Posts Tagged ‘videogames’

Is the Videogame Industry Recession Proof?

Monday, January 28th, 2008

Will the US fall into a recession? Maybe. Will the videogame industry? Probably not, reports bloggingstocks.com:

According to The Wall Street Journal, “strong holiday sales of its Wii video game console and Nintendo DS portable game device helped Nintendo (OTC: NTDOY) nearly double its nine-month net profit and raise its sales forecasts for the third time this business year.” In other words, there is no recession at Nintendo.
Figures out of Microsoft (NASDAQ: MSFT)’s device division would also indicate that there is no slowdown in video console sales. Nintendo raised its forecast for Wii unit sales for the year ending in March to 18.5 million from 17.5 million.

One of the questions Wall Street is asking is where the consumer will draw the line on purchases. Expensive products like cars are likely to get hurt. Fast food numbers seem to be fine. A video game console is a $200 to $500 purchase, with Nintendo’s products being at the low end of that range.

One advantage video games have over other products in a downturn is that consumers can use them for hours a day, not unlike a TV. That puts the “cost per hour” of owning a video game products at pennies for avid users.

Does that make video games recession-proof? Probably.

So there you have it: Games are a safe bet in these uncertain times (thank you casual gamers!). What I would really like to know though is how the game business developed since the writer’s strike started.

-Jens

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PTC VS ESA’s PAC

Sunday, January 20th, 2008

The election is looming and the video game industry realized that in order to stay strong going forward, it can’t rely on fanboys to promote its agenda. That’s why the Entertainment Software Association (ESA) will soon begin spreading money around to candidates for federal office. The video game publishers’ organization has created a political action committee (PAC) to facilitate its campaign donations. Says ESA boss Michael Gallagher:

We will be writing checks to campaigns by the end of this quarter. This is an important step in the political maturation process of the industry that we are ready to take now. This is about identifying and supporting champions for the game industry on Capitol Hill so that they support us.

Donations will range between $50,000 to $100,000 in 2008. Fair enough, you might say. After all that’s what Hollywood and the big labels (and pretty much any other industry) has been doing for years now. Well, not if you’re the Parents Television Council (PTC). It announced that it would target elected officials who accept contributions from the ESA since accepting these means taking a stand against families.

As the PTC’s president Tim Winter put it:

The video game industry continues to fight meaningful accountability for selling inappropriate material to children. The industry has been exposed repeatedly for its reprehensible behavior and now they are looking for ways to buy friends in the government…

The [ESRB] has offered little to prevent companies like Rockstar Games from subjecting millions of children to sexually graphic material as they did with Grand Theft Auto: San Andreas. More recently, when it was revealed that Manhunt 2 still contained horrific violence that was thought to have been completely removed, the ESRB was missing in action.

There’s the bizarre attitude that the family and videogames are somehow mutually exclusive, which in the light of games like Buzz, Singstar, Rock Band or consoles like the Wii is just completely ignorant.

But then again what do you expect from prototype moral crusaders like the PTC?
As Anthony Larme explains in his thesis Dangerours Games? Censorship and ‘Child Protection’ a moral panic begins with an initial problem for which a group marginalised by mainstream society attempts a solution. Initial societal reaction that involves various elements of misperception becomes amplified by media exploitation (as with the cited examples Manhunt 2 and GTA San Andreas). Such amplification involves sensationalism and exaggeration along with providing a ready mouthpiece for all those who always knew that games were the root of all evil anyways – a vicious circle that augments the crusaders’ believe their own horror stories.

The only acceptable solution for them: censorship.

Maybe the ESA should target officials who accept contributions from the PTC. After all the PTC subverts the values it (supposedly) claims to represent by contravening the US constitution through trying to impose restrictions on the freedom of speech.

