Saturday, 31 January 2009

OXCGN lists 130 Games For The 360 in ‘09


xboxoz-torso5by XboxOZ360:

©2009 Grant Smythe

halo_wars1Update:

As we find more, we will certainly update the list, and the heading as it progresses (up or down).

So what we have here is a “relatively” short list of games - (130 games), ideally heading to the Xbox 360 during 2009.

While many factions (read fanbois) say there are very little games coming out on the 360 this year, and that it’s doomed because there’s “no games” - we’re here to set the record straight and show you what games are heading our way in 2009.

Please note: Some games may well have been released in some regions, but not in all, so if a game has been released in your region, do not dismiss the list as  inaccurate, as many PAL territories are  yet to receive these releases.

Tuesday, 27 January 2009

GDC 2009 Keynotes

GDC 2009 Keynotes

Keynote Announced: Satoru Iwata, President of Nintendo

IwataDiscovering New Development Opportunities
Wednesday, March 25th 9-10am

2009 marks Iwata’s return to the GDC stage since 2006 when he spoke about “disruptive development,” and introduced to the Western development community the philosophies on engaging new players and surprising existing players. In his 2005 keynote, Iwata discussed the next-generation console then codenamed “Revolution,” which has since become known as the Wii. Stay tuned for updates on what he will say in 2009!

Biography:
In 2002, Satoru Iwata was named president of Nintendo Co., Ltd. He joined Nintendo in 2000, when was responsible for Nintendo’s global corporate planning as the head of the Corporate Planning Division.

Iwata was born in 1959 in the Hokkaido Prefecture of Japan. He studied at and graduated from the Tokyo Institute of Technology University, where he majored in computer science. Shortly after graduating, Iwata joined HAL Laboratory, Inc. and in 1983 began coordinating the software production and development of Nintendo titles, such as the Kirby series. By 1993, he had become president of that company.

GDC Mobile KeynoteNeil Young

Neil Young,
CEO & Founder, ngmoco

Why the iPhone just changed everything
Description:
Neil Young, CEO and founder, ngmoco, will bring the classic game makers perspective to the GDC Mobile keynote and talk about why, to his own surprise, he left his role at Electronic Arts to build a new class of mobile games. He will share with the audience his learnings and draw a vision for the not-so-distant future, and the opportunities the new mobile devices present, to inspire developers to leave their day jobs too... Read more 
here.

To read Neil Young's bio, 
click here.

Featured Speakers

Mark Cerny
Hibino
Clinton Keith
Matsuyama
Mark Cerny 
Cerny Games
Norihiko Hibino
GEM Impact, Inc.
Clinton Keith 
Clinton Keith Consulting
Hiroshi Matsuyama
Cyber Connect 2
Peter Molyneux
Patrick Redding
Hitoshi Sakimoto
Randy Smith
Peter Molyneux
Lionhead Studios
Patrick Redding 
Ubisoft Montreal
Hitoshi Sakimoto 
Basiscape International
Randy Smith 
Electronic Arts
Gordon Walton
David Wu
Corrine Yu
David Wu
Microsoft Games Studios
Corrinne Yu
Halo Team Microsoft

 

Nintendo President Iwata Will Keynote GDC

Align Center

Iwata_conference

Satoru Iwata, worldwide president of Nintendo, will deliver a keynote address at this year's Game Developers Conference.

The topic of Iwata's speech will be "Discovering New Development Opportunities." Iwata has keynoted GDC twice before, and both addresses have brought with them some moderately important announcements about the company's future. In 2005, Iwata showed new footage of the then-in-development Legend of Zelda: Twilight Princess, then announced that online gaming would come to the DS. In 2006, he showed off the first footage of Zelda: Phantom Hourglass among other announcements.

Look for Iwata's address to attempt to bring even more developers into the Wii fold. Nintendo hasn't been entirely successful at convincing gamemakers to put their best effort into creating Wii games, so this year's speech -- Iwata's first since the la

10 iPhone Games You Must Own


Iphone_660

For many gamers, the iPhone is the first mobile platform with videogames that are actually worth playing. The gadget's winning combination of touchscreen and motion controls means games can be much more intuitive and fun than if you were trying to play with a regular phone's tiny keypad.

Perhaps more importantly, Apple's unique approach to game distribution — allowing anyone to produce and sell games through iTunes for a nominal fee — has caused the App Store to virtually explode with software. Apple has sold more than 20 million iPhones, plus countless more iPod Touch music players, giving the devices enormous reach as a gaming platform.

We wanted to write a list of our favorite iPhone (and iPod Touch) games, but we knew it couldn't possibly be comprehensive or definitive. But these 10 games are the highest-quality ones we have played so far, the ones that are definitely worth downloading.

We're sure that you brilliant Wired.com readers have your own favorite iPhone games — probably some we haven't even heard of. At the end of this article, you can nominate and vote for your own favorite iPhone games.



Img_0017_2

Best Guilty Pleasure: Yahtzee Adventures ($3)

I am positively mortified to admit it, but I can't stop playing this. Yes, Yahtzee is a game of rolling dice and hoping that you land a high-scoring combination. Only the barest of skill is required, and playing against an emotionless machine should not be nearly as fun as playing against a roomful of friends. And yet somehow I haven't been able to stop. The fact that you can pass around the iPhone to play it with up to four friends makes it an ideal time-killer for groups, and new modes like Rainbow (with colored dice!) add variety. Oh, I am so ashamed. — Chris Kohler

Newt2

Best Use of Space Ducks and Donuts: Newtonica 2 ($1)

I'm friends with this game's designer. I say that in the interest of full disclosure. Also to brag, becauseNewtonica 2 is really fun. You're a duck, adrift in space. You tap little circles that push the duck into the void, in hopes of pushing him into a safety vortex. And you collect donuts, which are usually placed in inconvenient spots that make it that much harder to find your way. It starts off easy, but gets quite tricky. Passed all the puzzles? Get the sequel, Newtonica 2 Resort, for another buck.  Chris Kohler

Crayoniphone

Best Indie Game Sensation: Crayon Physics Deluxe ($5)

The PC version of this game, in which you draw objects using a virtual crayon that comes to life and has real-world physical properties, took home the grand prize at last year's Independent Games Festival. The object of each level is to roll a red ball into a yellow star. How are you going to do it? You're limited only by your ability to draw. You can solve the puzzles with simple shapes, or draw elaborate ones. Draw one, draw 10. Drawing with your finger on the iPhone's screen rather than with a mouse takes a bit of getting used to, but it works quite well. — Chris Kohler

Simcity_2

Best Game That Shouldn't Have Worked: SimCity ($10)

