain about people who still have jobs.

Whether you loved EA Louse or hated it, you can find the post here. If you want an idea of what might happens as a result of the post, check out our analysis on the Wives of Rockstar letter. Also, for a fun experiment, see how this alleged Valve employee blog post filed today does in the wake of EA Louse.

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Wall Street Journal: Zynga gave advertisers user info

The Wall Street Journal reports this morning that all 10 of the most popular apps on Facebook transmitted user IDs to outside companies in violation of Facebook's privacy policy -- and sometimes even their own.

Wall Street Journal: Zynga gave advertisers user info

Included on that list is Zynga, operator of FarmVille, FrontierVille, and Texas Hold 'Em Poker. The Journal alleges that Zynga transmitted personal information about its users' friends to outside companies. The article does not say to which companies this information went, though it does call out LOLapps for transmitting user data to profile-selling site, RapLeaf.

Toward the end of the article, an unnamed Zynga spokeswoman told the Journal that Zynga has a strict policy of "not passing personally identifiable information" to third parties. Nowhere does this spokeswoman address the Journal's assertion that Zynga did.

We've reached out to Zynga for clarification on the issue. Study up on the Facebook privacy policies here and Zynga's privacy policy here.

Source:
Facebook in Privacy Breach [The Wall Street Journal]



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Yes, John Romero's new game is a Facebook game

Fun fact: While still employed at the place that canceled his massively multiplayer online game, developer John Romero consulted with LOLapps to make a Facebook game called Ravenwood Fair.

Yes, John Romero's new game is a Facebook game

If you've been following the news, you'd know that Facebook turned off LOLapps in the wake of a privacy breach scandal uncovered by the Wall Street Journal. According to VentureBeat, this means John Romero's new game is officially delayed until LOLapps sorts out its privacy issues.

Ravenwood Fair is a Facebook social game where players build thriving Renaissance fairs in a fairy tale forest filled with mythical monsters that need ass-kicking. Think FrontierVille meets Sim City.

It's a far cry from Doom or Quake, but in his interview with VentureBeat, it sounds like Romero sees social games as a natural evolution for game developers. They are called "games," right?

Source:
Creator of the fierce Doom and Quake games tries his hand at a cute Facebook app [VentureBeat]

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Fallout parent acquires Vanquish dev's studio

ZeniMax, parent company of Fallout and Oblivion developer Bethesda Game Studios, announced the acquisition of Shinji Mikami's studio today.

The new deal brings Mikami's Tango Gameworks under the ZeniMax umbrella, which current covers Bethesda, id Software, and Arkane Studios. Mikami maintains headman status at Tango.

A statement given with the press release from Mikami says that the developer is excited to join ZeniMax, given its history with AAA titles. "It's refreshing to find a publisher who understands, trusts, and supports the development of blockbuster games and works to make it a collaborative effort," his statement reads.

Mikami is no stranger to AAA titles himself, however, with the Resident Evil series under his belt. His work with fellow developer Goichi Suda at Grasshopper Manufacture on the upcoming Shadows of the Damned also speaks to his taste for high profile games.

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Here's what Will Wright is up to these days

What's The Sims creator Will Wright doing these days? Making "community developed television" about a mystical watering hole at the edge of the universe.

Will Wright's TV show

Wright's new show is called Bar Karma and the only reason you can't watch it yet is because you -- the community -- haven't created it yet.

Bar Karma runs on a platform called Current TV out of its Creation Studios channel. The idea is that viewers influence and even change Bar Karma episodes by pitching their own storyline ideas and storyboards. The community then votes on the one they like best and the producers go out and shoot it. There's a bit of a gray area between producer and community in that the producers probably have to adapt and edit the community ideas -- but it's still supposed to be a 30-minute television episode invented entirely by a community.

If the Spike TV Awards bestowed a "So Meta" award, Wright probably deserves it. Now if only he could adapt the idea to video games...

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Christopher Nolan's Inception video game UPDATE

Director Christopher Nolan revealed Inception video game ideas today at a press event for the movie's release in Italy, covered by film industry publication, Variety.

Christopher Nolan looking at Inception video game

If you saw the film, this meme is hilarious.

The summer blockbuster starring Leonardo DiCaprio grossed $753 million worldwide ($285 million domestically, $468 internationally), according to Warner Bros. Studios. Inception also has the distinction of being the only summer movie to hold a top 10 spot in the American box office for 10 straight weeks. The film hits 600 screens in Italy this Friday.

Nolan said at the press event, "One thing we are looking at doing is developing a video game based on the world of the film, which has all kinds of ideas that you can't fit into a feature film. That's something we've been talking about and are looking at doing long-term, in a couple of years."

It doesn't sound like he speculated on what form an Inception game might take, but Nolan did talk about his fears that the film would be misinterpreted as "puzzle-like." That's probably not something he'd have to worry about in a video game, especially if he's going for mass market appeal.

Right now, the star director is busy on a script for Batman 3.

UPDATE (Dec. 1, 2010): Nolan told Entertainment Weekly blogger Jeff Jensen that the game is officially in the works:

"I always imagined Inception to be a world where a lot of other stories could take place," says Nolan. "At the moment, the only direction we're channeling that is by developing a videogame set in the world." He declined to elaborate on details or time table, only to say that he was developing the game with a team of collaborators and that it was "a longer-term proposition." He calls the medium of videogames "something I've wanted to explore" — and certainly a veritable massive multiplayer online role playing game (as imagined by Carl Jung) would seem to be a perfect for the interactive, non-linear dream world of Inception.

Source:
'Inception' grosses $753 mil worldwide [Variety]

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Analysis: What's Really Happening With Rockstar San Diego

Are we seeing a repeat of EA Spouse, or just a lot of steam being blown off by anonymous disgruntled employees? Rockstar's not talking and the wives of employees have said all they mean to say – but our experts provide some insight.

Last Friday, industry website Gamasutra posted a letter from individuals claiming to be the wives of Rockstar San Diego employees that decried working conditions at the company and demanded "immediate action to ameliorate conditions of employees."

That post set off a series of anonymous reports from alleged Rockstar employees to numerous publications to similar effect. These sources say that working conditions in various Rockstar studios are in bad shape between delayed games and unhappy employees; and they lay the blame firmly on management. With tensions rising all week long, journalists likened the situation to the EA Spouse blog post of 2004 where the fiancé of an EA employee drummed up community support while her partner took the company to court for unpaid overtime wages.

