• Mario Kart Wii - 8.94 million
• Wii Fit - 8.31 million
• Grand Theft Auto IV - 7.29 million
• Super Smash Bros. Brawl- 6.32 million
• Call of Duty: World at War- 5.89 million

Dear Mr. Gates:

On Monday, April 16, at 3:10 pm, I was a guest, as I often have been in the past, on the Fox News Channel. News anchor Bill Hemmer asked me to profile the Virginia Tech rampage killer. I did so, noting that until that day the worst school massacre in world history was at the hands of Robert Steinhaeuser, who literally trained on the Microsoft on-line, hyper-violent shooter game, Counterstrike. I mentioned your companyÂ’s game by name. I explained that the rehearsal for such a massacre is key to being able to pull it off, as efficiently as Cho, whose name we didnÂ’t even know at the time. Cho and Steinhaeuser were able to do what they did the first time because it was not the first time. This is why the military uses this same virtual reality simulation to train soldiers to want to kill and how to kill calmly, as the witnesses of Cho said he did. The letter ends thusly:

Mr. Gates, pull the plug on Counterstrike today, or do we need more dead to convince you? "Virginia Tech" was the 9-11 of school shootings, and it appears Microsoft is in the middle of it, in more ways than one.

Regards, Jack Thompson

First of all, notice how the first thing he mentions is how he was on TV; if you think this guy gets off on attention, just wait. The interesting thing about Jack's letter is that its entire point is to blame Microsoft chairman Bill Gates for Counter-Strike and how much death it's caused. This is interesting because, of course, Microsoft has nothing to do with Counter-Strike! The game is developed by Valve and published by Vivendi. The Washington Post writer forgot to fact check before publishing, and Jack Thompson composed this entire ooh-look-at-me letter to Microsoft without first making sure that Microsoft actually has any kind of connection to the game in question.

Soon after this, Thompson sent another open letter to the Virginia Police Department Chief. You can read the whole letter here, but here are the important bits:

Dear Chief Flinchum:

I went on the Fox News Channel Monday and even identified the game, Counterstrike, obsessively played by Cho, which was also used by Robert Steinhaeuser to author what is now the second worst school shooting in world history in Erfurt, Germany, which he also concluded by killing himself. These are not coincidences; these are patterns.

Once again, he starts off by mentioning that he was on Fox News. He also says that Cho "obsessively played" Counter-Strike, which is completely unfounded.

Thompson also implores the Virginia Police Chief, "If your Department really wants to get to the bottom of this, you need to talk to me now."
While the Virginia Police Department tries to pick up the pieces of this tragedy, deal with potential copy-cat killers, and try to investigate Cho's threat and motives, Jack Thompson wants to waste their time with his God-like delusions of authority. He wants to show them the truth, that it all boils down to "murder simulators." Jack Thompson should be ashamed of himself.

Never mind that, according to a search warrant (pdf) filed by the Virginia State Police, Cho Seung-Hui had no video games in his school dorm. Never mind also that when MSNBC's Chris Matthews interviewed one of Cho's suite-mates, he said that he never once saw Cho playing any video games.

Jack Thompson doesn't mind, because he still maintains that Cho trained on Counter-Strike. He even went on Hardball with Chris Matthews and tried to spout his theories again. Matthews wasn't having any of it, as you can see in this video from Kotaku.

MATTHEWS: How does the game prepare or drill him in the execution of 32 people?

THOMPSON: It drills you and gives you scenarios on how to kill them. It gets you to kill with your heart rate lowerÂ…

MATTHEWS: I know it is a theory. And it is a theory in this case. When was the most recent testimony, and when is it applied to, that he was involved with “Counter-Strike,” the video game, that Cho was?

THOMPSON: Cho? His high school friends. And, typically, whenÂ…

MATTHEWS: OK. Well, he is a fourth-year student at Virginia Tech...

As I said before, in the wake of a tragedy like this we are all looking for answers. We want to know how a person could do something so horrendous, we want to have some kind of rationalization for an irrational act. This is a natural reaction and is part of coping. I doubt we'll ever know what exactly was going on inside Cho's mind in the time before the shootings, and honestly I don't think we ever should.

But what Jack Thompson is doing isn't helping anybody. He doesn't want to explain Cho's motivations, he just wants to rationalize his own personal vendetta against the gaming industry. Thirty-two people have died senselessly, and instead of helping the afflicted or promoting counseling for depressed teenagers, Thompson just wants to spew his hatred.

Any time anybody under the age of thirty does anything violent, Thompson is on TV ready to blame the games. What has he ever accomplished, though? In my tenure as a games journalist I've seen Thompson call all gamers pot-heads, threaten to sue Wikipedia, sue the Florida bar, prey upon the families of countless family members of violence victims to increase his exposure, offer $10,000 to charity and then refuse to pay, and claim that the Beltway Sniper trained on Halo just for starters, but this is by far the worst.

If there was any evidence to support the fact that the Virginia Tech shooter played Counter-Strike, or even played any video game, I could accept Thompson's crusading as a mis-interpretation of facts. But, for the lack of such evidence, Thompson just pretends that there is evidence. Just to clarify, there is absolutely nothing to suggest that Cho Seung-Hai has played any video games in the last 5 years, but Jack Thompson maintains that that Counter-Strike is the cause.

Jack Thompson is delusional. He is an immature, hallow, self-centered little man who will leave no corpse unexploited to further his cause. America has experienced the worst shooting in history. This is a time for encouragement, for empowerment, and for reflection. This is definitely not a time for hatred, but hatred is all Thompson is capable of. He has an unrelenting, unmitigated hatred for video games and all people who play them and he is willing to exploit even a national tragedy to spread his hateful message.

There is no way to argue that video games had anything to do with this shooting. But, just for the sake of prosperity, could they?

To be perfectly honest, in my lifetime of playing video games I have probably killed over a billion imaginary people, robots, monsters, vampires, and zombies. I can recognize most widely-produced pistols, rifles, assault rifles, and machine guns by sight now, thanks primarily to their use in video games. I know military and counter-terrorism movement strategies, techniques, and equipment; again, mostly because of video games. As far as I know, however, I haven't killed any real people. I've never committed a felony, I've never threatened anybody with violence, and in the few situations when I've been around real weapons I've behaved as responsibly as I could imagine would be possible. Most of my friends are in the same situation.

The connecting fibers between school shooters is not that they play video games, it's that they play video games and shoot people. A person who plays video games and then goes on a shooting rampage can no more blame the games for the rampage than he could the brand of toothpaste he used that morning.

If video games did not exist, those who crave violence would simply find it elsewhere. It's important to remember that violence is not a recent phenomenon, while video games are. People have been killing each other since the dawn of man, not because they learned how to in books or cave paintings, but because there is something wrong with them.

I too would love to find a single thing to blame the violence at Virginia Tech on. If there was a single thing we could point out as the cause and lock up, ban, or outlaw, I'd love it. If somebody could suitably convince me that banning video games on a global scale would prevent any more violence of the scale of what we saw on Monday, I would gladly throw all my games into the trash. Anybody can see that it would be impossible to come to such a conclusion, however. There will always be crazy people in this world. There will also always be old people who don't understand the media of the young. Cho Seung-Hui was no more driven to murder by video games than he was by rap music, rock and roll, or baggy pants.

This article was originally published on Gaming Horizon, GameBump's predecessor.

You probably know that the PlayStation 3 will be releasing in just a few months now, and you've probably been hearing some pretty nasty things being said about the future platform. Spin, hype, hate, and fanboy adoration are quite typical in this business, especially right around the time a big new system is set to release. In this consumer world, we like to break down simple things like colas and videogame machines into lifestyles and factions. Pepsi people hate Coke people, PC people hate Mac people, Nintendo people hate Sony people. People never seem to realize that they're putting way too much energy into drinks, computers, and game systems. So, with a clean mental palate we're going to examine some of the predictions of doom cast toward the PlayStation 3. Folks, this is Point-Counter-Counterpoint.

Point-Counter-Counterpoint works like this: we've scanned some forums and picked out 10 of the most common arguments people have made against the PS3. The anti-PS3 arguments will appear in bold, and below them will be an observation by some of our writing staff or other gaming experts.

Today we have contributing: Gaming Horizon's Editor-in-Chief Shiva Stella, Senior Writer Aaron Dunlap, and Staff Writer Evan Lahti, and a special guest contributor, Ryan Kincaid, administrator of Metal Gear Solid: The Unofficial Site (TUS).

Evan: I can't understand why Sony wants to put out a basic version of the PS3 at all. Yes, it's excellent that they both have a hard drive (unlike the Xbox 360 ‘Core' system), but with the recent announcement of the European launch being delayed and the units available at launch being less-than high, it's curious that Sony didn't simply decide to focus its attention on putting out one model, and making that model perfect. It simply makes things more complicated for retailers and consumers alike to have to think about different features separating the two variants.

Shiva: A gamer who picks up the $499 "core" version isn't a gamer. I'll rephrase: he isn't a gamer in Sony's target audience, otherwise he would pick up the "full" version. The cheaper version is put out for the people who don't care about hard drive storage or Blu-ray or console bundles or even what games the thing plays; these people only care about price, because over little Jane's cries for Crash Bandicoot and little Billy's wailings for Madden, green is the only thing someone over the age of 25 can understand. As such, no HDMI support for people who don't care about HDMI features (or own a compatible TV) makes a lot more sense rather than charging them for crap they won't use.

Aaron D: Bingo. The cheaper version is really only for people who would pick a version based on price, the sort of person who doesn't know what HDMI is. In fact, most people who know and care what HDMI are the early-adopter, cutting-edge type people who will want the best and can afford to pay the difference. That's probably why Sony decided not to include an HDMI cord, because people who use HDMI are quality freaks and they'll NEVER use stock out-of-box cables and they probably have a bunch laying around anyway. As for the changing specs, I think Sony did bite off a bit more than they could chew with their initial specifications, but once reality struck they still ended up with a lot of power. I'm pretty shocked that all those memory card formats are still accepted (SD, Compact Flash, et al). They've barely said what those are even for; is it just for watching slideshows of your digital photos? Can you save your game status on them?

Conversely, not many people have High Definition televisions yet. Isn't it a bit early to start pushing so hard for a technology most can't afford?

Evan: As Sony is a company that manufactures HD-TVs, it's in their interest to add that compatibility to give consumers another reason to upgrade. There's various numbers about how long it'll take for HD to ‘replace' standard-feed televisions (just as broadband has all but eliminated dial-up), but it's conceivable that HD televisions will become affordable during the PS3's lifecycle, and for those of us that have been blessed by the high-def gods, it's another reason to take advantage of the highest-quality visual equipment available.

Shiva: So long as you hook it up to a TV that doesn't support HD and can still play the games, Sony is hardly "pushing" HD. The company that develops a console that is only compatible with an HD TV, however, is. And while companies continue to phase out the old junk and bring in the new, it's more than feasible that the average consumer will spend the next decade moving toward HD.

Aaron D: The reason nobody has HD sets right now is because there's so little content for it and what content there is remains so underrepresented. Has anyone ever seen the show LOST in HD? It's unbelievable, but nobody ever thinks, "I should buy this crazy new technology so I can see LOST in better picture." As movies and videogames are now moving toward HD, the people should start moving with it. Personally, I hope the developers for the PS3 do a better job of making sure their games look alright in standard definition as well; there have been a few games that are literally unplayable in SD (King Kong, Dead Rising among them). Besides, people tend to buy a new television every 5-7 years; so if they don't have an HDTV now, their next one should be – and their PS3 will be waiting for them.

No "shock" in my Dual Shock. Is cheesy tilt-sensing worth the loss of force-feedback?

Evan: The vibration function is an often-overlooked feature by gamers, or at least one we've grown to take for granted since the days of the 64's "Rumble Pak." It's unfortunate that Sony's legal situation means developers won't have another way of immersing us within the experience, but adding a simple axis-tilt input does allow them another avenue for adding unique gameplay experiences (I've no doubt Kojima has a long list of ways he'll implement this in MGS4).

Aaron D: Indeed, it is sad that Sony's patent issues somehow forced them to drop the vibration feature. It's also sad that, in attempt to replace it with something else, they had to emulate Nintendo's Wii controller so shamelessly. One nice thing is that, without the rumble motors, the controller feels really light in your hands. I think once people get over the loss, however, losing rumble won't be too big of a deal. I'm looking forward to some games that make good use of the tilt sensing.

Shiva: I'd rather have a game respond to my direct actions than a controller that spends most of its "vibrating" responding to cutscene explosions anyway. The tilt-sensing feature could make control schemes much more intuitive; do you really enjoy a controller that gives you a little motion when Bob falls out of an airplane and lands on his head?

Sony says they won't have enough consoles to ship for launch. Only 500,000, they say.

Evan: The launch is important, but what's more vital to the console's success is how many units Sony can put out by the end of the year. If Sony can produce close to another 500,000 by year's end (a spokesperson has said that 1 million to 1.2 million units will be on shelves in North America by December 31), it will be positioned well.

Shiva: Show me a console in gaming history that has launched with "enough" units to meet demand created by advertising. The affront from Microsoft came from a company still touting a system that nobody but Aunt May, who worked at Best Buy, could get a hold of. So long as Sony lets the system speak for itself and doesn't launch a blow-out campaign that makes the rest of the population want to commit suicide because Walmart's out of stock, the company should be fine.

Aaron D: Exactly, Shiva. I can't remember any console launch that wasn't preceeded by some cheesy "Oh No We Didn't Make Enough of Them!" drama. It's just a ploy to raise hype and demand. If people think they're hard to get, they'll want them more. The downside is that when the console launches and people have to buy them on eBay for Christmas presents, they'll have to pay even more money for them.

Sony is putting way too many figurative eggs in their metaphorical Blu-Ray basket. End users don't really care about formats so long as they work.

Evan: Much as the inclusion of the DVD format may have pushed many gamers over the edge to purchase the PS2 ("Hey mom, it can play movies too!"), if Blu-Ray ends up edging-out the HD-DVD format, it's another quality that'll make the system more versatile, which is never a bad thing.

Shiva: I've spotted several Blu-ray format new movie (DVD) releases in the past few months, but I haven't heard a peep from the HD-DVD camp. People like to compare the VCR format war of the 80's to the Blu-ray/HD-DVD "war" we've got now by claiming that what happened before will happen again – cheap people will win the day, and Blu-ray will go the way of Sony's special tape format. But gamers aren't traditionally cheap people, or they'd be watching The Simpsons or playing board games for entertainment instead of wasting away with EA's Sims Something or Other.

Ryan (TUS): In contrast to Evan's comment, the growth surge of the DVD format could in part be attributed to the success of the PS2. As more and more people gained access to playing DVD movies on their consoles, they found more of a reason to invest in movies. I'm sure Sony is betting on this as well with Blu-Ray, as the format isn't exactly booming at the moment. On the topic of whether or not gamers care about the format, I have to disagree. When the Nintendo 64 was released as using only cartridges, the response wasn't exactly positive. And moreso than with gamers, game makers expressed their disdain quite clearly. A better format means more developer adoption, and with the massive storage capacity of Blu-Ray, developers have already begun to voice their approval.

Developers say that the PlayStation 3 is difficult to work with or that the Cell processor is a pain to program for.

Evan: We heard similar qualms at the advent of the PS2's "Emotion Engine." As game makers start to develop an understanding of how to get the most out of the Cell processor over time, I'd expect a considerable visual gap between PS3 launch titles and games down the road.

Shiva: A PC can be "hard" to program for unless you understand its workings and know what you're doing. Given time, developers will start to tame the beast. It's sort of like Newton's Law of Gravity – all launch games suck; it's universal. The visuals and physics will improve as devs devote the time to master the hardware. Also, email me the name of a programmer who is not a whiny bastard.

Aaron D: I've talked to a few developers who say they've been having problems indeed (they'll only say that off-the-record, of course), but who knows for sure. What a hard-to-program-for platform means is this: really good exclusives, really bad ports. The people designing games just for the system will have to become very familiar with how the platform works (they can't just "bang out some code"), and companies designing multiconsole games won't be able to spend enough time focusing on each individual system's version so you'll end up with some buggy ports.

Ryan (TUS): In the same vein, the 360's development tools could be considered too easy, or point-and-click. Or, if I was feeling snarky, "amateuristic". "Difficult" is a subjective term and many developers, such as those working on Full Auto 2, have voiced their approval of the PS3's development kit, stating that the kit seemed to be extremely adaptive and easy to program for. Supporting this view is the fact that the PS3 is based on open (or publicly available) programming standards such as PSGL, COLLADA, and OpenMAX. This opens the door for would-be game designers to more realistically start work on PS3 homebrew games and applications. Microsoft has only recently adopted this concept with their XNA Game Studio kits for Windows and 360.

The PS3 launch library is pretty slim, only 13 titles or so.
Evan: This could be bad news. There's been some talk that Sony didn't make development kits for the PS3 available as early (or in a completed form) as it could have, but at the same time, developers understand that they've got a guaranteed group of purchases, and they have to take advantage of that early opportunity to make bank and create a reputation for the system. Either way, with a dozen-plus titles, the PS3 could still cover the necessary bases for a successful software launch: a fighting game, a racing game, a AAA first-party release, major sports titles, more than one shooter, a party game, and something with a lot of replay value. Games with solid multiplayer modes are also vital. We'll see.

Shiva: It doesn't matter how many launch titles will be available, because they will all be nothing more than a graphical introduction to the might that is the PS3. And they will all suck. It would be slightly pleasanter to have a larger variety of titles to choose from, but almost anything would be better than Kameo (no offense to the Kameo crowd).

Aaron D: Kameo wasn't THAT bad. The water boss did suck though. But yeah, launch titles are practically destined to suck, so I don't usually bother with them. I usually buy one or two games that I know I'll be able to get a few months out of, and once developers have had time to complete some decent games, I haven't wasted a bunch of money on crappy launch titles. The Xbox 360 is nearly a year old now and there are less than 5 titles that are really worth the effort. Lets not forget that the PS3 will have COMPLETE backwards compatibility, so you can still play all your PS2 games while you wait for some good PS3 ones.

Ryan (TUS): Actually, the last I checked, the roster was at around twenty or so titles for launch. Moreso than the 360, if memory serves correctly. But honestly, when have launch games ever been a clear indication of hardware potential? It took games like Metal Gear Solid 2 and Final Fantasy X to show developers and players alike just what exactly the PS2 hardware was capable of before we started to see a majority of the more impressive titles.

Where's the innovation? Xbox and Nintendo are trying new things and the PS3 seems like "Just another PlayStation."
Evan: "Just another PlayStation" is not necessarily a bad thing. Sony has hung its hat for more than a decade on bringing a diverse line of quality third-party content to gamers. Sony's online infrastructure is still completely unproven, and that's something that Microsoft seems to have locked down, but innovating on the software level is something Sony should be able to continue to provide.

Shiva: It's not just about hardware – 99% of it comes down to games. I bought an Xbox for KOTR, and I'd do it again (I'd probably have to, thank you semi-backwards compatibility). Nearly all of Sony's recent success came from repeatedly releasing good quality and diverse titles.

Aaron D: At their E3 conference, Sony said the PS3 is "not about gimmicks." Cut to footage of that EyeToy card battle game. Anyway, I think the Wii has people in a daze about gimmicks, as Nintendo may have finally found one that will work. In the end, though, sometimes you just have to realize what you're good at and focus on it.


Why is Sony staying so quiet about the PS3 if this huge new system is going to be launching in 2 months? Where are the ads and the hands-on reports? Are they hiding something? I've fallen and I can't get up!
Evan: Instead of simply banking on being able to carry over its userbase from previous hardware, Sony does need to take initiative and convince gamers that its console is worthwhile and represents a genuine contrast to the Xbox 360. I've been pretty disappointed with how Sony's PR has pitched the system thus far, but I think the company does seem more concerned with just getting the launch off the ground rather than aggressively marketing the PS3 and committing funds to that cause.

Shiva: If they're expecting a shortage then they're playing it safe and keeping the gaming community from getting as pissed off as it would be if Sony touted a system it didn't have to sell. Who said multi-billionaires never screw up?

Aaron D: I am a bit surprised how little we're hearing about the PS3. Though, in the months preceeding the Xbox 360 launch I was so utterly sick of hearing about it I couldn't wait for the thing to release just so everybody would stop talking about it. I would love to see those God-awful PSP commercials get replaced with some cocky PS3 commercials, as long as they aren't as racist and insulting as the PSP's. It's just kind of spooky that Sony hasn't made a peep in the mainstream about their supposed end-all console.

• Bill Clinton perjures himself in grand jury testimony
• Oklahoma judge Don Thompson loses his job after being caught using a penis pump under his robes while court was in session
• House Speaker Tom Delay retires from the House in the midst of grand jury probes into the legality his various political activities
• Representative William Jefferson is videotaped accepting tens of thousands of dollars in bribe money; the cash is later recovered from his freezer

• President Bush launches a war on Saddam Hussein's Iraq based on faulty and/or contrived intelligence
• Vice President Dick Cheney shoots his hunting partner in the face
• Representative Cynthia McKinney assaults a capitol police officer
• Representative Patrick Kennedy wrecks his car at 2am in Washington D.C. while under the influence (of something); escapes a sobriety examination by claiming he was "on his way to a vote"The entirety of Congress allows comprehensive illegal immigration legislation to die
• And now, word that both Dennis Hastert and John Murtha could be in ethical trouble for extremely shady earmarks

On Wednesday, June 14, 2006, the Committee on Energy and Commerce, a subcommittee of the US House or Representatives, held a hearing titled (why do these things need titles?), "Violent and Explicit Video Games: Informing Parents and Protecting Children."

As you may have heard, the outcome of this event was not entirely in the best interest of gaming as a whole. The gist of their conclusion, after questioning the head of the ESA, the President of the ESRB, the Director of the FTC's Consumer Protection bureau, Wal-Mart's VP of merchandising, and three game/health experts, was that violent videogames are akin to pornography in their harm for children and that the ESRB is at fault for letting something like Hot Coffee (which was a terribly isolated incident that would be nearly impossible to reproduce) defile our children.

I watched most of the hearing live, before the video feed suddenly cut out once things started getting good, and throughout the whole hour and a half of viewing I was consistently flabbergasted by the ignorance and misinformation that the Senators conducting the hearing were dealing with.

It is extremely apparent that these people, the ones wielding the power of the entire Legislative branch of our government, have little to no experience in the actual "world" of game playing. Every bit of evidence or material they used in their favor was misrepresentative, illogical, or flat-out wrong.
Congressman Stearns

Take, for example, the video clips that the Senators showed after each of the attending introduced themselves. Congressman Cliff Stearns (R. Florida) prefaced the video with something to the tune of, "this should give you an example of the type of material found videogames today." A series of clips then played, mostly from various Grand Theft Auto games, one from San Andreas where the player flew a plane into a building, another from the same game where the player stood on a street corner and shot civilians from a distance with a sniper rifle (even, gasp, police officers), and then a cutscene from Vice City where the main characters complete a drug transaction in a comically farcical way.

What they failed to mention was that all the footage of "acts of violence" they showed were all completely player-choice. The game does not require or even reward you for crashing planes into buildings or sniping police officers; it means that whoever recorded that clip decided on his own volition to see how violent he could be. A player could go through any Grant Theft Auto game and never harm any person who did not attack him first; any violent acts taken out upon strangers or non-combatants is entirely the player's choice.

And the clip of the drug deal, come on... you can watch real drug deals on The Discovery Channel, and there is fictional drug trading in many movies and television shows.

Much more misinformation was bartered in regard to the "Hot Coffee" element of GTA: San Andreas that most people don't even understand.

What People Believe About "Hot Coffee"

In the game Grand Theft Auto: San Andreas, you can enter in a secret code (most people believe that code to be "hot coffee") and you enter a secret level where you engage in scenes of sex and rape. Any person can buy a copy of San Andreas and enter this code to unlock the illicit material. Because this fully explicit material exists in a game rated M (Mature; 17+), the ESRB made a grave mistake by not discovering this material and giving the game an AO rating.

What REALLY Happened With "Hot Coffee"

When Rockstar was creating San Andreas, they planned to include in the actual course of the game this scene where CJ (the player's character) and a woman engage in consensual sexual intercourse at the woman's request, even. Rockstar (wisely) decided late into the development cycle that this material would be offensive and cause too much trouble. This sceneÂ’s programming was already integrated into the game's architecture and would therefore be very time-costly to actually remove, so they unlinked all triggers in the game that would cue the scene. In the game as it shipped, there was absolutely no way that this scene could ever be triggered. You could play the game ten thousand times and the sex scene would never show.

Later, some software crackers discovered this content in the PC version of San Andreas and created a software patch that would hack the game files and make it so this scene could be viewed in-game.

To unlock this scene, a player would have to go onto the Internet and find this very complicated unlock patch and apply it himself. This is the only way the "hot coffee" scene could ever be viewed in the game.

While the player was online looking for this patch he could also have downloaded all the illegal child pornography he wanted, but this is not what concerns these Senators. They are concerned for our children's safety because someone could buy a $50 piece of software, play it for at least six hours to get to the part of the game where the sexual content takes place, and manually install an (illegal, according to the DMCA) patch to play a humorous sex minigame.

