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  • How to Create Good Game Economies when Money Grows on Trees

     

    GameSetWatch has reprinted a fascinating piece from Game Developer Magazine about in-game economies. It takes a lot of finagling, and different developers have approached the issue in different ways.

    In Rise of Nations, high demand increases price, just like in the real world. Valve tried this too, by pricing weapons according to demand in Counterstrike, but it didn't pan out as well: 

    Unfortunately, the overwhelming popularity of certain weapons trumped the ability of the algorithm to balance the game. For example, while the very effective Desert Eagle skyrocketed to $16,000, the less useful Glock flatlined at $1, leading to some extreme edge cases (such as the “Glock bomb”). A game economy is not a real economy; not everything can be balanced simply by altering its price.

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  • Team Fortress 2 and the Broken Windows Theory

    Does the aesthetic inclination of your favorite game affect your play style and mood? My college buddy Nick Douglas (you may know him from Gawker or Valleywag) thinks so. He's not a much of a gamer, but he played a little Counterstrike back in college:

    But during school breaks, I’d play Counterstrike... and everyone I met was an asshole. Everyone who played poorly was called an idiot, and everyone who played well was accused of hacking. Playing the game didn’t feel like work, the way long-term games like World of Warcraft feel, but some players treated it like work, and it could be emotionally draining putting up with the abuse. And like I said, I never learned how to play.

    Now, Nick's got a brand new bag called Team Fortress 2. He thinks the jokey, cartoonish nature of Team Fortress 2's graphics encourages players to, well, play nice: 

    But on Team Fortress 2 the players are friendly, jokey, encouraging toward newbies. And because of that, I’m learning. I’m getting along with players. I found favorite servers that I visit often. Even when my team’s losing, we have a sense of humor about it. I just cracked up tonight during my usual 100 deaths. (Granted, now I’m able to kill one or two guys with each life.)

    Nick's theory is a virtual application of what's come to be known as the "broken windows theory". The idea is that the aesthetic quality of the environments in which we live affects our behavior. Here's an Atlantic Monthly article from 1982:

    "Consider a building with a few broken windows. If the windows are not repaired, the tendency is for vandals to break a few more windows. Eventually, they may even break into the building, and if it's unoccupied, perhaps become sqatters or light fires inside.

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  • Video Game Addicts Dropping out of School

     

     

    Game Politics reports that FCC Commissioner Deborah Taylor Tate has declared the following:

    You might find it alarming that one of the top reasons for college drop-outs in the U.S. is online gaming addiction - such as World of Warcraft - which is played by 11 million individuals worldwide.

    Taylor provides no hard data to back up this claim, but it got me thinking about some of the casualties I knew, not necessarily from online gaming, but gaming in general.

    During my freshman year in college, there was a guy who literally punched a hole through his laptop monitor after repeated losses in Counterstrike. He didn't drop out, but he had to shell out for a new monitor. I don't think nerd rage was covered by the university insurance policy.

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  • Where are all the Post-Impressionist Videogames?



    Above is a video of de_vangogh, a custom Counter-Strike level made by famed CS mapmaker Nipper. It’s a rather interesting bit of work—look at the way the under-saturated, oil paint-like textures complement the use of Starry Night as a skybox. Crazy!

    Don’t misunderstand me; I don’t want to play Counter-Strike in a Van Gogh painting, because that doesn’t make any sense. I’m not even really saying that I want games to approach visual styles more vigorously, because all evidence says that things are getting better and better in that department. But looking at this it occurs to me that there aren’t any games that really look like this, which reminds me that despite all of the jumps in graphical fidelity, we still haven’t seen everything yet.

    After playing about a half-dozen gritty photo-real games in a row, it’s nice to have reassurances like this, and to then go look the comic book stylings of Super Turbo HD Remix or the sketch anime of Valkyria Chronicles to have it further reinforced.

    Where are the post-impressionist games? They’re coming, you can count on it. In the meantime, I’m going to sit here and dream one of my favorite dreams—that Square Enix finally gets around to remaking Final Fantasy VI in the painterly style of Yoshitaka Amano's concept art (there's a great example after the jump), with its bleak beauty and hand-drawn artifice the perfect foil to that game’s story of fragility and loss.

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  • The Art of Gore in Project Origin



    There are many, many first-person shooting games. Doom was the ship that launched a fleet of thousands fifteen years ago and, since its release, a lot has changed in the genre. Engrossing narratives (Bioshock), ever evolving team play (Team Fortress, Counterstrike, etc.), the capacity for sociopolitical commentary (Call of Duty 4). But, as the old folks say, the more things change, the more they stay the same. First-person shooters are still about shooting and, like their ancestor Doom, are very pre-occupied with blood. Loathe as I am to admit it, I’m still pretty engaged by it myself. I find bombastic, gory violence deeply satisfying in my entertainment, often as much as a perfectly portrayed human relationship or an honest, unsentimental depiction of emotion. Like anything else in fantasy, it’s the heady experience of the unreal that satiates. Blood’s just another type of icing.

    Mark Wood, developer Monolith’s FX artist extraordinaire, has written up a short essay on the process of creating blood effects for Project Origin and it's a fascinating read.

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  • about the blogger

    John Constantine, our superhero, was raised by birds and then attended Penn State University. He is currently working on a novel about a fictional city that exists only in his mind. John has an astonishingly extensive knowledge of Scientology. Ultimately he would like to learn how to effectively use his brain. He continues to keep Wu-Tang's secret to himself.

    Derrick Sanskrit is a self-professed geek in a variety of fields including typography, graphic design, comic books, music and cartoons. As a professional hipster graphic designer, his recent clients have included Nerve, Pitchfork and MoCCA, among others.

    Amber Ahlborn - artist, writer, gamer and DigiPen survivor, she maintains a day job as a graphic artist. By night Amber moonlights as a professional Metroid Fanatic and keeps a metal suit in the closet just in case. Has lived in the state of Washington and insists that it really doesn't rain as much as everyone says it does.

    Nadia Oxford is a housekeeping robot who was refurbished into a warrior when the world's need for justice was great. Now that the galaxy is at peace (give or take a conflict here or there), she works as a freelance writer for various sites and magazines. Based in Toronto, Nadia prizes the certificate from the Ministry of Health declaring her tick and rabies-free.

    Bob Mackey is a grad student, writer, and cyborg, who uses the powerful girl-repelling nanomachines mad science grafted onto his body to allocate time towards interests of the nerd persuasion. He believes that complaining about things on the Internet is akin to the fine art of wine tasting, but with more spitting into buckets.

    Joe Keiser has a programming degree from Johns Hopkins University, a tiny apartment in Brooklyn, and a fake toy guitar built in the hollowed-out shell of a real guitar. He writes about games and technology for a variety of outlets. One day he will stop doing this. The day after that, police will find his body under a collapsed pile of (formerly neatly alphabetized) collector's edition tchotchkes.

    Cole Stryker is an American freelance writer living in York, England, where he resides with his archeologist wife. He writes for a travel company by day and argues about pop culture on the internet by night. Find him writing regularly here and here.

    Peter Smith is like the lead character of Irwin Shaw's The 80-Yard Run, except less athletic. He considers himself very lucky to have this job. But it's a little premature to take "jack-off of all trades" off his resume. Besides writing, travelling, and painting houses, Pete plays guitar in a rock trio called The Aye-Ayes. He calls them a 'power pop' band, but they generally sound more like Motorhead on a drinking binge.


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