-Jens

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Wii really can’t argue with reasons like this

Thursday, November 29th, 2007

Fanboys, that scourge of mankind, number 8 on the list of the worst consumer tech trends and blind adherents to corporations that (optimistically) feel about one tenth of the passion for them that they do for their gadgets.  No one wants to argue with them unless they have a fetish for insults.
If you can’t resist though, here’re five reasons why the Wii is saving the videogame industry. Nothing one hasn’t heard or read a hundred times before, but nicely and concisely summarized.
I’d say: Nothing to disagree with in there. While I still doubt that casual gaming will help videogames realize their full potential (in terms of conveying emotions and storytelling and all that jazz), it is certainly refreshing to see one of the major players in the business break through the dominant mindset of the industry, encouraging simple fun and wholesome play for everyone. The widening of the demographic for games is definitely something to be encouraged; after all most game-haters and moral panic-mongers have their roots in misinformed circles who have never even touched a controller. And hey, the Wii has the potential to transform even hardline anti-gaming moms into game devotees!

-Jens

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How to understand the Motivation behind Suicide Bombing – with Halo 3

Tuesday, November 13th, 2007

If you want to put yourself in the position of a suicide bomber look no further than… Halo 3. Clive Thompson over at Wired explains that due him leading a normal life he just doesn’t have the time to improve his skills to keep up with homophobic teenagers around the world. In short: He sucks at the game, the consequences being humiliation and despair. But Thompson strikes back: While the best Halo players love life, he loves death. From the piece:

But at the last second, before I die, I’ll whip out a sticky plasma grenade — and throw it at them. Because I’ve run up so close, I almost always hit my opponent successfully. I’ll die — but he’ll die too, a few seconds later when the grenade goes off. (When you pull off the trick, the game pops up a little dialog box noting that you killed someone “from beyond the grave.”)

It was after pulling this maneuver a couple of dozen times that it suddenly hit me: I had, quite unconsciously, adopted the tactics of a suicide bomber — or a kamikaze pilot.

Because after all, the really elite Halo players don’t want to die. If they die too often, they won’t win the round, and if they don’t win the round, they won’t advance up the Xbox Live rankings. And for the elite players, it’s all about bragging rights.
Thompson knows he can’t win; the system discriminates against him because he doesn’t have the most valuable resource at his disposal: time; the time to train for him is a luxury. Consequently he has nothing to lose but tries to screw the system as much as he can. Maybe even to the point where the hardcore players change their patterns of play or start to abandon the game. The only difference being here that the game promises instant resurrection rather than 40 horny virgins in heaven.

Of course there are some issues with this view. Surely despair might play a role in the motivation of a suicide bomber, but eventually he just a follows a blind, basically fascist ideology imposed from above that doesn’t care so much about haves and have-nots but about the rule of its religious world-view. Osama bin Laden is a member of one of the wealthiest families of the Middle East showing that it’s not solely about having resources at one’s disposal. It certainly is an incredible complex issue, something which Thompson readily acknowledges:

I do not mean, of course, to trivialize the ghastly, horrific impact of real-life suicide bombing. Nor do I mean to gloss over the incredible complexity of the real-life personal, geopolitical and spiritual reasons why suicide bombers are willing to kill themselves. These are all impossibly more nuanced and perverse than what’s happening inside a trifling, low-stakes videogame.

But the fact remains that something quite interesting happened to me because of Halo. Even though I’ve read scores of articles, white papers and books on the psychology of terrorists in recent years, and even though I have (I think) a strong intellectual grasp of the roots of suicide terrorism, something about playing the game gave me an “aha” moment that I’d never had before: an ability to feel, in whatever tiny fashion, the strategic logic and emotional calculus behind the act.

I think the interesting question here under a design perspective is: How would we be able to convey this ability to feel a motivation, this feeling of comprehension into other games designed for political purposes and campaigning? If games are able to convey the “aha” moment of one the most horrendous acts they surely must be able to communicate a party’s stand on healthcare or fiscal policy.

–Jens

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Digital Games as Social Commentary on Migration

Friday, October 19th, 2007

Gamepolitics brought my attention to this interesting PBS website maintaining a collection of games dealing with immigration.

I think games are the perfect medium to explore this issue due to the similarities between playing a game and negotiating one’s way in a new, alien society: In both cases it’s about trying to figure out the rules and stick to them in order to succeed. If you fail you won’t be able to finish or enjoy the game respectively slip into the role of a social outcast – with the difference that games will in most cases give you another chance. An arcade game in this connection can even serve as a metaphor for bribery or the fact that money helps to gain social acceptance: As long as you feed the machine with quarters you’re allowed to stay.