When Electronic Arts announced a port of SimCity for the iPhone, I was a bit scared. Not only is the series vastly more complex than most iPhone games, it has always required at least a gamepad, and more often than not a keyboard and mouse. Luckily, those fears were unfounded — EA managed to translate all the game's controls into an easy-to-learn series of finger taps and swipes. Everything from designing complex highway systems to destroying buildings with an impromptu alien attack is literally just a touch away. The complexities of running a virtual metropolis keep this title from being a casual, pick-up-and-play iPhone game, but for those looking for something to suck away hours of their life on long flights, SimCity is the perfect solution. — Earnest Cavalli

Img_0001

Best Game Clearly Inspired By RezEdge ($6)

If I didn't know any better, I'd say Edge was designed by the team that gave us Rez and Lumines. It's not. But the thumping techno soundtrack combined with the Tron-style graphics bring back that old feeling. Your job is to roll a cube through levels filled with peril, picking up gleaming pixels and reaching the exit of each level. You can choose between swiping the screen or tilting the phone to move — I found swiping to be much more accurate, especially considering that pitfalls await all over the place. — Chris Kohler

Gwhelmet

Best Game That'll Be Gone Soon: GW Helmet (Free)

Hey, remember the Game & Watch handheld, Nintendo's first big hit product? Those little LCD games oozed charm from their liquid crystals, and the cute graphics belied some occasionally maddening gameplay. GW Helmet is a pitch-perfect ripoff of one of the originals, where you have to guide an infinite number of unlucky hard-hat guys across a construction site where tools and buckets are raining from the sky. You'd swear somebody took an old Game & Watch and shoved it into your iPhone. You'd also swear that these G&W clones are likely to be the target of a C&D from Nintendo, meaning you should download these now — besides Helmet, there's FireOctopusChef and Parachute, although the latter titles cost $2 each. The very topical Bank Panic ($1) has the benefit of looking like a Game & Watch title but not actually infringing upon Nintendo's copyrights.  Chris Kohler

Fieldrunners

Best Game in an Inexplicably Crowded Genre: Field Runners ($5)

Simplicity is the key feature of the iPhone's best games, and what could be more simple than a game that is almost entirely described by its two-word title? Field Runners sees an endless stream of enemies running across a field toward your base. To ensure peace in your base, you strategically place deadly weaponry in their path. That's the entire game. The App Store is lousy with "tower defense" games, and with good reason: The balancing act of deciding whether your forces would be better served with a simple machine gun or the more expensive electric zapper as your enemies become more numerous and more tenacious is pure addictive fun. As an added bonus, no Field Runners level lasts more than a minute, making the game a perfect fit for short bus trips or waiting in line at the post office. If you prefer a Final Fantasy flavor with your tower defense, try Square Enix's Crystal Defenders ($8). — Earnest Cavalli

Img_0011

Best Game About Unrealistic Surgery: Dr. Awesome ($1)

Being a doctor is, in fact, awesome. Judging from this game, it mostly has to do with playing a motion-controlled version of arcade classic Qix. You're moving a cursor around the playfield, trying to section off segments of some unidentified part of a patient's anatomy while avoiding evil, killer bacteria. Once you slice away enough of the infected area, the infection can't go on living. Later levels up the challenge by introducing faster-moving foes that home in on your cursor, forcing you to get better at tilting your iPhone with surgical precision. Dr. Awesome even uses your phone's contact list to populate its cast of patients. Because it feels that much worse when your friends die on the table.  Chris Kohler

Photo2

Best Port of a Game You Already Have: Bejeweled 2 ($3)

If Tetris is the videogame equivalent of Beethoven's "Symphony No. 9," the Bejeweled series is Abbey Road. Since debuting in 2004, the game's simple, newbie-friendly "match three gems" gameplay has addicted tens of millions of gamers by virtue of its gentle learning curve and subtle complexity. The latest iteration of the series, a port of Bejeweled 2 for the iPhone, perfectly re-creates the series' trademark gameplay with touchscreen controls. Unlike other games with glitchy, rushed iPhone versions, Bejeweledworks perfectly. Whether you prefer the slow, methodical gameplay of Classic Mode or the tension of Action Mode's ticking clock, Bejeweled 2 translates perfectly to iPhone. — Earnest Cavalli

Rolando_2

Best Improvement on Someone Else’s Game: Rolando ($6)

You don't have to say it: Rolando looks and feels exactly like Sony's PSP game Loco Roco, from the cartoony blobs of color to the very gameplay, which involves tilting the world around to roll said blobs of color to safety. But Rolando has more depth to its gameplay. Some blobs roll; others stick to the walls. Some bounce around of their own accord, and you must figure out how to save them from spazzing out into hazards. Tons of levels make this one of the few iPhone games that is more involved experience than casual diversion. — Chris Kohler

Do you agree with our choices? Disagree? Nominate and vote for your favorite iPhone games below. We've seeded the list with some of the games that didn't make it into our top 10, but you can add whatever you like.

Monday, 26 January 2009

New tricks for Magic Kingdom

New tricks for Magic Kingdom

By Heather Alexander 
BBC News, Disney World, Florida

Disney World
Disney World has been drawing tourists to Florida since 1971
Once upon a time the rides in Disney World's Magic Kingdom provided thrills aplenty, promising tales of pirates and the chance to dive 20,000 leagues under the sea.

But today's children, weaned on the Wii, Second Life and DVD "Easter eggs", look for more than the roller coasters and jerky automatons that entertained the youth of the 1970s.

"The emerging generation expects more immersive, personal and interactive experiences in every facet of their lives," says Bruce Vaughn, chief creative executive of Walt Disney Imagineering.

It's a fact Disney had to face when it created its newest attractions for the Florida theme park.

To demonstrate how the company is adapting to the era of interactivity I was shown around two new rides: Kim Possible (currently in testing) and Toy Story Mania, which opened last year.

Toy Story Mania is basically a giant 3D video game. Riders board a car and are driven through and parked in front of a series of video screens. The task: to shoot objects as they fall or fly out of the screen.

The 3D glasses mean objects do seem to come right out at you, and are sometimes accompanied by a fourth dimension: a blast of wind in your face or, in the case of water balloons, riders actually get wet. Take a look...

Thrills and spills inside Toy Story Mania

Many elements of a traditional video game have been deliberately incorporated - particularly incentives to try again - although the hour-long queue might put visitors off. There is also a highest score board so people can compete through the day against everyone in the park.

It is also designed so no two games are the same - firing at certain spots on the screen causes different scenarios to play out.

Just like Super Mario, in Bo Peep's Balloon Pop you can set off a whole raft of new high scoring targets by hitting specific spots in the sky. This opens the door for players to trade secrets as they do for other games.

Kim Possible is an even more personal experience.

Designed for "tweens" and early teens, it is based on the Disney Channel's Emmy award-winning cartoon about th eponymous crime-fighting teenager.

Players report to a booth and are handed a fake mobile phone. When they switch it on characters from the cartoon appear to tell them they have been recruited for Kim's latest mission.

As they navigate through, prompts tell visitors to go to certain spots in the park where the signal from the phone makes messages appear to help them with the quest. At one point a stuffed parrot comes to life to give players the latest clue. The idea is to have different missions to play in seven of the countries of Disney's Epcot Center.