Nevertheless, almost immediately after "hot coffee" was discovered, the ESRB changed the game's rating to AO (Adults Only) and every single copy of the game on store shelves was recalled and sent back to the manufacturer until a version could be authored where it would be completely impossible to unlock the scene. That part, nobody seems to know about.

Senator Stearns, addressing the representative from Wal-Mart, said, "All a child would have to do to buy this game on your website would be to click this, 'I agree that I am over 18' button and he could buy the game and then enter the 'hot coffee' code to view sexual materials." One of Stearns' assistants leaned in and whispered something in his ear then, most likely something to the tune of, "they fixed the game so you can't view that scene anymore," but Stearns continued, "Ok.. but a child could have just clicked that button to get the game!"

Right, and he'd also need a credit card. Not to mention, even the most law-abiding and child-protecting pornography websites on the Internet can only verify that a customer is over 18 by requiring a credit card and asking that he click a button to confirm that he's over 18. If it's good enough for porno, it should be good enough to make sure nobody buys a videogame who isn't supposed to be.

And if children are using their parentsÂ’ credit cards to make online purchases at Wal-Mart willy-nilly, should we blame Wal-Mart or maybe the parents not paying attention? Obviously the Senators want to protect the parents from having to become responsible for their own children.

The real loser in this subcommittee hearing was the ESRB. Patricia Vance, the President of the ESRB, was there for questioning but was obviously unprepared for this last-minute hearing and was too-easily flustered by the Senator's too-easy questions.

The ESRB, for the uninitiated, is an independent foundation started by the ESA that assigns age ratings to every videogame sold at any retail store. They do so by asking game developers to provide a thorough list of all mechanics of the gameplay and any material (in context) that would be offensive, and to include gameplay videos of certain scenes. It's in the publishers' best interest that they be honest, as the rating of their game defines what stores will sell it and how many parents will allow their children to play it.

Senator Stearns got hung up on the notion that it's called the Entertainment Software Rating Board and it's not an actual Board of people who sit around a conference table and discuss all 1,100 games that are released each year. The games themselves are reviewed by volunteers who have no ties to any game publisher, developer, or company.
Dr. Kim Thompson; kook.

Dr. Kimberly Thompson, a shrill-voiced professor of "Risk Analysis and Decision Science" at Harvard's School of Public Health, has a definite grudge against the ESRB. She and her researchers do their own ratings of certain games and chides the ESRB for how "inaccurate they are." For an example of how this woman's mind works, she has stated before that the gameplay of Pac-Man is "64% violent" and at this very hearing tried to denounce the ESRB's ratings by saying that "60% of games rated E (age six and up) by the ESRB reward players for 'injuring other characters." Yes, this includes Mario, for he jumps on turtles which apparently incites youngsters into fits of carnal rage.

The conclusion of the whole hearing, which was decided before it started, was that the ESRB is doing a poor job and should change the way it reviews games – including a serious suggestion that they play every game they review, instead of relying on publisher-provided details.

The fact that anybody could say this with a straight face demonstrates how little these people even consider gaming. One senator who agreed with this idea stated earlier that he liked to play Civilization IV and after many hours still hadn't mastered it. By a generous estimate, it would take over 100 hours to see everything the game Civilization has to offer. A game that you can beat in under five hours is considered to be "too short" by us reviewers, and even a game that you could beat in five hours would take another five hours just to see every corner of the game; and consider then that some games unlock new content only after you've beaten the game a certain number of times. Consider also a game like Grand Theft Auto: San Andreas where the gameplay is, aside from the scripted missions, entirely open ended – so it would take an infinite amount of time to see "everything" in the game because what happens is up to you. Consider still that as the ESRB would be reviewing the games for content and not speeding through like the average player, the ESRB reviewers would be forced to play very slowly and deliberately and to take notes for each event.

If the ESRB spent a generous 10 hours on each of the 1,100 games that release in a year, it would take over a year to review a year's worth of games. Also, the ESRB would have to receive completed copies of the games in order to review them, so if they received a too-high score they would have to spend months and months just removing one scene/weapon/character and bug-testing for any errors that removal might have caused. In short, forcing the ESRB to play every game through to completion, if not entirely impossible, would cripple the game development process and would (like the government loves to do) stifle creativity.

The ESA's Doug Lowenstein said two very powerful things that were completely ignored. "Defining this industry based on its most controversial titles would be like defining the film industry based on Kill Bill, The Texas Chainsaw Massacre and Natural Born Killers," and "Our research shows that the average gamer now is 33 years old. These are not kids."

That doesnÂ’t matter when Congress is on a vendetta and will allow no facts, logic, or sense of decency to stop them from protecting these imaginary children who will go completely bonkers if they see a woman's breast.

The ESRB is not the culprit here. Wal-Mart, or any retailer, is not the culprit here. The developers making violent or sexual content aren't the culprit here. The culprits are these old cronies who refuse to understand the basic principles of the matter. Trying to condemn videogames based on a few acts of player-motivated violence is akin to condemning books based on the fact that if you rearrange letters and words, you get satanic rituals and descriptions of rape. Chiding a store for allowing a child to circumvent their safety policies is akin to blaming Borders if a child buys a mystery novel that includes scenes of murder or sex. Blaming the gaming industry for Hot Coffee is akin to blaming a book publisher if someone draws a penis on a page from a book with a magic marker.

I'm using books for that metaphor because books are something people understand. You can learn to make bombs from books, you can read about how to burn down a house for the insurance money, you can learn what was going through Charles Manson's head in the 1960s, and you can read the hate-filled words of zealots, dictators, racists, bigots, murders, rapists, and extremists, but nobody cares because they're books. We hope that parents would keep children from reading harmful books, but we don't chide everybody but the parents if they donÂ’t.

Despite the backlash regarding its nature as a marketing device, AA has continued to be well-liked among gamers - more than 120,000 new players enlisted in the month of May alone. Compare this to the actual enlistment of the U.S. Army at 700,000, and you get an idea of the immense draw that a free, violence-driven game carries among young adults.

But amongst these millions of digital conscripts, lost between binary bullets, simulated grenade fire, and online campaigns is an individual seeking not to take down terrorists or secure imaginary objectives, but to subvert – to add his voice against the backdrop of virtual war. An artist’s voice. A voice of memorial and reality.

Since March, Joseph DeLappe, art professor at the University of Nevada in Reno, has been using the America’s Army game as an online gaming performance and protest of the war in Iraq. Under the callsign “dead-in-iraq,” DeLappe logs into the game’s servers and proceeds to list the names of the killed American personnel via the chat interface, one by one. Much like a real protester or non-combatant, he doesn’t fight or involve himself in the game whatsoever.

“I pondered this idea for well over a year,” recalls the 43-year-old artist. “I was really uncomfortable with it. It’s so real…those are real people,” DeLappe says of the names he lists.

In speaking with DeLappe, he emphasized the difficult nature of his work. “It’s a depressing project,” he notes, “you get a sense of the insanity of war.” Between typing the names out one at a time, which DeLappe describes as a “very physical act,” and watching players willingly simulate war before him, one would think that the juxtaposition would take a toll before too long. But DeLappe recognizes that he has a long road ahead of him.

“As an artist, when you’re uncomfortable with something, it usually means you’re on to something,” he says. DeLappe intends to continue inputting names on a regular basis until the Iraq war comes to a close. At time of publishing, he’s entered 505 of the total 2,460 recorded American servicepersons killed in action in Iraq.

The memorials for 9/11 in New York City was one of the things that inspired DeLappeÂ’s project initially, but the online performance doesnÂ’t represent his first foray into the digital domain. DeLappe, who holds a Masters degrees in Fine Arts and another in Computers in Art and Design from San Jose State University, has been exploring less-conventional visual, digital, and interactive forms through his work for more than 20 years.

“I would consider myself a critical gamer,” he explains. “I’m really curious about where this stuff is going and how it’s utilized […] you have this really high-tech gamespace, but I really am attracted to the combination of analog text input in that context.”

An example of DeLappe’s fascination with this dichotomy came in 2003, when he made use of a different game for his online stage, the World War II-based Medal of Honor: Allied Assault. Here, he recited the stanzas of Siegfried Sassoon, a WWI poet. “What I discovered was the way poetry’s designed, it fits really well in the text messaging system,” DeLappe recalls. “I started thinking about the environments as being very theatrical.”

This realization, among others, fueled DeLappe into additional game-situated projects, including the more lighthearted “Quake/Friends”: an online recital of an episode of the popular sitcom, Friends, within Quake. His website, http://delappe.net, says that the group performance was “intended as a parodic mixing of popular entertainment to create a temporal occurrence of clashing inanities.” Another project performed a text-reenactment of the 2004 debates between George W. Bush and John Kerry across three different online games (The Sims, Battlefield Vietnam, and Star Wars Jedi Knight II: Jedi Outcast) – with more than 50,000 characters of text and roughly eight hours needed for each recital, the artist estimates.

While his online, usually politically-tinted performances are certainly unique, “dead-in-iraq” represents DeLappe’s first direct, protest-style stage. Trying to use the Army’s own recruitment tool against them is no small task, but how does the military respond to DeLappe’s online demonstration? Paul Boyce, U.S. Army Public Affairs Specialist stated this reply to my inquiry: “America’s Army is open to virtual participation in an authentic U.S. Army experience to players throughout the United States. The Army does not limit participation unless there is negative impact on other players' experiences. As such, unless an individual uses foul or insensitive language, or is otherwise ruining gameplay for others, the management of America's Army takes no action.”

While the response indicates that the Army isn’t too worried about losing potential recruits through DeLappe’s actions, “ruining” is an interesting word in this context, and begs the question - do players of America’s Army have a right to a “pure” playing experience free of outside interests like DeLappe’s? Though his recital of names is arguably less disruptive than the hackers and team-killers often present in online games, according to DeLappe, many gamers respond negatively to his performance. “They’re upset that I’m interrupting their game – maybe I didn’t understand the level that people were absorbed,” he noted, emphasizing that most players within America’s Army are more concerned with the disruption of the gameplay than anything else. Understandably, gamers want to protect their own immersion within the experience, and some feel passionately that DeLappe shouldn’t be allowed to intrude upon their play.

In a May 24 post on the America’s Army official forums, the user “Westudi” had this to say regarding DeLappe’s interventions: “This isn't freedom of speech. If I were a server admin I would ban him. He can write an editorial, or do a plethora of other things that are protected under the notion of freedom of speech. Going into a server paid for by someone else, and doing this against their wishes is not protected under freedom of speech.”

Another forum-goer on the Game Politics forums, “diehardskeptic,” agreed. “Personally, I'd kick him out of a game I was hosting because he wasn't participating in the game. The idea that I should be subjected to someone else's ego trip just because we happen to be inhabiting the same virtual real estate is foolish. He's welcome to do his thing (for which I give him credit for using an unusual method for his "protest") and people are welcome to ignore or ridicule him,” a May 18 post read.

Other gamers, like 21-year-old Antonio Barrientes, seem a little more understanding of DeLappe’s methods. In our interview, Barrientes talked about how he felt that while DeLappe isn’t doing anything wrong through his protests, he wondered if it was the best setting to get his message out. “Particularly, I think he has a right to do this. The only thing I doubt is whether it's the right form of communication,” the California native noted. “America's Army may well be a tool for recruitment or even propaganda, […] but I don't know if his message and list of deceased soldiers should be reserved only for those who boot up their desktop for an hour or so of recreation – I think it would be a lot better-served if it were posted in places that more people could have access to.”

Barrientes continued, “It kind’ve [sic] took me a bit to come to terms with his method, and while it's true that I still believe more people need to see the list and posted names than just gamers, it would probably be an effective way of trying to send a message. Again, I still doubt he's reaching enough people, as you'll never know if one is engaged in the program to the point where they can't reflect on it as much as if they heard it in another forum. That's not to say that gamers don't care by any means, but unless one could give an exact number as to how many people are getting and understanding the message, I still worry about the message being lost on the ground of people not providing enough attention to it.”

DeLappe himself recognizes that his work is a relatively limited act. With a server holding somewhere around a dozen players at a time, DeLappe understands that he isn’t affecting a large group of minds directly. “It is truly fleeting, it’s very brief – in some ways it’s a very timid gesture,” DeLappe admits. “But why wait until [the war] is over? We need to be thinking about them now,” DeLappe underlines. “I don’t assume this is going to prevent anyone from signing up, that’s not the point of it,” he clarifies. “It just gets people thinking beyond the narrow confines of the Internet. If you think about the context where I’m doing this – it’s an environment that condones a level of simulated violence that’s extreme, and if that’s okay and accepted because it’s pretend, on some level you could say that this is also a pretend protest. This isn’t real, and that’s part of the point: trying to bring some real into this escapist context.”

As DeLappe continues to list the U.S. fatalities from the war in Iraq within America’s Army, we’re driven to examine what kind of country and culture we really live in – one where millions of young adults engage in a playful emulation of war while our own soldiers endure countless hardships overseas each day. Putting himself on the frontlines within the uncharted medium of a video game, the artist’s online performance adds memorial to the escapist, government-sanctioned experience that millions of gamers enjoy through America’s Army. And though the performance’s scope can be questioned, as well as whether or not one has a right to intrude upon an online space, more importantly, DeLappe wants us to recognize the bizarre discrepancy in our actions - real war isn’t recreational. ]]> Tue, 30 May 2006 19:03:00 -0500 The Gaming Horizon Archive http://www.gamebump.com/go/gh_editorial_hackgu_vol_1rebirth http://www.gamebump.com/go/gh_editorial_hackgu_vol_1rebirth http://www.gamebump.com/go/gh_editorial_hackgu_vol_1rebirth# This article was originally published on Gaming Horizon, GameBump's predecessor. It was written by Eric Dayday.

After introductions and pleasantries were exchanged, the representative went on to give us a basic outline about G.U. It takes place several years after the original .hack games. G.U. features a rebuilt version of the World known as World 2.0. ItÂ’s not the same world that players once knew, having been built from scratch. ThatÂ’s not to say that it will be completely different. Many of the environments will seem familiar to .hack veterans, just not carbon copies of the ones found in the previous four games. It also sports a darker, grittier, edgier feel than its predecessors. One look at the character designs is enough to see that.

That brings us to our main character, Haseo. He is a new player to the game and already starts things off on the wrong foot. On his first adventure, he befriends two other players who end up betraying him and attempt to PK, or Player Kill, Haseo before he is finally saved by a mysterious man. The man saves him for his own reasons, wanting to recruit him to his cause, but saying anything else would spoil some of the story. The rep wraps up the introduction by mentioning that Haseo seeks a legendary PKer known to bend the rules of the World. He also leaves us with the ominous message that not all of the problems from the World 1.0 have been fixed.

Moving on, the rep then talks about some of the new things weÂ’ll find in G.U. The darker theme is once again mentioned, but what perked my ears is what came next. The newest .hack title will be more action-oriented meaning that players will be able to combo with button presses instead of relying on menu commands to do so. This seems to be the trend in RPGs these days; however, here it looks like a logical decision. The system in the previous games seemed geared to a more interactive fighting engine and now we finally get it. Fans can also expect to see new skills and super moves that theyÂ’ll earn as they progress in level.

Fans have already noted that Haseo is a multi-blade – a new class to the .hack universe. As a multi-blade, Haseo will be able to change amongst the different weapon types as he pleases. To gain access to those weapons, you’ll need to level him up. However, just because he learns a new type at a higher level doesn’t necessarily mean it is better. Some weapon types will be more effective against a certain enemy than others, which is the advantage to being a multi-blade. The catch to keep this class from being overpowered is the fact that he’ll never truly master one weapon type.

Guilds are another big addition. Joining a guild not only gives you a network of other players to talk to, but it will also give you access to better equipment – that is if there are a lot of members in the guild. And guilds will gain larger headquarters as their numbers increase.

After all of that, we moved on to the pre-approved questions that were submitted by each of the participating sites followed by an open Q and A session.

(Note: The following is not a transcript of the call. The questions and answers are paraphrased and/or summarized.)

Q: Will there be a Pre-Order Bonus? If so, what will we see?
A: They want to do something special for those that pre-order, but nothing definite at this point.

Q: Will we see a playable demo before its release?
A: For the masses, this seems unlikely. However, it will most likely be playable in some form at E3.

Q: Will there be a dual-audio (English and Japanese voices) option in the new games?
A: The simple answer is no, but this led to a lengthy discussion of why, and its good news despite the “no”. The biggest reason why .hack//G.U. will not have a dual option is that there simply isn’t enough space on the DVD to hold that much information. The game content itself fills up so much of the disc that they just can’t fit in a dual audio option. To put this in perspective, the text file containing all of the dialogue is about 35 megs – zipped. If having no dual audio means we’ll have this much game to play, I am all for it. There was also a brief mention of legal issues as well.

Q: Will there be a Parody mode this time around and if so will the US get it too?
A: Maybe – but that’s because the game isn’t quite finished yet and the developers haven’t determined what kind of completion bonuses they want to include.

Q: How many parts will this series be and will it come with a packed-in DVD?
A: G.U. will be a three-part series and no DVD will be packed in.

Q: Will G.U. be able to carry over data from the previous .hack// titles?
A: The option to carry over old data will more than likely be an option, but what exactly it will do is still undecided.

Q: Will keywords still be used?
A: The use of keywords to travel to different fields is still intact, though the rep promised that the system would be more streamlined and easier to use than in previous editions.

Q: Will there be any gameplay outside of the World?
A: No, all “outside interaction” will still be done through e-mail and text messages.

Q: Is G.U. being developed by the same team that created the older .hack// games?
A: Yes, the same exact dev team is working on G.U. This not only includes programmers and artists, but composers and collaborations as well.

Q: Will we see any sort of true online .hack// game in the future?
A: No, not one of G.U. (Ed. Note: Though it should be noted that .hack//fragment is a true online .hack title released in Japan late last year.)

Q: How does .hack//roots (the animated show currently airing in Japan) tie in with G.U.?
A: TheyÂ’re related in the way that Liminality/Sign and the old .hack// series were. Roots will run parallel with G.U. and also cross into it at times. However, G.U. will not contain any footage from Roots.

Q: Will we see any old characters return?
A: All the rep would say is that some would seem similar and familiar. Saying anything more would be spoilers.

Q: How much of G.U. is dependent on the old .hack// series?
A: G.U. is completely original so having played the previous four games is not a requirement to jump into G.U.Â’s world. There will be plenty of references that older fans will appreciate, but those new to the series will be able to enjoy the game just as much.

Q: Has the target audience changed?
A: The rep said he felt that the target audience has not changed noting that while G.U. is a different game, parts of it will feel similar.

Q: How long will G.U. be?
A: The rep again mentioned the sheer amount of information that fills the disk. He also said that the development team was aiming to create a lengthy adventure, not some short 10-12 hour game. There is no exact time estimate, but given how large the game is, we can expect to have plenty to sink our teeth into.

Q: What does G.U. stand for?
A: The rep confirmed that Grow(ing) Up is one meaning, but not necessarily the only one. With many reports coming out of Japan of other possible meanings, we can only tell that saying more would contain spoilers.

Q: How will PK-ing work?
A: You as Haseo cannot PK others. However, you will come across others being PKÂ’d and can choose to help them or not.

Q: Will there be any US exclusive content?
A: Unfortunately no as the rep once again cited the amount of information on the disc.

Q: The first .hack launched a massive media craze. Will G.U. continue this?
A: G.U. will indeed continue this as already seen with the Roots animated series. Fans can expect to see DVDs of those along with other G.U. products outside of the games.

Q: How important are guilds?
A: This was a difficult question for the rep to answer without giving anything away. All he could mention was that tension between guilds will play a role.

Q: Will we see people outside of the World die?
A: Not likely. While they are going with a darker theme, donÂ’t expect any kind of permanent deaths.

Q: With the darker grittier feel of G.U., are you looking to add blood and gore?
A: This .hack title will still have a T (Teen) rating. While theyÂ’re changing the overall theme and feel of the game, adding blood and gore is not something they see that will help accomplish that.

Q: Along those same lines, will we see more mature dialogue?
A: The rep responded by saying if the question is regarding the introduction of swearing, then no. It will be mature in the sense that it stays true to the T rating, nothing like a G-rated Saturday morning cartoon.

Q: What is the appeal of .hack//?
A: The rep succinctly answered with - “It’s all the fun of an MMORPG without paying a fee or dealing with ‘those kinds of people’”.

Q: Will there be a level cap?
A: That is still being determined, but mentioned that for Haseo, there will be a class change cap.

Q: Any information about the voice cast?
A: They are in the middle of casting right now, so thereÂ’s nothing final or definite at the moment.

That brought us to the end of our .hack// G.U. conference call, though not without someone sneaking in a comment about the new name of NintendoÂ’s next-gen system. IÂ’d like to thank the Namco Bandai representatives for taking the time out to talk with us as well as the other participating sites for their wonderful questions.

.hack//G.U. is scheduled for a May release in Japan and a fall release here in the US. With E3 right around the corner, you can be sure more details will be released and we will be there for the scoop. So, stay tuned to Gaming Horizon as more information about G.U. is revealed.]]> Tue, 02 May 2006 09:49:00 -0500 The Gaming Horizon Archive http://www.gamebump.com/go/gh_editorial_violent_games_laws_uninformed_and_on_the_rise http://www.gamebump.com/go/gh_editorial_violent_games_laws_uninformed_and_on_the_rise http://www.gamebump.com/go/gh_editorial_violent_games_laws_uninformed_and_on_the_rise# This article was originally published on Gaming Horizon, GameBump's predecessor. It was written by Evan Lahti.

Late last month, Texas politician and gubernatorial candidate Star Locke proposed a $10,000 per-abortion tax on medical clinics and a 50 percent tax on soda that "contains added glucose, fructose, and sucrose." Likewise, Locke suggested a 50 percent "grease tax" on "all food prepared by deep-frying or cooking in any form of oil or grease for human consumption." Locke justified his radical tariffs, stating to the Amarillo Globe: "I take the position that the founding fathers took: that the power to tax is the power to destroy."

One can only imagine the ensuing riots at speculation of a $9 quarter-pounder, but though Locke's levies are illogical (if not unconstitutional), one final suggestion topped the cake: to pass a 100 percent sales tax on violent videogames into law.

While gamers shouldn't fret about paying $100 for the next Halo or Grand Theft Auto update, they should worry that Locke's "solution" is indicative of a growing trend in American politics - more than ever, legislators are pushing for laws that illegalize the sale of violent and mature videogames to minors.

Pro-regulation figureheads like Jack Thompson would have us believe that games are mental intoxications – that each time I pop Killzone or Resident Evil into my console, I’m subjecting myself to content that will ultimately brainwash me into a volatile, aggressive sociopath. In a January 8 article published this year on The News Tribune, Thompson claims: "Teens […] have a neurobiological developmental deficit that can, in the worst case, turn them into "Manchurian Candidate" killing machines."

ThompsonÂ’s pseudo-scientific indictment of the gaming industry is remindful of the language used in prescription medication ads: "Â…side effects of playing Counter-Strike may include nausea, dizziness, or assaulting your friends and family against your will." Â…Perhaps we should consult the Surgeon General as well.

Are there games that are inappropriate for minors? Absolutely. Does it mean that every 17-year-old should be prohibited from buying games because they haven’t sufficiently “matured” enough to handle certain content? Is a generalized, age-based ban an appropriate and effective way to protect our children from violent games?

Unfortunately, one reason these questions remain is the fact that our legislators are largely ignorant of video games as a medium, and are instead informed by a few highly-specified and over-dramatized examples. Titles like Manhunt and Mortal Kombat, while clearly members of the "mature" category, have redeeming artistic qualities, but are construed as typifying an industry-wide epidemic.

Of course, it hasn't helped that the gaming industry has grown so quickly. Not 20 years ago, having consoles and personal computers in the household was a radically new idea; in 2004, the gaming industry posted revenues of $10 billion – more than Hollywood. Culturally and otherwise, gaming's footprint hasn't quite been measured by society, and it’s part of the reason we’re seeing unrealistic regulations.

But if we reflect, the recipe seems familiar: new technologies, new forms of expression, and new ways of perceiving reality have a predictable way of muddling anyone we elect into office. Film, television, and radio represent some of our most highly-regulated businesses; and politicians would rather attack industries that subjectively “pollute” our minds than the ones that pollute the very air we breathe.

If the term "scapegoat" seems too harsh, examine an excerpt from the Baxter Bulletin, an Arkansas newspaper. In an article about Jacob Robida, the recently-accused offender in an attack at a gay bar in Massachusetts that killed a police officer, the paper published this quote from Massachusetts Prosecuting Attorney Paul Walsh: "My look at the search warrant (for Robida's home) was that the investigators turned up no video games. [Â…] From the information we have here, there is no proof video games were involved."

Thank goodness that RobidaÂ’s PlayStation or Xbox werenÂ’t accomplices to his hateful act. But who suggested a game-crime connection to police? None other than Jack Thompson, the Miami attorney that seems to involve himself in national investigations when it suits his interests.

Inexplicably, videogames have become societyÂ’s insanity plea for murder, violence, and other crimes. Will increased game-regulation really attenuate these problems? Likely not, but it begs a more important question - how do we strike a balance between allowing freedom of expression and understanding a medium for what it is, but also aiding parents in choosing what their child should or shouldnÂ’t be exposed to?

