North Carolina-based developer Idrees Hassan loves Minecraft so much that he recently created a monospaced font for programming based on the typeface found in the wildly popular video game. The result, Monocraft, gives programmers the feel of being in Minecraft without using any assets from the game. From a report: "To be honest, I made this font because I thought it'd be fun to learn how fonts worked," Hassan told Ars. "Existing Minecraft fonts were missing a bunch of small details like proper kerning and pixel size, so I figured I should make my own. Once that was done, there was nothing stopping me from going overboard and turning it into a 'proper' programming font. Plus, now I can write Minecraft plugins in a Minecraft font!" To adapt the Minecraft font for development purposes, Hassan redesigned characters to look better in a monospaced format, added a few serifs to make letters such as "i" and "l" easier to distinguish, created new programming ligature characters, and refined the arrow characters to make them easier to read. (Ligature characters combine popular operational character strings such as "!=" into a single new character, but they aren't always popular with developers.)

An anonymous reader quotes a report from TechCrunch: Top crypto VCs are constantly touting the potential of video games as one of the most compelling use cases for blockchain technology. [...] TechCrunch talked to Justin Kan, co-founder of Twitch and more recently, Solana-based gaming NFT marketplace Fractal, to get his thoughts on what it will take for this subsector of web3 to live up to the hype. Kan said that web3 gaming has a long way to go -- while there are about 3 billion gamers in the world, including those who play mobile games, he noted, far fewer have bought or interacted with any sort of blockchain-based gaming asset. Kan sees this gap as an opportunity for blockchain technology to fundamentally change how video game studios operate. "I think the idea of creating digital assets, and then taxing everyone for all the transactions around them is a good model," Kan said.

In some ways, web3 gaming was been built in response to the success of games such as Fortnite that were able to unlock a lucrative monetization path for gaming studios through micro-transactions from users buying custom items such as outfits and weapons. Web3 game developers hope to take that vision a step further by enabling players to take those custom digital assets between different games, turning gaming into an interoperable, immersive ecosystem, Kan explained. Kan has made around 10 angel investments in web3 gaming startups, including in the studio behind NFT-based shooter game BR1: Infinite Royale, he said. Still, he admitted that building this interoperable ecosystem, which he sees as the future of video games overall, doesn't technically require blockchain technology at all. "Blockchain is just the way that it's going to happen, I think, because there's a lot of cultural momentum around people equating blockchain with openness and trusting things that are decentralized on the blockchain."

[T]he appeal of an open gaming ecosystem is more about the principle of the matter than it is about making a living. "I actually think that people equate NFTs and games with this play-to-earn model where people are making money and doing their job [by gaming], and I think that's completely unnecessary," Kan said. "Having digital assets in your game can work and be valuable, even if nobody is making money and there's no speculative appreciation or price appreciation on your assets," he added. It's common for popular games to attract new development on top of their existing intellectual property. Kan shared the example of Counter-Strike: Global Offensive (CSGO), a video game in which custom "skins" have sold for as much as $150,000 each. "I funded a company that builds on top of the CSGO skins," he said. "CSGO changed the rules about what was allowed and actually confiscated over a million dollars just from this company -- so yeah, I don't want to build on top of these non-open platforms anymore." "Kan sees blockchain-based games as just a 'more economically immersive' version of the marketplaces that already exist in video games," adds TechCrunch. "He doesn't think users will flock to blockchain gaming just to make money, though."

"I think that web3 games are just being more open and saying, instead of this being a black market, we're going to make this a real market and people's economic participation is going to vary to different levels. There's gonna be people who only play the game and never buy things with money. There's gonna be some people who are making some side money because they're really good at the game, and they're getting some things in the game they're selling [or trading]."

He added: "In order for this market to actually be big, it's going to require normal people who want to play games for fun to play these games. That doesn't exist yet. I think most of the market today is people who are crypto-native."

"I started playing pickleball more than 50 years ago," Bill Gates says in a new video — not long after the game was invented...

Now the 66-year-old Microsoft co-founder writes in a blog post that "I've been a little stunned — and delighted — by the sudden popularity of one of my favorite pastimes..." Largely confined to the Pacific Northwest for decades, it has now emerged as America's fastest-growing sport.... It's best described as a mash up of tennis, badminton, and ping-pong. And if you haven't heard of it, I expect you soon will....

Boredom was what got this sport started in 1965. Three dads living on Bainbridge Island, near Seattle, came home one summer evening to find their children complaining that there was nothing for them to do. So, they found a net, a Wiffle ball, some ping-pong paddles, and created a game on an old badminton court that the entire family could play together.... Over the next year, the three friends worked together to develop a set of rules, formalize the court layout, and introduce a larger plywood paddle that was good for striking the ball. And they decided to call it pickleball... Meanwhile, word slowly spread in Seattle of this odd new pastime.

My dad was friends with the game's inventors, Joel Pritchard, a state legislator and later Washington's lieutenant governor, Barney McCallum, and Bill Bell. He learned about their creation and by the late 1960s, he got inspired to build a pickleball court at our house. I've been playing ever since. At the time, the pickleball community was very small. I doubt there were more than a thousand people in the Seattle area who had ever seen the sport when my family picked it up. And I don't think anyone expected it would ever become a national phenomenon.

Today, there are more than 4.8 million players nationwide, a growth of nearly 40 percent over the last two years. And I expect it will only get bigger....

The best thing about pickleball, however, is that it's just super fun. I look forward to playing a pickleball game with friends and family at least once a week and more often during the summer.