However, this time around, there is no lawsuit. The last worker-related lawsuit involving Rockstar was filed in 2006 and settled out of court in April 2009. As of right now, there are no official complaints on record with the International Game Developers Association about Rockstar San Diego (although the organization is opening an investigation into the situation). And through it all, Rockstar has had "no comment." Although they did post this wallpaper after one anonymous source compared Rockstar New York to The Eye of Sauron:

Analysis: What's Really Happening With Rockstar San Diego

To find out what's really going on – why Rockstar won't talk and why nobody is taking legal action – we turn to expert sources outside Rockstar for insight.

The Power Play Angle

The first angle we approached the situation from was a public relations perspective. Why wouldn't Rockstar defend itself against these allegations, even if there is some truth to them?

Tom Ohle, Director of Evolve PR and games industry veteran of eight and a half years, answers: "At this point, if you come out and make a statement, you're legitimizing it."

Ohle explains that as the situation stands, what's going on at Rockstar is a human resources issue, not a public relations one. That doesn't mean that the publicists at Rockstar are doing absolutely nothing. Obviously, if Rockstar's parent company Take-Two suffers a loss of investor money over this incident, Rockstar will have to say something. But until that becomes apparent, their hands are tied.

"As a PR guy, it sucks to say this," Ohle says, "but my initial reaction is to wait and see if it dies down. Anything you say will be taken the wrong way, anyway. It's a no-win situation."

Until something happens – like a formal complaint being filed with the IGDA or a similar workers' rights group taking the issue to court – Rockstar's image could go either way.

The Legal Angle

So our next question is why haven't the wives of Rockstar San Diego employees gotten their spouses into court? There's certainly precedent for it with the EA Spouse incident barely four years behind us.

In that instance, EA was already quietly involved in one lawsuit with Jaime Kirschenbaum about unpaid overtime when in November 2004, Erin Hoffman – fiancé of EA employee, Leander Hasty – posted anonymously about the poor working conditions on Livejournal. Hasty filed his own lawsuit against EA four months later and was shortly joined by other EA employees. The cases got massive media attention both from the games industry and from mainstream news publications and EA settled the cases out of court.

Analysis: What's Really Happening With Rockstar San Diego

Precedent, however, may not be good enough to get Rockstar into court over the Wives' letter. We spoke with Gary Paranzino, an attorney who runs his own firm dealing with legal issues between employers and their employees. He points out that in general, very few workplace issues can be resolved using the legal system. He tells us that the employees at Rockstar San Diego probably can't take their grievances to court successfully.

"The legal system doesn't provide a practical remedy for bad management or working conditions," he tells GamePro. A non-exempt employee can sue for unpaid overtime wages, but beyond that, there's nothing a Rockstar employee can use as a means to take Rockstar to court.

"Our model for workplace protection evolved out of blue collar jobs," Paranzino explains. "As our workforce moved toward desk jobs where there's a higher technical skill level involved with the work, we haven't changed the laws to protect them."

Worse, he says, in cases where the employees are working desk jobs that hundreds of aspiring game developers would kill for, there's very little proof of or sympathy for the psychological stress a bad work environment can inflict on an employee. Unless the working conditions at Rockstar cause someone's arm to be chopped off, or wages go unpaid, Rockstar employees are left to rely on their human resources department almost entirely to resolve the tension in the workplace.

And because of a third angle to this issue, the situation at Rockstar might not even make it that far.

The Cultural Angle

The third angle to the Rockstar San Diego issue isn't immediately obvious, but you can see it in the comments on the initial Gamasutra post and on other news stories where anonymous Rockstar employees have vented their frustration: There is a cultural barrier that these developers are up against when fighting for their rights as workers.

Analysis: What's Really Happening With Rockstar San Diego

"As a group, developers are not considered a downtrodden class," Paranzino says. "They're in this industry because of the rush they get from working on a great game."

There's a cultural mentality associated with being a game developer that creates an expectation of crazy-long work hours and unhealthy amounts of Mountain Dew. It's almost a mark of pride for some developers to boast how much overtime they clocked on a game – if it ships and if it's a hit, that is.

The cultural issue goes deeper than that, however: As an educated workforce producing video games, most developers probably see themselves in the creative, managerial role that defines the white collar working class. Claiming non-exempt status and emphasizing the need for structured hours and breaks could be viewed like an affront to a game developer's pride.

"A lot of people in the games industry like to work long hours," Ohle says. "It's their passion."

So What Comes Next?

Unless and until the situation escalates, the Wives of Rockstar San Diego letter and all of the press it's set off this week will remain an isolated instance of mudslinging that's conspicuously timed with the final stages of the development cycle on Rockstar San Diego's Red Dead: Redemption.

Analysis: What's Really Happening With Rockstar San Diego

"The team might not be willing to push this with Red Dead in production," Ohle speculates. "If the game gets delayed, that would be just as bad for them, ultimately."

And when the game does come out? What then?

"If no legal action is taken, it'll all blow over," says Ohle. "You could look at it like the Charlie Sheen situation. It's Rockstar – no one really cares [about working conditions there because] people like the games that they make."

You probably already guessed this, but we're obliged to tell you Rockstar did not respond to request for comment on this story.



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Analysis: How MMOs decriminalize real money trading

GamePro investigates the hazy intersection between law, economics, and gameplay that many massively multiplayer online gamers cross so many times when they buy or sell virtual goods.

Real money trading (RMT) may not be something you read about in your high school economics class, but it's something every massively multiplayer online gamer encounters every day. If the buying and selling of virtual goods using real money isn't something actively encouraged by the game itself, you at least hear horror stories about gold farmers causing prices of in-game goods to go up, or find eBay auctions of in-game items for crazy-huge sums of money.

Analysis: How MMOs decriminalize real money trading

Earlier this month, the topic of real money trading in MMOs made some ink when a South Korean Supreme Court acquitted two Lineage gamers of criminal charges related to selling in-game currency for actual money. At issue in that case was whether or not the gamers had violated a South Korean law against unsanctioned gambling; but by clearing them of the charges, South Korea effectively legitimized RMT in MMOs.

Don't quit your day job to take up Epic Gear brokering in World of Warcraft just yet, though; RMT is still a sore point for many game developers. In particular, you'll find that games like WoW frown on RMT within their End User License Agreements (EULA) or Terms of Service documents. People who violate those pieces of paper may not go to jail – but Blizzard can sue the pants off them for breach of contract (not to mention ban your account altogether).

Analysis: How MMOs decriminalize real money trading

Greg Lastowka

Rutgers University law professor Greg Lastowka explains the legal side of the RMT issue as a case where first, the game developers have to decide how vigorously they want to regulate RMT and second, where players might consider violating the game's EULA because RMT really pays off.