Kim Possible is due to launch early 2009 and more interactivity will follow - the next addition will be an American Idol-type karaoke attraction.

They have definitely come a long way since Disneyland's first rides; there were gas-powered cars that all broke by the end of the first day and donkey rides through Frontierland.

Animation action

This adaptation is impressive and perhaps does herald a significant change.

Disney led the way in animation for decades giving it the material to fill its parks with fantastic characters but with the dawn of computers the company lagged behind.

But in 2006 the old stalwart bought hot digital imaging studio Pixar, creators of Toy Story.

Walt Disney
Walt Disney was the first to introduce colour to his cartoons

So is the young technology-savvy upstart dragging the old classic into the new world? The new rides at Disney World would suggest so.

When Walt Disney pioneered the way to colour animation he did it because he wanted to make cartoons more real. Now with the company increasing production of 3D films, it seems that is the way forward in that quest.

Bolt was the first film to be made from the start for 3D and a deal has been signed with Imax for a Christmas Carol with Jim Carrey as Ebenezer Scrooge which is scheduled for release at the end of this year.

3D versions of Beauty and the Beast and Toy Story 1 and 2 are in the pipeline as well.

As for the theme parks, the imagineers are well known for saying that by the time we see a technology in their rides, they have already taken it even further behind the scenes in development.

Maybe the next decade will see total immersion Disney.

For the meantime I just hope someone comes up with an alternative to those less than stylish 3D glasses... 

Saturday, 24 January 2009

Concours Création 15 Septembre 08


Friday, 23 January 2009

New Spore Games Target Kids, Wii Players

New Spore Games Target Kids, Wii Players

By Nate Ralph EmailJanuary 22, 2009 | 4:24:00 PMCategories: Console GamesPC Gaming  

Galactic

SAN FRANCISCO — The long-awaited release of Will Wright's evolution game, Spore, wasn't the end of the journey. It was just the beginning.

At a chic San Francisco art gallery Wednesday evening, Electronic Arts unveiled its plans to expand on the franchise in 2009. Wright and Co. are looking to bring a wide variety of new players into the Sporeuniverse. A new Creature Keeper game is aimed at young kids who want to play Tamagotchi with the monsters they create. Spore Hero is an action-adventure game for Wii. And a new expansion pack to the flagship PC game allows players to tweak the gameplay, creating their own adventures and challenging other players.

Spore, which was released last September, had years of hype behind it. The game promised to recreate the entire path of evolution, from cells swimming in the primordial ooze all the way to space travel. Critics were largely in agreement that while the game's creature-creation tools and procedurally-generated universes were stunning in their complexity, the gameplay laid on top of it was lacking.

Electronic Arts hopes it can evolve the series this year.

One of the most praised parts of Spore was the creature creator that allowed players to pull and prod body parts every which way to design amazing creatures, which would then animate in a lifelike fashion. Spore Creature Keeper takes those monsters and dumps them into a virtual-pet game aimed at kids.

In addition to ensuring that their little creation gets its daily exercise, players will be able to decorate their critter's living space, and invite friends over for play dates.

EA says it expects to release Creature Keeper in the summer.

Will Wright has said repeatedly that his company had planned on releasing a version of Spore for Nintendo's Wii console. EA finally made the official announcement last night: Spore Hero will be available this fall.

Spore Hero will allow players to create and interact with a fully rendered creature, and then lead them on a casual adventure to become their galaxy's champion, with a number of challenges along the way.  While EA held back on the details, it said that the game will maintain the franchise's focus on creating content and interacting with friends. But the Wii format will bring new challenges — it'll use the console's motion controls — and probably a whole new audience.

A Nintendo DS version of the game, Spore Hero Arena, is also scheduled for a fall release.

The highlight of the event was Spore Galactic Adventures (pictured above), the game's first expansion pack for PC and Mac. It expands the creative pathways open to players by allowing them to create their own gameplay.

Spore allows you to play God: prodding a single-celled organism along the evolutionary road, you design entire civilizations to explore vast tracts of space, befriending (or conquering) neighbors. And with the social networking trappings of "Sporepedia," a compendium of user-created content, your universe is automatically populated by the creations of other players hooked in to the network. (EA said Wednesday that over 65 million creations are currently on the servers.)

But once you reach the final Space stage of Spore, the gameplay becomes a bit underwhelming — once countless solar systems are at your fingertips, you'll quickly realize that there isn't very much to do.Galactic Adventures seeks to flesh out the final bits of Spore by adding a potent new tool set dubbed the "Adventure Creator," which allows you to create their own challenging levels and play others.

While we weren't allowed to get hands-on with the world-shaping, the demo that EA showed us demonstrated that Adventure Creator should be just as intuitive a tool as all of Spore's others. You won't be able to alter the size or shape of a planet, but geological features like lofty volcanoes or winding lakes can be planted with a click of your mouse. You can change the temperature from a ball of magma to a frigid wasteland or anything in between.

Once you've crafted the ideal layout, the full bulk of the Sporepedia will be available, allowing you to populate your world with any number of creatures, buildings, vehicles and objects that other users have created.

Once the stage is set, it's time to start crafting an adventure. Much like Sony's creative PlayStation 3 gameLittleBigPlanet, the definition of an adventure will largely be up to the individual designer. One quest I saw involved rescuing a princess from the clutches of a massive predator, while another challenged players to defend creatures from their hostile neighbors, as they migrated from one end of a planet to another.

Players will be able to create vehicle races, hedge mazes, or even platforming puzzles based on navigating a hazardous environment. The tools are fairly open-ended, and adventure-designers will have a great deal of control over how characters and objects interact with one another, including adding dialogue or controlling the feelings and reactions that a particular quest's actor has towards a player's character.

Every adventure is tied to the planet that you create. Once you've completed your opus and uploaded it to the Sporepedia, it functions much like any other user-created object will — you can search the web page for new content, or simply play the game as you normally would, and wait for the adventures to come to you. As you travel around the Spore universe, you'll occasionally encounter a player-created quest, andGalactic Adventures will allow your creature to beam down onto the surface of a planet to explore.

New equipment and abilities will be added with this expansion pack, tools of the trade that no self-respecting spacefarer should be without. These include all sorts of rocket launchers and laser blasters to ward off hostiles, in addition to jet packs and hover boots, to help space explorers navigate treacherous terrain.

Players will be able to rate the adventures they encounter, and popular levels with higher ratings will spread about the Spore-universe, while the drivel will fade into obscurity. Adventures will also have leaderboards, so that players who complete a level will be able to see how well they performed, when compared to players around the world.      

When Galactic Adventures debuts later this spring, it will ship with a few dozen adventures crafted by the game's designers, but it will largely be up to players to create the universe as they see fit. If the success of the current content creators are any indication — over 200,000 new items are being uploaded every day — it's going to be an exciting time to be a Spore fan.