Due to their simulational nature and their reliance on rules as their core mechanic and defining criterion, games offer fascinating possibilities for cross cultural training and they can also serve to highlight the prejudices migrants or minorities feel in a new environment. Let’s say statistics found that the chances of dark skinned emigrants finding a job are 40% lower compared to white people despite them having the same qualifications. This result now could be included as a arbitrary rule in a game dealing with finding a job in their new environment. Arbitrary because not only because it would reflect the different real-life attitudes of people living in this society (prejudiced/ not prejudiced/ not too sure etc.) but also because it can help to built up the frustration a migrant might feel while on the job hunt.

Also it made me think about the assumption that we won’t play a game differently just because the tokens changed. Take chess for example, you can play it with the figurines of king and queens but you might as well just play it with different piles of mud. Will this change your overall goal or your style of play? Probably not. But imagine a game of Space Invaders where you as some border patrol officer have to shoot illegal immigrants instead of aliens. Due to the meta-text and intertextuality of the game and the representations in it you might more consciously think about your style of playing (meta-text and intertetuality = the marketing, box art, references to other media, the way the player’s character and NPCs are presented and what that entitles etc. – it basically it means games don’t exist in a vacuum but within discursive formations of the society they’re played in). This of course always depends on your political beliefs and attitudes. Do you see these migrants as intruders who just want your piece of the cake or poor, disadvantaged people who contribute valuable services to society by doing the jobs no one wants to?

-Jens

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Between Paranoia and Discrimination: Racism in Videogames

Friday, September 28th, 2007

Via Gamepolitics I came across this piece on the liberal website Alternet. It seems that not only is the upcoming Resident Evil 5 is causing controversy due to being set in some Haitian village where the player has to gun down hordes of black zombies, but now also the almost three year old predecessor is stirring politically correct minds. Writing about the latest movie installment of the game – Resident Evil: Extinction – author Roberto Lovato explains:

As they pack into theaters to watch the blockbuster Resident Evil: Extinction this weekend, moviegoers may first want to play one of the many blockbuster video games on which the film is based. Those that do will likely enter a world… increasingly populated with very dangerous depictions of non-whites.

…last year’s smash-hit Resident Evil 4… places players in the position of fighting parasitically-controlled Spaniards (called “Los Ganados” or “the cattle”) with stereotypical Mexican accents…

And, in what looks like it could be a training video for a white supremacist race war… players of the soon-to-be-released Resident Evil 5 video game are placed in what could be an African country or Haiti as they blow up armies of black zombies.

Where to begin? With the fact that the game was developed in Asia (minorities suppressing minorities – how postmodern!)? That the majority of enemies of the entire franchise are actually white? Etc Etc. Stuff like this is the reason why San Francisco one day will disappear up its own asshole.

On the other hand one shouldn’t trifle with the study Lovato cites. While being the only one of this kind, which just shows the inadequate data situation, it nevertheless reveals some interesting facts:

– More than half (56%) of all human characters in this study were white
– Nearly every video game hero was white (87%)
– 83% of African American males were cast as competitors in sports-oriented games while most African American females were non-action characters
– African American characters were least likely to have realistic responses to violence, only a fraction (15%) exhibited both pain and physical harm
– African American characters used the most verbal aggression, screaming, ridicule and insults
– In sports games African Americans were most likely to display aggressive behaviours. Nearly eight out of ten African Americans competitors engaged in physical and verbal aggression. African American competitors were the only racial group to use verbal aggression on the field
(Glaubke et al., 2001: 25-26).

While stereotypical representation might be problematic I think that messages conveyed via game rules are more troublesome. Think of GTA San Andreas for example. C.J. is at no point forced to engage in a life of crime, but he might as well become a taxi driver to satisfy his everyday needs in forms of food or undertake other adventures such as firefighting, exploring the city by riding his bicycle or just working out at the beach. Though if the player wants to enjoy all the features of the game and explore every bit of its vast landscapes, there‘s no alternative to the mission structure of the overarching plot, seeing the rise of C.J. and his gang through violent means in an environment that doesn‘t offer any alternative to a criminal biography and seems like the fantasy of a white suburban middleclass, where underprivileged blacks lead a far more exciting life due to their “high-risk social status as endangered species“ (Perry).