Ultimately, parentsÂ’ and law-makersÂ’ understanding of video games has to mature. Politicians seem under the impression that each time Joe twelve-year-old blows away some poor virtual soul in Halo, theyÂ’re going to take it into the streets. But the way people interact and are affected by video games isnÂ’t that simple.

Individuals that commit crimes "inspired" by video games have more deeply rooted problems - an inability to distinguish reality from fantasy. While games with violent content could serve as an impetus for troubled youths, they ignore the "bigger picture;" the fact that ultimately, people are responsible for their own actions.

More generally, society needs to take the initiative to hold a view that recognizes videogames as a legitimate form of communication and entertainment, not a system designed to drill teenagers on the intricacies of executing a drive-by shooting. People seem unwilling to accept the idea that society's ills are rooted in more significant problems than computer-rendered characters engaging in a virtual firefight.

On Friday, Gaming Horizon was invited to participate in a question and answer session with developers of Deep Red’s upcoming PC city-simulation game, Tycoon City: New York. The panel included:Will Jordan – Tycoon City CoderBill Carroll – Atari ProducerJames Brodie – Quality Assurance ManagerJon Law – Lead Designer

In Tycoon City: New York, players make the rags-to-riches journey as an upstart entrepreneur looking to establish himself in the Big Apple. Players can build an array of businesses to draw the attention of New York natives, including coffee shops, clubs, and historic landmarks. TC: NY also boasts an expansive, free-roaming 3D environment, letting players oversee their empire from above, or get hands-on with customers at street level. Published by Atari, the game is only weeks away from hitting stores on February 24; check out what developers revealed in advance of the release in this interview.Tycoon City: New York Official Site

Interview

What's the premise of Tycoon City?

James Brodie: TC is a rag to riches game where [players] get the opportunity to build up New York city the way they want to. The city is split up into 12 districts, each with its own unique style and different architecture. There are a number of opportunities players can take that direct them to meet certain requirements, however you can choose to concentrate on this or play in TCÂ’s sandbox mode. You can upgrade the buildings you place and make New York your city!

How did the idea for TC: NY originate?

Jon Law: We really wanted to create a massive city building game with extreme detail, and there's no other city that is more impressive than New York. We took two trips over to New York (I'd never been before), and that really sealed it.

What do you think are the defining aspects of Tycoon City's gameplay?

Jon Law: The sheer scale and detail of the environment that you build still excites me. There's nothing else out there that allows you to create such a bustling cityscape. As you build, more and more businesses become available, more people types move in, and as you place landmarks, the city really comes to life. It's enormous. When you get up to Harlem and the whole city stretches out before you it's quite a sight. Then you dive down to street level and the people are all active, going about their daily lives. Add to that the various events that kick off throughout the year and our New York feels like a great place to be!

How would you compare Tycoon City to Sim City?

Jon Law: Sim City is more about city planning and creating logistic links, underlying structure and maintenance. TC: NY is about running businesses and getting involved in city wide parades and events. Sim City is about zoning. TC lets you build each shop and club, then upgrade it. You see real people using your businesses and responding to them.

What type of design decisions can players make when constructing new buildings?

Jon Law: When placing a business, the architectural style is defined by the district it's placed in - a coffee bar in Greenwich is small and narrow, whereas in Midtown it's far taller and wider. The decor reflects the district too. Once it's in place, you can start to upgrade. Upgrades can be placed on the pavement outside a business, on the walls and in some cases on the roof as well. Each upgrade boosts stats for the business, such as Sphere of Influence, Beauty, Appeal and Happiness.

What were some obstacles you encountered in developing TC: NY?

Will Jordan: From a technical point of view, the toughest part was creating a system that would allow us to have 60,000+ individuals in a dynamic city environment.

James Brodie: From a QA point of view there are simply so many different connotations in the game that you have to create test plans to try and cover all of the eventualities. It helps that I like this sort of game anyway, but it is not until you have been through everything you realize how big the game really is.

Jon Law: Design-wise, it's always hard to know when to draw the line. Some of those cool ideas just don't fit into the game when it comes into focus. We had garbage trucks, planning out routes to ensure a cleaner city, but focus changed to more glamorous activities, so garbage was out!

Did you license a pre-existing engine to create the game on, or create one from scratch?

Will Jordan: We created our own engine, the Actuality Engine, for this project. This enabled us to have the flexibility required to render vast city areas populated with hundreds of people.

Will players be able to import their own objects?

Will Jordan: Managing the sheer number of objects that are already in the game is a complex enough task without introducing player imported objects, unfortunately.

Will the game include the Twin Towers?

Jon Law: The biggest consideration with regards to 9-11 was to not offend or upset anyone who was affected by that dreadful day. We had many suggestions as to how to tackle it, including most of those aired on [our] forums, We even built our own version of a Freedom Tower. Finally, it was decided that the most acceptable response was to have a pre-built memorial park, with a monument displaying the words, “We Will Never Forget.”

Much of the emphasis in TC: NY lies in giving players the feeling that their actions are affecting an entire city. How do you balance making a player feel immersed in an expansive environment without overwhelming them or forcing them to micromanage?

Jon Law: Each district has a varied set of businesses and citizens within. Although they do cross those boundaries, it does allow the player to concentrate on the most appropriate aspects for that district. Also, as the game is more about expansion than micro management, the need to revisit businesses is minimal. If you had to constantly tweak values to ensure a businesses success, you'd have no time to progress.

How much control do players have over how their city operates and appears?

Jon Law: Each district has a set of businesses that are valid, and that makes sense for the location. Within that you can build wherever you want, as long as the AI hasn't taken the slot you want! The only things that are fixed are the landmarks. In sandbox mode you can turn the AI off completely and have free reign to build New York as you want it to be. The AI does try to emulate the real layout of New York, so it biases taller office buildings in the Financial District and Midtown, and the skyline drops as you pass over Greenwich.

What's your favorite function in Tycoon City?

Jon Law: [Â…] [I]t has to be the parades - seeing a parade against the backdrop of the city you have built is pretty cool.

Will Jordan: My favorite thing to do is to build up chains and HQs. I like to try and get the biggest HQ I can, and the best businesses, and completely wipe the AI off all the boards.

James Brodie: I think mine has to be the zoom function because once you have a city fully built up you can zoom right out and look at all your hard work, but then you can zoom in and look around at all of your shops, and I think it looks really impressive.

What other cities would fit well in the Tycoon City franchise?

Jon Law: Tokyo, Miami, Hong Kong, San Francisco and Rio de Janeiro.

James Brodie: I would like to do Tokyo as I think that architecturally itÂ’s a very interesting and vibrant city, and I think we could have fun with the transport system, and also all the advertising, plus I hope I would get to visit there!

Will Jordan: Personally I think a Tycoon City set on Mars would be cool. Having habitats that rupture, an influx of immigrants from Earth; there could be a lot of scenarios. I'm not too sure about visiting Mars for research purposes though.

]]> Sat, 04 Feb 2006 11:14:00 -0600 Tim Grube http://www.gamebump.com/go/gh_editorial_timeshift_character_profiles http://www.gamebump.com/go/gh_editorial_timeshift_character_profiles http://www.gamebump.com/go/gh_editorial_timeshift_character_profiles# This article was originally published on Gaming Horizon, GameBump's predecessor.

Atari recently sent over an in-depth character feature and we couldn't resist posting it up for you all to check it out. TimeShift is first-person shooter title that is scheduled to be released on the PC, Xbox 360, and Xbox. Check out the feature below.

Colonel Michael Swift

Colonel Michael Swift (recently retired) has a unique combination of brains and brawn that have helped him to rapidly rise to the top ranks of the Air Force. An all-state running back in high school, Swift passed up on athletic scholarships from some of the countryÂ’s best universities to join the Air Force Academy where he majored in military strategic studies. After graduating from the Academy at age 21, Swift spent ten years as a combat and recon pilot, flying thousands of sorties. In the year 2004 during a secret mission he was shot down over hostile territory. He spent three months navigating the treacherous terrain of the enemyÂ’s land, avoiding capture and battling the elements before successfully reaching the border of an ally. His resurfacing became the stuff of legend and the Air Force soon promoted him to the rank Colonel. He soon became a specialist in the research and development of advanced weaponry for future combat. Upon the death of his wife he retired from active duty and became a full-time father.

When a government agency initiated the testing of the Quantum Suit and the Chronomicon - a highly publicized event - they chose Swift to perform the experiment as he was the only candidate with the proper mix of DNA, brains and strength to perform he job. After initially declining the offer, the tragic death of his daughter Emma causes him to reconsider.

Professor Ivan Krone

Professor Ivan Krone was born in 1947. KroneÂ’s father, Nicholas, was a scientist who worked in the US Patent Office in Washington DC.

In 1955 KroneÂ’s parents were killed in an accident. With no known relatives Krone was transferred to an orphanage where he spent the rest of his youth. He became highly anti-social and isolated himself from the other children in the home. Krone escaped reality by embracing the study of science. For the next decade he devoted all of his time poring over the works of the worldÂ’s great physicists, from Newton to Einstein to Feynman to Hawking. Krone soon began to see himself as the next in line among the kings of physics.

By the age of 17 Krone was accepted into the Technology Institute where he studied for the next 10 years before receiving his doctorate in Applied Physics at the age of 27. Upon graduation he took a position in the Institute as an associate professor. He began to delve seriously into the study of time travel and time control. By the turn of the century, Krone had developed a device that he was convinced would allow for limited time control functionality. He sought out students interested in participating in an experiment to test the device. One student volunteered. The test proved disastrous – the device exploded during the experiment and the student was killed.

An investigation followed the tragedy and Krone was found guilty of criminally negligent homicide. He was sentenced to an unusually harsh prison sentence. For the next decade-and-a-half KroneÂ’s obsession with time control grew even stronger. He feverishly devoted himself to its study during his long tenure in prison. Upon his release he had a host of ideas ripe for testing, but he couldnÂ’t find a way to get them funded. He was rejected and shunned by the academic community and mocked for his obsession with the study of time. Krone was left to find a way to fund his studies on his own.

For the next decade Krone worked zealously. He spent days working as a janitor in a local college and nights secretly working in the schoolÂ’s labs. By the turn of the century Krone had made a startling breakthrough. While he had not yet discovered a way to travel in time, he created a device that allowed for limited control of time. Word leaked to the public of this invention and the government quickly assumed control of the device in the name of the national interest. Krone was devastated. He had worked his entire life to come to this moment and now the government had usurped control over his project. The government promised him compensation and guaranteed him the right to continue to develop the project. He reluctantly agreed, all the while resentful of the government for scorning him and then assuming control over his lifeÂ’s work. It was in this environment that Swift was chosen to test the Quantum Suit in November of 2007.

Jasmine Lin

Jasmine Lin is Ivan KroneÂ’s assistant on Project TimeShift. She has a passion for what she does, and it has taken complete priority in her life – above family, a vacation, or a relationship. She is especially optimistic about KroneÂ’s projectÂ…but she has a chip on her shoulder due to having been passed over multiple times within her career progression because of both the male-dominated nature of the military and the innate bureaucracy of the government itself. Additionally, she has been given the awkward and stressful task of gaining the commitment of the notoriously obstinate Colonel Swift, who is ironically the ONLY man found within the military (past or present) to be able to take part in the project due to his unique DNA.

General Bruce Mitchell

General Mitchell is Project TimeShiftÂ’s military overseer. While Professor Krone is the director—and the brains—behind the project, Mitchell unquestionably holds the purse strings. It is Mitchell who suggests SwiftÂ’s involvement in the Project, as his ex-superior. Enormously competent and meticulous to a fault, Mitchell cares only for the men under his command and his duty to his country.

Emma Swift

Emma is SwiftÂ’s 5 year-old daughter. She is the only family he has, and is the reason he initially turned down the chance to be involved in Project TimeShift in the first place. Her death in an accident that destroyed her school bus haunts Swift even as he agrees to take part in the Project.

]]> Thu, 19 Jan 2006 19:12:00 -0600 Brian Mohr http://www.gamebump.com/go/gh_editorial_discgopod_plus http://www.gamebump.com/go/gh_editorial_discgopod_plus http://www.gamebump.com/go/gh_editorial_discgopod_plus# This article was originally published on Gaming Horizon, GameBump's predecessor.

Disc repair has become a major business as DVDs and CDs have become more prevalent in entertainment. For a long time, retailers have carried the cheap crank disc repair units that hardly work. Those days are over as Disc-Go-TechÂ’s new repair unit Disc-Go-Pod Plus is small enough to be used at home, but is intended for small businesses.

The Disc-Go-Pod Plus is fairly easy to use. All you have to do is take it out of the box, put the cleaning liquid in the back basin, add water, plug the unit in and set your disc on the clasp. Then you just have to decide how damaged your disc is. They suggest if itÂ’s lightly damage that you put it on for a 5 minute cycle, while medium damage should get a 10 minute cycle and heavy damage a 15 minute cycle.

As you can see, there is one button on the right, which you push once for a 5 minute cycle and twice for 10 minutes. If you want to stop a cycle then just push it again. The LED indicators on the left indicate which cycle you chose. The red blinks if itÂ’s for 5 minutes and the yellow blinks when itÂ’s 10 minutes. Overall the setup and daily use of the Disc-Go-Pod Plus is very easy.

The real question, though, is does it work?

The first disc to the left is one with light scratches and dirt spots across the disc. This CD really doesnÂ’t have any problems running, but obviously doesnÂ’t look ideal and if left these scratches and spots could result in real problems in the future.  

On the right youÂ’ll see that same disc cleaned through the Disc-Go-Pod Plus. As you can see, after a five minute cycle through the unit this CD looks brand new and now only features one or two very light scratches.

Our second disc features medium to even some heavy damage around the whole disc including a few deep cuts. Surprisingly this disc actually still works pretty well and only has a slight jump here or there.

After a couple runs through the Disc-Go-Pod, our disc looks great, as you can see. Now the disc has just a few minor scratches remaining and more important than that is the fact that the jumps that were present previously are now gone.

Finally, we come to our worst disc which is a CD that I took a sharp knife to and cut across the data side. This disc only had a couple music tracks that worked after the cuts and those even had a skip or two when we tried to play it.

After running it through the unit a few times by no means is the disc perfect, but already many of the deep cuts on the outside edge to the middle of the disc are gone and the closer cuts into the center are filled and look more like regular scratches. Beyond that, previously the disc could only play a couple music tracks and now all but three can be heard like brand new.

Despite the obvious benefits of the Disc-Go-Pod we noticed a few major problems, the biggest of which obviously is the price. The Disc-Go-Pod Plus retails at $495 which includes the basic supplies youÂ’ll need for the immediate future. One other issue we came across while using the device was the fact that the system is pretty loud when itÂ’s running. Because of this retailers will definitely want to consider putting the unit in the backroom.

Two other issues that seemed to be a problem were overheating and clean up. The good thing about this unit is that the Disc-Go-Pod Plus will shut off when it starts to overheat, but the problem I noticed related to this feature is that you have to unplug it a lot or else youÂ’ll have the machine overheating all the time and when it does it takes at least a good 30 minutes before you can come back and work again.

The other problem is that you really need to have a lot of discs when you plan to use the unit because clean up is a little irritating. The problem with clean up is that you have to pick up the 10-pound unit and pour the liquid into a container. You cannot leave the liquid in the machine or else itÂ’ll cake into the tubes. After that you also have to run hot water through the machine for 30 seconds in order to get out all the cleaning solution.

Overall, the Disc-Go-Pod Plus is a solid product that does what it guarantees. The $500 price tag certainly is steep for any in-home user, but if you run a business that utilizes a lot of DVDs and CDs like a rental store, library or office or if you just want to start your own entrepreneurial enterprise the unit will definitely pay for itself down the line. I can say with confidence that I would definitely suggest this product as it works great and is fast and easy to use.

Unit Includes: Disc-Go-Pod Plus Repair MachineTwo Bottles of Cleaning PolishTwo Replacement Polishing PadsA bottle of Finishing SprayA Cleaning ClothAn Instructional VideoAn OwnerÂ’s Manual ]]> Mon, 16 Jan 2006 21:50:00 -0600 Shiva Stella http://www.gamebump.com/go/gh_editorial_piano_wizard_with_49e_keystation http://www.gamebump.com/go/gh_editorial_piano_wizard_with_49e_keystation http://www.gamebump.com/go/gh_editorial_piano_wizard_with_49e_keystation# This article was originally published on Gaming Horizon, GameBump's predecessor.

I’ll be honest – the most experience I’ve ever had with a piano was with a keyboard I received for my birthday one year back in elementary school, and I couldn’t play it. Now, at 22, I still can’t play it, and the keyboard rests in a closet in a house I don’t even reside in anymore. So, for obvious reasons, when Gaming Horizon received Allegro Rainbow’s Piano Wizard PC game including the 49E Keystation, it was decided that the best way to test its piano-teaching skills was to send the assignment to the most musically uninspired member on the staff: me. What follows is a summary of my experiences with the Piano Wizard. And no, I can’t play like Beethoven.

The Piano Wizard essentially comes with six pieces: the 49E Keystation, which is a full, adult-length keyboard that connects to your computer to play music via a USB cable (which is included depending on the bundle version you buy); the Piano Wizard CD game for Windows PC; the setup disc; an instruction booklet detailing all of the KeystationÂ’s advanced features; several colored sticker sheets; and an easy-to-follow fold-out setup instruction sheet. The Piano Wizard CD also features a setup video that shows consumers exactly how to prepare the keyboard, install the software, and play the game, though the fold-out instruction sheet is more than detailed enough to get you through the process quickly.

Preparing the keyboard is incredibly easy; utilizing the available stickers (you’re actually given more sheets than you need), you simply place a sticker of a particular color over the appropriate key according to the provided color chart. If you’re a perfectionist and happen to attach a color slightly askew, you can quickly remove it and reattach it with minimal hassle. The 49E Keystation features 49 keys (or “notes” for the more musical among us), and while you don’t have to sticker each one (eight keys remain white/black), expect to spend a few moments coloring all your keys just right and learning the keyboard layout. The Keystation also includes a pitch blend and modulation wheel along with octave buttons and volume controls.

With the “piano” prepared, the next step is to install the drivers provided on the setup disc. There’s a slight catch for XP users, unfortunately, as the system proclaims that the drivers available on the CD aren’t needed; however, the instructions clearly say to install them anyway, so of course I didn’t. I instead opted to test the software first, and I’m content to say that I haven’t experienced a single problem yet, so how you handle the driver issue is up to you.

Following driver installation comes hardware installation, which is as easy as running a USB cable from the PC to the type 2 port on the Keystation. Once “installed”, the PC recognizes the device and completes the installation. As the instructions warn, don’t install the actual game until the setup installation is finished, which can take roughly three-four minutes. With hardware installation complete, it’s time to install the game, which is as easy as running the setup file and hitting “launch” to start the Piano Wizard’s “preview” version (the full version you unlock with a provided code). Finally, you and the part of creation that resides in your room are ready to get down to piano-learnin’ business.

And as usual, this is where things get messy. I donÂ’t know how many of you own a full-length computer desk thatÂ’ll hold a 32-inch long keyboard thatÂ’s almost 9 inches deep, but I donÂ’t; I was forced to position the keyboard on my lap, so if youÂ’ve got a small desk (IÂ’m lucky mine holds a standard PC keyboard and a mouse-pad) and/or a laptop, you may want to consider copying the kids in the installation video and opt to hook up the Keystation to a notebook and position it all either on a table or the floor.

As for the Piano Wizard itself, the game works by enabling you to select a colorful, childlike background (dinosaurs, ocean floor, etc.,), a note icon (I preferred dinosaur eggs or insect larvae), and a song from the available list. When you’ve made your selections and hopped into the actual game, you get to observe little larvae (or eggs, or fish, or cars...) approaching the colored keyboard at the top; there’s a bar overlay on the keys that consists of two colored lines, the bottom yellow and the top red, and when the icon is sliding just past the yellow is the “ideal” time to hit the appropriate colored key. To produce a “real” song, simply hit the right key at the right time and viola, you’re mimicking music. If the little eggs are sliding up to the on-screen keyboard too fast, you can slow the tempo, and if you’d like to go faster and improve your mimicry, you can speed it up.

The keyword throughout all of this is, of course, “mimicry”. The game is supposed to function as a teaching tool and make even the smallest child Mozart Jr., but its biggest flaw is that it doesn’t actually teach. You don’t know where to position your hands, and even though you can “gently” change the on-screen display to present musical notes instead of dinosaur eggs, the game doesn’t teach you how to read them or even show you what you’re doing. Instead, you get points for tapping the right key as an alien eyeball approaches a yellow bar. Perhaps I’m just old-fashioned, but considering the price you pay to skip out on an instructor and the game’s lack of real teaching, you’re better off just enrolling your kid in band or finding a cheap tutor, because this thing isn’t even going to keep their attention with just a handful of backgrounds and songs. I spent hours with this “game” and I’m nowhere near my dream of advancing past “Mary had a Little Lamb” than I was 10 years ago, and for $149.99-$179.99, the backsliding doesn’t come cheap.

Another disappointment with the Piano Wizard (besides the fact that the game doesn’t instruct, doesn’t offer easily understood lessons, and looks horrible on any resolution bigger than 800X600) concerns the game’s music count. The advanced (“premier”) version touts an “infinite” number of songs, but the disc holds more than 100, and the majority of these songs are a mix of Chopin (I’m proud to say that I now know who he is), nursery school rhymes, and Christian hymns – not exactly “fun” material. So to acquire that infinite number, you’ve got to locate and download midi files from the Internet, but the limited song choice is going to be the least of your concerns, as if you’ve never played the piano/keyboard before, you’re not going to learn how in this game.

Another obvious pitfall is that Mac users are destined to remain uncultured piano newbies forever, as Allegro Rainbow completely neglected the Mac. However, what’s really interesting is that the Keystation itself is in fact Mac friendly and functions with OS 9 or X, so if you just wanted to play around with the keyboard and not “learn” anything (which is what you’ll be doing anyway), you certainly could and would, perhaps, be better off for it.

Although I was somewhat interested in trying out the Piano Wizard and expressing my boatloads of musical prowess and passion, IÂ’m afraid the game has only served as yet another reminder of why IÂ’ll never play the piano – I apparently donÂ’t have the attention span, and as a college student, I know IÂ’ve got a much longer attention span than a small child (the gameÂ’s target audience), so the notion that any kid is going to enjoy tapping keys for more than a few minutes seems ludicrous. Unless heÂ’s already Beethoven, in which case the Piano Wizard isnÂ’t for him. HereÂ’s my advice: take the money youÂ’d spend on the Piano Wizard and invest it in a teacher and/or a real piano. This game is completely inadequate for the job, not to mention dull and bereft of any teaching value whatsoever.  ]]> Sat, 07 Jan 2006 11:48:00 -0600 The Gaming Horizon Archive http://www.gamebump.com/go/gh_editorial_logitech_playgear_amp http://www.gamebump.com/go/gh_editorial_logitech_playgear_amp http://www.gamebump.com/go/gh_editorial_logitech_playgear_amp# This article was originally published on Gaming Horizon, GameBump's predecessor. It was written by Eric Dayday.

Gamers have had their hands on their PSPs for a little under a year now and I’m sure there’s one question all owners have asked themselves – is there any way to get a better sound other than using these tinny speakers? The most obvious answer is yes and that comes from the use of an excellent set of headphones, especially since this portable is meant to be play on the go while respecting the people around you and not blaring all your bloops, bleeps, and profanity laced music. But what about people that want a richer sound that a set of headphones can’t offer and can blare whatever it is their playing when no one is around? This is where Logitech steps in by offering the PlayGear Amp.

The PlayGear Amp is a set of external speakers for the PSP. It comes with an adjustable metal stand and a cradle with which to set the PSP on while you watch movies or listen to music. The styling of the entire unit is fantastic as it matches the portable. If I didnÂ’t know any better, I could swear that the whole unit was one instead of the handheld and a set of speakers.

You can power the small set of speakers two ways – either using a wall outlet with the supplied AC adapter or 4 AAA batteries. If you’re using the set in the comfort of your own home, I suggest you use the AC adapter to save batteries. The unfortunate downside to that, however, is that it will seem like you have a bunch of cords to deal with. The way the PSP connects to the speakers is through the use of a wire with a 2.5mm standard audio jack on each end (though one end is shaped specifically to fit on the PlayGear Amp) and there’s really no out-of-the-way place to put it when it’s in use. And with the AC input near the unit’s audio jack, there are times when crossing cords will occur. Now imagine using the speakers with the AC adapter while playing your PSP that’s also plugged into a wall and an even greater mess can happen. That’s not something you want happening with a portable unit.

The speakers are miles ahead of the ones found on the actual PSP, but donÂ’t expect surround or home theater-like sound. The PlayGear Amp has a hard time handling low-range notes resulting in a somewhat thin sound. If youÂ’re listening to something bass-heavy, then it wonÂ’t sound all that great. However, if whatever youÂ’re watching or listening to stays in the middle to high-range tones, the playback will sound fantastic when compared to the piddling PSP speakers.