Wednesday, 21 January 2009

Useful Reading Links

 


Useful links

Terra Nova

In this collaborative weblog, researchers and game designers come together to explore computer-generated, persistent, immersive, and representational social platforms." This is the best single resource for students of virtual worlds.

The Daedalus Gateway

This site is a user-friendly gateway to Nick Yee's extensive research findings on the dynamics of virtual worlds.

MUD-DEV-L Archive

MUD-DEV-L is a mailing list devoted to the design and implementation of multiplayer games on all types of computer platforms. This high-traffic list is populated by scores of professional game developers. Topics range from the highly technical to the purely sociological.

Buzz Cut

Maintained by David Thomas, Buzz Cut is a hybrid of a web log and an information portal. In the words of its creator, it is devoted to "the theory and criticism of electronic entertainment."

Digital Games Research Association (DIGRA)

The Digital Games Research Association is an international association of scholars and game developers

Gama Sutra

For the past six years, Gama Sutra has been essential reading for game developers. The site includes articles about designing games, interviews with industry figures, discussion forums, job announcements, and a gallery of student work.

Game Girl Advance

Founded by Jane Pinckard, Game Girl Advance "brings alternative perspectives to videogame culture. We want to analyze various aspects of gaming but also we want to put it into context, into the larger arena of modern pop culture. We're interested in what makes games fun, what makes games interesting, what we can learn from games, and what forces convert perfectly normal people into rabid gamers. We're also interested in music, film, and fashion. And girls. We love girls."

Game Studies: The International Journal of Computer Game Research

Game Studies is a peer-reviewed interdisciplinary journal devoted to the "aesthetic, cultural, and communicative aspects of computer games."

International Game Developers Association (IGDA)
Bringing together developers, designers, and scholars, the IGDA is the premiere non-profit professional association for people interested in games. They have recently announced a scholarship program providing full-access passes to college students who want to attend the Game Developers Conference in March 2004. The deadline for applications is January 28th.
Ludology.Org - Videogame Theory
Ludology.Org is a game-themed blog/portal maintained by Gonzalo Frasca.
Resource Center for Cyberculture Studies

The Resource Center for Cyberculture Studies (RCCS) nurtures the emerging field of 

Islam: the video game

A new video game that recasts Islam in a positive light is the subject of a fascinating story in today's Christian Science Monitorwrites Bonnie Malkin.

A Syrian software company, Afkar Media, is producing al-Quraysh, a real time strategy game that tells the story of the first 100 years of Islam.

In the game, players can choose to command one of four Muslim tribes or lead the army of the warrior Khaled Ibn. To succeed, they must create and protect trade routes and water sources, build armies, fight and free slaves.

Afkar Media hopes the game will help to reverse negative connotations of Islam in the west and evoke new pride among young Muslims.

This is not the first time the company has turned computer games conventions on their heads. Last year it launched the controversial game Under Seige, which was inspired by actual Hizbollah missions.

Under Seige was criticised for simply reversing stereotypes, but its makers argued it aimed to redress the balance in a genre dominated by victorious US forces defeating Arab enemies.

Golden Era of Islam Becomes Video Game

Our Guest Blogger, Lee Nunley, is a recent college graduate who has
lived in Cairo and Budapest. He currently resides in Denver and is
working on a book-centered Web 2.0 project. He wanted to share news about the innovations in the Middle East with the readers of InventorSpot.com.

Here's his article:

* * * * *

A new video game allows players in the Middle East to experience the historical period of the rise of Islam. Arabian Lords , a video game developed in partnership by a Middle Eastern and an American company, allows players to take on the role of a merchant in different historical scenarios. The bilingual PC game, which ships in both Arabic and English, is a mix between real-time strategy and city-building. The entire gaming environment, from the art to the architecture and costumes, was inspired by the pan-Arab region, with each of the 11 gaming scenarios taking place from the 7th to 13th centuries. 

In a recent interview with ITP.net the game’s developers stated that their intent for the game was to create a relevant game for the Middle Eastern market, which, aside from a small niche of games, has been dramatically underserved. This is perhaps why FIFA has long been the favorite game at video game cafes in the region. The developers also stayed away from violent conflict in the game, choosing instead to focus on trade, though this has upset some players who claim that by focusing on trade the game perpetuates negative stereotypes of Arabs.

Screenshot of Arabian LordsScreenshot of Arabian LordsWhen asked if the game was slated for American release the developers said that they haven’t ruled anything out, but did not elaborate on any possible American release. The game is currently available in Saudi Arabia, United Arab Emirates, Kuwait, Qatar, Bahrain, Oman, Egypt, Lebanon and Jordan.

If you are curious, you can check out a review of the game at Megamers.com at or check out the video (in Arabic).


FAQs on Violent Video Games and Other Media Violence

FAQs on Violent Video Games and Other Media Violence
Craig A. Anderson, Ph.D.
Professor & Chair
Department of Psychology
Iowa State University
Copyright 2002 by Craig A. Anderson

Reprinted in:
Anderson, C.A. (2002). FAQs on violent video games and other media violence: Part I. 
Small Screen, 179, September, pp. 1-2, 7-8.

Anderson, C.A. (2002). FAQs on violent video games and other media violence: Part II. 
Small Screen, 180, October, pp. 1-1, 7-8.

small screen is the news digest of the Australian Council on Children and the Media (trading name: Young Media Australia). Their web site is at: www.youngmedia.org.au.


1. You have been reviewing 50 years of research on media violence and aggression: what have the main research steps been ?

Most of the early research focused on two questions: 1. Is there a significant association between exposure to media violence and aggressive behavior? 2. Is this association causal? The results, overall, have been fairly consistent across types of studies (experimental, cross-sectional (often called "correlational"), and longitudinal (which are also a type of "correlational" study). There is a significant relation between exposure to media violence and aggressive behavior. Increased exposure leads to increased aggressive behavior. A single exposure can increase aggression in the immediate situation. Repeated exposure leads to general increases in aggressiveness over time. This relation is causal.

2. How does exposure to media violence increase later aggressive behavior?

Although a few of the early studies investigated underlying psychological mechanisms, more recent research focused somewhat more on the underlying psychological mechanisms, as well as on longitudinal results. We now have a pretty clear picture of how exposure to media violence can increase aggression in both the immediate situation as well as in long term contexts. Immediately after exposure to media violence, there is an increase in aggressive behavior tendencies because of several factors. 1. Aggressive thoughts increase, which in turn increase the likelihood that a mild or ambiguous provocation will be interpreted in a hostile fashion. 2. Aggressive (or hostile) affect increases. 3. General arousal (e.g., heart rate) increases, which tends to increase the dominant behavioral tendency. 4. People learn new aggressive behaviors by observing, and will reenact them almost immediately afterwards if the situational context is sufficiently similar.
Repeated exposure to media violence over time increases aggression across a range to situations and across time because of several related factors. 1. Repeated exposure creates more positive attitudes, beliefs, and expectations regarding aggressive solutions to interpersonal problems. 2. It leads to the development of aggressive scripts, which are basically ways of thinking about how the social world works. Heavy media violence consumers tend to view the world in a more hostile fashion. 3. It decreases the cognitive accessibility of nonviolent ways to handle conflict. 4. It produces an emotional desensitization to aggression and violence. Normally, people have a pretty negative emotional reaction to conflict, aggression, and violence, and this can be seen in their physiological reactions to observation of violence (real or fictional, as in entertainment media). 5. Repetition increases learning, including learning how to aggress.

