Internal Microsoft documents obtained by Joystiq indicate that its Xbox 360 console will gain support for USB storage devices some time this Spring.
“According to the document, the USB mass storage device must be at least 1GB and the system will do a compatibility check. ‘The system partition occupies 512 MB of space, and by default the consumer partition occupies the remainder of the device capacity, or 16 GB, whichever is smaller.’ Upon inserting a blank USB storage device, ‘consumers are offered two choices: “Configure now” or “Customize.”‘ The ‘Configure now’ option will use ‘the entire device capacity, up to the maximum of 512 MB plus 16 GB,’ meaning, regardless of the overall size of the device you’re using, the Xbox will only enable 16 GB of usable, non-system storage. The ‘Customize’ option will allow you to ‘preserve some pre-existing, non-console data on the device’ such as music.”
There have also been rumors of a new, smaller form factor for the 360, and hacker Ben Heck has given his thoughts on some leaked motherboard pictures.
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The $64,000 question about Sony’s upcoming motion control system, the PlayStation Move, is how responsive it will be compared to traditional console controllers and its counterparts from Nintendo and Microsoft. Eurogamer slowed down videos of Sony’s tech demo software to establish a rough baseline latency that developers will have to work with. Quoting:
“While exact latency measurements aren’t possible in these conditions, a ballpark idea of the level of response isn’t a problem at all. The methodology is remarkably straightforward. Keep your hand as steady as possible, then make fast motions with the controller. Count the frames between your hand moving, and the motion being carried out on-screen. Equally illuminating is to stop your movement suddenly, then count the frames necessary for your on-screen counterpart to catch up. While not 100 per cent accurate, repeat the process enough times and the frame difference becomes fairly evident. Bearing all of that in mind, and recognizing that we don’t know how much latency the display itself is adding, I’d say that a ballpark figure of around 133ms of controller lag (give or take a frame) seems reasonable, certainly not the ultra-fast crispness of response we see from games like Burnout Paradise or Modern Warfare, but fine for most of the applications you would want from such a controller.”
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Published by
timothy on
Mar 19, 2010
parallel_prankster writes “Bruce Bueno de Mesquita is a professor of politics at New York University and a senior fellow at the Hoover Institution at Stanford University in California. In his new book, The Predictioneer (The Predictioneer’s Game in the US), he describes a computer model based on game theory which he — and others — claim can predict the future with remarkable accuracy. The website also has a game page where he provides an online version of the game and information on how to play.” The (semi-paywalled; may need to register) New Scientist has a story on de Mesquita, too; a snippet: “Over the past 30 years, Bueno de Mesquita has made thousands of predictions about hundreds of issues from geopolitics to personal problems. Overall, he claims, his hit rate is about 90 per cent.”
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schliz writes “Like in World of Warcraft, students of Indiana University’s game design classes start as Level 1 avatars with 0 XP, and progress by completing quests solo, as guilds, or in ‘pick up groups.’ Course coordinator Lee Sheldon says students are responding with ‘far greater enthusiasm,’ and many specifics of game design could also be directly applied to the workforce. These included: clearly defining goals for workers; providing incremental rewards; and balancing effort and reward.”
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As modern DRM schemes get more annoying and invasive, the common wisdom is to vote with your wallet and avoid supporting developers and publishers who include such schemes with their games. Or, if you simply must play it, wait a while until outcry and complaints have caused the DRM restrictions to be loosened. But will any of that make game creators rethink their stance? An article at CNet argues that gamers are, in general, an impatient bunch, and that trait combined with the nature of the games industry means that progress fighting DRM will be slow or nonexistent. Quoting:
“Increasingly so, the joke seems to be on the customers who end up buying this software when it first comes out. A simple look back at some controversial titles has shown us that after the initial sales come, the publisher later removes the vast majority of the DRM, leaving gamers to enjoy the software with fewer restrictions. … Still, [waiting until later to purchase the game] isn’t a good long-term solution. Early sales are often one of the big quantifiers in whether a studio will start working on a sequel, and if everyone were to wait to buy games once they hit the bargain price, publishers would simply stop making PC versions. There’s also no promise that the really heavy bits of DRM will be stripped out at a later date, except for the fact that most publishers are unlikely to want to maintain the cost of running the activation, and/or online verification servers for older software.”
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McBacon writes with this excerpt from Wired.co.uk:
“Often dismissed as a failed venture, the Xbox Indie Games programme has earned successful man-and-his-dog developers tens of thousands of pounds from sales of their homebrew games. Wired explores the success stories of this hidden marketplace. … now, more than a year since its launch, the Xbox Indie Games are seeing something of a revival. Microsoft has made huge strides to improve the service, games are beginning to be taken more seriously and success stories are becoming more and more common. Especially for [James] Silva, a New York-based developer, who became an impromptu Indie celebrity after his game The Dishwasher won Microsoft’s Dream-Build-Play competition. He says he’s ‘absolutely thrilled’ to have seen I Maed a Gam3 w1th Zomb1es!!!1 — his latest game — become a cult hit, for gamers to flock to it in record numbers and to have sold over 200,000 copies.”
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New video details life in the Wild West.
New video details life in the Wild West.
swandives writes “Australian gamers will dress as zombies to raise awareness about the lack of an R18+ rating for video games in the country. The protest will begin at Hyde Park Fountain on March 27 and lumber through Sydney, raising awareness of the need for a higher classification rating and hopefully causing a bit of havoc at the same time! Computerworld Australia has pictures of previous zombie protests in the lead-up to the event. Australia has a long history of lobbying for an R18+ games classification but, even after a decade, video games are banned from sale if they exceed the maximum M15+ classification. So far, the list of banned titles includes 7 Sins, Risen, Left 4 Dead 2 and Dark Sector. Others, like Alien vs. Predator, were initially banned but appealed the rating and are now MA15+.”
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The Guardian’s Games blog explores the tendency of modern video games to suffer from poor voice acting, a flaw made all the more glaring by increasingly precise and impressive graphics. Quoting:
“Due to the interactive nature of games, actors can’t be given a standard film script from which they’re able to gauge the throughline of their character and a feel for the dramatic development of the narrative. Instead, lines of dialogue need to be isolated into chunks so they can be accessed and triggered within the game in line with the actions of each individual player. Consequently, the performer will usually be presented with a spreadsheet jammed with hundreds of single lines of dialogue, with little sense of context or interaction. … But according to David Sobolov, one of the most experienced videogame voice actors in the world (just check out his website), the significant time pressures mean that close, in-depth direction is not always possible. ‘Often, there’s a need to record a great number of lines, so to keep the session moving, once we’ve established the tone of the character we’re performing, the director will silently direct us using the spreadsheet on the screen by simply moving the cursor down the page to indicate if he/she liked what we did. Or they’ll make up a code, like typing an ‘x’ to ask us to give them another take.’ It sounds, in effect, like a sort of acting battery farm, a grinding, dehumanizing production line of disembodied phrases, delivered for hours on end. Hardly conducive to Oscar-winning performances.”
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