The use of these speakers also isnÂ’t limited to just the PSP sitting in a cradle. The PlayGear Amp also comes with a longer audio cable so that you can set the speakers a greater distance away from you while you hold the PSP. Earlier, I mentioned that the speakers connect to the PSP using a standard 2.5mm audio jack which means you can hook up other handheld gadgets that can drive sound. In fact, I was playing my DS on it at one point and let me tell you that Castlevania: Dawn of Sorrow never sounded better. And Daigasso! Band Brothers (an import music rhythm game we have here at the office) sounds fantastic even though the songs are in midi format. And it doesnÂ’t stop with just handheld gaming systems. You can hook up mp3 players as well, including iPods.

One thing I didnÂ’t like is the fact that the sound cones are exposed. That leaves them very susceptible to damage. In fact, I think the unit that I tested had some damage already because when I set the unit to a high volume setting, there was this incessant high-pitched buzzing coming from the left speaker. I really couldnÂ’t tell if it was a damaged sound driver or the plastic rattling due to the high volume. In any case, playing the PSP and the PlayGear Amp at high volume is not recommended, but for the sake of testing, this is worth noting. But, donÂ’t let exposed cones bother you too much because it comes with a carrying case to protect it when not in use.

The last thing of note is the size of the entire thing. ItÂ’s small, but not pocket-sized. So, if your PSP sees most of its action on the go, you may still want to settle for headphones as it would be a pain in the butt to take these everywhere with you. And when you consider that itÂ’s twice as long as the PSP when folded, thereÂ’s no way youÂ’re fitting it in your pocket - a backpack maybe, but definitely not your pocket.

Though the majority of this review picks at the negatives of the PlayGear Amp, it really is a great set of speakers. However, it all depends on how you plan to use it. I use my PSP more as a video/mp3 player because of the lack of good games on the system (but that’s another story for another day), so I was very satisfied with the product, but others may not feel the same. If you’re constantly on the go with it, then I don’t recommend dropping the $59.99 MSRP for it. If, however, you watch a lot of movies or listen to music on it and don’t need to be carrying it around, then you may want to seriously think about buying it because these things will fill a room with sound – this you can bet on. ]]> Thu, 05 Jan 2006 11:23:00 -0600 Aaron Dunlap http://www.gamebump.com/go/gh_editorial_get_your_nintendo_ds_fixed_for_free http://www.gamebump.com/go/gh_editorial_get_your_nintendo_ds_fixed_for_free http://www.gamebump.com/go/gh_editorial_get_your_nintendo_ds_fixed_for_free# This article was originally published on Gaming Horizon, GameBump's predecessor.

Note: This article was originally published 12/03/2004. It has been reposted here for archival.

When I first got my Nintendo DS, I was rather disappointed to see a single pixel on the top screen was “dead,” it was fixed at a single color and would not display what the system told it to. This is a well-known problem with all types of LCD screens; the tiny connections between the individual pixels and the control circuitry get misaligned during manufacturing and cause the single pixel to display a solid color continuously.

Because of the large number of pixels on laptop computer or LCD monitor, dead pixels arenÂ’t that big of a problem; in fact, many laptop manufacturers wonÂ’t cover a screen replacement on the warranty unless there are more than three separate pixel corpses. But on a small screen like on the Nintendo DS, a single broken pixel is highly noticeable. I took these pictures of the screen on my unit, and circled the dead pixel on each. The screens look so fuzzy because of the differences between a camera lens and a human eye.

As I reported earlier, Nintendo was aware that a small number of DS units slipped by product inspection (perhaps because of the rush to produce as many last-minute systems as possible) and had dead pixels. Despite the complete inventory sell-out in the US, Nintendo vowed to replace all affected units (though they did encourage owners to see if they could live with the problematic screens).

I decided to test Nintendo on their claim, and began the process of sending my DS in for repair.

Using the Nintendo Repair Form, I just had to fill in my name, address, the month I purchased the unit, and the serial number from the bottom of the system (pictured at right). It asks you to describe the problem with the system, I just typed, “Dead pixel; top screen.”

In a few minutes, I got an email from Nintendo with my Repair Order number and an RMA number to use with a FedEx shipment. That means that Nintendo actually pays for the shipping. All you need to do is put the Repair Order number, your name, and your address in an envelope and throw it in a box with the DS and take it to a FedEx location, a FedEx Kinkos, or you can even set up the shipment from the FedEx website (use the RMA number and they wont charge you). I went to a FedEx Kinkos and paid $8 to have a professional package up the unit safely in bubble wrap, but the shipping itself was free of charge.

I shipped the unit on Monday, November 29th. I used the tracking number to watch the package travel up to Syracuse, New York.

When the screen on my old laptop broke, I sent it in under warranty and waited a brisk four weeks to get the thing back, so I didnÂ’t have any high hopes for my DS. I knew they were out of them in the States, but I thought maybe they would still have a few screens on hand to swap into my Nintendo DS. I hoped I would get it back by the end of December, I wanted to have it for a plane ride.

Imagine my surprise, four days later, when a box showed up from Nintendo. I sent the thing out on Monday and got it back on Friday.

When I opened the box, I was slightly confused by an envelope that said “Thank you for choosing United Radio Service as your service provider.” Oh great, I sent in a Nintendo DS and they send be back a HAM Radio!

Things cleared up once I opened the envelope and saw the receipt. It appears United Radio Service is a warranty fulfillment service that operates warranty returns for companies like Sony, Canon, Panasonic, and Nintendo who have more customers than employees to handle them. Lower on the receipt it said “Exchanged Nintendo DS,” Wow! I was expecting to get back my old unit with a cracked-open chassis and a fresh new screen, but instead I got a brand new DS in only five days. The screens on the replacement unit are full of healthy pixels.

So everyone out there suffering with a dead-pixel-infested Nintendo DS, I urge you to use Nintendo’s excellent replacement plan. If you have your own box to stick it in, the entire process will be absolutely free. The Nintendo DS comes with a one year warranty, so there’s no rush to take advantage of this service – but the warranty service might be pretty busy after Christmas, so I’d get right on it ASAP. If you bought a Nintendo DS as a gift for someone, you might want to open it up to make sure both screens work alright, there’s still time to send it in.]]> Sun, 01 Jan 2006 16:14:00 -0600 Tim Grube http://www.gamebump.com/go/gh_editorial_lg_flatron_l1981q_monitor http://www.gamebump.com/go/gh_editorial_lg_flatron_l1981q_monitor http://www.gamebump.com/go/gh_editorial_lg_flatron_l1981q_monitor# This article was originally published on Gaming Horizon, GameBump's predecessor.

There have been many LCD monitors we have tested over the years that were pretty good for that day and age. But nowadays, gamers complain about the refresh rate and other various features built into LCD monitors that donÂ’t do them justice. LG Electronics recently released a new line of monitors that feature no problems in refresh rate, kick-ass design, and affordable pricing.

The LG Flatron L1981Q is a 19inch flat panel, TFT active matrix monitor that features F-ENGINE technology which enhances picture quality. The "f" in FLATRON f-Engine represents "fine", as well as fine color, fine image, and fine view. The width of the unit is set at 16.6in, the height 16.1in, and the depth at 10.3in. The monitor itself isnÂ’t that heavy when you pick it up. It weighs about 12.3lb, which is significantly lighter than other LCD monitors on the market.

A feature that I found to be incredibly useful was the fact that this monitor can be tilted in any direction you see fit. You can tilt the monitor back flat and look down on it or even turn it 180 degrees. It makes it very useful for different scenarios if you worked in a company that you needed to show off work to a team or client. Auto-Pivot / Auto-Mirror functions are built into the monitor so whenever you adjust it, the technology will automatically adjust the monitor for you. If you flip the monitor a different way, the items on the screen will automatically adjust itself. ItÂ’s a very neat concept and very convenient.

There are several controls on the outer rim of the unit. The controls are linked into the on-board menu which enables the user to adjust the monitorÂ’s brightness, contrast, gamma, RGB color settings, horizontal and vertical positioning, clock/phase tracking, and language. To access the menu, there is a touch sensitive button that enters the menu then two other buttons to adjust all the settings. Next to the menu area is the on/off switch which is also touch sensitive but this time flush with the monitor. So basically all you have to do is rub your finger around the area of the button and it senses the heat and will automatically take effect. I found it to be quite too sensitive especially if you tend to leave items underneath the monitor. I had the tendency to hit the on/off switch with my wrist while reaching for items near the monitor. But then again, not many people will come across this situation.

The monitor is very limited to how high you want to push it up. It can go all the way down to the base stand of the unit, but then can only be adjusted about three inches off the stand. In the end, it does suit some people who have desks that have monitor stands, but the ones that do not, you will see that you will be limited to looking down or making the monitor sit at an angle.

Another huge feature that caught my attention was the fact of how bright this thing is. When in a dark room, it will literally make the room act like there is a light on. I personally love bright monitors because in the past I always had to adjust monitor brightness up very high because factory settings were set too low. Heck, I think itÂ’s better also because if someone thinks itÂ’s too bright, then the user can easily adjust his or her monitor in the settings area since the brightness is clocked in at 250 max.

On a gaming level, it can support up to 1280 x 1024 max resolution and features DVI support. Many video cards nowadays have DVI as a standard which is Digital Visual Interface. DonÂ’t worry; it also has another plug so you can plug in your analog video cards. One thing LG thought of that was quite sneaky was the fact that they made the power unit stand alone instead of integrating it into the monitor itself. ThatÂ’s one of the main reasons why the monitor is very thin and lightweight. The user will need to plug the unit into a 43 watt power brick and then the wire into the electrical outlet.

Overall, I fell in love with the LG Flatron L1981Q the moment I saw it at E3 2005 in Los Angeles. I immediately asked for a test unit to try it out. Although the price is steep, in the $500 range, it is very much worth the money and investment in the long run. IÂ’m a changed man and now will always purchase LG monitors whenever the need arises. To purchase this LG monitor, head over to the many stores linked below.

Features:
Includes analog and digital cables; 3-year warranty1,280 x 1,024 maximum resolution500:1 contrast ratio, 250 cd/m2 of brightnessAnalog and digital DVI-D inputs160-degree viewing angles, 8 ms response time

Amazon
eShop ]]> Wed, 21 Dec 2005 12:21:00 -0600 The Gaming Horizon Archive http://www.gamebump.com/go/gh_editorial_shadow_the_hedgehog_controller_unveiling http://www.gamebump.com/go/gh_editorial_shadow_the_hedgehog_controller_unveiling http://www.gamebump.com/go/gh_editorial_shadow_the_hedgehog_controller_unveiling# This article was originally published on Gaming Horizon, GameBump's predecessor. It was written by Jarrett Conaway & Sean Kearney.

On Thursday night, Gaming Horizon attended an exclusive launch party for NubyTechÂ’s new Shadow the Hedgehog controller. The event was held at the Arena Interactive Lounge on Santa Monica Blvd. in Los Angeles, just a short distance from NubyTechÂ’s headquarters.

When we arrived we found many people seated in front of giant plasma televisions testing out the new NubyTech controller. We were escorted upstairs to the VIP section where we were joined by other gaming journalists as well as NubyTech employees.

After dining on some rather delicious sandwich wraps and sushi rolls, we finally got a chance to sit down in front of our own giant television to try out the controller for ourselves. Playing SegaÂ’s new Shadow the Hedgehog game, we were able to get a first-hand look at the controller, which is about two thirds the size of the standard DualShock 2 and features a slick portrait of Shadow on the front.

The controller is smaller and has a more curved appearance than the standard DualShock 2. Noticeably different are the L2 and R2 buttons, which are notched inward, creating a more trigger-like feel to them.

The controller also features a new placement for the start and select buttons, positioning the select button to the left of the modified D-pad, and placing the start button to the right of the X and O buttons. The ever so familiar triangle, O, X, and square symbols from the DualShock 2 have also been replaced with symbols from the world of Shadow the Hedgehog.

A sleek mode button has been added to the controller. Placed in the center, this button lights up when the console is powered up, much like the Xbox logo button on the Xbox 360 controller.

The attractive design of the controller extends to the packaging as well, as the Shadow the Hedgehog controller comes packaged in a transparent red orb with the words Shadow the Hedgehog printed on the front.

While not as drastically stylized as NubyTechÂ’s famous Resident Evil 4 Chainsaw controller, the Shadow the Hedgehog controller proved to be incredibly functional as well as aesthetically pleasing, with its smaller size, sleek design, and slick artwork. We had a blast playing SegaÂ’s new Shadow the Hedgehog game with the controller, and look forward to seeing how it feels with other titles.

While at the event, there was talk about future NubyTech products, including the new Mega Man X controller for the Nintendo GameCube, as well as a controller for UbiSoftÂ’s upcoming Splinter Cell 4. 

Overall the event was a blast, and the controller looks like a nice peripheral for both Shadow the Hedgehog and PlayStation fans alike. Keep posted to Gaming Horizon for more information about NubytechÂ’s products as they are released. ]]> Mon, 12 Dec 2005 19:47:00 -0600 Aaron Dunlap http://www.gamebump.com/go/gh_editorial_rip_ngage http://www.gamebump.com/go/gh_editorial_rip_ngage http://www.gamebump.com/go/gh_editorial_rip_ngage# This article was originally published on Gaming Horizon, GameBump's predecessor.

I don't know anybody with one, and you probably don't know anybody with one, but the N-Gage is no more.

The idea is still valid, we're all still looking for the next big device "that's also a phone!" to come along. Apple fans fill up the MacWorld expo just hoping it'll be the year that Steve Jobs pulls an iPod phone from his pocket, and when the PlayStation Portable was still in development we were all expecting it to come out as a Sony Ericson cell phone that played games. Everyone wants to consolidate their gadgets; they want something else to be a phone.

And there is the key to Nokia's failure with the N-Gage. People wanted a game system that was also a phone, and they got a phone that played games.

As a game system, it was poor. As a phone, it was even poorer. As an all-around device, it was a horror story. Rest in piece, N-Gage; but don't even think about coming back to life.

Just before E3 2003, Nokia held a press conference in downtown LA and all of the gaming media was invited. They played loud music and dancers jumped around onstage while someone listed off bullet points about a fantastic new gaming platform that was also a phone. It played games in 3D, it could play MP3 music, and it even had a directional pad! "How much would you expect to pay for something like this?" the announcer asked as the music hit a crescendo.

"About $150, tops," someone in the audience chimed in.

The music silenced with a beat, and one of the dancers lifted the bottom of her shirt to reveal the price painted on her stomach: $299.99. Silence.

That had to be a joke. $300 for a portable system with a two-inch screen? It had better be one heck of a phone.

It wasn't. The first N-Gage was a total mess. On the games side of it, the MMC cards the games came on had to be installed while the unit was powered off and with the battery removed; the screen was taller than it was wide; and the graphics could best be described as pathetic. First generation PlayStation games like Tomb Raider and Tony Hawk's Pro Skater had to be toned down to be ported onto the N-Gage. The phone side wasn't much better; the classy menus standard to other Nokia phones had been replaced with a buggy and confusing menu, and to actually talk on the phone you had to hold it up to your face sideways so you looked like a giant idiot rubbing the edge of a taco against his cheek. All that for only $300. Not to mention how big of a hassle it is in most cases to get a new cell phone, as you have to renew your wireless contract and worry about service plans and data packages and text messages and overage coverage and rollover minutes and Federal Cost Recovery Fees.

Initial response was predictable, as very few people wanted to pay $300 for a new phone with no camera or PDA features that people willing to spend $300 on a cell phone are looking for. A few gaming addicts with too much money to throw around got theirs and realized that side-talking was not very much fun at all.

Then at E3 2004, Nokia held another press conference. We wouldn't have gone, but we knew there would be free stuff given away so we cut it into our schedule. The conference was held on the fifth floor of a building with one tiny elevator in the heart of the section of LA you would wisely avoid. The show room was flooded with this atrocious red light that made it impossible to take pictures of the new upgraded N-Gage they were announcing.

Spread around the room were demonstrations of the new N-Gage that were affixed to kiosks at about waist height, so you had to sit on your knees or bend over at a 45 degree angle just to see what you were looking at. Some actress/model/part-time-waitresses were there with N-Gages tethered to their belts, and they were walking around and coming up to the journalists and asking if they'd checked out this cool new game. One of them came up to me while I was already playing another game. She called her game "Duty" and let me know that it was "reaaally good". I quickly realized that I was looking at a brief port of Call of Duty, a defacement of a spectacular game, I might add; and boy did I feel like the champion of awesomeville while standing there and playing a game on a tiny screen attached by a leash to an attractive and underpaid spokeswoman in the middle of a hellfire-red room.

Oh, and the sushi was terrible.

Then the main presentation was made from a stage. Representatives from Nokia went on about how they'd learned from their mistakes and were putting out the N-Gage QD. It was smaller, cheaper, and you didn't have to dissect the thing to swap games. All the while, the wireless microphones the presenters were using were cutting out and filling the room with a fine hiss intercut with ear-crunching static.

And now, a year and a half later – and three years after first launching the N-Gage product – Nokia is pulling the plug on the N-Gage, writing it off as a big fat mistake. They expected 6 million owners by this time (laugh), and according to them there are only 2 million. Even the 2 million sounds like a stretch, but having sold only a third of your projected number is just too darling.

So the other Big N is out of the gaming racket again, and hopefully everybody out there can learn from their blunder. It's already a huge task to break into the gaming market from scratch, just look at the Gizmondo (if you can find one), but to try to do so with a half-baked product that costs four times what it should and can't even match current generation technology is just madness.

Nokia has long been my favorite phone company, but they'll always be my least favorite gaming company.

Streamline Studios, the company behind many outsourcing projects such as Unreal Tournament 2004, 007: Nightfire, Ghost Recon 2, and Dead Man's Hand has announced a brand new game for the Xbox 360 Live Arcade entitled, HoopWorld. We had a chance to speak to the Chief Creative Officer, Hector Fernandez about this new game and discussed the different modes, envrioments, and animations. The game is set to unlock on Live Arcade this year.

HoopWorld Website

Gaming Horizon: To begin with, what is your role on HoopWorld and how long have you been working on the title?

Hector Fernandez: My name is Hector Fernandez, and I’m the Chief Creative Officer at Streamline Studios. The initial idea for what became HoopWorld first came about in the summer of 2000. I had become addicted to an NBA Showtime Arcade machine while working at EA -- I felt that the world deserved a different kind of arcade basketball game that inspired shit-talking and skill denial (“It’s not me! My controller’s broken!”), while still being fun when drunk. -- Oh, and to answer your question, I’ve been working on HoopWorld on and off for about four years. ;-P

GH: Streamline Studios has worked on several games in the past including 007: Nightfire, Unreal Tournament 2004, and Ghost Recon 2. Are you excited to be working on your first Xbox 360 title? How does it feel to among the first companies to utilize the Xbox Live Arcade service?

Hector: To be honest, weÂ’re ALL really excited! Over the past few years we have been fortunate to work and learn from a lot of developers that we admire. All our experience has gone into HoopWorld, and we really appreciate the opportunity for innovation that the 360 Live Arcade service is creating for us and the gaming community.

GH: What is HoopWorld all about?

Hector: HoopWorld is a three-on-three multiplayer trick game that rewards gamers for playing competitively, cooperatively, and creatively. What that basically means is that the more show-boating, ass kicking, and tactics you perform as a team, the more points you earn. HoopWorld’s game mechanics emphasize team based tricking. Gamers are rewarded for both their individual and joined skills. Essentially, the more you play with others, and the better the tricks you make, the higher your team scores, regardless of whether or not you have the ball. In HoopWorld, gamers have the ability to battle-it-out “old-school arcade style” while simultaneously earning points for victory. Movement, tricks, and attacks are all one and the same. For instance, the other day, I ran across a wall, flipped off it, threw a Red Hot Shot at an enemy, went into a dunk, and caught the ball off the rebound and took it to the hole with an Alley-Oop. This isn’t scripted. It’s something the control system naturally allows. We call this BASKETBRAWLING!

We’ve evolved the locations from typical indoor / outdoor basketball courts to over-the-top interactive locations that complement the gamer’s tricking arsenal. The court shapes reflect parts of platform gamming, taking inspiration from Mario 64’s controls and le Parkour’s flowing movement. “Move Enhancing Items” (MEIs) are thrown into the mix, so that players can customize their team’s abilities and give their own unique flavor to the game play. MEIs range from fire-gauntlets, (imagine throwing fire-balls from your fists!) to Devil’s wings, (150 foot Ally-Oops!). We leave it open for gamers to decide how to best combine the MEIs together to fit their own personal playing styles.

GH: For those unfamiliar with the Xbox Live Arcade offerings, can you explain what the Arcade service is all about and why you chose to develop HoopWorld for it?

Hector: We chose to develop HoopWorld on the 360 Live Arcade service for a variety of reasons, but none is as important as the freedom of innovation! It’s been our experience that most developers want to push innovative content, and it’s not often they have the opportunity to do so in the current risk-adverse retail market. The 360 Live Arcade service enables indie-developers to showcase new ideas and innovations in a mainstream accessible environment. We feel there a lot of so called “hardcore gamers” that are casual gamers - they just don’t know where to find indie-games yet!

The beauty of 360 Live Arcade is that it creates a marketplace for all developers to create and distribute cutting-edge experiences. Unique features like downloadable content, player achievements, and scoreboards create an integrated online experience that brings back the feeling of the arcade and takes the concept of gaming to an all new level. HoopWorld is a “game snack” that provides gamers a quick-bite-of-fun that is easily accessible and doesn’t require too much thinking! In some sense, HoopWorld is like a mini-arcade MMO that provides players with dynamic and continuous content that is used to enhance their playing skills.

GH: What do you believe strongly differentiates HoopWorld from all the other sports games?

Hector: What a great question! First and foremost, HoopWorld looks nothing like any sports game ever created. The fluidity of animation and responsiveness of our player control puts gamers in a competitive environment in which their skill is an actual testament to their playing ability. WeÂ’ve drawn inspiration from such arcade classics as NBA Jam, Techmo Bowl, Killer Instinct, Speedball 2, Street Fighter 2, Tony Hawk Pro Skater, and SSX Tricky to create a unique tricking and combo extravaganza that is amplified in a team-sport environment. But the combination is nothing like the sum of its parts. ItÂ’s a really different experience.

Unlike other sports games, HoopWorld is an ever-evolving arcade game that reflects a gamerÂ’s actual skill. By mentoring and doing crazy tricks you not only improve your teamÂ’s score, but you also get better yourself. There are always new tricks and comboÂ’s to learn, new characters, levels, and MEIs to try out, and your own personal score to improve.

Simply put, HoopWorld is the old-school arcade brought back to life in a multiplayer trick game. ItÂ’s the sports game for everyone who hates sports games but enjoys skill-based competition and button-mashing!

GH: How many characters will the gamer be able to choose from? Are there any customization options available?

Hector: The first release of HoopWorld has nine characters to choose from. Each character is different in appearance and skill, and gamers can choose from a variety of MEIs to customize their character’s abilities. Customization is a big deal in HoopWorld. We plan on enabling gamers to trade new MEIs, clothes, courts, and characters as they become available. For us, customization is not about making the “most powerful” characters: it’s about creating a team configuration which best compliments your fighting style.

GH: With it being an Xbox Live Arcade title, is this an online-only game or can gamers play it offline?

Hector: HoopWorld is playable at all times. You can play with friends on or offline at your house, or play with people you have never met before on the other side of the world. In HoopWorld, you decide when, where and how you play. No restrictions, just plain entertainment!

GH: How many different modes are available, and what sorts of games will players enjoy (horse, 21, around the world)?

Hector: The three main game modes are Career Mode, Arcade and Show Boat.

Career Mode is a set of single player/co-op Challenges. You aim to improve your high scores offline in each Challenge to improve your online ranking.

Arcade is simple team vs. team. You can even choose to have uneven numbered teams, if you think you can take on three “noobs” with one character.

Show Boat is a 1 team tricking extravaganza. You get a four man team and just go for a score attack, trying to get your team higher up the online leader board. We have plans to showcase the most extreme choreographies in the future, to show other players how expressive BasketBrawling can be.

On top of all these are the “Live Achievements”. These are passive goals which you can achieve at any time, online or offline. They’re things like “The Cunning Fox” which you get for chaining a ridiculous amount of Volleys together in one string, or “The Flying Monkey” which you get for staying off the ground for a large proportion of the game.

Each of the maps has their own style of play to mix it up – you’ll be looking for all the tricks which the particular geometry lets you get away with. The game’s just as much about mastering levels as it is about mastering BasketBrawling.

Couple all this with the MEIs, and you get a huge amount of replay value. It doesn’t stop there, either: As HoopWorld evolves, you’re not going to just get raw content drops. We’ll also be adding new ball types which imply new game play. The idea with the ball types and MEIs is to give players lots of “toys” which you combine together so that you can roll your own game types, on top of the basic modes. Our background is “modding”, so we’re used to making seemingly small game play changes for a big effect!

GH: What kind of environments did you target? Is the game set in the usual street court scenario or will it have unique areas?

Hector: In the first release of HoopWorld, matches are exclusively played in the great outdoors. Gamers battle it out on sandy plateaus, forests, and a river dam. One of our core foundations since the very beginning has been to break away from typical indoor/outdoor courts for unique interactive locations that inspire tricking. The only rule we have for future locations is that everything and anything is possible, as long as it is enjoyable to play on!

GH: Will there be CG animations that show off the characters, kind of what you would see in a wrestling title?