3. Is there a difference between the effects of TV/movie violence versus Video-Games violence?

Most of the research has focused on TV/movie violence (so-called "passive" media), mainly because they have been around so much longer than video games. However, the existing research literature on violent video games has yielded the same general types of effects as the TV and Cinema research. Of course, there currently are no large scale longitudinal studies of violent video game effects. That will require additional time and resources.
At a theoretical level, there are reasons to believe that the violent video game effects may prove larger than TV and Cinema effects. However, this is a very difficult research question, and to date it has not been adequately examined, so there currently is no definitive answer. 

4. Are results of video game studies consistent? Are some social groups more susceptible to the negative effects of violent video games than others? Are some groups immune to these effects?

There is some research suggesting that individuals who are already fairly aggressive may be more affected by exposure to violent video games, but it is not yet conclusive. There has not yet been enough studies using video games to yield a clear answer. 
However, there is some reason to believe that the negative effects of exposure to media violence in general (including TV/movies) may be larger for some groups than others. Occasionally, they appear larger for boys than girls, but that may no longer be true (at least, in U.S. society). Some of the observed gender differences in media violence studies may have occurred because measures of aggression often focus on boy-type aggression (e.g., physical aggression) rather than girl-type aggression (e.g., relational aggression).
In general, people who already are highly aggressive sometimes appear to be more affected by media violence in the immediate situation than those who are not highly aggressive. But again, this doesn't always occur. Those from poorer backgrounds may be more at risk, but that may be because they tend to be exposed to higher levels of media violence, or because of other aggression-enhancing factors present in their environments.
Two additional points are worth remembering. 1. No one has ever identified a group of people who consistently appear immune to the negative effects of media violence. 2. Extreme aggression, such as aggravated assault and homicide, typically occurs only when there are a number of risk factors present. Exposure to violent media is only one risk factor. In other words, none of the risk factors are "necessary and sufficient" causes of extreme aggression. Of course, cigarette smoking is not a necessary and sufficient cause of lung cancer, even though it is a major cause of it. 

5. How important is the distinction between realistic violence versus fantasy violence?

This is an extremely important question because it is so frequently misunderstood. Many a person, including psychiatrists and psychologists, tend to think: "Well, it is just a game, the boy (girl) is able to make the difference between it and reality. Let us not worry about it." One of the great myths surrounding media violence is this notion that if the individual can distinguish between media violence and reality, then it can't have an adverse effect on that individual. Of course, the conclusion does not logically follow from the premise. And in fact, most of the studies that have demonstrated a causal link between exposure to media violence and subsequent aggressive behavior have been done with individuals who were fully aware that the observed media violence was not reality. For instance, many studies have used young adult participants who knew that the TV show, the movie clip, or the video game to which they were exposed was not "real." These studies still yielded the typical media violence effect on subsequently aggressive behavior.

6. Aren't there studies of violent video games that have found no significant effects on aggression?

Yes, such studies do exist. In any field of science, some studies will produce effects that differ from what most studies of that type find. If this weren't true, then one would need to perform only one study on a particular issue and we would have the "true" answer. Unfortunately, science is not that simple. As an example, consider the hypothesis that a particular coin is "fair," by which I mean that upon tossing it in the air it is equally likely to come up "heads" as "tails." To test this hypothesis, you toss it 4 times, and it comes up heads 3 times (75% heads). I toss it 4 times and get 2 heads (50%). My two graduate students toss it 4 times each, getting 4 tails and 2 heads (0% heads, 50% heads, respectively). What is the answer? Is the coin fair? Why have different people gotten different results? Well, part of the problem is that each of us has conducted a "study" with a sample size that is much too small to produce consistent results. We each should have tossed the coin at least 100 times. Had we done so, each of us would have had about 50% heads (if the coin was truly a "fair" coin). But we still wouldn't have gotten the exact same results. Chance plays some role in the outcome of any experiment. So even if all the conditions of the test are exactly the same, the results will differ to some extent. Of course, in the real world of science, the situation is much more complex. Each study differs somewhat from every other study, usually in several ways
So, given that we know that scientific studies of the same question will yield somewhat different results, purely on the basis of chance, how should we go about summarizing the results of a set of studies? One way is look at the average outcome across studies. This is essentially what a meta-analysis does. And when one does a meta-analysis on the media violence research literature, the clear conclusion is that the results are quite consistent. Similarly, meta-analyses of the violent video game studies also yield surprisingly consistent results. On average there is a clear effect: exposure to media violence (including violent video games) increases subsequent aggression. Some of the few contradictory studies can be explained as being the result of poor methods, others may suffer from a too small sample size. But the main point is that even well conducted studies with appropriate sample sizes will not yield identical results. For this reason, any general statements about a research domain must focus on the pooled results, not on individual studies.

7. But what about the claims made by the media industries and by some other media violence experts, who say that the existing research evidence shows no effects of violent media? 

The various entertainment media industries have lots of money to spend on trying to convince the general public as well as political leaders that there is nothing to worry about. And they do spend large sums on this. Unlike the research community, which has no vested interest in the topic, the media industry is very concerned about profits and will do almost anything to protect those profits. A recent book by James Steyer titled "The Other Parent: The Inside Story of the Media's Effect on Our Children," reveals much about how this works in the U.S. I suspect that most people would be shocked by many of the revelations contained in this book (published by Simon & Schuster, 2002). I personally have witnessed media industry lobbyists lie about a factual issue, watched them get caught in that lie, and then seen the same lobbyist deliver the same lie to a different group a year later. So, one must distinguish between real vs. industry experts.

8. But haven't other media violence experts also claimed that there is no valid scientific evidence linking media violence to aggression? 

Yes, and no. The media industries seek out, promote, and support "experts" who will make such claims. There are several such "experts" who have made their careers by bashing legitimate research. Examining the credentials of these industry-supported experts is quite revealing. Many do not have any research training in an appropriate discipline. Of those who do have advanced degrees in an appropriate discipline (for example, social psychology), almost none of them have ever conducted and published original empirical research on media violence. That is, they have never designed, carried out, and published a study in which they gathered new data to test scientific hypotheses about potential media violence effects. In other words, they are not truly experts on media violence research. Again, to get at the truth, one must distinguish between actual vs. self-proclaimed (and often industry-backed) experts.