But then again the GTA-series is also a good example of postmodern enlightenment. Even though it doesn’t have any immediate goal or agenda it still shows the individual his place in a totalitarian world. There’s always a critical attitude shining through and everything is held together by an anti-authoritarian streak – kind of like the popular, critical social science the Simpsons were committed to before Homer became some sort of crash test dummy.

Also every videogame, or every game for that matter, involves some sort of artificial conflict. Without it there wouldn’t be a game and CJ has to necessarily engage in it. If he rose through the ranks of society respectively to the end of the “game” without any sort of (exciting) conflict we would have the world’s most boring “entertainment” product at our hands.

So: If minorities are the protagonists of a game the nature of a game itself can easily lend itself to racism (through an artificial conflict and the rules to solve it which is supposed to make an entertaining product), if they’re not their representations might be labelled racist (just by the fact that they are depicted as victims) and if they’re not in the game at all it’s also racist since the composition of society isn’t reflected and certain discourses are left out.

Of course they’re still more nuances to this problem, e.g. black sport stars swearing more in games etc. which just shows the complexity of the issue. Whatever possible solutions look like it would be desirable to see more diversity in games in the future and more minorities involved in the production of games – which lean themselves trough their simulation nature towards enlightenment about social issues and suppression.

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Bioshock and the Australian Videogame Industry

Monday, September 24th, 2007

Internet! Finally! But then again the opportunities of me contributing more to this blog remain marginally slim because I’m playing Bioshock, “the ultimate rarity: not only does it live up to its lofty promise, but exceeds it through simple, old fashioned talent and imagination - not to mention verve, style,class, wit, and sheer bloody-minded ambition. It takes the tired, worn-out FPS genre by the scruff of the neck, reinvents and bend it out of shape in such a breathtaking fashion that it’s going to take something very special to top this in the months and years ahead” (Eurogamer). Well that – and it skillfully disguises its linearity. It’s not only one of the best games of the year, or the last years for that matter, but also exactly what the Australian videogame industry needs. For the uninitiated: The studio responsible for the game, Irrational, is based in Boston and Canberra where the core technology team resides.

One of the problems of Australia’s games industry is that it’s mainly a work for hire industry. While this reduces the risk for the developers and can help to build infrastructure, respectively to enhance the skills base it goes together with a smaller revenue stream for the studios – and most of the profits are going abroad – the consequence being that this procedure doesn’t build value onto the business. Furthermore the question remains if this model is viable under a long term perspective. Regions in Eastern Europe skill-wise rapidly catch up but are able to deliver their work at much cheaper rates. Then there’re India and Asia which already provide reliable outsourcing services albeit still suffer from a cultural barrier that make their games not too appealing to the Western markets. But maybe it’s just a matter of time until this problem is overcome (which I doubt). Also: If you as a publisher are looking for a studio to work on your IP why not choose a country like Canada; it offers generous state incentives and, not matter where you’re operations are based, it’s closer than Australia.

The answer: Own creative IP. As Mark Fludder from Queensland Government explained to me in an interview: “We’re going to need to see local IP developed and again […] Otherwise: why not move it to the Czech Republic?… We need to be saying, well, you know… Pandemic’s Destroy All Humans is a really good example, it’s their own make and was all developed and scripted here. It was a big hit, so when whoever owns Pandemic at any given moment on the continuum is going to say: ‘Do we continue to invest in Australia? Well, hey… they’re making good games’. And I think that’s important, I think Australia is going to have to do that”.

Tom Crago of the GDAA holds a similar view (from the gamenews.com.au newsletter): ““To have such a high profile title come out of a local studio not only shows the world what our talent here is capable of, it also draws attention to the broader Australian industry, which is an extremely positive thing… [It] shows Government and the media that we really are on the cusp of becoming a global hub for game development” adding that “Australian-made games are mixing it with the very best in the world.”

So the potential is there – and with more incentives from federal government (which until now, for some reasons solely known to Peter Costello, only generously supports the indigenous movie industry) it indeed might elevate Australia into the first league of game development.

-Jens

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