Hector: Not in the first release, but expect the mythos behind our core characters to be developed out as the game evolves. WeÂ’re doing this because we love how CapcomÂ’s characters seem to bounce off their fans and find their natural place that way. EveryoneÂ’s got their favorite characters or imagined back stories. WeÂ’re in the business of interactive entertainment, and this is one of the many ways that direct interaction with players will steer the direction of the game.

GH: What do you believe are the most addicting features of HoopWorld? WhatÂ’s your personal favorite aspect of the game?

Hector: I feel the most addicting aspect of HoopWorld is the game play itself. Since the beginning, our goal has been to create a game that is fun and entertaining, regardless of the gamerÂ’s skill set. I feel we have achieved this by incorporating game mechanics that reflect, enhance, and propagate individual and team based game play.

Actually, “addiction” is a bit of a dirty word around here. A game can be addictive without being fun. We aim for “compelling” – when you re-play a game because you enjoy it at its core level. Even if you feel like you’ve finished everything, at least you won’t feel like your time was wasted on boring game play.

We know this isnÂ’t everyoneÂ’s drive, and thatÂ’s why an unlockable system is built into the Career Mode. However, everythingÂ’s unlocked from the start in Arcade, so your choice isnÂ’t constrained when a friend comes around to play a few matches.

It also doesnÂ’t hurt that gamers have the ability to kick the shit out of each other with dragon punches and dive tackles, which makes for a lot of real-world shoulder punching and friendly banter! Games are social magnets, after all. People tend to forget that. Personally, I love the fact that I can always improve and evolve into the king of the arcade while simultaneously beating the hell out of my friends.]]> Wed, 23 Nov 2005 22:58:00 -0600 Tim Grube http://www.gamebump.com/go/gh_editorial_my_experience_in_line_at_walmart http://www.gamebump.com/go/gh_editorial_my_experience_in_line_at_walmart http://www.gamebump.com/go/gh_editorial_my_experience_in_line_at_walmart# This article was originally published on Gaming Horizon, GameBump's predecessor.

It was quite an experience, IÂ’ll tell you that. I figured, I would start heading to my local Wal-Mart around 6pm and IÂ’d get a spot in line. That didnÂ’t quite work out too well when a friend of mine called at noon to tell me that he heard lines were already forming at his local Wal-Mart. So I picked up the phone and called three Wal-Marts, and the closest one to me said there were eight people in line and they had fourteen premium units, the second one about five miles away said they had sixteen units while twelve people were in line, and finally the third place said they had twelve units with six people in line.

I immediately kicked it into gear around 12:30pm and drove to the closest Wal-Mart to find out that the line was filled within fifteen minutes of my call. At that point I was getting quite nervous that I wouldnÂ’t get one. I got back into my car and drove to the other two stores to find out that once again, I was too late. So IÂ’m sitting there thinking that IÂ’m pretty much screwed, so in desperation I called my friend back up and discovered, by some minor miracle, that he was first in line at another nearby Wal-Mart and that this particular Wal-Mart had 42 units in stock.

I arrived at the Military Circle Wal-Mart in Norfolk, Virginia and took my place in line at #6. By this time, it was about 1:45pm and the manager came out and said they would start handing out tickets at 10pm for people who plan on purchasing the premium or core console. At this point we were wondering how the hell we were going to occupy ourselves for the next nine hours, and sat around until 3pm when a slew of other 360 fanatics showed up. The manager comes back out and says, “This will not work with all of you sitting in the aisle of the Electronics Department. We will need to move you to the shoes department right next to layaway where we will be selling the Xbox 360’s at midnight.” So we all got up and moved over to the shoes department around 4:00pm. By that time, we all knew each other and had a cool chat about videogames on the market and what we were all looking forward to.

Around 7:00pm I jumped out of line and went to grab something to eat at Subway inside the store and came back to my spot. We all had each otherÂ’s spots saved if you left for a few minutes, primarily because it would be really painful if you couldnÂ’t use the restroom within eleven hours. Around 8:00pm someone comes back with a pack of cards and chips to play Blackjack and Poker. For a good two hours, we were gambling in the middle of the aisle of the shoe department. The time flew and we had a lot of fun. It was about 10:05pm when we realized that the manager hadnÂ’t passed out the tickets yet. So at 10:30pm he finally comes to us and gives us each a ticket. By this time there were over sixty people in line. One guy even sold his #16 spot in line for $400. ItÂ’s crazy how people would go to great lengths to purchase this console. IÂ’m quite amazed.

About thirty minutes till midnight, the manager and employees started having us clean up our mess we made over the eleven hours we were there and to make a straight line. I’m so tired by this point. My muscles were hurting due to the uncomfortable metal chair I was sitting in, and the lack of pretty much not doing anything that whole day besides sitting in a Wal-Mart. Midnight rolls around and they open the registers. “XBOX 360!!!” people hailed. As I was #6 in line, I was pretty much through the registers within ten minutes. I got home around 12:30 and immediately set up the console, so if you need me within the next two days, you can find me online via my gamertag, “TimGrube”.

We will have full reviews of launch titles and a console review in due time. Happy gaming, and donÂ’t hesitate to send in your own launch stories.

]]> Tue, 22 Nov 2005 13:25:00 -0600 The Gaming Horizon Archive http://www.gamebump.com/go/gh_editorial_spike_tv_videogame_awards_2005 http://www.gamebump.com/go/gh_editorial_spike_tv_videogame_awards_2005 http://www.gamebump.com/go/gh_editorial_spike_tv_videogame_awards_2005# This article was originally published on Gaming Horizon, GameBump's predecessor. It was written by Jarrett Conaway & Sean Kearney.

Gaming Horizon attended the taping of the third annual Spike TV videogame awards last night. The event was hosted by the ever-so-charismatic Samuel L. Jackson, who opened the show with the iconic “can you dig it!” line from The Warriors movie and game. Throughout the night Sam entertained the crowd by cracking jokes about Gov. Schwarzenegger, the representation of African Americans in videogames, and even performed his classic monologue from Pulp Fiction.

Several world premiere trailers were shown for upcoming games at the event, including: 24: The Game, Scarface; The World is Yours, Star Wars: Empire at War, and Spy Hunter: Nowhere to Run starring Dwayne “The Rock” Johnson.

Stand-up comic Dane Cook starred in a pre-filmed skit saluting 25 years of Pac-Man in which Dane played the arcade game with his ass and confessed his love for Ms. Pac-Man. Jack Black appeared via pre-taped video as well, in nearly the buff to accept each of the three awards for the yet to be released “Peter Jackson’s King Kong: The Official Game of The Movie”.

The show featured musical performances by 50 Cent, who performed “Window Shopper”, and classic rockers Def Leppard, who played their hit “Rock of Ages”. By far the most electrifying performance of the evening was when Missy Elliot – despite a leg injury – took to the stage in an electric scooter to join the numerous performing dancers.

God of War won in both the “Best Action Game” and “Designer of the Year” categories, but was upset by Resident Evil 4 in the category for “Game of the Year”. View the full results below. The awards will air on TV Saturday, December 10 (9:00-11:00 PM, ET/PT).

GAME OF THE YEAR Resident Evil 4 (Capcom)

BEST ACTION GAME God of War (Sony Computer Entertainment America)

BEST INDIVIDUAL SPORTS GAME Tony HawkÂ’s American Wasteland (Activision, Inc.)

BEST TEAM SPORTS GAME Madden NFL 06 (Electronic Arts)

CYBER VIXEN OF THE YEAR Maria Menounos as Eva in James Bond 007: From Russia With Love (Electronic Arts)

BEST GAME BASED ON A MOVIE Peter JacksonÂ’s King Kong: The Official Game of the Movie (Ubisoft)

BEST PERFORMANCE BY A HUMAN - MALE Jack Black in Peter JacksonÂ’s King Kong: The Official Game of the Movie (Ubisoft)

BEST SUPPORTING MALE PERFORMANCE Christopher Walken in True Crime™: New York City (Activision, Inc.)

BEST PERFORMANCE BY A HUMAN - FEMALE Charlize Theron in Aeon Flux (Majesco Entertainment)

BEST SUPPORTING FEMALE PERFORMANCE Traci Lords in True Crime™: New York City (Activision, Inc.)

BEST CAST Peter JacksonÂ’s King Kong: The Official Game of the Movie (Electronic Arts)

BEST ORIGINAL SONG “Maybe We Crazy” by 50 Cent in 50 Cent: Bulletproof (Vivendi Universal Games)

BEST SOUNDTRACK Guitar Hero (RedOctane)

BEST ORIGINAL SCORE We ♥ Katamari™ (Namco Hometek Inc.)

DESIGNER OF THE YEAR David Jaffe for God of War (Sony Computer Entertainment America)

PONTIAC BEST DRIVING GAME AWARD (ViewerÂ’s Choice) Burnout Revenge (Electronic Arts)

MOST ADDICTIVE GAME FUELED BY MOUNTAIN DEW (ViewerÂ’s Choice) World of Warcraft (Blizzard Entertainment)

BEST FIGHTING GAME EA Sports Fight Night Round 2 (Electronic Arts)

BEST FIRST PERSON ACTION F.E.A.R. (Vivendi Universal Games)

BEST MILITARY GAME Call of Duty 2 (Activision, Inc.)

BEST GRAPHICS Resident Evil 4 (Capcom)

BEST HANDHELD GAME Lumines (Ubisoft)

BEST MULTI-PLAYER GAME World of Warcraft (Blizzard Entertainment)

BEST BREAKTHROUGH TECHNOLOGY Sony PSP (Sony Computer Entertainment America)

BEST PC GAME World of Warcraft (Blizzard Entertainment)

BEST RPG World of Warcraft (Blizzard Entertainment)

BEST WIRELESS GAME Marc EckoÂ’s Getting Up: Contents Under Pressure (Atari, Inc. & Glu) ]]> Sat, 19 Nov 2005 10:56:00 -0600 Shiva Stella http://www.gamebump.com/go/gh_editorial_kidz_gear_headphones http://www.gamebump.com/go/gh_editorial_kidz_gear_headphones http://www.gamebump.com/go/gh_editorial_kidz_gear_headphones# This article was originally published on Gaming Horizon, GameBump's predecessor.

Many a parent is aware of the expensive drudgery of purchasing high-quality, adult gear for children; kids want to emulate their parents, and this includes everything from how mommy eats her toast to what mouse daddy uses to surf the Internet. The problem here is two-fold: you’re spending a lot of extra money on adult items so little Susie can be just like you, only to observe little Susie drop, stomp, lose, or otherwise destroy said items the instant you turn your back. The economical thing to do is to pick up childlike, inexpensive versions of your adult gear, but these objects are created to be little more than a child’s toy, and they’re built for the part, either malfunctioning after the slightest drop or looking like they're intended for use by a two-year old alien from Mars. Kidz Gear, however, is a company aiming to change all that, and to this end it has released headphones built especially for kids, called (aptly enough) “headphones for kids”.

Unlike the majority of childrenÂ’s headphones on the market, Kidz GearÂ’s headphones are designed to emulate the high-end audio equipment purchased by adults, so there are no frills, bright colors, or decorative, distracting objects adorning them. Kidz Gear opted for a neutral color scheme, adopting gray for the adjustable headband, silver for the outside of the ear cups, and black for the soft ear padding and cord. For a touch of color, a deep turquoise is used to house the logo on the center of the silver cups, which is the only distinguishing mark that separates the product from its adult inspiration.

The ear cups themselves are just as adjustable as the headband, and you can easily maneuver them to acquire the perfect fit. They are, however, significantly smaller than those found in adult headphones so they can snugly cover a kidÂ’s ears, which makes for a much tighter fit on adults. The soft padding of course doesnÂ’t feature leather, but provides some comfortable, adequate support. The audio emitted is very clear and reliable, never cutting out on me or seeming too embellished.

To further copy a parentÂ’s headphones, Kidz Gear included individual, clip-on volume controls on the 1.2 meter length cord, which leaves children with the freedom to manage their own volume. This is an extremely important feature in that if youÂ’ve got more than one child, each one can adjust the volume levels without affecting the others, preventing fights.

The headphones are in the 20-20,000Hz frequency range with 108db sensitivity and a 3.5mm jack, so theyÂ’re compatible with most any device that has a headphones feature. You can plop your child down in front of a DVD player or a laptop during car-trips or have them listening to the Finding Nemo soundtrack while youÂ’re focused on dinner or watching TV, all without being distracted by your childÂ’s audio. And if theyÂ’re into handheld games (as most children are), you can now escape the annoying beeps and buzzes by slipping some affordable gear onto their heads. Just keep in mind that the headphones donÂ’t feature a mic, so videogame usage is limited.

The Kidz Gear headphonesare for ages two and up and retail for $19.99, so on the off-chance that little Jimmy does trash them or they do go out, you can always afford a replacement. ]]> Sun, 13 Nov 2005 20:02:00 -0600 Shiva Stella http://www.gamebump.com/go/gh_editorial_spartan_total_warrior http://www.gamebump.com/go/gh_editorial_spartan_total_warrior http://www.gamebump.com/go/gh_editorial_spartan_total_warrior# This article was originally published on Gaming Horizon, GameBump's predecessor.

We recently had the opportunity to join in an interview of Martin Caplin, Sega of America's Internal (Localization) Producer, about Creative Assembly's newly released Spartan: Total Warrior for the Xbox, PlayStation 2, and GameCube.

The game features glorious battles between ancient Greek and Roman forces waged for the conquering of the whole world, and includes such epic locations as Troy - rumored to be the final resting place of the Greek's best and most fearsome warrior, Achilles. Join us for a discussion of the game's mythological beasts, intense difficulty, and where the Total Warrior/Total War franchise could soon be headed.

Spartan: Total Warrior Official Site

Interview
Martin Caplin, Localization Producer

To begin with, what do you do as a localization producer?

Martin Caplin: The responsibility [of a localization producer] is to make sure that a game comes out on time in territories different from the one it's been developed in. My job is to make sure that all of the elements - language, standards for the US, etc - get done correctly and to give creative feedback in terms of what's going to work in the US.

What was it like working with Creative Assembly?

Martin: They're very competent. Typically we give them as much freedom to create as possible. They had great ideas, and accepted ideas readily. And of course they killed themselves at the end to make sure [the game] came out on time.

How historically accurate is the game?

Martin: The console versions are action-oriented with a high level of fantasy, basically putting myth and history into a blender and coming up with something cool, fun, and not reflecting reality at all.

Did you have any fear of the high difficulty level considering this is a console game?

Martin: Well, as for the difficulty with gameplay, we wanted to make the game hard - it's a game first, a game that is challenging. We made a game that we wanted to be challenging and actually toned down the difficulty in the end. Judging by feedback, maybe it could have been easier, but if you finish this game [then] you'll know you've accomplished something.

How can players take advantage of the environments? What other environmental weapons can players make use of?

Martin: We have a few different ones set up, with some levels set up to use ballista. You can not only create areas of fire, but there are explosive barrels that you can shoot with an arrow. There's a lot of tricky things you can do. You can use the flamethrower (Roman) guys against their allies by hitting them until they explode - just lure them into a midst of foes and run the hell away.

What are some of the mythological creatures that players encounter?

Martin: You've heard of Jason and the Argonauts, Clash of the Titans, etc - there are big mythological monsters like the hydra - there's a big battle between the Spartan and the hydra. Talos, a giant iron golem, has been reinvented [for the game] as a Roman war machine. Medusa shows up in a unique way - as a weapon of mass destruction. The Romans have captured her and use her [stone] beam. Creative Assembly integrated the Medusa beam into a huge battle where you not only have to stay alive and rescue [characters], but you've got avoid a crazy beam that turns everything to stone, which Creative Assembly did a great job of implementing.

Have you given any consideration to extending multiplayer for the franchise?

Martin: Short answer: yes. There are really interesting things that AI will let us do in multiplayer, and we're thinking about it. With next-generation systems so much stuff is going to become possible.

There's been a lot of talk comparing Spartan: Total Warrior to Dynasty Warriors and even God of War. Are the comparisons appropriate?

Martin: Well for Dynasty Warriors, we mostly looked at that to consider what not to do. As for ]]> Thu, 27 Oct 2005 19:37:00 -0500 The Gaming Horizon Archive http://www.gamebump.com/go/gh_editorial_battlefield_2_modern_combat http://www.gamebump.com/go/gh_editorial_battlefield_2_modern_combat http://www.gamebump.com/go/gh_editorial_battlefield_2_modern_combat# This article was originally published on Gaming Horizon, GameBump's predecessor. It was written by Gaming Horizon Staff.

At E3 earlier this year, we had a chance to go hands-on for the first time of Battlefield 2: Modern Combat and we were very impressed with the result. Now that game is shipping today, we decided to post up our exclusive interview that we recently conducted with the Executive Producer, Chris Gibbs. We chat with him about both the PlayStation 2 and Xbox versions of the game. Have a look below and don't forget to read our hands-on coverage by clicking the link below.

Hands-On Preview

Exclusive Interview
Chris Gibbs, Executive Producer
 

GH: For console gamers unfamiliar with the series, what's the basic storyline/setting in Battlefield 2: Modern Combat?

Chris Gibbs: With respect to the Single Player campaign, we have an original and engaging storyline: There is a growing conflict in Kazakhstan, as rebel groups in the country create civil unrest. Their neighbour, China, and forces from the NATO/US alliance, move in to "keep the peace". However both sides are suspicious of each others intentions -- fearing that the REAL reason for involvement is to take control of the huge oil reserves in the region. And inevitably conflicts escalate into a fully fledged war.

GH: It's reported that the game enables players to fight for one of four sides - the US, European Union, Chinese, or Middle East Coalition. How does the experience change according to which side the player chooses? Are there pros/cons according to which side?

Chris: The MP game features these 4 sides -- there is no strategic difference between the sides - they all have the same ranges of troops / kits / etc -- but we have authentically created the weapons and vehicles specific to the different factions so your experience changes slightly. The sides are nicely balanced though so no one has an advantage over another.

The SP campaign combines the EU/US into one side, pitted against the Chinese. Interestingly, the player gets to play BOTH sides through the course of the campaign, seeing the conflict from both perspectives. Again there are no pro's or con's as such -- just a richer experience with a larger variety of weapons and vehicles

GH: It's a popular belief that an online game typically abandons a well-built single player campaign and forces you to play online. How is the one-player mode in Modern Combat?

Chris: In a departure from the normal way of development, EA has invested in 2 separate teams for BF2MC -- to ensure that the game has excellence and depth in both areas. Both games play out in the same universe, with the same range of weapons, vehicles, and use the same controls. But importantly there is a full story AND full metagame for the SP which gives the single user replayability and a genuine challenge. Infact, the SP game is deep enough to stand on its own as a unique game.

There are 20 missions, an upgrade path for weaponry, over 100 medals to collect, and a system of Ranks through which you have to climb based on your mission performance. There are also 18 challenges to unlock which test your vehicle skills and weapons skills, as well as showcasing the unique new feature of SP: Hot-swapping.

Hot-swapping is an innovation unique to SP, which allows the player to swap between all of their troops in realtime. It creates a whole new level of tactical gameplay which gives depth to the SP experience. Its also great fun to do with a cool audio-visual effect.

GH: What sort of soldier customization is there, and what "classes" are available for play?

Chris: There are 5 classes or "kits" as we call them: Assault / Engineer / Sniper / Support / Spec Ops. Each kit supports 5 weapons/gadgets, designed to deliver their core role. The kits are pretty well balanced so you end up using them all through the game rather than sticking with just one or two.

In the SP game, the player gets to upgrade the weapons and gadgets, based on their performance. Clip sizes / Zooms / damage levels and various other attributes are enhanced as the player earns more Stars.

GH: A problem with transferring a series from PC to console often rests with the differing control scheme. How are the controls for this console version, and will players find them intuitive?

Chris: Best practice from many shooters on console has informed the design on BF2MC -- with additional input from many early focus groups. One of the closest cousins is the Halo system of controls which uses both sticks for movement and camera, and adapts this well for vehicles as well as troops. The shoulder buttons do the firing and weapon selection. We've ended up with a pretty neat control setup that is tweaked well for the fast and furious pace of this game. Its so much more action than stealth, and the controls are set up well for this with easy weapon-changing / firing / reloading and strafing.

GH: What led you to the decision to build the game from the ground up and not just port the PC version?

Chris: We figure that PC gamers look for something different in their games than those players on console. You might sit at your PC for an evening getting heavily into an online game, but console gamers might just want a 15 minute blast. Also the audiences are quite distinct with many younger gamers on console, with a bigger focus on action rather than strategy. Plus we knew the online community for consoles is pretty small and we needed to give a full SP experience. So overall it made absolute sense to start out designing a BF game for the console audience, that was firmly seated in the BF universe -- rather than port and teak something that was designed differently.

GH: In what ways have you had to alter content (both positively and negatively) between the PS2 and Xbox?

Chris: In building the xbox version we have only added to the content over and above the PS2 version. The graphical effects such as shadows, texture quality, water, are superior, as well as the overall framerate. Notably, the online experience is more feature-rich by virtue of Xbox Live. From a gameplay point of view, both games are identical

GH: Many fans of the series may be turned away by the fact that the game was completely rebuilt, do you think fans will receive the game well?

Chris: I certainly hope so, and recent focus groups have been very encouraging. I think the key to this has been in preserving some of the core franchise values that have defined what's so special about BF on PC. In particular, the ideas that the game is really a giant sandbox, where you can do anything with your military toys -- and win the war YOUR way -- is an essential part of BF. It leads to creative gameplay and much touted "BF moments": emergent moments of action where surprisingly entertaining results come out of a certain combination of events no-on actually predicted.

The Console game reproduces this time and again, both in the MP game and also in the open-ended missions of the SP.

Keep reading on Page 2.

GH: Were you concerned about the consoles' limited graphical capabilities as compared to a gaming PC's? How have you managed to bring the graphical intensity the series is known for to consoles?

Chris: It is important to compare like for like. Someone buying a console FPS wants great visuals with respect to other console games in the genre. So we weren't overly worried by PC comparisons

The console teams were expert and experienced in PS2 and Xbox hardware, and leveraged all their knowledge to get the most out of the machines. Looking at the final result I think they have delivered one of the best looking PS2 games in this genre. The SP game used some great weather effects to raise the graphical bar, and the MP game has some terrific lighting across its many levels.

GH: Can you explain the game's "full clan" support? How will gamers manage their clans?

Chris: We have an extensive support system in place to make it easy to set up and maintain clans, have personal web pages, schedule matches, use intelligence tools to evaluate performance, track stats, and match analysis tools that have never been done in the online space before.

GH: What do you think will persuade console gamers who have never touched the Battlefield series to give it a try?

Chris: Three things: Playing WAR with so many military vehicles. Choppers, Tanks, Hummers are all so cool! Hotswapping is the most exciting new gameplay feature for a long time. This is the only game where you can try it for yourselfTrying online play - this is best-in-class multiplayer fun, the perfect opportunity to try this experience

GH: What, thus far, has been your greatest challenge in creating these console renditions? Is each version built specifically for its console's capabilities?

Chris: The greatest challenge has been to get so much content into the console memory. Both versions have needed a lot of individual tweaking in this area. The game is big -- with tons of units on screen, large environments with lots of visual detail, and memory hungry audio with radio chatter, effects, ambience and music

GH: Any unlockables, neat extras, or cool completion rewards?

Chris: The SP game has a bunch of things for the "completionist" player who wants to nail everything in the game.
There are 178 medals for a start -- earned by feats of prowess in the battlefield. There are field tasks -- whereby you have to search out and destroy specific strategic objects that are hidden within the missions.

Most interestingly, if you get to the end of all the missions, you encounter a twist in the story with an unexpected result! But I don't want to say any more and spoil the fun.

GH: And finally, how pleased are you with the game's overall content so far? Do you think series veterans will applaud a console version?

Chris: I have to say that we are very pleased with the resulting game on console. I know I'm biased, but when you hear that the guys in QA are playing the game over and over for fun, you know you've done something right as they are the first group to get tired of a game that isn't too hot!

This is definitely new ground for the BF franchise - more action-oriented, higher tempo, with an SP campaign and a new game mechanic -- but the spirit of freedom and creativity that Battlefield has always stood for is maintained and I think sets up an exciting new franchise for the console]]> Mon, 24 Oct 2005 18:01:00 -0500 The Gaming Horizon Archive http://www.gamebump.com/go/gh_editorial_psp_wallpapers http://www.gamebump.com/go/gh_editorial_psp_wallpapers http://www.gamebump.com/go/gh_editorial_psp_wallpapers# This article was originally published on Gaming Horizon, GameBump's predecessor. It was written by Gaming Horizon Staff.