9. Are there any evaluations of the media violence research literature done by groups who have the appropriate expertise but who are not themselves media violence researchers?

Interestingly, a number of professional organizations have asked their own experts to evaluate the media violence research literature. One of the most recent products of such an evaluation was a "Joint Statement on the Impact of Entertainment Violence on Children," issued by six medical and public health professional organizations at a Congressional Public Health Summit on July 26, 2000. This statement noted that "...entertainment violence can lead to increases in aggressive attitudes, values, and behavior, particularly in children." The statement also noted that the research points "...overwhelmingly to a causal connection between media violence and aggressive behavior in some children." The six signatory organizations were: American Academy of Pediatrics, American Academy of Child & Adolescent Psychiatry, American Medical Association, American Psychological Association, American Academy of Family Physicians, and the American Psychiatric Association. Along the same line, several reports by the U.S. Surgeon General have concluded that exposure to media violence is a significant risk factor for later aggression and violence.

10. The claim has been made that in terms of the general public's beliefs about media violence effects, we are currently in a situation that is very similar to where the public was some 30 years ago in the tobacco/lung cancer issue. In what ways are these two cases similar? Dissimilar?

The medical research community knew that cigarette smoking causes lung cancer long before the general public came to hold such beliefs. In fact, there are still sizable numbers of smokers who don't really believe this to be true. The tobacco industry was quite effective keeping the public confused regarding the true causal effect of tobacco on lung cancer. Among other tactics, they promoted "experts" who claimed that the research was badly done, or was inconsistent, or was largely irrelevant to lung cancer in humans. The media industries have been doing much the same thing, seeking out, promoting, and supporting "experts" willing to bash media violence research. 
The tobacco industry successfully defended itself against lawsuits for many years. There have been several lawsuits filed in the U.S. against various video game companies in recent years. As far as I know, none have been successful yet. 
One big difference between the tobacco industry case and the violent media case is that the main sources of information to the public (e.g., TV news shows, newspapers, magazines) are now largely owned by conglomerates that have a vested interest in denying the validity of any research suggesting that there might be harmful effects of repeated exposure to media violence. The tobacco industry certainly had some influence on the media, because of their advertising revenues, but the violent media industries are essentially a part of the same companies that own and control the news media. Thus, it is likely to be much more difficult for the general public to get an accurate portrayal of the scientific state of knowledge about media violence effects than it was to get an accurate portrayal of the tobacco/lung cancer state of scientific knowledge. Given that it took 30-some years for the public to learn and accept the tobacco/lung cancer findings, it seems unlikely that we'll see a major shift in the public's understanding of media violence effects. Indeed, a recent study that my colleague Brad Bushman and I published (
 American Psychologist,volume 56, 2001) suggests that the media violence/aggression link was firmly established scientifically by 1975, and that news reports on this research have gotten less accurate over time.

11. The U.S. Senate invited you to deliver an expert's opinion on violent video games in March, 2000. Has anything changed in the video game research literature since then?

Yes, since that time a number of new video game studies have been published. In addition, my colleagues and I have done several meta-analyses of all of the video game studies. It is even clearer today than it was at that earlier date that violent video games should be of concern to the general public. That is, even stronger statements can now be made on the basis of the scientific literature. There are still gaps and many unanswered questions, of course.

12. What is your advice concerning public policy towards violent entertainment media, particularly violent video games violence managing?

I try very hard to restrict my role in this debate to that of an expert media violence researcher. After all, that's what my training is in, and what I have devoted much of my life and career to doing. So, when the U.S. Senate (or anyone else) asks what the current scientific research literature shows, I tell them as plainly and clearly as possible. There is a "correct" answer to such a question, and I do my best to convey that answer. When asked what society should do about it, well, that's a political question that should (in my view) be publicly debated. There is no single "correct" answer to this public policy question because a host of personal values are relevant to the debate, in addition to the relevant scientific facts.
Nonetheless, I am willing to give a vague answer to the public policy question. Given the scientific evidence that exposure to media violence increases aggression in both the short-term and the long-term, and given my belief that the level of aggression in modern society could and should be reduced, I believe that we need to reduce the exposure of youth to media violence. My preference for action is to somehow convince parents to do a better job of screening inappropriate materials from their children. It is not an easy task for parents, and perhaps there are appropriate steps that legislative bodies as well as the media industries could take to make it easier for parents to control their children's media diet. But of course, as long as the media industries persist in denying the scientific facts and persist in keeping the general public confused about those facts, many parents won't see a need to screen some violent materials from their children. Ironically, the industry's success in keeping parents confused and in making parental control difficult is precisely what makes many citizens and legislators willing to consider legislation designed to reign in what they perceive to be an industry totally lacking in ethical values.

13. Does violence sell?

Clearly, violence does sell, at least in the video game market. But it is not clear whether the dominance of violent video games is due to an inherent desire for such games, or whether this is merely the result of the fact that most marketing dollars are spent on promoting violent games instead of nonviolent ones. One great irony in all of this is the industry belief that violence is necessary in their product in order to make a profit. One result of that belief is that most of marketing efforts go into marketing violence. In fact, the media has seemingly convinced many people in the U.S. that they like only violent media products. But nonviolent and low violent products can be exciting, fun, and sell well. 
Myst is a good example of an early nonviolent video game that sold extremely well for quite some time. A more recent example is The Sims.Interestingly, in some of our studies college students have to play nonviolent video games. Some of the these students report that they have never played nonviolent games, and are surprised to learn that they like some of the nonviolent ones as much as their violent games. 

Children in the Digital Age: The Role of Entertainment Technologies in Children's Development

Children in the Digital Age: The Role of Entertainment Technologies in Children's Development

Children in the Digital Age: The Role of Entertainment Technologies in Children's Development
 




Tuesday, 20 January 2009

NASA AND VIDEO GAMES


http://www.nasa.gov/audience/forkids/kidsclub/flash/index.html


Sunday, 18 January 2009

ABOUT Montreal GameCODE

Launched in February 2004, the Gamecode project has been developed to help make sense of the social significance of digital games. We specifically encourage the analysis of digital games and gaming in relation to the social, cultural and political conditions of living, working and playing in contemporary information societies.

By bringing together scholars, students, designers, and gamers from the Montreal area and elsewhere, we hope to promote the exchange of ideas and experiences relevant to the understanding of game play, design and culture. Gamecode project members have worked on a variety of projects including; the production of childhood in console gaming, the dynamics of identification in MMOGs, LAN parties and contemporary critical cultural theory, the art function of games, the concept of the documentary game, productive players and issues of ownership in MMOGs, game narrativity, emotions in games, power gamers and social commitment, player biography, virtual methodology, human-AI interaction in games, and the banality of gameplay.

Montreal GameCODE has been made possible with the support of the Department of Sociology and Anthropology at Concordia University, the Social Sciences and Humanities Research Council of Canada and Le Fonds Québécois de la Recherche sur la Société et la Culture.