"Most game companies are concerned about the trade of real money for virtual property because they see it as a potential way of creating liability for them," Lastowka tells GamePro. "If [fraud] occurs in a virtual world, the game is in the middle, the game company has to be dragged into litigation. So if players can have property rights and legal claims to their virtual property, I think that scares game companies for the most part."

However, as long as there is no criminal law on the books with a country's government – like the anti-gambling statute that sparked the South Korean case – it's all on the game companies to go out and find people who violate their EULAs by engaging in RMT.

This is apparently quite the pain in the ass. Scan eBay auctions right now for Epic Gear in WoW (a game that explicitly bans the sale of in-game items for real money), and you'll find dozens of in-game things for sale, even fully leveled characters ready to be handed over to the highest bidder. Even without Blizzard responding to our request for comment on this story, we can just imagine how much of a headache it would be to keep track of every auction site and track back every contract violation to the actual perpetrator and then sue them for breach of contract in whatever country they're based.

Analysis: How MMOs decriminalize real money trading

Ultima Online

Lastowka sympathizes with game developers' plight. "Many companies decided that they weren't going to vigorously go out and try to shut down people who are trading real money for virtual property," he said. "The can say 'we don't care whether or not you trade virtual goods for money' and in a way with Ultima Online, Electronic Arts basically turned a blind eye to those kinds of trades."

This attitude among game developers is where RMT turns into a gray area instead of a clear-cut contract violation. "If the company says you're not allowed to do this while you're on our servers and then they do it, they're liable for contract violation, right?" Lastowka says. "But some lawyers think that breaching contract in some situations can be socially beneficial. That's called 'efficient breach.' Real money trading is not illegal in the same way that the government says you can't sneak into someone's house and steal their stuff. That's clearly illegal – but [RMT] is not criminal. It's only illegal in the sense that you could land in court if [game developers] decide to sue you and most of them won't."

If the company says you're not allowed to do this while you're on our servers and then they do it, they're liable for contract violation, right? But some lawyers think that breaching contract in some situations can be socially beneficial."

Finding RMT's place within MMOs gets more complicated than EULAs and lawsuits, though. Game developers have to consider whether or not it might actually benefit their company to allow RMT – and then take a cut of the virtual transactions.Lastowka explains that this is what's going on with Live Gamer in all Sony Online Entertainment games. By moving in as a third party that operates like an online auction site behind the scenes within all microtransaction-based MMOs, Live Gamer is basically engaging in a one-way RMT exchange that benefits both it and SOE – and the user as well, because it's clearly stated that nobody will sue them or ban their account for paying money to own better items.

A game company could go even farther with RMT and build it directly into the game for users to control. This is how Second Life and Eve Online have always handled virtual transactions; and both companies are enormously proud of the economies that have grown up in-game around RMT.

Analysis: How MMOs decriminalize real money trading

Second Life

Linden Labs sent us this statement when we requested comment on their reaction to the South Korea ruling: "Real money transfers have always been acceptable in Second Life. Linden Lab released this morning that Resident cash outs for 2009 were $55 million USD – an 11 percent growth over 2008. More than 50 people earned more than $100,000 USD each and the top 25 accounts earned a combined $12 million USD."

Real money transfers have always been acceptable in Second Life. Linden Lab released this morning that Resident cash outs for 2009 were $55 million USD – an 11 percent growth over 2008."

All that money is certainly nothing to sneer at; but it's also something a developer has to work hard to keep track of. We caught up with Eyjolfur Gudmundsson, Lead Economist at Eve Online developer CCP; as far as we can tell, he's the only full-time economist whose job it is to monitor an in-game economy. Even before CCP brought Gudmundsson on in 2007, the Eve Online economy was growing at an amazing rate as users latched onto the RMT mechanics built into the game.

Analysis: How MMOs decriminalize real money trading

Eyjolfur Gudmundsson

"All that you needed to make [the economy] work was to get as many people as possible into the game world so that people could specialize," Gudmundsson explains. "They actually managed to do that early on. In 2004, they already had 50,000 people online. Today with more than 330,000 subscribers we can say with full confidence that this is an economy that is driven by the players. In economic terms, we can say that the players make the decision on what to produce, for whom to produce, and when to produce it. These are often stated as basic principles of economics and that decision is made by the players, not by CCP."

Gudmundsson says that the economy in Eve Online follows basic economic principles, even though there aren't real-life economic constraints like the need to buy food for your character to survive. For example, if the player base shoots up, but there aren't enough in-game resources to accommodate them, prices go up; if users get more efficient at mining resources to the point where there's plenty to go around, prices go down.

"The problem I have seen with real money trading to date is that it is often or in most cases it is related to using exploits, hacking, using illegal methods to acquire these items in games," Gudmundsson explains. "Therefore, [RMT] has gotten a really bad reputation."

Analysis: How MMOs decriminalize real money trading

Eve Online

Issuing a blanket ban on RMT, however, isn't something Gudmundsson sees as entirely practical for an MMO developer or even a government to enforce. Not only is it "one hell of a monitoring problem" to keep up with every transaction that goes on both inside and outside of a game, he says, but RMT is sort of something that comes with the MMO territory.

"In general, players tend to exchange items between them," Gudmundsson says. "If you design a game that has at least two individuals within that game and those individuals can exchange items – I give you this and you give me that – you can rest assured there will be a market developed whether you like it or not."

If you design a game that has at least two individuals within that game and those individuals can exchange items – I give you this and you give me that – you can rest assured there will be a market developed whether you like it or not."

Instead of RMT being a legal issue or a financial incentive for MMOs, Gudmundsson says it should be a game design issue. "You have to think about it if your world is supposed to be an open world or a closed world," he says. "In an open world, you exchange and [trade] items but since it's an open world, you are restricted [by] real life regulation."

A closed world game, however, doesn't have to use real life rules because it's not supposed to be real life. "It's like going to a theater," Gudmundsson explains. "You're living in an alternate universe. And therefore it's important that those worlds be kept apart, that they can work and function by themselves. The restrictions would then be that those games cannot exchange the items outside of the game, even though players can still exchange with in the game – this is completely different. So when people are thinking about these game transactions, they have to make a distinction between open world on the one hand and closed world on the other."

You're living in an alternate universe. And therefore it's important that those worlds be kept apart, that they can work and function by themselves. The restrictions would then be that those games cannot exchange the items outside of the game, even though players can still exchange with in the game – this is completely different.

Ultimately, defining and regulating RMT all comes down to the game developer on the legal side, the financial side, and the gameplay side. With rulings like the one in South Korea this month attracting the attention even of gamers who can't balance a checkbook, turning a blind eye to RMT might not be an option anymore.

