Wired is running a feature about how a growing number of game developers are abandoning jobs at major publishers and studios and taking their experience to the indie scene instead. Quoting: "They’re veterans of the triple-A game biz with decades of experience behind them. They’ve worked for the biggest companies and had a hand in some of the industry’s biggest blockbusters. They could work on anything, but they’ve found creative fulfillment splitting off into a tiny crew and doing their own thing. They’re using everything they’ve learned working on big-budget epics and applying it to small, downloadable games. The good news for gamers is that, as the industry’s top talents depart the big studios and go into business for themselves, players are being treated to a new class of indie game. They’re smaller and carry cheaper price tags, but they’re produced by industry veterans instead of thrown together by B teams and interns. Most importantly, unlike big-budget games that need to appeal to the lowest common denominator to turn a profit, these indie gems reveal the undiluted creative vision of their makers."
On Tuesday we discussed a scathing critique of Ray Kurzweil's understanding of the brain written by PZ Myers. Reader Amara notes that Kurzweil has now responded on his blog. Quoting: "Myers, who apparently based his second-hand comments on erroneous press reports (he wasn't at my talk), [claims] that my thesis is that we will reverse-engineer the brain from the genome. This is not at all what I said in my presentation to the Singularity Summit. I explicitly said that our quest to understand the principles of operation of the brain is based on many types of studies — from detailed molecular studies of individual neurons, to scans of neural connection patterns, to studies of the function of neural clusters, and many other approaches. I did not present studying the genome as even part of the strategy for reverse-engineering the brain."
Tara Fitzgerald couldn't find the nude pictures she planned on sending to her boyfriend, but instead of just taking more, she decided to see if a Dell tech support call could fix her problem. Apparently the tech support guy found them. Unfortunately, he then put them up on a site called "bitchtara."
Stoobalou writes "UK game developers have just been dealt a financial blow by Chancellor George Osborne in his first budget, which sees the coalition government scrapping the video game tax relief plans promised by Labour. In his speech today, Osborne simply said the 'planned tax relief for the video games industry will be cancelled.' According to the government's budget report, the cancellation of video game tax relief will save the government £40 million in the 2011-2012 financial year, and a further £50 million in each subsequent year."
astroengine writes "Assuming you had an interstellar spaceship, how would you navigate around the galaxy? For starters, you'd probably need a map. But there's billions of stars out there — how complex would that map need to be? Actually, Samuel Arbesman, a research fellow from Harvard, has come up with a fun solution. He created the 'Milky Way Transit Authority (MWTA),' a simple transit system in the style of the iconic London Underground 'Tube Map.' (Travel Tip: Don't spend too much time loitering around the station at Carina, there's some demolition work underway.)"
A recent post at the Press Start To Drink blog examined the relationship the games industry has with copyright laws. More so than in some other creative industries, the reactions of game companies to derivative works are widely varied and often unpredictable, ranging anywhere from active support to situations like the Chrono Trigger: Crimson Echoes debacle. Quoting: "... even within the gaming industry, there is a tension between IP holders and fan producers/poachers. Some companies, such as Epic and Square Enix, remain incredibly protective of their Intellectual Property, threatening those that use their creations, even for non-profit, cultural reasons, with legal suits. Other companies, like Valve, seem to, if not embrace, at least tolerate, and perhaps even tacitly encourage this kind of fan engagement with their work. Lessig suggests, 'The opportunity to create and transform becomes weakened in a world in which creation requires permission and creativity must check with a lawyer.' Indeed, the more developers and publishers that take up Valve's position, the more creativity and innovation will emerge out of video game fan communities, already known for their intense fandom and desire to add to, alter, and re-imagine their favorite gaming universes."