Games 'to outsell' music, video

Games 'to outsell' music, video

By Rory Cellan-Jones 
Technology correspondent, BBC News

Publicity for GTA IV, AP
Hugely popular titles such as GTAIV have boosted sales figures

UK sales of games will outstrip music and video for the first time in 2008, says a report from Verdict Research.

A huge shift in consumer attitudes has turned video games into the UK's most popular form of entertainment, say the retail analysts.

It predicts spending on games will rise by 42% to £4.64bn in 2008, with sales on music and video at £4.46bn.

In the last five years the video games market has more than doubled in value, while music sales have stagnated.

The good news for game makers in the report was balanced by grim tidings for high street retailers.

"The music and video market is not just suffering from a slowing of growth but a massive transfer of spend to online," says Malcolm Pinkerton of Verdict Research.

It is online sales of CDs and DVDs that have grown rapidly, rather than digital downloads, which still only account for around 4% of music and video sales.

In contrast, video games spending has enjoyed explosive growth, with the launch of major new titles such as Grand Theft Auto IV and FIFA 08, and the Nintendo Wii continuing to broaden the appeal of games.

Battling nausea at the games fair

But retailers warn that the Verdict report may not provide a completely accurate picture.

"There is no doubt that the games sector is having a fantastic year," says Steve Redmond of the Entertainment Retailers Association (ERA), "but these figures overstate that by including games hardware."

The ERA's most recent figures for 2007 show sales of games software at £1.7bn, compared to £1.4bn in music sales and £2.2bn for video revenues.

"Our prediction is that games will overtake video by the end of this year," says Mr Redmond, "but not music and video combined."

High street music retailers are diversifying as sales of CDs continue to fall.

Malcolm Pinkerton of Verdict says firms such as HMV and Zavvi are changing store layouts: "They're cutting back on space in music and re-allocating it to more lucrative areas such as MP3 players, books, clothing and video games." 

Saturday, 17 January 2009

Journal of Gaming & Virtual Worlds


Journal of Gaming & Virtual Worlds

Principal Editor
Astrid Ensslin
Bangor University
a.ensslin@bangor.ac.uk



Associate Editor
Eben Muse
Bangor University
e.muse@bangor.ac.uk


Journal of Gaming and Virtual Worlds will be released in 2009.

Your browser must accept cookies to view the free issue.

The 
Journal of Gaming and Virtual Worlds focuses on theoretical and applied, empirical, critical, rhetorical, creative, economic and professional approaches to the study of electronic games across platforms and genres as well as ludic and serious online environments.

Wednesday, 14 January 2009

Concordia Research Initiative in Technoculture, Art and Games

Concordia Research Initiative in Technoculture, Art and Games
Job Opening: Postdoctoral Research Associate

Hexagram Institute for Research/Creation in Media Arts and Technologies
Concordia University, Montreal

The Research Initiative in Technoculture, Art and Games at Concordia University in Montreal invites applications for a postdoctoral research position in game design/game studies. The position is for one year (June 2009-1010) with the possibility of renewal for one more year. The postdoctoral researcher will work as designer/design consultant and researcher on projects related to gestural interface design in digital gaming and/or non-realist documentary expression in games. At Concordia, these projects are led by Bart Simon, Lynn Hughes and Elena Razlogova, and are part of a broader initiative involving several researchers working in game studies, digital culture and new media arts and design.

Responsibilities would involve developing one or more game prototypes and demonstrations in connection with one or more TAG based projects. We seek candidates with backgrounds in fields such as game design, game studies, new media arts, digital humanities, communications, media studies and computer science who have some experience working in an interdisciplinary and teamwork based setting. The ideal candidate would be an experienced game designer working within the broader context of digital game studies. The position will be full time, with a yearly salary of $28-35,000 plus benefits, and the researcher will be expected to be in residence in the Montreal area.

Applications may be sent electronically and should include a CV, a cover letter including a personal statement, and a brief statement of research interests and experience related to game design/game studies. Two signed letters of recommendation should also be sent directly by the writers via regular mail or fax. International applicants are most welcome but are subject to Canadian Immigration requirements regarding work visas. The deadline for receipt of all application materials is February 30, 2009.

For applications or queries regarding TAG or the postdoctoral position please contact:

Dr. Bart Simon, TAG Director


Email: simonb at alcor dot concordia dot edu
Fax: 1-514-848-4539
Phone: 1-514-848-2424 x2164
Mail: Department of Sociology and Anthropology, Concordia University, 1455 de Maisonneuve Blvd W., Montreal, Quebec, H3G 1M8.

Saturday, 10 January 2009

Games will 'eclipse' other media

Games will 'eclipse' other media

Scene from Guitar Hero
Mike Griffith cited Guitar Hero as a sign of the influence of gaming

Video games are poised to "eclipse" all other forms of entertainment, according to games studio boss Mike Griffith.

The Activision chief made the bold call during a keynote speech at the Consumer Electronics Show in Las Vegas.

He said video games were prospering as interest in almost every other category of entertainment declines.

Mr Griffith said social gaming, more interactivity and better technology would help gaming dominate the entertainment landscape in future.

He said: "Movies, recorded music and TV - these are all stagnating or contracting entertainment sectors."

40% growth

He quoted US market statistics which showed that between 2003 and 2007 sales of movie tickets fell by 6%; the number of hours of TV watched dropped by 6%, sales of recorded music slumped 12% and purchases of DVDs remained flat.

Over the same four-year period, said Mr Griffith, the video game industry grew by 40%.

"Video games are poised to eclipse all other forms of entertainment in the decade ahead," he said.

Scene from the Quantum of Solace game
Gamers will spend longer with James Bond than moviegoers

The success of Guitar Hero, said Mr Griffith, showed how influential gaming had become on many other entertainment sectors.

He quoted Nielsen SoundScan data which showed that artists whose music featured on Guitar Hero had seen a rise in download sales of 15-843%.

The game had proved so popular that some bands, such as Metallica and Aerosmith, were bringing out a version of the game that only features their music.

"Music has a history of evolving through technology and we are at the beginning of the latest chapter in that story," he said.

Technology, community and interactivity were the three factors that would help the video game industry become the driving force in entertainment, said Mr Griffith.

'Story telling'

The powerful processors in consoles such as the PS3 and Xbox 360 meant that games were getting ever more realistic and immersive, he said.

"Games are no longer pre-set trips through linear mazes," said Mr Griffith. "They are becoming a legitimate story-telling medium that rivals feature films."

He cited the video game of the latest James Bond film Quantum of Solace (QoS) as an example of how games were taking over.

Scene from Guitar Hero
Guitar Hero players are sharing their own musical creations

"The moviegoer is passive whereas the gamer is active and part of the game itself," he said, adding that anyone who played QoS would spend more than 50 hours in the company of James Bond compared to only 106 minutes if they watched the movie.

The communities growing up around titles such as Guitar Hero World Tour also showed how entertainment was changing, he said.