Further Reading:
Dibbell, Julian. Play Money: Or, How I Quit My Day Job and Made Millions Trading Virtual Loot
Consalvo, Mia. Cheating: Gaining Advantage in Videogames



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Analysis: Digital Rights Management in PC gaming

A controversial Assassin's Creed II digital rights management (DRM) measure has PC gamers in a rage over anti-piracy measures that punish the gamer more than they prevent piracy. GamePro investigates DRM and asks publishers and pirates what works, what needs work, and how creators can protect their IP without pissing off paying customers.

Illegal software distribution has plagued developers since the days of the floppy disk, and even now PC game publishers are still struggling to prevent piracy. Contemporary copy protection schemes can be as complicated as online verification checks or as simple as entering a 16-digit product key while installing a game; but the one thing all DRM systems have in common is a limited shelf life.

"Every copy protection scheme gets cracked, it's just a matter of time," Stardock CEO Brad Wardell tells GamePro. Through Stardock's online games distribution service, Impulse, the company has spearheaded new DRM measures that respect the rights of the player.

"It makes me very angry to see our stuff pirated, but that's an emotional reaction," Wardell continues. "The logical reaction is to reward the customers who do buy your product when they could get it elsewhere for free."

Analysis: Digital Rights Management in PC gaming

Rewarding paying customers with added content is a popular piracy deterrent (e.g. the PC releases of Mass Effect 2 and Left 4 Dead 2), however, Ubisoft doesn't plan on taking that route with their new DRM system. The company announced that starting with Assassin's Creed II, all of its PC games would use a new online-only system that stores user data and saved games on Ubisoft's servers rather than on the player's computer.

Press outlets previewing the game on PC were the first to get a look at the system, which requires constant access to the internet in order to play the game. As reported by PC Gamer UK, losing your internet connection in Assassin's Creed II immediately halts gameplay while the system tries to reconnect. If it fails, all progress is lost up to the previous checkpoint.

Analysis: Digital Rights Management in PC gaming

The new system is controversial, drawing outrage from users on several different news outlets. GamePro user Falen1138 sounds off, "I will NEVER AGAIN buy a UbiSoft [sic] game if they do this," citing how unfair it was of Ubisoft to assume all users would have constant internet access.

Ubisoft responded to the outcry with conciliatory remarks and frustration over the state of the PC software market in a follow-up phone interview with PC Gamer UK. "Piracy is a big, huge, hairy problem," an unidentified Ubisoft representative tells them. "It's a [PC] market that suffered a lot because of piracy, and we're all just trying to figure out what we think is the best way to deal with it."

Though Ubisoft could not be reached for comment on this article, we were able to contact people directly affected by the new DRM. ManCat, a 25-year-old software pirate, agreed to speak with us on the condition that we not use his real name:

"I'd buy more shit if the system wasn't so stupid," he says. ManCat has been illegally downloading movies, music and games for more than 10 years, claiming restrictive DRM policies are his primary motivation for theft. "If I download something legally from iTunes or Steam, I don't have full control over my own purchase; I'm not allowed to transfer my music between machines or loan my game to a friend. Perversely, if I pirate a game or a movie I can do whatever I want with that file."

Analysis: Digital Rights Management in PC gaming

Like many consumers, ManCat feels his complaints are falling on deaf ears. Companies like Stardock Entertainment and Good Old Games say they're listening, however, and they believe abandoning the arms race entirely is a better business decision than trying to stay ahead of software criminals. Wardell claims sales have actually improved since the company relaxed their DRM policies.

"Requiring players to constantly check in with Ubisoft servers is just bad business because it inconveniences honest customers while rewarding successful pirates with a less invasive experience," says Wardell. "Plus Ubisoft is stuck paying the server overhead of an MMORPG, without the monthly revenue."

Analysis: Digital Rights Management in PC gaming

Many thieves hide behind moral outrage, however, as an easy excuse to avoid paying for games. Big publishers like Ubisoft are justifiably concerned about losing millions of potential sales to illegal distribution; Call of Duty: Modern Warfare 2 managed to become the most pirated game of 2009 despite not hitting shelves until November. Even if less than one percent of the estimated 4 million downloads equated to a lost sale, that still means Activision and Infinity Ward lost more than 25,000 customers in just two months.

So why aren't smaller companies like Stardock more concerned? "Small publishers need audience exposure, so protecting their content from being pirated actually has a negative effect," Bill Rosenblatt responds. As a digital rights expert and founder of GiantSteps Media Technology Strategies, Rosenblatt spends a great deal of time analyzing copy protection schemes.

Rosenblatt tells GamePro that despite vocal oppposition, DRM software like StarForce and SecuROM aren't going away. "Big names like EA and Ubisoft, they don't need exposure anymore," he says. "What they need now is to protect their intellectual property from theft."

It's not clear, however, that copy protection ever effectively deterred software criminals. When illegal distribution first became a serious issue during the 1980s, PC software developers like Infocom and Sierra attempted to maintain control of their products by bundling games with gratuitous goodies that doubled as DRM. Players were usually required to consult a game's manual for fictional codes or recipes in order to play; The Secret of Monkey Island included an infamous "Dial-A-Pirate" spinning toy that doubled as a copy protection code wheel.

Analysis: Digital Rights Management in PC gaming

These "feelie" extras were effective at deterring pirates. But then the internet came along and made subverting static copy protection -- literally -- child's play. In response, developers began including unique serial keys to verify software, a practice that continues even now (e.g. The Sims 3).

"Activation codes have consistently proven to be effective in combating illegal distribution," says Rosenblatt. "Software vendors are focused on the bottom line; they wouldn't use DRM that doesn't work."

Yet publishers sometimes push copy protection past the point of reasonable return, and players have to fight back. In 2008 Electronic Arts listened to public outrage (and a class action lawsuit) over Spore's invasive SecuRom copy protection software, relaxing the maximum install limit and backpedaling on early claims that the game would demand online license verification at regular intervals. EA did the same for Mass Effect on PC later that year, and in 2010 Mass Effect 2 was released with no DRM strategy beyond a simple disc check (and the promise of bonus content via the Cerberus Network.)

"Effective DRM demands consumer activism and community standards for what is acceptable," says Rosenblatt. "We need organizations like Reclaim Your Game to publicly endorse consumer-friendly DRM strategies and the games that include them."

Reclaim Your Game (RYG) is a consumer advocacy group formed in the wake of EA's announcement that the original Mass Effect would require online verification every ten days. The group has quickly become the premiere DRM testing community and works with DRM vendors like StarForce and ByteShield to evaluate various copy protection schemes.