PSP Wallpapers

So you've updated your PSP to the newest firmware and want some cool wallpapers to place on your beloved handheld? Then we have some good news for you - we have compiled graphics from some of the industry's hottest games and turned them into wallpapers to decorate your PSP. We will update this page often, so keep it bookmarked. Take a look below and click on the links to view the wallpapers. If you have any suggestions for wallpapers, please email us at: feedback@gaminghorizon.com

Directions

Chicken Little Wallpaper 1

Genji: Dawn of the Samurai Wallpaper 1

Grand Theft Auto: Liberty City Stories Wallpaper 1 Wallpaper 2 

Project Gotham Racing 3 Wallpaper 1  

S.L.A.I: Steel Lancer Arena International Wallpaper 1 Wallpaper 2

Soul Calibur 3 Wallpaper 1

SSX On Tour Wallpaper 1

Suikoden V Wallpaper 1

Ultimate Spiderman Wallpaper 1 Wallpaper 2 Wallpaper 3

World of Warcraft Wallpaper 1 Wallpaper 2

Offline Directions:

Mount your Memory Stick Pro Duo to you your computer by plugging it in with the USB cable or if your computer has a Memory Stick slot you can slide it into that. Once it is in the computer, copy the photos you just saved to the /PSP/PHOTO/ directory. You can create a Wallpaper directory if you want. Once the images are created, put the Memory Stick back into the PSP and go to the Photo section. Find the wallpaper you want to use and press the Triangle button. Then scroll to the right and select, "Set As Wallpaper". Follow the on-screen directions and you're good to go.

Online Directions:

If you have Wi-Fi access, jump into the browser and point the address bar to a site where the wallpaper is located. Once the image is on screen, click file and save as. The directory will be set to /PSP/PHOTO/, so go into the go to the Photo section. Find the wallpaper you want to use and press the Triangle button. Then scroll to the right and select, "Set As Wallpaper".]]> Tue, 11 Oct 2005 23:21:00 -0500 Aaron Dunlap http://www.gamebump.com/go/gh_editorial_stuff_were_sick_of_e3_edition http://www.gamebump.com/go/gh_editorial_stuff_were_sick_of_e3_edition http://www.gamebump.com/go/gh_editorial_stuff_were_sick_of_e3_edition#

This article was originally published on Gaming Horizon, GameBump's predecessor.

Growing up as a young lad in the world of video gaming, the Electronic Entertainment Expo was always a kind of Mecca to me. Every May, all the magazines would have their huge spreads chock full of screenshots and stories of the writer's wacky E3 adventures. "One day that'll be me," I told myself and my invisible friends who sometimes fight crime. And so, I made it a life goal to set my feet on the hallowed grounds of E3 before I die. Each year I checked the official E3 website to see if the age limit happened to have mysteriously dropped from 18 to my exact age that year. I stopped doing that, however, when I was 18 as I happened to write for an itty bitty website named Gaming Horizon.

It was unbelievable. Not only was I finally old enough to attend E3, but I had the credentials for a free all-access press pass; I think I may have jumped up and down for a bit.

One year later and I've been to two E3s, and am practically sick of the experience already. E3 has been a big letdown for me. As one of the largest trade shows on earth, there is a lot of possibility in E3. Unfortunately, there are a lot of things about it that make it a real pain in the butt. Everyone here at Gaming Horizon has put together this list of the things that make E3 suck.

Swagbaggers

The "swagbagger" is a particular type of human who attends a show like E3 almost solely to collect the free bags that companies hand out, and fill them with the free "swag" other companies hand out. The overwhelming supply of swag created a need for bags. Now, the overwhelming supply of bags calls for a separate type of container to hold all the bags they give out.

The swagbagger is an example of the type of person who isn't taking E3 seriously at all. He is there only to play games and get free stuff. Cup holders, bumper stickers, neon-flashing necklaces, bookmarks, tiny figurines, promotional booklets, pens, bouncy balls, and the occasional promotional t-shirt are the lifeblood of the swagbagger. His goal is to collect every piece of free crap available; often he'll get two of each -- one to keep, one for eBay. If a swagbagger sees another swagbagger with a piece of swag he has not collected, they will use a rudimentary and instinctive language of partial phrases, grunts, and hand gestures to indicate where that swag can be acquired. Often, the swagbagger will misdirect another so as to be the only person with that particular object.

More recently, a startling percentage of E3 attendees are members of this odd breed.

Overpopulation

It seems like everybody has forgotten what E3 is for, exactly. Without droning on about the vibrant history of the expo, it's more than fair to say that E3 is supposed to be a place for people to do their jobs and it's turned into a carnival for looky-loos and swagbaggers.

There were 70,000 attendees at this year's expo. I don't know what mathematical theories you subscribe to, but seventy thousand people is a lot of people. I suppose there would be no argument if all the people at E3 deserved to be there, but an overwhelming majority of attendees are just everyday folks who got in on some technicality because they work part time at a retail store that sells videogames or because their mom's cousin's uncle knows a guy who served in the War with someone who washes the windows at Tecmo. These people all run from booth to booth, hogging up all the game kiosks, and snatching free and worthless crap from booth counters and from the arms of booth attendants.

And what do they provide for the companies in return? The purpose of a trade show is for vendors and press to interface with the manufacturers; the manufacturer puts on a nice show so the vendor will put the manufacturer's goods in their stores and so the press will say nice things about them in their little publications. But when you let the customers come to the show, you're paying money to impress people who will either buy one copy of your product or wont. The vendors and members of the press are getting drowned in a sea of unqualified attendees.

I say the ESA needs to take a butcher's knife to the attendance requirements. Unless somebody's occupation deals directly with the videogaming industry (assistant manager at a local GameStop deals indirectly with the industry), you shouldn't get through the doors.

No love for the small Press

"Would you like some cheese with your whine?" No, seriously, we media types are getting seriously gypped these days. Imagine that your job required you to interview elementary school teachers while all the school-children were running around like maniacs and trying to get the teachers' attention; turn up the volume about 80 decibels and that's not even a fraction of how stressful E3 is.

The overpopulation at E3 forces the people working there to look at every attendee the same way, so those of us with our lovely and distinctly-colored "MEDIA" badges get dumped in the same kiddie pool as everyone else. That is, of course, unless you work for one of the GIGANTIC news outlets that keep buying each other and buying TV networks. The guys at IGN and GameSpot are all sent demos and beta copies of all the games at E3 weeks before the show starts, so they can dominate the show coverage with information they've known for days while those of us who haven't made deals with the devil try to scramble around gathering intelligence and clamoring up to the overcrowded media room to tell the public what they've already read.

That media room, by the way, needs some attention. It's in a pretty inconvenient location; there never seems to be enough plugs or sitting room no matter how much they add; this year the power kept going out, and there are only about 100 lockers for people to store their laptops in and about 5,000 members of the press lumbering around with heavy backpacks.

More emphasis should be placed on letting us do our jobs and less should be placed on making your games seem appealing to swagbaggers who will only buy your games if we tell them it's worth their money.

Sexploitation

I think it's time that we as adults stand up and stop acting like we give a crap about "booth babes." Seriously, if you need to hire an actress to dress up like your game's characters to sell your game, your game sucks. The whole thing is transparent and, honestly, embarrassing to everyone involved -- perhaps mostly to the chumps who wait in line to have their picture taken with a girl whose most recent accomplishment has been putting on a costume.

Unless your little hottie dressed up as your game's offensively designed heroine is prepared to answer my specific questions about the game's graphics engine or controller configuration, there is no legitimate excuse for her to be there. Not that I or the majority of my peers have any problem with attractive women, it's just that it makes us feel even more silly for trying to act like professionals when the companies we're covering are positioning strippers at all corners of their booths.

Demo Campers

The most obvious appeal to the Electronic Entertainment Expo is the chance to play videogames that haven't been released yet. This dream certainly does become a reality, for the first handful of people who rush through the doors as soon as they open. Once they get their hands on an open demo kiosk, they carry out the rest of their day from that one spot. They stand there, eyes blurry, staring at a TV screen and controlling the next Sly Cooper or other obvious sequel while people line up behind him, realize they aren't going to quit playing, and shuffle off to try hopelessly to find an open kiosk.

I say that all demos should have a timer built in that kindly informs patrons that they've been playing for five minutes and should consider letting someone else have a try. If that's too much to ask, they should instruct the booth attendants mindlessly wandering around to try to maintain some sort of turn-around for demo users.

Better yet, have some demos behind-closed-doors for the media to use, or give us some demo builds we can take home and play ourselves, since we need to play the games in order to tell the rest of the world about them. Everyone else just wants to play the games for their own benefit. It's not an arcade, dear camper.

Shuttle Delays

In the days immediately preceding E3, Nintendo, Sony, Microsoft, Konami, Square Enix, Nokia, and everybody else who wants to seem impressive has a press conference somewhere in the greater LA area. These press conferences are supposedly for the press, and are where the actual "E3 announcements" are made. Sony announced the PS3 at their conference, Microsoft re-announced the Xbox 360 at theirs, and Nintendo put on a nice light show.

There's a lot of political weight to these conferences. Originally, Microsoft's conference was scheduled on Monday and was to take place before Sony's. Sony undercut that and moved their conference earlier on Monday, the idea being that if the press saw the PS3 before the 360, we would like it more... or something. This peeved off Microsoft, who wanted to be the first out the gate, so they pulled their little MTV unveiling trick sort of last-minute, so most of the world would see the Xbox 360 weeks before E3 even started (making sure to act like that never happened at their real press conference and treating the press like idiots). The whole thing is taken way too seriously for such a silly affair, but that's not the main problem.

As I said, the press conferences are held all over the greater LA area. Problem is, the greater LA area is humongous, and taxis are expensive. Most of the companies are civil enough to provide shuttle busses to take people straight to the shows then back again. Nintendo, alas, usually provides no shuttles to their conferences which are always held in Hollywood -- about $35 away from Downtown Los Angeles.

Most of us here at Gaming Horizon agree that these companies are spending way too much money on their press conferences and not enough on making them worth-while. Microsoft, Sony, and Nintendo should all have their conference on the same day, at the same theater, one after another. That way, they can stop worrying about who outdoes whom and focus more on getting their point across. They can all split the cost of shuttle busses.

Sound Off

Every booth at the show takes every step it can to blast unnecessarily loud music in all directions. It's like a contest or something, where there is no winner and everyone's eardrums lose.

I'm only 19 years old, so don't think that I just don't understand these kids today and their music -- when the PR people standing in the booths who are supposed to be answering game questions have to wear earplugs and when their voices have gone raw before the end of day one from trying to yell over the noise, something is wrong.

The stupid thing is that since there's so much noise, it's impossible to distinguish any particular family of noise. There's just this deafening amalgam of thumping and screeching that does nothing more than create an uncomfortable environment.

You must be this tall

It's a pretty well-known piece of psychological trivia that the longer a queue line is, the more people will be attracted to it without knowing what the line is for.

This year, there was a gigantic line forming in the Nintendo booth that lead into a closed-doors showroom. The line was growing so long that it was breaking from its ropes and spilling serpentine all through the booth. When I first saw the line, someone had placed a sign at the end of it saying the wait from that point was three hours. Considering the location of the line and how mysteriously Nintendo had handled the Revolution announcement, and rumors that the anticipated controller design would be unveiled during the expo rather than before it, one would surely assume that a line worth spending three hours in must be for something phenomenal.

Next door at Sony, a line was wrapping up three flights of stairs and into a closed-door room at the top of the multi-storied booth. There were no demos of PlayStation 3 games on the show floor, so a line worth balancing on a single step with people packed above and below you must be for something phenomenal.

The line at Nintendo was to play a small demo of Legend of Zelda: Twilight Princess for the GameCube, but when I asked the people in the 3+ hour line if they knew what they were waiting for, most of them didn't know -- some assumed it was a Zelda trailer. They had just shown that trailer at the press conference the day before, and everybody there was given a copy of the trailer they could watch on their Nintendo DS, and people were standing in line for what they thought was a trailer? Just goes to show that people will line up for anything. Rather than creating that fire-hazardous gauntlet, couldn't Nintendo have used a scheduling system like at Space Mountain, where you pick up a card with a specific time on it and you show up at that time? Whatever, I didn't have to wait in that line -- Press life isn't all that bad.

The line at Sony was to walk through a room where they had hallow models of the (still conceptual) PlayStation 3 design, behind glass. Two days before then, Sony had released high-res images of the system from every angle. If I had waited in any of those lines, I would have been thoroughly peeved afterwards. There's just no point to that kind of stuff.

Oh well, I guess they keep the people who don't know what they're doing occupied and away from the demos.

You may be wondering why this is the first time you've heard anybody complaining about E3, and for that it may seem like we're just stuck up or spoiled. The reason you never hear any E3 complaints is because the people who do most of the E3 reporting are all cruising down easy street. Media center woes don't affect the gigantic websites or G4 because they've all shelled out hundreds of thousands of dollars for their own booths at E3 where they can do their own uploading and reporting from. They're all given top-secret game demos and information weeks or months before the show starts so they'll be the first to report it. These fellas don't have to deal with the massive crowds because they're all let through the closed doors and given the fluffy interviews. They provide their own transportation to the press conferences, front row seats, and they probably have a transcript of what will be said beforehand so they'll know when to zoom their cameras in. Their jobs are already done for them. They even have their own food brought in so they don't have to troll the game publishers' meeting rooms for free sandwiches like a real journalist.

Meanwhile, we're facing the crowds, gasping in unairconditioned convention halls, throttling our own ears, and sitting on hard floors with laptops so long that our legs fall asleep, just to try to bring some independent and hype-free coverage to the Internet. We hope it's getting us somewhere.

The thing is, though, these problems are compounding yearly and pretty soon people are going to just stop taking it. It'd be a shame to see E3 fall victim to its own hypemonster, but the way it's going, the show will have completely lost its purpose in a few years. All is not lost, though; E3 could be fixed and returned to its former greatness with only a few simple changes:

1. Tighten the entrance requirements

It's just this easy: If your job requires you to communicate directly with the gaming industry, come on in. If you work at a Hollywood Video store, you don't need to communicate directly with the gaming industry. If you draw an online comic strip, you don't need to communicate directly with the gaming industry. If you have a Blogger.com account and occasionally complain about how much time you spent playing World of Warcraft, you don't need to communicate directly with the gaming industry. If you just really want to get into E3 because you want to play upcoming games, you're the problem.

2. Media-only day

I'll buy a lobster dinner for anybody who can provide a reason why it'd be a bad idea for the first day of the E3 show floor to be open only to people with Media badges. If the non-media folks don't like being only left with 2 days, then have the media-only day be on Tuesday and open up to everyone else on Wednesday. It makes sense; media has a job to do, everyone else is just looking for fun. Fun is fine, but you can't get work done in a funhouse.

3. Less "babes," more "games"

This one is optional, I guess, and I realize that E3 is more or less famous for the "booth babes," so if that's the type of image this industry wants to maintain -- bimbos in costumes -- I guess it has every right to it. Consider, alternatively, hiring marginally-attractive representatives who actually know more about the game than its title.

4. Streamline the press conferences

Spreading out the obligatory Sony, Nintendo, and Microsoft press conferences over two days and 100 miles is pointless. Either have them all done at the same location, or make sure there are enough busses to get people to and from each of them. Also, don't bloat the guest lists with execs from the company so you have to start squeezing out legitimate members of the press.

5. No "behind closed doors"-only content

For some wacky reason, really high-profile games (Doom 3, Halo 2) are often demonstrated only behind-closed-doors, usually by invitation only, and often with an added disclaimer that we aren't allowed to take pictures of this or that and we can't tell anybody about this weapon or this new character until August 18. If you're going to demonstrate a game at E3, demonstrate the game at E3.

6. Fix the demo camper problem

A few possible solutions: build in a small timer into the demo software to notify users that they've been playing for __ minutes, have the booth attendants try to make sure everybody gets a chance to play, stop putting totally in-depth games that take hours to get a hang of in an environment where you want to start playing ASAP, or give members of the media copies of the demos they can use themselves.

7. Watch the freaking volume

You aren't impressing anybody. For the love of sweet, sweet Princess Peach, let us hear what the person next to us is saying.

8. Figure out what's secret and what's public

If you just showed a trailer or console design to the entire media without them asking for it, don't act like people should wait in a three hour line to see it again. We'd be happy to put your trailers up on our websites -- we love the traffic.

9. Have operational press sites running alongside the show

It's a well-known fact that certain companies -- Sony, Microsoft, and Nintendo -- have press sites functioning during the event so that every journalist not employed by IGN/GameSpot can hop online and get the material needed to produce/accent content. As it happens, that's currently a lot of us, which means that we all hit our hotels and flood the press sites to closing. All companies should expect this and be prepared for the show, and all companies -- even third-party ones -- should have a functioning press site available during E3.

10. Have an east coast show

Los Angeles, if you're unaware, is at the very far edge of the country. We're tired of having to fly out to LA every time something big happens. Why not have a second E3, or similar show, take place on the east coast or perhaps in the Midwest? Stick it in January or August. That way, companies won't have to shove a year's worth of progress into a show in May. The movie industry has Show West (Vegas) and they also have Show East (Orlando). Doing the same thing for E3 would give us a chance to see some games twice, and it would also give us a chance to play stuff that wasn't ready at E3. Tokyo Games Show doesn't count, because that's even more expensive to get to than LA, even if you live in LA.

This month has become a solemn one. At the beginning of the month, a natural disaster unlike anything this country has seen was unleashed upon one of our largest cities, causing an unheard-of amount of suffering and emotional, physical, and human loss. Beyond that, September is now a time to remember the most heinous attack on American civilians of all time. Times like these, we have to reflect upon the parts of our lives that are important to us and the things that make our lives what they are. We're forced, for just a moment, to step back and look at the things we do from the outside in.

I can't help but look at what we're doing here and wonder what kind of a service we provide. As a nation built upon the free press, there is a certain pride in being a member of the independent media; however, this is an entirely separate league of "press" from the conventional. Gaming journalism is an interesting little game itself, guising as mainstream journalism as Madden NFL 2006 guises itself as a real game of football.

At first glance, it appears that we members of the gaming media primarily serve the public. We play the bad games so you don't have to, and we bring you the gaming industry coverage so you don't need to dig for it yourself. In that respect, we are a sort of middleman between the game consumers and the game companies. On the same hand, we are also a middleman between the game companies and the consumers. The average day here at Gaming Horizon consists of swimming through the dozens of press releases sent straight from the PR departments of game publishers, looking for those interesting enough to post as news. The games we review are sent from the same PR departments, and we aren't allowed to review a game we aren't told to. If we get stuck in the game, we can call those PR people and have someone who actually made the game walk us through step by step. In most everything we do, we're just funneling information down from the people who stand to make millions to the people who stand to spend millions.

That doesn't have to be a bad thing, however. Since we and our peers haven't been hand-fed press releases and the PR departments are too busy updating their own websites to answer our calls, we have to break out of the press release hokey-pokey and start doing some work for ourselves. As the giant sites keep getting more gigantic, the smaller sites have to strive to maintain independence and accuracy in reporting. Some of the most popular gaming sites right now are independent blogs that do the filtering for you and link to the best stories from everywhere else. Suddenly, as the news behemoths grow, independence becomes an asset.

It's still difficult to seem like a grownup to the mainstream media, when videogames are still taken so lightly and as a distraction for teenagers or some kind of how-to guide for stealing cars or shooting police officers. I don't think we'll ever get there if we keep trying to put ourselves across as some immature, "extreeem" outlet of nearly-nude, computer rendered females or by carrying this superficial love of violence. That is a goal we may never reach, but then again -- the grownups will never understand us.

For my own conclusion: yes, there is a point to all this now. In the beginning there was the thrill of ushering in a new industry to a new audience, but things started to level out and money started calling the shots, but now things are picking up again. I'm glad I do what I do, and I think my coworkers would agree. There are, I'm sure, many parts of our lives that we could all get along fine without; but if there were no more independent gaming press, you all would only be buying the games with the biggest marketing budget.

Because nobody does that right now, do they?

Every videogame that will be worth anybody's time will come out in November.

There are a few variances from that rule, but it's widely accepted as the truth. Game publishers know that the bulk of the annual gaming purchases are made for Christmas and Holiday gifts, so they all bank on releasing their big-deal games right before December so everyone will want to buy the game and wrap a bow around it when it's fresh. They all hope it'll be at the top of everybody's wishlist and every mommy and daddy will run out to Toys-R-Us and buy the first copy they see without looking at price tags. It makes sense, doesn't it?

No, stupid, it doesn't. Let's pretend you're a manufacturer of fine economics-class-quality Widgets. The average consumer can only afford to buy and use one, maybe two widgets at one time. You're working on your new widget that you are certain that everybody will love if they choose to buy it. The thing is, every other widget company on earth is going to start selling their widgets at the same time. When do you start offering your widget for sale? Do you dump it into a highly congested market of 5 or 6 other must-have widgets when people can only get 1 or 2 and hope yours is the one they'll all choose? Why not release your widget in a month when nobody else is selling widgets so you can own the market with your awesome widget? People want to use widgets all year long, so why not get the customer when nobody else has them?

Think about this: the average videogame player is in high school or college, so the obvious time to sell them videogames is in the summer when they're all out of school and earning easy money at the Burger Fling. Summer is just about over now, and what good games have come out in the past 4 months? Madden 06 just came out, but that's getting pretty mediocre reviews. Four long, hot months of free time for us gaming students and no good games to buy but some lame movie tie-ins and a dumb monopolized football game? Where is the logic there?

Many people who are buying the big November games aren't buying them for gifts, they're buying them for themselves. Those people waiting in line all night for Halo 2 weren't doing it for their kids, they were doing it so they could go right home and play it. So all those people who bought Halo 2 just spent $50 that would otherwise be in their holiday shopping budget are wasted on the November release schedule. All that was accomplished was that someone has less pocket cash to buy ties for dad and candles for mom. The kids who have to wait for Christmas morning to get the game aren't the ones who really REALLY want the game; otherwise they'd return Coke bottles for a month and buy it themselves. So what was accomplished here? The games competing with Halo 2 all lost sales and the people who bought Halo 2 had less money that week and had to go to school the next day. If they'd released Halo 2 on the first day of summer, everyone would have more time to play it and nobody else out there would be forced to compete with them. Then for the Holiday sales season, drop the price of Halo 2 to $40 or $30 so that anybody who doesn't have the game yet can put it on the wishlist.

It makes sense, doesn't it?

Although there are certainly several soundcard manufacturers around offering up respectable options, I think CreativeÂ’s Sound Blaster line most readily springs to the minds of most gamers when the topic comes up. In fact, I have only purchased two soundcards in my life. The first time, I spent $20 dollars on a low-end card (the name of which I cannot recall) years ago when the card in my old machine crapped out on me. The only time I spent any real sum of money on a card was when I was building a serious gaming rig and figured that the on-board sound chip probably wouldnÂ’t perform as well with my new 4.1 speaker setup as a Sound Blaster Live 5.1 Gamer would.

My SBL 5.1 Gamer served me well for several years (and through several machines), and I saw no need for an upgrade until it began its descent towards the hardware tomb which is the trashcan. It has recently been acting up – crackling loudly in the background of my music, constantly forgetting that I have not two, but four speakers, and sometimes simply refusing to utilize EAX support in games. It was, then, with arms wide open that I accepted the review of HiTec’s new HDA Digital X-Mystique 7.1 Gold. Timing couldn’t have been better. Let’s look at the features.

Sound Processor:C-Media CMI8768/PCI-8ch+ PCI Chipset8 channel codec embedded PCI audio single chipFull-duplex 8CH 24bit/96kHz DAC / 2CH 16bit/48kHz ADCIntegrated S/PDIF receiver/transmitter supports 44.1kHz/48kHz/96kHz samplerate and 16/24bits resolution
System Interface:
PCI Rev. 2.2 compliant with 32bit PCI bus mastering modesOnboard TOSLink transmitter for up to 24bit/96kHz Optical digital output, Gold Plated RCA connector for Coaxial digital output. Two SPDIF input for CD_SPDIF input (S/PDIF-IN #1), Digital I/O(SPDIF_EXT) input (S/PDIF-IN #2).Built-in earphone buffer at Front Output (32 Ohm Loading)External EEPROM Interface for Sub-Vendor/Sub-Device ID using custom driver16Pin MIDI_IO Header for supporting MPU-401 MIDI UART PortSwappable four high performance dual DIP type OPAMP for output channel, two high performance dual DIP OPAMP for MIC input – increase gain level and improve SNR
Package Includes:
HDA Digital X-Mystique 7.1 Gold audio cardMPC to MPC (2pin-2pin) CD S/PDIF audio cableEnglish OwnerÂ’s ManualTOSLINK fiber optic digital cableDrivers/Applications installation CD
I may be able to put all of the parts to a computer together and make it work, but I’m not technically savvy enough to translate all of that stuff into anything decipherable. So sue me – I was never an audiophile. This review will focus on what the majority of people out there will want to know about this soundcard – how it performs.

First things first, though. I performed the installation by the book – by first disabling and uninstalling the drivers for my older card, and then physically removing my dead SBLive card and replacing it with the X-Mystique (I even used the static armband to ensure no complications). With XP Professional SP2, the overall installation was a snap, requiring no more than the included installation CD.

HiTecÂ’s card comes packaged with some useful sound applications that are worth mentioning. The best of which is the Xear 3D audio configuration. It allows you to switch between analog and digital sound output (SPDIF) and select how many speakers your system has. It also shows a graphic representing the connections on the back of the actual card, and highlights those that you ought to be using with the number of speakers indicated. It also sports a mixer, some effects you can add to the ambiance, and karaoke settings. The main feature of Xear 3D, however, is the 7.1 Virtual Speaker Shifter. This handy 2D picture shows a figure in a chair surrounded by a 7.1 speaker system. Simply clicking and dragging the speaker icons from their default position to where they actually are in your own setup customizes their output levels to ensure you get the best surround effect possible, even when not all of your surround speakers are actually behind you.