Owners of the game had created 141,000 tracks of their own using its in-built mixing studio and uploaded them to the Guitar Hero community site, which now has more than 600,000 members, he said.

More interactive controllers such as the guitars and drums in Guitar Hero and the Wiimote on Nintendo's gaming console were also helping encourage more people to take up gaming, said Mr Griffiths.

"Those new controllers are encouraging new ways to become more socially active in gaming," he said. "They are bringing in a whole new group of consumers that have never before been involved in gaming."

He concluded: "The one thing that is for sure is entertainment is changed forever with gaming." 

الجيش الأمريكي يغوي الشباب بألعاب الفيديو لتشجيعهم على التجنيد

أقام مركزًا خاصًا يمكنهم فيه "قصف العدو" وشن غارات بالطائرات
الجيش الأمريكي يغوي الشباب بألعاب الفيديو لتشجيعهم على التجنيد


فيلادلفيا (الولايات المتحدة)- رويترز

يسعى الجيش الأمريكي، الذي يكافح لتأمين القوة البشرية اللازمة فيما يخوض حربين في العراق وأفغانستان، إلى التودد للشبان الأمريكيين بألعاب الفيديو وخرائط شركة جوجل، وهجمات بالمحاكاة على مواقع العدو من طائرة هليكوبتر من طراز أباتشي. 

وبعيدًا عن مناخ التجنيد المعتاد بطاولاته المعدنية وجنود في الزي الرسمي داخل مبنى عسكري كئيب، استثمر الجيش 12 مليون دولار في منشأةٍ تبدو كمزيجٍ من صالة استقبال في فندق فخم وقاعة لألعاب الفيديو.

ويضم "مركز تجربة الجيش الأمريكي" الواقع داخل مركز "فرانكلين ميلز" التجاري بشمال شرق فيلادلفيا، نحو 60 جهاز كمبيوتر شخصيًا محملةً بألعاب فيديو عسكرية خاصة و19 برنامجًا لجهاز "اكس بوكس 360" لألعاب الفيديو، وسلسلة من الشاشات التفاعلية تقدم وصفًا لقواعد عسكرية وخيارات مهنية بكثيرٍ من التفصيل. 

ويمكن للراغبين في التجنيد تمضية بعض الوقت بالجلوس على الأرائك والاستماع إلى موسيقى الروك التي تملا الأركان. 

والمركز هو الأول من نوعه وافتتح في أغسطس /آب، كجزء من تجربة تستمر عامين، وحتى الآن سجل المركز 33 مجندًا بدوامٍ كامل و5 جنود احتياط، وهو ما يواكب بالكاد أداء خمسة مراكز تقليدية للتجنيد حل محلها، ويقول الجيش الأمريكي إنه يحقق بل يتجاوز العدد المستهدف للمجندين وجنود الاحتياط؛ حيث دخل 185 ألف رجل وامرأة الخدمة العسكرية العاملة في السنة المالية التي انتهت في 30 سبتمبر /أيلول الماضي، وهو أعلى رقم منذ عام 2003. 

ويقول مسؤولون عسكريون إنه من المرجح أن يدعم الركود والبطالة المتزايدة، عملية التجنيد. 

ويغوي مركز فيلادلفيا الشبان بغرفةٍ منفصلة يطلق داخلها المجندون المستقبليون النار من سيارة همفي حقيقية على مخيمات للعدو مقامة على ديكورٍ لأرض معركةٍ بارتفاع 4.5 متر، مع مؤثرات صوتية تصم الآذان. 

وفي غرفةٍ أخرى يستطيع من يميلون إلى شنِّ هجومٍ من على المشاركة في غارات بالهليكوبتر حين يخرج الجنود الأعداء من مخابئهم، ليقتلوا بنيران أسلحة أوتوماتيكية يطلقها جهاز للمحاكاة على متن طائرة من طراز أباتشي أو بلاك هوك. 

وقال السارجنت أول راندي جنينجز الذي يدير المركز إن الجيش لا يبحث ببساطة عن مجندين جدد، بل يهدف إلى تبديد المفاهيم الخاطئة عن حياة الجيش، وأضاف جنينجز الذي كان يرتدي بنطالاً واسعًا وقميصًا قطنيًا بدلاً من الزي الرسمي: "نريدهم أن يعرفوا أن الخدمة في الجيش ليست حمل السلاح وتهشيم الأبواب فقط"، وأضاف أن حوالي 80% من الجنود لا يشاركون في أدوار قتالية مباشرة. 

وصرح الميجر لاري ديلارد مدير المشروع بأن التجنيد كان أصعب قبل عامين، حين كانت الولايات المتحدة تخوض حربًا عنيفة في العراق، وكان العثور على وظائف أسهل في الوطن، وقال: "الآن الأنباء الواردة من العراق أفضل، كما أننا نشهد تراجعًا اقتصاديًا، سيكون الحصول على مجندين أسهل".

Wednesday, 7 January 2009

Record high for videogaming sales

Record high for videogaming sales

Customer buying a video game
More than 82.8m games were sold in Britain during 2008

Sales of videogames in the UK hit an all time high of 82.8m in 2008, figures from the industry trade body show.

The Entertainment and Leisure Software Publishers Association (ELSPA) said that consumers spent £4.03bn on video game hardware and software.

Total video game sales were in excess of £1.9bn, 23% more than the previous year and more than double the total earnings over the past five years.

Console sales accounted for another £1.422 billion.

Figures from ELSPA suggest that video games for the Nintendo Wii made up almost a quarter of all software sales, with more than 20m games sold. This was an increase of 112% on the previous year.

Software for the firm's handheld game console - the Nintendo DS - also proved popular, with more than 19.1m copies sold.

Games for Microsoft's Xbox 360 also did well, with a 51% rise in sales.

And there was some good news for Sony.

Sales of software for its PlayStation 3 console role by 145%, selling 10.4 million units - more than double the 4.2m games sold in 2007.

Woman shopping for a Nintendo Wii
Nintendo's console was pitched squarely at non-gamers

ELSPA's managing director, Michael Rawlinson, said the growth of games pitched at the casual user had help fuel the growth.

"Videogaming is increasingly bringing families together with the introduction of so many outstanding family-based console titles.

"These have really opened up the market to those who may never have even considered playing a videogame before," he said.

But with economic worries, and a shortage of blockbuster titles, some experts think 2009 may not be so rosy.

Speaking to the BBC, veteran game designer Peter Molyneux said he had concerns.

"While there is stuff in 2010 we can look forward to, off the top of my head, I cannot think of anything this year that really excites me."

"Everyone says games are good value for home entertainment, despite the relatively high price. I'm not so sure.

"I think we're going to see a lot of price pressure put on games," he added. 

Monday, 5 January 2009

100 Stories on Video Games

http://topics.edition.cnn.com/topics/video_games

Friday, 2 January 2009

The Rise of the Video Game Business in Morocco