"The plan right now is to continue to provide clear and precise updates on DRM and DRM systems provided within the gaming industry," RYG representative Ulysses Mockett tells GamePro. "We believe in the need for the industry to provide fair and end-user friendly DRM schemes which strikes a balance between protecting [publisher's] games and providing gamers with a stress-free and enjoyable experience, and we invite Ubisoft to have their product independently evaluated by RYG."

Analysis: Digital Rights Management in PC gaming

The DRM debate has always been a tug of war between consumers and creators, so perhaps the solution is to put a neutral third party in the middle. While RYG is strictly a volunteer endeavor, there's nothing stopping a non-profit DRM rating board from informing consumers about their buying decisions.

"It's a smart idea, and I hope game companies listen," ManCat says after hearing about RYG from GamePro. "I like buying games to play with friends and earn Achievements, so I only download cracked versions of single-player games with ridiculous DRM. The sooner they [game publishers] start respecting their fans, the sooner I'll pay for Assassin's Creed II."



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Analysis: Public interest vs. propaganda game development

With the White House making an appearance at the 2010 Game Developers Conference and First Lady Michelle Obama unveiling a health-oriented game design challenge, we're starting to see the rise of the public interest game developer. Who are these people, and how do they feel about government involvement in game development?

Let's take public interest game development to mean any game that is created with the goal of benefiting the public. With that definition, we already know what a public interest game developer is because we've seen games developed with this purpose in mind – stuff like Bumrise, which makes players aware of the issue of homelessness, or the classic arcade game Missile Command, which drives home the meaning of "mutually assured destruction."

Take the definition of "public interest" one step farther by adding government funding, though, and the line becomes less clear. If the government commissions or otherwise encourages developers to make a certain kind of game through financial incentive, would the game that gets made still be a "game" – or just interactive propaganda?

Propaganda as a bad thing for games

On the surface, the First Lady's "Apps for Healthy Kids" Challenge doesn't seem like government funding. Participants are invited to submit games or applications that somehow encourage children to eat healthily or be active; a voting process determines which apps are the best and cash prizes are awarded to the winners. It's not an endowment for the arts or even a private contract game developers can bid on – it's a contest.

Analysis: Public interest vs. propaganda game development

Ian Bogost

Where's the harm in that? Ian Bogost, founding partner at Persuasive Games and Independent Games Festival nominee, sees harm on several levels – the first being that it's demeaning to the medium of video games.

"I'm not sure we can yet conclude that the government really wants to make games," he said. "This contest reads as PR more than politics. Look we're hip! We <3 Apps! Contests R kewl!"

Even without the contest angle to the Apps for Healthy Kids Challenge, Bogost is still concerned that government involvement with game development could create a negative environment for games. For example, he discussed the Science, Technology, Engineering, and Math (STEM) game design program where the White House partnered with major publisher/developers like Sony to use LittleBigPlanet as a math learning tool for kids. He called it "embarrassing" because it suggests government endorsement of developers – like you should buy Sony products because Uncle Sam trusts Sony.

The only way government involvement with game design would benefit the public, he said, was if they took the medium seriously enough to let game developers do their job.

"If the government is making games," Bogost said, "let's do it the way the government contracts anything else."

Games as a good thing for propaganda

On the other side of the issue are game developers who are excited about government involvement with game design because it gives them more of a chance to help the public. At the GDC 2010 keynote speech, Grand Challenges for Game Developers, the IGDA Education Summit organizer who introduced speaker Kumar Garg couldn't stress enough how thrilling it was to have a representative of the White House at GDC for the first time in the conference's history and what it could bode for the future relationship between government and game developers.

The excitement extended to many game developers as Garg announced First Lady Obama's Apps challenge. Just one day after the keynote, the Entertainment Software Association (ESA) announced that their president and CEO Mike Gallagher would serve as a contest judge. Though he could not be reached for comment on this story, a press release sent out by the ESA quotes him as saying, "The use of games to promote healthy living is a true testament to the increasingly important role that computer and video games are playing in our society. I am proud that the entertainment software industry was selected to participate in this competition."

His pride is shared by KingsIsle Entertainment, developer of kid-friendly online game, Wizard101. Fred Howard, Vice President of Marketing at KingsIsle spoke with GamePro about the potential behind the government's first tentative steps toward public interest game development.

Analysis: Public interest vs. propaganda game development

Wizard101, a kid-friendly online game.

"I think the contest is great," Howard said. "And we absolutely support what Michelle Obama is doing."

Though not participating in the Apps for Healthy Kids Challenge themselves due to development cycle constraints, Howard sees the contest not as unwanted government interference in game design, but as an extension of the government's long-standing concern with childhood obesity.

"Computer gaming is at the forefront [of this issue] because it's the fastest-growing [platform]," he said. From that perspective, it makes sense for the government to reach out to game developers to combat this specific issue. The contest angle doesn't strike Howard as demeaning in any way, and the thought of government-branded game developers didn't even cross his mind when he first heard about the project.

His only real concern is where video games are painted by the government as an enemy of public health. With regard to the childhood obesity topic, the Apps contest is an opportunity for PC game developers – whose products can be associated with keeping kids indoors and inactive for long periods of time – to make their product part of the solution instead of a scapegoat for the problem.

The law of unintended consequences

The Apps for Healthy Kids Challenge kicks off judging submissions July 14. Between now and then, it's unlikely we'll see any grand, sweeping motions on the part of the government to seduce game developers into public interest game development. It also remains to be seen whether or not those developers already serving the public interest evolve a new definition of themselves to distinguish between games that the government endorses and games that came from within their own initiative – between "propaganda" and "public service."
Analysis: Public interest vs. propaganda game development

Bumrise, 'making young people aware of the issue of homelessness and the current debate about the increasing income gap in the US.'

"We misuse the word propaganda," Bogost said. "Really, it's only propaganda if you have to consume it for some other reason, [like] 'play this game to get your bread.'"

The bottom line is that the government itself cannot make games – not on the level an experienced game designer can. The White House presence at GDC this year, the STEM contest and the Apps for Healthy Kids Challenge are all honest attempts at reaching out to a community ripe with professionals who know how to make a game. We can hope, then, that the games these government initiatives produce – propaganda, though they may be – will at least be well-made.

"[W]e've not heard much from the White House that's positive or empowering about gaming generally," Entertainment Consumers Association president Hal Halpin told GamePro. "[However], since the government has efforts in many departments and agencies in which other forms of entertainment are similarly funded and supported, we can look at the move as a step in the right direction. The broad goals of the [Apps contest] are certainly admirable and the unintended consequences are likely to be more positive than detrimental, for all involved."

Further Reading:
Bogost, Ian. "Playing Political Games: On the White House and Videogames" Posted March 18, 2010.