The CD also comes with some diversionary programs that let you test your setup. You can move a helicopter around and hear the difference as it moves behind your view, or around to the front. There’s also a terrible little game called Rockwar that asks you to shoot at meteors that are flying towards you. You can move the mouse to rotate your view 360 degrees, and you must figure out which direction the next meteor is coming from solely from the 3D sound. It’s a terrible game, but it proves its point well – this is a great card, and the 3D effect works. I was actually able to close my eyes and try to find the next meteor before I opened them – and I could do it pretty easily.


The sound quality in games is great in most cases. My main test was to be Half-Life 2. For one thing, Half-Life 2 has some incredible sound effects but letÂ’s also not forget that I could never get it to run with more than two speakers for some reason with my SBLive card. ValveÂ’s masterpiece was an audible treat, with the reverb and echoes of explosions low and dull, and audio cues of bullets hitting the environment crisp and believable. Results of other titles (Doom 3, Thief 3, and even Worms Armageddon) yielded similar results. I did experience an issue with Dungeon Siege 2, however. For some reason the sound effects faded out to almost inaudible levels sometimes based on where the camera was. DS2 is a mostly top-down view, but when the action was near the top of the screen, it was hard to hear. On the bottom of the screen, everything was fine. It was probably more of a positioning issue than anything else. The X-Mystique offers support for EAX 1.0 and 2.0, but there wonÂ’t be any for the upcoming EAX 3.0, unfortunately. How many gamers will ever notice, is to be seen.

MP3 and DVD playback is also superb – an obvious upgrade from my previous card. Highs sound much cleaner than I’m used to, and the lows thumping out of my subwoofer are perfectly matched, rather than being too rattly or muted. One big feature of the X-Mystique is its being the first PCI sound card to offer direct Dolby Digital Live – in other words, you can plug it into your home theatre system and use those monster speakers to hear true Dolby Digital processed through the sound card. I for one already have a monster setup in the living room, and while this feature did work well when I tried it, I don’t recommend anyone buy this card to replace his or her existing home theatre equipment. It’s a good feature if you can’t currently get DVDs to play on your home theatre surround sound, though. X-Mystique is the first card to do this, but rest assured it won’t be the last.

Overall, this is a great card for readers out there in need of a new soundcard. If you really need the Dolby Digital support for some reason, it’s an easy purchase at a reasonable $99 – or if you don’t currently have a surround capable card. You won’t be disappointed by its performance.

]]> Mon, 29 Aug 2005 10:34:00 -0500 The Gaming Horizon Archive http://www.gamebump.com/go/gh_editorial_psp_20_firmware_review http://www.gamebump.com/go/gh_editorial_psp_20_firmware_review http://www.gamebump.com/go/gh_editorial_psp_20_firmware_review# This article was originally published on Gaming Horizon, GameBump's predecessor. It was written by Eric Dayday.

Mark Green, communications manager for Sony Computer Entertainment Europe's Cambridge Studio, has written up an entertaining developer diary for 24: The Game, based on Fox's hit television series, 24. Green describes what it's like working with hollywood actors to create voiceovers for a game, something the typical actor/actress hasn't had experience with and is absolutely shocked to see the quality that goes into the final product. Enjoy.

Developer Diary
Part 1 of 6
Working with Hollywood Stars

After whittling down 100s of actors to a shortlist of six; after holding auditions whilst patched-in by transatlantic phone call; after having MP3s of their voices sent over to Cambridge; after making our final decisions; after notifying the actors; after arranging the studio in LA; after arranging our own flights and hotels … after all of this, we STILL had one actress who was astonished by the whole set-up: “Oh my God! It’s a GAME! I thought it was the extras for the DVD,” she cried on day one. Games clearly still have some way to go before they’re accepted as part and parcel of the process. Either that, or she’s not been listening to her agent.

-Mark Green

Consider: It's August, 2005. You're at your local game store, standing in the sports game section. You see on the shelf, in shiny cellophane and surrounded by bright red banners, Madden NFL 2006 for $49.99. Two shelves below, down in discount land, is Madden NFL 2005 for $29.99. Being a savvy consumer, you opt to purchase Madden 06 because it's newer and anything new is good.

Consider again: It's May, 2005. You're at your local game store, in the sports section. Madden NFL 2005 is the newest football game, so you buy it for $49.99.

If you wanted Madden 05 in May, why do you suddenly not want it when it's cheaper just because there's a newer one out? How will you be able to understand the story of Madden 06 if you haven't played the prequels?

There's a new Madden game every year, we all know that, but why do we buy them every year? There are new features every year, obviously, but most games' development cycles are longer than a year so you have to accept that the hot new features from Madden 06 were being developed while Madden 05 was still being made. Even assuming that EA is incapable of conspiring against you, you have to admit that the words "save those features for next year" are spoken once or more per game.

Why not, instead of pushing out a new game every year with a handful of new features, hold out for a while and make a game with a lot of new features? The answer is obvious, starts with "because" and ends with "money", but if there's one thing people like me hate -- it's being exploited.

I mean, what else is there to do? Is Madden 06 better than 05 because it contains 44% more football? Besides pointless and fluffy extras, all there is left to do is to punch up the graphics, the AI, the controls, or the sound. If they didn't have that right in 04, who says 05 is going to be any better?

Since I love to throw around accusations, I submit that EA intentionally staggers feature updates into yearly releases rather than putting full-focus into making a solid game every time. There is a list on someone's desk mapped out all the way to Madden 2011, pictured at right, with a list of all the new features they want to make for each game. The existence of that list makes me angry.

Me? I had my fill of football in Madden NFL 1997 on the PlayStation, and don't need to be reminded what the game is like every year.

Yes, the yearly installations of Jak, Daxter, Ratchet, Clank, and Sly games may seem a tad systematic, but at least you could be able to play each version of each game series and be able to tell which version it was without needing to look at the front of the box.

Until somebody kicks the Madden-O-Matic off its production cycle to let the features pile up on the other side of the distribution model for at least one year, sports games are just a cashgrab to me.

As we steadily approach the impending dive into the next generation of game consoles, it's time to reflect on the parts about gaming that we're sick of. Today we'll focus on the hardware features that we'd be happy to see go, all the little things that suck the pennies from our pocketbooks and drive our eyeballs into the backs of our brains.

Memory Cards

Alright, they're a lot better than passwords, but they are by far the most irritating part of consoles today. It makes no sense that most flash-based memory formats cost eight cents per megabyte while Sony's PS2 memory cards cost $3.75 per megabyte ($30 for 8MB). The Xbox's hard drive certainly showed us the light, but we could all live with portable storage for our game data so long as it used a nonproprietary format like Secure Digital, Compact Flash, or more likely in the case of Sony: Memory Stick.

In the past: The Nintendo 64 and PlayStation were the first to use memory cards, though they were rarely used on the N64 because game cartridges could have flash-memory built in. So, the PlayStation wins. The PSP is a step in the right direction, it uses tiny Memory Stick Duo cards.

In the future: The Xbox 360 will have a hard drive, the PS3 won't right away (sound familiar?), and who knows about the Revolution? From the looks of it, the PS3 will be supporting almost all of the flash card formats for some reason or another; pictures probably, game saves hopefully.

"Optional" Upgrades

"Sure, this Xbox comes with everything you need to get started. Though, if you want to play with more than one player you'll need to buy some more controllers, and if you want to watch DVDs on the system you'll need to buy this remote kit, and if you want to play games online you'll have to buy this headset and subscription to Xbox Live, and if you have a wireless network in your home you'll need to buy this Wireless G adapter." Grand total for this $150 system? $350. Or $410 if you want to play a 4 player game.

We're sick of the sentence, "If you want to play ___, you need to buy ___" when we already own the thing that ___ is supposed to plug into. If you want to play Perfect Dark, you need to buy the N64 memory upgrade. If you want to play Final Fantasy XI on the PS2, you need to buy the otherwise-useless hard drive. If you want to play any console game online, you need to buy an adapter or subscription.

Improving a console while it's still in cycle is fine, but not when it's only going to be used for one game or when it's something that should have been included in the system already.

In the past: Early systems shipped with everything you could ever need. The NES, for example, came with two controllers, two free games, a robot, and a zapper.

In the future: There are already plans to release a hard drive for the PS3 some time after the system's launch, and good luck finding more than one controller in those boxes.

Proprietary Connectors

Most of us here have all kinds of cables laying around, and those of us who care more about our home entertainment system than we do our "loved ones" will only accept one type of cable and don't need a bunch of crummy yellow, red, and yellow cords cluttering up our business with their silly analog and interference-hording antics. The problem isn't that consoles only come with composite cables, in fact these days it almost seems courteous, the problem is that the consoles all use custom proprietary connectors for a/v cables, so if you want to buy a different type you have to overpay for some cables by the system maker or seriously overpay for some Monster cables.

This makes a/v connecting easier for people who don't know a lot about plugging things into other things, but if you can figure out how to find the right ports on the back of your TV you should be able to find them on the back of your GameCube.

In the past: The single-jack a/v connection has been consistent since there have been more than one type of video cable. Earlier, Atari-era systems only used RF connections.

In the future: While the next-gen consoles aren't set in stone, the PS2 and Xbox both elude to use the classic multipurpose a/v connectors for analog connections (composite, s-video, component) and separate connectors for digital HDMI connections (or in the case of the PS3, two HDMI connections)

Re-releases

How many GameBoys have you owned? Are you sure? There were three GameBoys, two GameBoy Colors, and three GameBoy Advances (so far); and this isn't new generational technology; they're all just touched-up and re-released versions of the same thing we already bought the first time.

How many Nintendo DSes do you think you're going to have?

There's no problem with pushing technology forward for a better product, like in the case of the GameBoy Pocket and the shrunken PSone and PStwo, but when a re-release's "upgrades" are only to make up for the poor design of the original, you need to admit that the original sucked. The GBA SP was a great step forward, but why weren't any of its features included in the original GBA that came out only a year before? Because the GBA sucked, so stop trying to sell both at the same time.

In the past: The NES, SNES, Game Boy, Game Boy Color, Game Boy Advance, PlayStation, and PlayStation 2 all had some kind of re-release toward the end of their cycle.

In the future: Only time will tell. The Nintendo DS will almost invariably be re-released, and in about 7 years there will be a tiny little PlayStation 3 as the PS4's shadow looms o'er.

Colors

"Hello, my name is common sense. I'd like you to know that even though a white PSP is coming out around 8 months after the black one, it does not mean that it's a new system.

"Oh, and while I've got your attention, anybody who'd be impressed by you having a white PSP when everyone else has a black one is an idiot. Is that what you want to be trying to impress? Idiots?"

In the past: The Game Boy's 1995 Play it Loud! campaign of gnarly-colored Game Boys was a fantastic boost to sales (mostly because people had started to forget about the 6 year old system), and every Game Boy version since then has started off with a few select colors and then systematically released a "limited edition" set of colors. Same with the GameCube and it's silv... platinum release around the time of the $99 price drop.

In the future: Well, the PSP is already on deck for a white release and we've seen pictures of blue and black Nintendo DSes.

Gimmick Peripherals

Eye Toy, GameBoy Printer, PowerGlove, Power Pad, Laser Scope, Power Scope, Laser Printer, Donkey Konga Drums. All of these things look great in an advertisement from Nintendo Power where a kid in purple shorts uses them and has laserbeams and fireworks coming at him from his television, but when you get your mom to buy you one you realize that they're only good for one game and the foundations of your young life fall through the cracks.

All these gimmicky add-ons end up being a waste of money when game developers ignore them. They're all mostly aimed at younger children who are more attracted to the idea of wearing a sweaty plastic glove or jumping around in front of their TV than they are to a game being any good. Enough, already.

In the past: The NES and SNES had a laughable array of gimmick peripherals, as have the multitudes of GameBoys. Some people even call the DS a gimmick in itself. Other companies aren't immune from the gimmick bug. The Eye Toy and various microphones are all pretty much gimmicks.

In the future: Next-gen consoles' next-gen technologies (Bluetooth, USB) make it easier to develop accessories, opening the floodgates for a whole new era of gimmicks!]]> Tue, 09 Aug 2005 12:04:00 -0500 Shiva Stella http://www.gamebump.com/go/gh_editorial_conflict_global_terror http://www.gamebump.com/go/gh_editorial_conflict_global_terror http://www.gamebump.com/go/gh_editorial_conflict_global_terror# This article was originally published on Gaming Horizon, GameBump's predecessor.

Jim Bambra, Managing Director of developing house Pivotal Games, has written the first developer diary for Conflict: Global Terror. The article includes a run-down on the storyline, brief character biographies, and how the team decided to personify their characters further. You can expect Global Terror to release this fall for the PC, Xbox, and PlayStation 2.

Conflict: Global Terror Developer Diary 1
By Jim Bambra, Managing Director Pivotal Games

When we started to design Conflict: Global Terror we decided that it would be great to use the same Special Forces team as had been featured in Conflict: Desert Storm I & II. After doing two games with these guys we knew them very well and were keen to develop them further. Many Conflict players were also great fans of the characters and were demanding their return.

Military Record
101st Airborne Division
U.S. Army Rangers
1st Special Forces Operational Detachment - Delta Force
CODEX Red Team

Profile
Natural leader and all-round action hero, Bradley is one of the most respected Special Forces operatives in current active service. Implicitly familiar with any form of assault rifle or pistol, BradleyÂ’s cool composure under fire inspires confidence in all who serve with him.

Preferred weapons
M4A1 assault rifle with M203 grenade launcher attachment
Mk23 silenced pistol
Claymore mines

Corporal David Jones
Role: Demolitions
Height: 5’11”
Build: Muscular, Slim
Ethnicity: African American
Age: 35
DOB: March 2, 1970
POB: Detroit, Michigan

Military Record
U.S. Army 3rd Infantry Division
U.S. Army Rangers
1st Special Forces Operational Detachment - Delta Force
CODEX Red Team

Profile
Ignoring his parents’ advice to not play with fireworks, Jones has grown up to become the Special Forces’ explosives expert. A demolition genius – be it destroying fuel and ammo dumps or clearing barriers – Jones also doubles as a dependable SMG MC1shotgun-toting combat operative.

Preferred weapons
MP5SD silenced machine gun
Striker automatic shotgun
C4 charges

Corporal Mick Connors
Role: Support Gunner, Anti Tank Specialist
Height: 6’2”
Build: Heavy, Muscular
Ethnicity: Caucasian
Age: 35
DOB: January 28, 1971
POB: HellÂ’s Kitchen, New York City

Military Record
U.S. Army 1st Infantry Division
U.S. Army Special Forces Command (Green Berets)
1st Special Forces Operational Detachment - Delta Force
CODEX Red Team

Profile
Connors is a one-man army and heavy weapons fetishist. His superior build allows him to carry the largest arsenal and heÂ’s happiest when laying down cover fire for the rest of the squad. Predictably, Connors is also the man best equipped to dispose of tanks or to take over gun turret duties.

Preferred weapons
M60E3 light machine gun
0.50 cal Desert Eagle pistol
LAW 66 anti-tank rocket

Corporal Paul Foley
Role: Sniper
Height: 5’9”
Build: Athletic, Slim
Ethnicity: Caucasian
Age: 36
DOB: April 18, 1970
POB: Jacksonville, Alabama

Military Record
U.S. Army 3rd Infantry Division
U.S. Army Rangers
1st Special Forces Operational Detachment - Delta Force
CODEX Red Team

Profile
A sharp shooting sniper extraordinaire, Foley still holds the record for the longest distance single-shot kill having taken down an enemy positioned nearly two miles away. Exceptionally cool and calm under pressure, you can rely on Foley to cover your back.

Preferred weapons
WA2000 sniper rifle
Beretta 93R pistol

Corporal Carrie Sherman

Role: Sniper
Height: 5’8”
Build: Athletic, Slim
Ethnicity: Caucasian
Age: 27
DOB: June 8, 1979
POB: Seattle, Washington

Police/Military Record
Seattle SWAT
CODEX Red Team

Profile
One of the first women to be assigned to an active Special Forces unit, newcomer Sherman is an accomplished counter-terrorist sniper instructor with considerable field experience. Her excellent tactical knowledge and rock-steady aim make her the perfect addition to the team.

Preferred weapons
DSR-1 sniper rifle
MAC10 silenced sub machine gun

Two days ago one of my friends sent me an IM to inform me that he'd just purchased an original copy of the MSX version of Snatcher, one of Hideo Kojima's first games, for some exorbitant amount of money from eBay.

"Great," I said. "Now go stick it in the MSX you don't have."

He replied, "Ordering one right now."

I sat back and thought for a while, reflecting that some day when my children are independent-thinking college students they will pay exorbitant amounts of money for a first-run Super Nintendo Entertainment System so that they can play the copy of Earthworm Jim 2 they just got from eBay in its original state. At that, I wept for nine solid minutes and wished I hadn't traded my SNES in at Funcoland those many years ago for an extra $30 towards my bright and shiny PlayStation.

I think everybody gets a little too hotheaded when next-generation consoles come around and they forget how much fun they had with the last generation. Even in this world of emulators and ROMs, there's just no way to replace the feeling of blowing into a NES cartridge and slamming it into that plastic little box of wonders. For those people like me who grew up with a controller in their hands, so much of our childhoods are vested in sprites and pixels and crazy worlds where you get hurt just by touching a bad guy and any type of food will restore health. Sure, we all need to move on and grow up but you have to remember that at some point in your life you will break down and wish you could have every moment of your childhood back.

I used to be annoyed by the gaming-fogies who would brag about how they still had their Atari 2600s and their crappy copies of Pac-Man; I'd shrug them off as pretentious elitists but I now realize that they're just as wistful and nostalgic as I've come to be.

As the certain line of work I'm in seems to escort a boatload of games into my possession, I often trade in games I'm done with at the local mega-conglomo-games-retailer so that some young chap can bring his two pence into the store and reap the benefits of the meticulous care I take of my games, but there are some games I refuse to cash in (sometimes even games that I don't really like) just because I know there will be a point in my life where I'll want to play it again. From now on, I'm never going to sell or trade in a game system just so I can afford the bright and shiniest one that comes my way. Right now it seems like useless clutter that could be buying you some Big Macs, but there will come a time when you'll be glad you saved it.

The alternative isn't that appealing if you think about it, anyway. Sure, game retailers love it when you trade in your used consoles because they know they can make so much more money off of it than a new system. Console prices are regulated by the manufacturers to keep the price as low as possible, and stores typically only make $1 or $2 net profit when you pick up a new console from them, but when they give you $70 for your used PlayStation 2 and sell it for $95, they just made themselves an easy $25 by using you as their supplier. They'll usually offer to add on an extended warranty plan for $15 or $25 extra so that if the used system turns out to be junk, they can pull another one from the back room and only be out a few bucks.

If you really want to get rid of an old system (like, say, if your mom makes you), your best bet would be to sell it on eBay. Throw in a couple of your old games and say they are "free with system" and you'll make a few more dollars than if you just dropped it off at the local game store.

Or better yet, if you need to get rid of some systems you should consider donating them to some people who could really put them to use. Call your local children's charity or the children's wing of any hospital and ask if they could use some good-quality game systems. You could also look up some foster care facilities or children's daycare locations. Get-well-gamers.org is a foundation that works with several children's hospitals to accept used systems and games in several states. Spend a few minutes in the phone book and on the phone and you could make some kids' lives a lot better (and it may be a tax write-off, if that's your kind of thing). Your dentist, orthodontist, or doctor's office may even accept your used systems for use in the waiting room.

Your game systems may seem tired and old to you now, especially with the hype-fireballs Xbox 360 and PS3 coming out sooner than later, but take my wizened advice and don't cheap out and try to pawn them off for a quick buck. Either you'll wish you had your games in a few years, or you'll wish you could show your kids what games were like in the "good ol' days" (note: "the good ol' days" are whichever days coincided with your being 12-years-old). If you absolutely must get rid of your old gear, don't become a tool for some mega-chain – consider donating it to some kids who need a little sunshine in their days.

Your past is the anchor of your future, if you lose it, you're adrift.]]> Tue, 02 Aug 2005 16:59:00 -0500 Shiva Stella http://www.gamebump.com/go/gh_editorial_serious_sam_ii http://www.gamebump.com/go/gh_editorial_serious_sam_ii http://www.gamebump.com/go/gh_editorial_serious_sam_ii# This article was originally published on Gaming Horizon, GameBump's predecessor.

Roman Ribaric, CEO of developing house Croteam, has written the first developer diary for Serious Sam II. The article offers commentary on developing game content and a unique editor to bring this anticipated title to your Xbox and PC. Don't forget to view our own ]]> Mon, 18 Jul 2005 18:14:00 -0500 Shiva Stella http://www.gamebump.com/go/gh_editorial_sid_meiers_pirates http://www.gamebump.com/go/gh_editorial_sid_meiers_pirates http://www.gamebump.com/go/gh_editorial_sid_meiers_pirates# This article was originally published on Gaming Horizon, GameBump's predecessor.

For those of you yearning for your swashbuckling days, Firaxis Games' very own Sid Meier has personally written up some important tips for Sid Meier's Pirates! for the Xbox and PC. Enjoy, and don't forget to check out our ]]> Mon, 18 Jul 2005 17:40:00 -0500 Tim Grube http://www.gamebump.com/go/gh_editorial_far_cry_instincts http://www.gamebump.com/go/gh_editorial_far_cry_instincts http://www.gamebump.com/go/gh_editorial_far_cry_instincts# This article was originally published on Gaming Horizon, GameBump's predecessor.

With Far Cry Instincts just around the corner, Ubisoft sent over an internal interview that was conducted with Technical Creative Director, Laruent Mascherpa. The interview talks about the games engine, enemies, and weapons. Far Cry Insticts is being developed exclusively for the Xbox console and will feature 1-16 players. It will be on store shelves this September. So to hold you over, read the full interview below!

Laurent Mascherpa
Technical Creative Director

What makes Far Cry Instincts F.A.R. AI good?

Laurent Mascherpa: Far Cry Instincts AI is based on the Far Cry PC version, and has been adapted for the console version. Having enemies tracking you is a major point. We kept the wide open environments we had for the PC, allowing the AI to go anywhere the player goes. This is very important because in the first part of the game, the player will be a prey.

The game has a procedural AI allowing the player to play either stealth/tactic or aggressive. The AI will react differently depending on how you choose to play. It offers more replay value and satisfaction than a scripted AI.

For FCI, we made some optimization for console needs and some game enhancements; in the AI system we added a tool to integrate the story into the experience, because in FCI all story events are interactive.

What feature of Engine ensures an intelligent response to the players actions?

Laurent: In FCI any AI has its own understanding of the environment - they see, they hear, and they have knowledge of what it is: an ally, an enemy, a vehicle, a grenade, a gunshot, a dead body

Based on this information, the AI makes decisions and takes action; it allows us to have credible human behavior.

For stealth situations, the player is encouraged to use environment to his advantage. The AI detection system takes into account the vegetation (grass and bushes), the water, the ambient noise and the visibility. Since the AI hears things and see things, we can try to trick them. For example: throwing a rock will emit some sound that distracts them in order to backstab them silently, or also to attract them into a branch whip.

In firefight situations, knowing the environment permits them to have a dynamic use of covers to hide, to lean and shoot from behind and to flank the player.

In the first part of the game, the player is a prey so when he quits a combat the AI will track him down.
In the second part, as the player shifts more and more to becoming a predator, the reaction of the enemies will be different and their strategy will change.

What will the AI in Far Cry Instincts allow the enemies to do in the game?

Laurent: Enemies are acting as a group. Theyll use covers in the environments to protect themselves and will adopt complementary strategies. For example, when you arrive in a fight, one will try to flank you while one will stay away throwing grenades and shooting at you from behind his cover. Enemies are also able to trigger alarms to alert the camp or call reinforcements if they see you before you kill them.

Will the enemies be aware of changes in environments, like birds that fly away or foliage movements, making them spot the player?

Laurent: The player is encouraged to use the wilderness of the environment to be protected from the enemies, but anything that makes noise (for example: getting out of water too fast) can raise their interest in your direction.

Can they use weapons of their fallen teammates, or replace them behind a mounted weapon? Can they use any vehicles?

Laurent: All enemies are already well equipped so they will not use fallen weapons. If some enemies are asked to protect a point, and if you kill the guy that is using the mounted weapon, another will take his position unless this is not the best choice for him (for example: A grenade has been thrown in direction of the mounted weapon). In these huge islands enemies are able to use vehicles to chase you, to block your way, or to bring reinforcements. In FCI you will see mercenaries in Humvees, on ATVs, in helicopters, on water scooters and on a variety of boats.

Finally, is there anything else you'd like to add?

Laurent: In FCI, we introduced new gameplay elements affecting the AI, like the backstab, the branch whip and the feral abilities, so you can expect answers from the AIs and a lot of fun !!!]]> Thu, 07 Jul 2005 08:29:00 -0500 Aaron Dunlap http://www.gamebump.com/go/gh_editorial_electronic_entertainment_expo_i_knew_thee_well http://www.gamebump.com/go/gh_editorial_electronic_entertainment_expo_i_knew_thee_well http://www.gamebump.com/go/gh_editorial_electronic_entertainment_expo_i_knew_thee_well# This article was originally published on Gaming Horizon, GameBump's predecessor.

Eleven years ago, the first E3 took place in LA and an 8-year-old version of myself picked up his brother's latest Nintendo Power magazine and read about this heavenly gathering of gamer and game company. It was unbelievable, like a carnival of video games and gaming hardware, and at that moment I made it a life goal to someday attend this Mecca of electronic entertainment.

Ten years later, E3 2004 celebrated the tenth anniversary of the expo and the first year of my attendance. A simple minded 18-year-old, I wandered the crowded floor in a dazed stupor at the power around me. Metal Gear Solid 3 was there; the PSP and the Nintendo DS were being debuted for the first time; Resident Evil 4 was playable, and I was right in the middle of it all. Now, having attended my second E3 this year, I'm already jaded by the whole idea.

The Expo itself was created so that people who made games could meet each other and learn from each other and so the fledgling gaming media could see what they were going to be covering all at once and make contacts at the game publishers and try to get on their good side. Now, E3 is a very transparent medium for a salvo of hype, false promises, and petty pandering.

Seventy thousand people attended this year's E3. Considering that every one of those people went to the larger booths like Sony, Nintendo, and Electronic Arts, the people running the booths were hammered with people from every country and every nook and cranny of this industry. In effect, nobody was able to pay any attention to who-worked-for-whom, so the enchanting power of the Media badge was diluted by all the people who were just there for the free stuff. Because of that, any member of the press who didn't work for IGN or Gamespot was discarded as common attendees. Hey publishers, it's hard for us to hype your crappy games when we can't even play them because some kid who stocks shelves at a video game store has been playing the kiosk demo for an hour and a half. Meanwhile, someone from G4 is being demonstrated a prototype of the PlayStation Nine behind closed doors.

It didn't really bother me that IGN and Gamespot had booths at E3 this year and last, because they were primarily used for their journalists to posts news and videos straight from the show floor -- for that, I was more jealous than anything else, as I had to walk up a flight of stairs to get to the Media Center (which is these days full of writers for lesser sites like this one). But now IGN and Gamespot are actually exhibit from their booths, blurring the definition of what the show is really about anyway.

On Friday, the last day of the show this year, I was enjoying some pizza and toying with a set of portable speakers someone from Mad Catz had kindly given me after allowing me to preview their upcoming products (one of the few media-only activities I was afforded this year, besides the free sandwiches in the Media Center) when a stranger walked by and saw the speakers. I saw his eyes widen as tiny little dollar signs etched across his pupils, he stopped, backed up (revealing his Exhibits Only badge), and asked me where I'd gotten the speakers, how he could get them, and how far he'd have to walk to get them. I was about to tell them they were for media only, but just pointed him in the direction of Mad Catz to quickly get rid of him. I watched a beautiful example of the average E3 attendee prance away, a fully-loaded "swag bag" in each hand, hoping to get some more free stuff he didn't deserve.

I am not alone in my belief that the whole point of E3 is being lost. Sites like this one across the Internet are lamenting the flood of swag-baggers and overpowering dominance of the larger outlets who have preview copies of games sent straight to their offices weeks before E3, negating the entire purpose of their attendance. It's impossible to get any work done anymore. If you want to play a game you have to stand around in a mosh pit and wait for a free demo kiosk, or find a media-relations representative and pray that your fancy business card and purple Media badge are enough to earn a chance to do your freaking job.

If the ESA (the organizers of the event) wish to restore the dignity that E3 once had, they're going to have to take a hatchet to their entry guidelines. Ideally, only members of the gaming media and employees of game developers and publishers should be allowed entry; but I can understand that representatives from retailers would want to go, but I think only purchasers and executives of the retailers' corporate offices should be allowed in. Individual store managers who have nothing to do with what they sell have no business there.

Years back, the first few hours of the first day of E3 were open to Media badges only; but that rule was dropped because rich people (executives) don't like to be told they can't go places that poor people (me) can. The entire first day of the show should be Media only. They could even start the show a day early (Tuesday) to accommodate that change. The convention center is rented for the whole week and all the booths are set up by Monday anyway, so why not let the press get in a day early so they can see and play the games (relatively) unabated? Nobody seems to realize that while the attendees are mostly there to have fun, we merry few -- we band of reporters -- are going through a living hell to bring the news to the public and the people who should be most interested in our coverage (the exhibitors) are not making it any easier. Viva la Revolution! (Not you, Nintendo)

In an E3 year where we had expected to spend most of our time drooling over next-generation consoles, we were quite surprised to see just how exciting the handheld market has become. From the PSP to the DS, to the newly announced GameBoy Micro and the plethora of NGage and mobile phone gaming titles, now more than ever publishers want to have their games played anywhere gamers go – from the classroom to the bathroom. Amidst so many different mobile games and gaming devices it appears as though a newcomer may be plotting to take the place of your current mobile gaming device, as well as your mp3 player and your digital camera, too. Its name is Gizmondo.

The Gizmondo, a self-proclaimed “multi-entertainment device”, has already been released in Europe; the device, which runs on a Windows CE operating system, does much more than just play games. Although you may not have heard of it, top developers definitely have. According to Tiger Telematics Inc, 89 games will be available for the Gizmondo by year’s end.

As of E3, Ubisoft has signed on to develop titles for the system, including a Rayman game. A Tron 2.0 port has been announced by Buena Vista Games, and even Microsoft Studios has signed on to bring titles to the system, including Mech Assault and Age of Empires. Electronic Arts is the most recent company to jump on the Gizmondo bandwagon, as a press release announced that they will be bringing two of their sports titles to the handheld system: FIFA 2005 and the snowboarding game, SSX 3. Along with all of these third-party titles, Gizmondo Studios is busy creating first-party software for the device, including Colors, the first GPS-enabled game.

From the short hands-on demos we were able to play at the show the games looked impressive. They were running on a 400MHz Samsung Processor with a NVIDIA GoForce 3D 4500 graphics 129-bit accelerator. The three demos looked slick and ran very smoothly, and when a pair of headphones were plugged into the system sounded great, too. For multiplayer gaming Gizmondo featured both Bluetooth and GPRS connectivity, which means that you can link up with your friends wherever they may be to play some games on-the-go together.

To keep in touch with your friends, the Gizmondo can be used to send text messages and pictures to cell phones or other Gizmondos. It was also mentioned that the company is planning to release an email application that will allow users to connect to their POP3 or IMAP email accounts.

Want to watch your favorite movies on-the-go but lack a portable DVD player? The Gizmondo features a built-in Windows Media Player that plays video at near DVD- quality, so you can watch any MPEG-4 compressed movie you want as long as it fits on a standard secure digital (SD) card, the deviceÂ’s storage medium. Along with this feature you can use the Windows Media Player in conjunction with your MP3s and WMA files to turn the device into a full-functioning MP3 player.

Partying at a club but donÂ’t have a camera phone? No worries, your Gizmondo has that covered as well. The Gizmondo features a built-in digital camera that can take 640 x 480 photos. These photos can be sent to any other Gizmondo or MMS-enabled device. As well as picture storage and messaging, the Gizmondo will have games that take advantage of the camera. Colors, for example, lets you spray-paint photos taken with Gizmondo onto environments in the game. YouÂ’ll even be able to customize characters with your beautiful mug shot textured onto their faces.

The Gizmondo features GPS technology that can be used to help you navigate your way through your city, and also can be integrated with other features of the Gizmondo, including games, to create a truly unique experience. Another feature that can be used in conjunction with the GPS technology is Smart Ads, which works by asking Gizmondo users their interests, and then sending them no more than three dynamic ads per day that would be custom fitted to their interests. An example would be a short movie trailer sent directly to your Gizmondo in a genre that you have specified as one of your favorites. If you happen to like the ad you see on the Gizmondo, the GPS feature could tell you where your closest theatre is playing the film and even offer a discount by presenting the Gizmondo with the digital ad at the theatre – impressive for a handheld videogame system.

The success of the Gizmondo may have little to do with its package and more to do with the competition. The Nintendo handhelds offer first-party software with established licenses plus an appeal to a youth market that neither the Gizmondo nor PSP are gunning for. The PSP is just damn sexy, even if it doesnÂ’t have as many features as the Gizmondo. Not to mention the PSP is the popular kid in school at the moment with the hot brand name of Sony.

The other major hurdle Gizmondo will face is its less-than-competitive price range, somewhere in the neighborhood of $400. By all means Gizmondo may have more multimedia capabilities than all handhelds combined, but are you really ready to shell out that much cash? Only time will tell, but one thingÂ’s for sure, weÂ’ll have the latest updates on the system as it nears release this August. In the meantime, keep playing your PSP.

| ]]> Thu, 02 Jun 2005 14:47:00 -0500 Brian Mohr http://www.gamebump.com/go/gh_editorial_waterfield_psp_gear_pouch http://www.gamebump.com/go/gh_editorial_waterfield_psp_gear_pouch http://www.gamebump.com/go/gh_editorial_waterfield_psp_gear_pouch# This article was originally published on Gaming Horizon, GameBump's predecessor.

Professional stuntman and actor Ilram Choi has been in multiple commercials for Nike and Mountain Dew. He also has an extensive film and television resume including work on the WB’s “Charmed” and HBO’s “Entourage”. At this year’s E3 Ilram was cast as Soul Calibur III’s Mitsurugi and was kind enough to write Gaming Horizon a candid journal about his experiences. You can check out more about Ilram and watch his badass stunt and flip reels at www.ilram.com.

Diary By: Ilram Choi

First audition (3-2-05):

Well it was about a month and a half ago that I got a call for an audition to do some sword work for the upcoming event “E3” for Namco. I hadn’t really prepared a form to show. I was just going to freestyle it with some cool flips and twirls. It was held in Burbank in a dance studio. Hard wood floors and mirrors all over. The space was the size of a full basketball court. The audition went well without out any embarrassments or injuries. Oh, and right before the performance they asked if I could take off my shirt.

Call Back (3-17-05):

They asked me to come back to perform a more traditional sword form in the way of the Samurai. My freestyle with the flips and twirls were impressive, but not in likeness of the character I was supposed to portray. Of course they tell me now, I had no idea who or what I had to portray at the audition. So I practice up on some traditional moves and put together a quick little sword form. I go back to the same dance studio space in Burbank. Again it went well without any embarrassments or injuries. This time I got to leave my shirt on.

First Fitting (4-19-05):

I go to a costume design house and park at a meter only to realize afterwards that they had a parking lot. It was a two story brick building with a balcony over the front double doors. They balcony doors were wide open. It was a beautiful day. I go upstairs and meet with the costume designers. They proceed to get my measurements as I snacked on their chocolates and candy.

Second Fitting (4-29-05):

I’m back at the costume design house. This time I park in the lot. The balcony doors are wide open once again. It is another beautiful day. I now find out the character I’ll be portraying is “Mitsurugi” in the game Soul Calibur 3. It’s a game that isn’t released until fall 2005. I was asked to check out a sword they had gotten for my character. It was a long black katana. The blade was sharpened steel. I recommended a blacksmith that could replace the blade with a dull aluminum one. This would make it tons lighter and less deadly for the performance. The wardrobe wasn’t an easy task. It took about 2 hours to complete the measurements and map out my costume. That resulted in extra snacking.

Third Fitting (5-10-05):

The costume design house again. I donÂ’t think they ever close those balcony doors. The designers did an amazing job. I tried on what pieces where finished and made some adjustments. We still have to do a test on movement, which will be after the rehearsals.

First Rehearsal (5-12-05):

It was late morning when I made my way to Gymnastics Olympica in Van Nuys, CA. The gym was your typical gymnastics facility. It had a tumble floor, trampoline, balance beams, etc. There I met the choreographers Matt and Jackson and Dollar Tan, the guy IÂ’ll be fighting who will be playing the character Kilik. We are supposed to do individual forms in the beginning then follow with a fight. The total running length for our part was about 5 minutes. The choreographers wasted no time in getting the show on. We busted our asses to get the choreography down. My feet and knees started to blister along with my hands from all the sword work. It was four hours of non-stop choreography. I should have eaten breakfast.

Second Rehearsal (5-13-05):

IÂ’m back at the same place sore as heck. Again, repetitive choreography non-stop. We get some injuries from the fatigue that was setting in. I smack DollarÂ’s fingers, he smacks my toes, I poke his hand, and I get jabbed in the ribs, etc. We get frustrated and ask for more break time. WeÂ’re both sweating like pigs. As soon as we think weÂ’re done we are ask to do it again full out on camera so they can send it to the Japanese clients. Uh, are you kidding me! I have to say, it was not the best performance.

Third Rehearsal (5-15-05):

We meet at a park this time. Matt, the choreographer, brought a portable Ipod radio. We were trying to perfect our timing with the music. It got better, but no cigar. Just when I thought I was clear of anymore injury, I get smacked across the jaw. This was getting annoying.

Fourth Fitting and Tech Rehearsal (5-16-05):

Back at the costume design house. The outfit looked fantastic! We made a few finally adjustments and I did some of my movements in it. It was two thumbs up. Now to put it through the choreography test.

I get to the Los Angeles Convention Center and forget to bring cash for the parking structures. Luckily, the lady was kind enough to let me through. I get to the South Hall as instructed and meet up with Raj Kapoor. He’s the head creative director of the show. I get my pass then enter thru to the center stage of Namco. The place was huge. There was so much eye candy including the Namco girls that were already on stage rehearsing their parts. We all run through our own parts with music and stage lights. Yet again, another intense rehearsal. I was getting sick of this. Enough is enough. Finally, we get to put on our uniforms and try the show full out. An added bonus is a wig. My character “Mitsurugi” has long hair. I do not. So we do the tech rehearsal with the wig. During the rehearsal my wig flies off my head. The second time my sword gets knocked out of my hand. What a complete success.

Second Tech Rehearsal (5-17-05):

IÂ’m back for more fun. At this point I ask myself, why am I doing this? Oh yeah, the Namco girls. Again rehearsal. My hand is now blistered up and I get knocked in my ear with DollarÂ’s staff; in turn I smack Dollar on top of his head with my sword. We keep missing our ending cue with the music. More rehearsal. We finally get it. The hot Namco girls are definitely keeping me motivated. We then eat lunch and go back to rehearsal.

Showtime (5-18-05):

My call time was at 9:30 A.M. I get there at 7:30 A.M. to help a friend of mine register in. It was fortunate that I got there early, because the special effects make-up took longer than expected. They had to add a scar on my right shoulder where it meets the chest. Then they added a beard and mustache. The fake facial hair restricted the movement of my mouth. It wasnÂ’t comfortable. Later, it complicated eating my lunch.

We had four shows lined up today. The first one started at 11:00 A.M. Everything went well until my sword got knocked out of my hand. Luckily, it stayed on stage and didnÂ’t impale anyone. However, after the first performance I noticed my lower back was in pain. Yup, I pulled a muscle in my lower back. What to do? I toughed it out and continued on. In the second show my wooden sword snapped in two, so I had to run off stage and grab my aluminum sword. The fight was slower, but we continued to the end. In the third show my shoe fell off. Finally, we made it through the fourth show without any mess ups, but our timing was a little off and we missed the cue at the end. Tomorrow IÂ’ll be better if my back holds out.

Showtime (5-19-05)

TodayÂ’s call time was 8:30 A.M. Luckily IÂ’m getting to the event fairly early so I didnÂ’t have to worry about parking spaces. Apparently that seems to be a problem. Well, I iced my back the previous night and took four Advils this morning. The show must go on. There were going to be four performances today as well. I was dreading it. To my surprise, all four shows were a complete success. The Advil did the trick. Wow. This time I stepped out onto the floor for photographs. I figured IÂ’d take advantage of the time it took to make this character. Share Mitsurugi with the world.

Showtime (5-20-05)

ItÂ’s the final day. We will be doing only three shows today since the event will be closing early. The call time was 8:30 A.M. once again. This time I took the Metro subway system. I figured it would be better than dealing with all the traffic and parking issues. I didnÂ’t know what train to take nor what stop to make. I figured IÂ’d just wing it. The subway system was fantastic. I made it there in under 20 minutes and it spit me out two blocks away from the event. Why didnÂ’t I do this from the start? Oh yeah, I had a car.

The first and second show went on smoothly. The third and finally show not so smoothly. During my solo performance I had trouble putting the sword back into the scabbard. Why are there such things as mistakes? I canÂ’t seem to get away from mistakes. Well, canÂ’t do anything about it now. ItÂ’s over, back to normal life. ]]> Wed, 25 May 2005 18:06:00 -0500 Tim Grube http://www.gamebump.com/go/gh_editorial_behind_the_xbox_360 http://www.gamebump.com/go/gh_editorial_behind_the_xbox_360 http://www.gamebump.com/go/gh_editorial_behind_the_xbox_360# This article was originally published on Gaming Horizon, GameBump's predecessor.

With the design values as a guide, Hayes and his team, working with two design firms—Astro Studios in San Francisco and Hers Experimental Design Laboratory in Osaka, Japan—created the slim design of the Xbox 360. Other goals were that the console needed to make a statement, whether it was horizontally or vertically placed in your entertainment center. "It needed to pass the rear-view mirror test," Hayes said. "When you see certain cars coming up behind you in your mirror, they make a strong impression. A Hummer, or a Porshe 911, for example. This immediacy or impact also needed to be reconciled with the goal of creating a timeless design—because the console will be on the shelf for a number of years and can't look dated."

So what about the shape, we asked. "The console has five lines. As industrial designers we wanted a shape that was simple enough that it could come to represent gaming in the coming generation. In contrast to the current console—which is about energy exploding outward—Xbox 360's concave shape is about the inhale. It's about the moment before the explosion, when energy is gathered. Think of a runner in the blocks before a sprint, or a martial artist taking in a breath of air before a kick."

More about Jonathan Hayes Favorite film? The Fisher King Favorite album? Neil Young: Rust Never Sleeps Favorite artwork of all time? Pablo Picasso: Guernica Band he'd like to tour with: The Doors, European "Waiting for the Sun" Tour Person he'd like to switch places with for a day: Phillipe Starck. "He has 12 sets of everything, so travels without luggage."

This article was originally published on Gaming Horizon, GameBump's predecessor. It was written by Gaming Horizon Staff.

So the wait is over. For quite awhile now, gamers out there have been speculating over MicrosoftÂ’s next console. At first we all thought it would be called Xbox 2 or Xbox Next. Weeks later, a few reports leaked that it would be Xbox 360. The exact release date is unknown, but it will release in the US in November followed by a European/PAL release seven days later and a Japanese release in December. The price range, of course, is still undetermined.

On May 5th, Microsoft and MTV held its taping in Los Angeles for the special unveiling that was aired tonight on MTV. The public got its first glimpse of the next console from the gates of Microsoft. As for those specifications that were leaked over the weekend – they’re true. A whopping 512 GDDR3 RAM, Wi-Fi, ATI custom graphic cards, and every single game is High-Defnition ready. The “official” listing of the specs is shown below.

The launch list includes 10-16 titles, among those confirmed are Kameo, Project Gotham Racing 3, and Perfect Dark Zero. Other titles being developed include

Obviously this isnÂ’t the full list, but it gives you an idea of what direction the console is going. Microsoft is already grabbing a lot of exclusive titles, making this console a unit to keep an eye on.

Again, Remember the Xbox Live leak specifications that we posted days ago? It turned out to be true. Xbox Silver will be “free”, while the gold version will have a subscription fee. You’ll be able to watch TV through your XBOX along with the ability to stream media from Windows XP. Digital Camera hookup through the 3 USB ports will also be integrated so you can view your photos. All gamer profiles come with an avatar that you can either opt for from a pre-selected list or upload your own. Every single game that is released will be Xbox Live enabled.

The Xbox 360 controller shown also below will have many new things added. The button we told you about that is positioned in the top center of the controller will take you to the system UI (user interface). This will be Xbox Live, system options, etc..The 360Â’s controller will be powered with triple-A batteries. Rechargeable batteries will come later.

The Microsoft Xbox Conference will be held in Los Angeles this Monday, right before the annual E3 Expo, and expectations run high at Gaming Horizon. View the information and media below, and donÂ’t forget to keep checking back for additional announcements at your Xbox 360 source.

View the Specifications on the second page!

SPECIFICATIONS

• Custom IBM PowerPC-based CPU 3 symmetrical cores running at 3.2 GHz each 2 hardware threads per core; 6 hardware threads total 1 VMX-128 vector unit per core; 3 total 128 VMX-128 registers per hardware thread 1 MB L2 cache 
• CPU Game Math Performance 9 billion dot product operations per second Custom
  
• ATI Graphics Processor 500 MHz 10 MB embedded DRAM 48-way parallel floating-point dynamically-scheduled shader pipelines Unified shader architecture
•  Polygon Performance 500 million triangles per second 
• Pixel Fill Rate 16 gigasamples per second fillrate using 4X MSAA 
• Shader Performance 48 billion shader operations per second 
• Memory 512 MB GDDR3 RAM 700 MHz DDR Unified memory architecture 
• Memory Bandwidth 22.4 MB/s memory interface bus bandwidth 256 GB/s memory bandwidth to EDRAM 21.6 GB/s front-side bus 
• Overall System Floating-Point Performance 1 TFLOP 
• Storage Detachable and upgradeable 20 GB hard drive 12X dual-layer DVD-ROM Memory unit support starting at 64 MB I/O Support for up to 4 wireless game controllers 3 USB 2.0 ports 2 memory unit slots 
• Optimized for Online Instant, out-of-the-box access to Xbox Live features, including Xbox Live Marketplace for downloadable content, Gamer Profile for digital identity and voice chat to talk to friends while playing games, watching movies or listening to music Built in Ethernet Port Wi-Fi Ready: 802.11 A, B and G Video Camera Ready 
• Digital Media Support Support for DVD-Video, DVD-ROM, DVD-R/RW, DVD+R/RW, CD-DA, CD-ROM, CD-R, CD-RW, WMA CD, MP3 CD, JPEG Photo CD Stream media from portable music devices, digital cameras, Windows XP PCs Rip music to Xbox 360 hard drive Custom playlists in every game Windows Media Center Extender built in Interactive, full screen 3D visualizers 
• HD Game Support All games supported at 16:9, 720p and 1080i, anti-aliasing Standard definition and high definition video output supported 
• Audio Multichannel surround sound output Supports 48 KHz 16-bit audio 320 independent decompression channels 32-bit audio processing Over 256 audio channels 
• System Orientation Stands vertically or horizontally 
• Customizable Face Plates Interchangeable to personalize the console

E3 is just around the corner and Activision has sent over a mini interview that was conducted with the game's military advisors.

Please introduce yourself and tell us a little bit about your background?

Hank: IÂ’m Hank Keirsey, retired Lieutenant Colonel, US Army -- twenty-four years of service with the Army, three years with Activision. I have a bachelorÂ’s degree from West Point and a masterÂ’s in history from Duke. I taught military history at the Military Academy. I am a combat veteran of the first Gulf War and returned from Iraq last May working with a contractor. I served three years at the ArmyÂ’s premier training center- - I have seen and trained over 1000 infantry platoons. I trained West Point cadets in tactics and leadership for five years. With the Call of Duty franchise, John and I are here to help pass on our experiences and further help the team make the most intense and authentic game possible.

John: I’m John Hillen, retired US Army Captain – twelve years of service with the Army and three years with Activision as a military advisor to all the games in the Call of Duty franchise. I served in combat in the first Gulf War as a cavalry officer and have also served with airborne and special operations units the world over. I have a Master’s Degree in War Studies from King’s College London and a PhD from Oxford. I’ve written several books and hundreds of articles in military affairs and military history. I review books for the New York Post and am an on-air commentator for ABC News.

One of the missions in the game depicts the desert battle that took place in Toujane, between General MontgomeryÂ’s 8th Army and General RommelÂ’s Afrikakorps, what was the importance and significance of this battle?

Hank: The desert war between Rommel and Montgomery has held a fascination for historians and military buffs for a long time. Vast expanses of desert and formations of tanks maneuvered like so many ships in a huge ocean of sand -- each side always searching for that key flank or weak point in the other sideÂ’s disposition. Armored platforms accelerated the speeds at which battles developed -- in a blink, if you dropped your guard, you could have tanks thundering through your rear areas. And, that spells trouble.

We tend to think of the desert war as pure tank combat, but champion Armored formations were those that understood the coordination needed between tanks and infantry: too many antitank guns ahead -- root ‘em out with grunts; enemy tanks ahead – then lead with armor. The battle in Toujane showcases a fight where, because of the tight quarters of houses and narrow valleys, the tanks and infantry really need to work closely together. A heads up from a grunt to a tanker about what’s in a window or around a corner can make all of the difference for success.

John: This battle was the culmination of a titanic campaign that had swept back and forth across North Africa for over two years already. And it involved some of the most well-known military personalities of the war in Rommel and Montgomery. The action in Toujane was part of a larger attack on the Mareth Line, a heavily fortified set of German defensive positions known as the Maginot Line of Africa. Nonetheless, in heavy fighting in 1943 Montgomery managed to break through RommelÂ’s line and flank him, marking the beginning of the end for the Afrikakorps. The challenges of fighting in Toujane and the close coordination of tanks, infantry, and even air support seen in this mission make this an excellent and intensive battle that was historically decisive. ]]> Tue, 10 May 2005 12:07:00 -0500