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Analysis: How the iPad will (or won't) change video games

The tech-savvy world is out of its mind today with iPad fever as Apple's new "coffee table" device that combines the power of the iPhone with the size of a Kindle hits shelves. Pundits call it a revolutionary device; critics say we don't need a larger version of the iPhone that can't even make phone calls. Whether you fall into the first camp or the second, here's what we can tell you about the iPad's effect (or lack thereof) on video games.

Analysis: How the iPad will (or won't) change video games

Go to iTunes right now and you'll find nearly a hundred video game apps already on sale. Many of them are HD versions of existing iPhone games that come with a steeper price point than the $2.99 we're used to paying; a few are ports of titles we're used to seeing on places like Xbox Live or PlayStation Network; and only a handful are totally original games designed just for the iPad. It's certainly not the dead zone the iPhone experienced for a month or so when developers were still learning to navigate the tools and the App Store -- but it's not a drastically different landscape than gamers are used to seeing for mobile gaming in the last year.

A Flurry survey says 44 percent of apps in development for the iPad are video games.

Does this mean the iPad is irrelevant to gaming and that things will stay just as they are? That's not how smaller developers feel. A Flurry survey conducted weeks ago found that 44 percent of applications in development for the iPad were video games and while larger publishers like EA Mobile and Gameloft dominate the launch lineup, there's a healthy percentage of smaller developers with games ready to go. Something about Apple's new device appeals to developers and plenty are ready to evangelize the iPad's gaming potential.

"I think iPad gaming is a part of the future of games," game developer Mike Rasmussen told GamePro. "As a device a lot of people are underestimating its potential. Steve Jobs is sort of putting the world on notice that the past 30 years of computer hardware engineering is now obsolete. From that standpoint, we feel it is a revolutionary device and it's certainly an important part of our gaming strategy."

Rasmussen's company, Republic of Fun, has games ready for the iPad launch that take advantage of the larger screen and more robust specs. However, they're also retrofitting their existing iPhone games like Slug Wars to sell on the iPad a higher price (because it's a "premium experience," Rasmussen explains). So while he is enthusiastic about the iPad, it doesn't seem like he's sure enough about where the device is taking video games to risk abandoning games that sold just fine on the iPhone.

"I think iPad gaming is a part of the future of games. As a device a lot of people are underestimating its potential. It is a revolutionary device and it's certainly an important part of our gaming strategy."

That doesn't mean things aren't changing for video games. Well before the iPad was even announced, the video games industry was in flux. After a tough couple of economic years, companies like EA, Ubisoft, and Sony all announced strategy changes that would leverage a lot of the old methods of moneymaking in the industry (like annual sequels), while also exploring new areas of delivering content digitally via Facebook, browsers -- and, yes, mobile devices like the iPad.

From this perspective, the iPad is a symptom of change in the games industry -- not the cause. Ben Cousins, General Manager of Battlefield Heroes, Battleforge at EA, is more inclined to name the Internet as the thing that's changing the way games are made and distributed. In a 2010 Game Developers Conference lecture, "Kings of Convenience: What Wal-Mart teaches us about the future of gaming," Cousins explained that the biggest changes we see in a market come from the introduction of a "disruptive technology" into a system that's largely stable. The iPad -- while certainly disruptive to some markets -- might not be as disruptive to video games.

"Since Steve Jobs returned in 1997, Apple have been at the forefront of disruption in the computing and entertainment space," Cousins told GamePro. "The iMac disrupted the home desktop, the iPod disrupted the MP3 player market and the iPhone REALLY disrupted the cell phone market. I think the iPad has the potential to do the same."

In Cousins' GDC lecture, he explained that the introduction of the vehicle changed grocery shopping from a high quality, intimate experience at local shops to the convenient, gigantic supermarkets like the Wal-Marts we have today. Taken as an analogy to the games industry, the Internet is reducing the appeal of high quality packaged goods we have to go to GameStop and buy in favor of more convenient -- and lower quality -- downloadable experiences. The iPad certainly can deliver downloadable games, but so can other video game consoles and handhelds that have a head start on the iPad.

"Since Steve Jobs returned in 1997, Apple have been at the forefront of disruption in the computing and entertainment space. The iMac disrupted the home desktop, the iPod disrupted the MP3 player market and the iPhone REALLY disrupted the cell phone market. I think the iPad has the potential to do the same."

Instead, the disruptive effect the iPad has is more likely to be felt in other technology markets the device is geared to compete with -- like the home laptop market. Cousins said the iPad may have a secondary impact on home console games, but only if gamers find a reason to swap their console for the iPad.

"If I can sit on the sofa and have an HD gaming experience on an iPad while my wife watches TV, we are moving the iPad into a moment usually occupied by an Xbox or PlayStation," Cousins said. "Compared to a TV-connected console like an Xbox, or a home laptop, [the iPad] is a lower-quality, more convenient and cheaper experience. The screen is lower-resolution, the CPU less powerful and the portfolio of games smaller, but it fits in your hand, game downloads are simple and its price point is competitive. However, compared to a handheld gaming device like a DS or PSP, it's a higher-quality, more expensive and less convenient experience. It's physically bigger, with a higher-price point and larger resolution screen. This is why I feel the iPad is more of a threat to home laptop or console gaming than handheld."

Sure enough, Nintendo hasn't batted a proverbial eyelash in its strategy toward video games between the iPhone and the iPad -- they don't seem to feel any sort of disruptive effect from Apple's devices. The Nintendo DSi XL hit shelves just says before the company announced a new generation of handheld console, which will very likely feature downloadable content compatibility.

With companies like Nintendo holding steady and the iPad's role in the video game landscape still ambiguous, bold assertions that "the iPad will be the Mother of All Gaming Platforms," seem more fanatical than logical. It makes sense for many companies to have games on the iPad so that they could be out in front of consumer demand -- but it for many companies, it doesn't make sense to pin all of the future of gaming on the iPad.

"I'm not seeing where the iPad fits into my life versus what I already have that's better."

Christian Svensson, Vice President of Strategic Planning and Business Development at Capcom, said it best during an MI6 session titled Game Distribution 2015: "I'm not seeing where the iPad fits into my life versus what I already have that's better."

Catching up with him after the conference, Svensson that while everybody sees downloadable games in the future (you'd have to be blind not to), he didn't necessarily see the whole gaming world owning iPads for the purpose of playing video games.

"Right now, we're on version 1.0," he told GamePro after the session ended. "Maybe the iPad 2.0 version will be more targeted to games -- but right now, I don't really have a use for [an iPad]."

If you're one of the lucky few coming home with an iPad in-hand today, check out our preliminary guide to gaming on the iPad. And if for some reason, you do experience an Earth-shattering breakthrough understanding of video games having sat down and played through Resident Evil 4 on the device, do share here in the comments.



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Analysis: Anatomy of an alternate-reality game

We hacked the Portal 2 BBS and tracked Meltzer's kidnapped daughter to Rapture without touching a video game console. Alternate-reality games (ARG) have become more sophisticated in the last few years, and now it seems every major release comes with an extra mystery to solve. What makes these games so popular? Who plays them, and why do developers sink so much time and effort into a free product?

Alternate-reality games have come a long way since the ill-fated 2001 launch of EA's Majestic, an interactive game that contacted subscribers via phone, email, and instant message to make a fictional conspiracy come alive. Majestic was the first commercial ARG, a game played in real-time across multiple forms of media. That ARG was a commercial failure - EA shut the game down after recouping less than a tenth of the $10 million development cost - but today the format flourishes as a marketing tool. To find out why, GamePro talked to a few game designers about what makes ARG marketing campaigns so effective and whether their popularity suggests a growing trend or just a passing fad.

Analysis: Anatomy of an alternate-reality game

The menu screen for EA's early ARG, Majestic

"This is not a gimmick or a passing fad," says Jim Stewartson, president and cofounder of Fourth Wall Studios. The guys at Fourth Wall helped design a number of successful ARG campaigns - including the ilovebees promotion for Halo 2's release. And while none of the publishers we contacted were willing to share actual sales data, Stewartson assures GamePro that promotional ARGs are a very effective -- and profitable -- method of getting players hyped about a game because they demand audience participation.

The Why

"Gamers are perceptive, and they get defensive when it comes to traditional marketing," says Tom Bass, marketing director at 2K Games. "Nowadays, we can't just film a TV spot and call it a night."

Even if they did, the advent of DVR devices, Netflix streaming, and sophisticated ad-blocking software enables consumers to eliminate traditional advertising from their daily life. Elizabeth Tobey, community manager at 2K Games, explains that video-game marketing is a unique challenge because traditional media cannot convey intangible qualities such as the atmosphere or narrative tone of a game environment.

"For BioShock 2, we needed a way to attract players and get them excited about Rapture without revealing the plot," she says.

Enter the ARG, a participatory publicity stunt so subtle that many players never realize the puzzles they're solving stem from a retail product. Sometimes, the puppetmasters don't realize it, either. "It's not really marketing anymore," says Stewartson. "What it really is -- if it's done right -- is extra content for the audience."

Analysis: Anatomy of an alternate-reality game

BioShock 2's ARG included many clues and events that were viewable in public

The Who

These ARGs are still new enough that nobody quite knows who the audience is. When a marketing campaign is developed for a popular video-game franchise like Portal or Halo, the target audience is typically divided into two groups: returning fans rabid for fresh content, and newcomers who may know nothing about Aperture Science or Master Chief. Direct marketing like TV spots or magazines ads risk favoring one group over the other, but ARG clues are often sprinkled evenly across multiple forms of media. This method of marketing a game release with comic books or viral videos in lieu of advertising is becoming popular because developers can attract new players while simultaneously rewarding fans with extra content.

It's clear that ARGs appeal to companies seeking to attract a broad audience, and once word spreads of a particularly clever or daunting mystery, a third segment of the market emerges: the hardcore ARG player. They are a publicist's best friend and a developer's worst nightmare, because they'll effortlessly assemble into a global network capable of solving even the most complex puzzle. Consider the Cloudmakers, a team of more than 7,500 amateur cryptographers worldwide who spent the three months leading up to the film A.I.'s debut working together to expose a fictional conspiracy. The group garnered national media attention for translating clues in obscure Indian dialects, cracking musical codes, and generally pushing developers like Stewartson to create an interactive mystery challenging enough to last until the movie's release.

"The arrival of hardcore ARG players turns a transmedia campaign into a serious spectator sport," says Andrea Phillips, an independent ARG designer and former Cloudmaker. "A very wide audience is attracted by the accomplishments of a few hardcore players. We're seeing an explosion in ARG popularity because a clever game can potentially attract millions of fans for less than it costs to produce a prime-time TV spot."

The How (Much)

The potential profit margin on ARG marketing is so promising that even companies like NBC, Warner Brothers, and Audi USA are creating ARGs to sell new products. In 2005, Audi launched "The Art of the H3ist" to market the Audi A3 by encouraging players to seek out six locked cars containing coded plans for a fictional museum heist. According to statistics compiled by cross-media specialist Christy Dena from Audi's published results, "The Art of the H3ist" generated a 73 percent increase in online purchase activity over previous marketing campaigns and boasted "the most qualified online-ad generated audience of any Audi car launch." The cost of producing and running the game was nearly $4 million, but with over a thousand launch vehicles sold -- at roughly $27,000 apiece -- it's easy to understand the appeal of what Stewartson calls "the future of participatory marketing."

Since most ARGs don't actually sell products, it's difficult for analysts to quantify how audience participation translates into units sold. Consequently, many experts believe the ARG as we now know it -- a marketing gimmick -- will die once the novelty wears off.

"The ARG as a pure marketing tool won't last forever, but the ARG as a full-bodied piece of entertainment is here to stay," says Phillips. In her opinion, the future of ARG development lies in offering game developers the tools to flesh out a story across multiple media formats without overly complicating the original game.

The Future

Consider Portal's use of contextual story clues sprinkled throughout the game environment: The player's free to spend as much or as little time as they want searching the Aperture Science facility for clues to their imprisonment, allowing everyone to find the perfect balance between solving puzzles and uncovering the story. Phillips fantasizes about a future Portal game that you can play even when you're away from your console. For example, by investigating the Aperture Science website or joining the GLaDOS Liberation Society on Facebook future players might learn more about the Portal universe and even change how the story unfolds.

Analysis: Anatomy of an alternate-reality game

Portal 2's announcement ARG began with an extended ending, and continued on stage at the 2010 Game Developer's Choice Awards.

GamePro contacted Valve Software for comment on the recent success of the Portal 2 promotional ARG, and Portal 2 Project Manager Erik Johnson tells us the Portal update was never meant to be a marketing tool.

"We don't really see a clear line between marketing the product versus building the game experience," says Johnson. "We want to build an entertaining experience whenever we interact with our community, not just when we release the final product."

For Johnson, the future of ARG design is all about community involvement: "The next step for us is to allow the experience to go both ways, where the actions of the community will have more of a direct effect on either the activity before the game is launched, or the game itself."

Perhaps Phillips is right in predicting a future where games shatter the fourth wall ("I'd really like to kidnap a player," she once confided during an Escapist interview), but given the apparent success of transmedia marketing, it seems inevitable that contemporary ARG design will continue to center around pushing product, at least until more developers grow comfortable communicating with players outside of the game.

"Entertainment is rapidly changing toward having a partnership with your community rather than hurling tiny bits of information from on high," says Johnson. "We feel like the return on entertaining a bunch of fans is incredibly high. If we succeeded in that, then everything else will work out fine."



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Analysis: Communication, confusion, and community managers UPDATE

Activision is in a tight spot. Even before the Infinity Ward scandal exploded, public opinion stood against them and the company wasn't doing a lot of community outreach to repair its reputation. Enter Dan Amrich, former video games journalist and recent hire at Activsion, to fill the role of social media manager.

Dan Amrich

Amrich started a blog and opened a Twitter account. He produced podcasts, gave out swag at PAX East, and hosted trivia contests. Then, he waded into a Facebook group to engage some gamers angry with Activision in a discussion. What happened next was a misunderstanding.

In the Facebook conversation, Amrich said, "[Former Infinity Ward heads Vince Zampella and Jason West] had very large bonuses; those bonuses are being redistributed to everybody else, to the people who did not allegedly attempt to steal company secrets," he said. "Activision is not pocketing that bonus money; it's still going to the people who work at IW."

These quotes drew attention from outlets like Develop and Joystiq, which framed them as official Activision statements. The problem is, they weren't official Activision statements -- they were Amrich's personal conjecture.

"[It] was inevitable that the lines would be blurred," Amrich said in an apology on his Activision blog. "Problem is, this time, I think I helped blur them. I'll be more clear from now on when I'm speaking off the top of my head, the way I was in that conversation, and when I am referencing official info."

None of the sites that ran the story corrected their posts to reflect that Amrich's quotes were not official Activision statements.

UPDATE: Joystiq updated the story today with a clarification on the nature of Amrich's comments and a link to his apology post.

To be fair to Amrich and to explore why so many community managers find themselves in these "blurry" situations, we should look at how the role of community manager has evolved over the last six years. Before Xbox Live's Larry "Major Nelson" Hryb -- who holds the ambiguous title director of programming for Xbox Live -- community managers were mostly forum moderators, people whose job entailed monitoring message boards and weeding out trolls.

I went onto my blog and said, 'No, no, that's not true.' I got a flurry of calls from [Microsoft's] marketing and PR department going, 'Why did you say that?!' And I said, 'Well, are we?' And they said, 'Well, no.' And I said, 'Well, that's why I said it.' That was a defining moment in the organization when they realized that transparency is so critical and valuable for feedback and just part of the gaming culture.
--Larry Hryb, Major Nelson, director of programming for Xbox Live

Once Xbox Live launched in 2005, however, three things changed. First, companies realized how handy it is to have a human face representing their product. Second, companies figured out that having someone connect with fans was a great way to obtain and integrate feedback without having to go through tons of online surveys and focus groups. Third -- and this is where Amrich and all the rest run into trouble -- community managers evolved into the only point of direct contact between fans and companies. The tendency there is to be as transparent as possible, even when it might not be in the company's best interest.

"What [video games journalists] do is similar to what we used to do: interacting with people, bringing information to gamers," Amrich tells GamePro, referencing his 16-year career as an editor at magazines like GamePro and The Official Xbox Magazine before joining Activision. "But [this job] is also its own thing, and that thing is still being defined. It is equal parts terrifying and exciting and humbling to figure it out as we go along."

Looking at how Amrich and other community managers define their roles reveals just how confused both they and their employers are about what they do. Some of them are titled Senior Community Managers, some are called Community Strategists, and some are labeled Creative Strategists. Jeff Green, the "Major Nelson of EA" is called Editor-in-Chief of EA.com -- and not in a sarcastic way meant to reference his long career as Editor-in-Chief of Games for Windows: The Official Magazine.

"What does [my job title] mean? That's a great question," Green says. "I made up the title, and I made up the job as well. It came out of the work I started to do on the EA podcast while I was actually still [an associate producer on] The Sims group. I felt there was a void at EA; I felt it was weird that there wasn't a company podcast. Everything here is very game- and studio-focused and there's not a lot that's happening from the top level that unifies things. So I pitched it, and they dug it."

I think a common misconceptions is that a community manager is just a glorified forum moderator when in reality it's a lot more than that. We have a lot of input with development teams, so I absolutely think of myself as a game developer.
--Jeremy Dunham, Senior Community Manager, Zipper Interactive

Since then, his role has evolved in response to EA's shifts as a company from a centralized model into a decentralized structure of studio groups. He Twitters, he blogs, and he writes content for EA.com that's designed to funnel gamers who go there to shop for EA-brand games toward EA subcommunities that they might find interesting. Green also tries to unify EA by speaking to all the different components of the publisher/developer giant.

What does that make him -- public relations, marketing, or an EA family therapist? It's still undefined. Green thinks that maybe he should be in the public-relations department even though he's not public relations just to make it easier for his bosses to figure out what to do with him.

Take for example the Command & Conquer 4 incident. Green brought home the game to play and got frustrated by his experience with the digital rights management system and happened to Tweet about it: "Booted twice--and progress lost--on my single-player C&C4 game because my DSL connection blinked. DRM fail. We need new solutions."

Like Amrich's Facebook misadventure, his statement was picked up by video games news outlets and framed as "a man from EA trash talked Command & Conquer 4 DRM." Green was reluctant to tell GamePro exactly what happened immediately after making the Tweets that later led him to tone down his frustration in subsequent Tweets. The phrase "wild beast that needs to be broken" was used twice during the interview with GamePro when trying to tactfully describe EA's PR-departmental reaction to the incident.

Larry "Major Nelson" Hryb

Increasingly, the proving ground for community managers seems to be crisis situations. When a publisher or developer makes a mistake or when rumors flare up around controversy, often a community is the first to step in and speak up -- which is why it's easy to confuse them with public-relations officials. Major Nelson himself set the standard for this behavior early in his career. In 2004, just before the Xbox 360 launched and back when all Hryb had to work with was a blog, rumors surfaced that Microsoft was going to buy Nintendo.

"It was one of my toughest days," Hryb recalls. "I went onto my blog and said, 'No, no, that's not true.' I got a flurry of calls from [Microsoft's] marketing and PR department going, 'Why did you say that?!' And I said, 'Well, are we?' And they said, 'Well, no.' And I said, 'Well, that's why I said it.' That was a defining moment in the organization when they realized that transparency is so critical and valuable for feedback and just part of the gaming culture."



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