An anonymous reader quotes a report from The Verge: Today, Analogue announced that it's launching Spacewar!, a game originally designed for the PDP-1 minicomputer that predates Pong by a full decade, on the Pocket as a part of its larger strategy to bring pioneering video games into the modern era. The original Spacewar! was created in 1962 by a cadre of engineers led by Steve Russell at the Massachusetts Institute of Technology. Using a PDP-1 minicomputer and a 1024 x 1024 pixel CRT display, Russell and his colleagues programmed a game in which two spacecraft duke it out in the gravitational well of a star. Two controllers were created for the game featuring switches for maneuvering and buttons that were designed to be quiet when pressed so your opponent couldn't hear when you were firing missiles.

To bring Spacewar! to the Analogue Pocket, Spacemen3, a third-party developer, used the source code from the PDP-1 computer and Spacewar! itself, both of which are in the public domain, alongside OpenFPGA software. Emulating 60-year-old software came with some interesting challenges. "The PDP-1 had some unique characteristics about it, having a 1024x1024 vector display with a unique way of generating the image," said Analogue CEO Chris Taber in an email to The Verge. "It was a bit tricky to accommodate this." Alex Cranz of The Verge had the opportunity to play Spacewar!: "Spacewar! looks a little different on the Analogue Pocket. Lines are crisp and clean with none of the ethereal glow the original green CRT provided. The AI for your opponent is nonexistent, but there's still something really fun about accelerating toward a star and then using its gravity to whip around it and take out another ship. Decades later, you still really feel like you're fighting some war in space."

Thursday the first trailer appeared online for Dungeons & Dragons: Honor Among Thieves — and 15 million people have watched it. "Here's the thing. We're a team of thieves..." actor Chris Pine says in a voiceover. "We didn't mean to unleash the greatest evil the world has ever known. But we're going to fix it."

The video's description explains that "A charming thief and a band of unlikely adventurers undertake an epic heist to retrieve a lost relic, but things go dangerously awry when they run afoul of the wrong people. Dungeons & Dragons: Honor Among Thieves brings the rich world and playful spirit of the legendary roleplaying game to the big screen in a hilarious and action-packed adventure."

The trailer also features Michelle Rodriguez, Regé-Jean Page, Hugh Grant, and a Druid that can turn into an Owlbear.

But at Comic-Con's Gaslamp Quarter there were also photo ops inside the legendary gelatinous cube, at a pop-up tavern serving glow-in-the-dark Dragon's Brew. The official "Dungeons & Dragons: Honor Among Thieves Tavern Experience" drew this rave review from Esquire. "Rest assured, friends, if the actual Dungeons and Dragons movie is anything like the tavern, it'll be a rocking, hilarious, self-aware, and — most importantly! — a fun trip." The team behind Dungeons and Dragons rigged the bar so that it would rumble like hell and fill with smoke whenever a dragon appeared on a massive video screen at the front. (We were supposed to infer that the tavern was under attack....)

Save a grog for me.
"Based on what we've seen, this movie looks like it's going to be a whole lot of fun," writes CinemaBlend: If you're hyped up for the campaign Dungeons and Dragons: Honor Among Thieves is promising here, you can take your place at the metaphorical gaming table starting March 3, 2023.
As the movie's trailer asks, "Who needs heroes when you have thieves?"

Switzerland-based software developer Jean-Christophe Collet writes: A long time ago I got involved with the development of NetHack, a very early computer role playing game, and soon joined the DevTeam, as we've been known since the early days. I was very active for the first 10 years then progressively faded out even though I am still officially (or semi-officially as there is nothing much really "official" about NetHack, but more on that later) part of the team.

This is how, as we were closing on the 35th anniversary of the project, I learned that NetHack was being added to the collection of the Museum of Modern Art of New York. It had been selected by the Architecture and Design department for its small collection of video games, and was going to be displayed as part of the Never Alone exhibition this fall.
From its humble beginnings as a fork of the 1982 dungeon-exploring game "Hack" (based on the 1980 game Rogue), Nethack influenced both Diablo and Torchlight, Collet writes. But that's just the beginning: It is one of the oldest open-source projects still in activity. It actually predates the term "open-source" (it was "free software" back then) and even the GPL by a few years. It is also one of the first, if not the first software project to be developed entirely over the Internet by a team distributed across the globe (hence the "Net" in "NetHack").

In the same spirit, it is one of the first projects to take feedback, suggestions, bug reports and bug fixes from the online community (mostly over UseNet at the time) long, long before tools like GitHub (or Git for that matter), BugZilla or Discord were even a glimmer of an idea in the minds of their creators....

So what did I learn working as part of the NetHack DevTeam?

First, I learned that you should always write clean code that you won't be embarrassed by, 35 years later, when it ends up in a museum....
Collet praises things like asynchronous communication and distributed teams, before closing with the final lesson he learned. "Having fun is the best way to boost your creativity and productivity to the highest levels.

"There is no substitute.... I am incredibly grateful to have been part of that adventure."

"Even many Axie regulars say it's not much fun, but that hasn't stopped people from dedicating hours to researching strategies, haunting Axie-themed Discord channels and Reddit forums, and paying for specialized software that helps them build stronger teams..."

Bloomberg pays a visit to the NFT-based game Axie Infinity with a 39-year-old player who's spent $40,000 there since last August — back when you could actually triple your money in a week. ("I was actually hoping that it could become my full-time job," he says.) The reason this is possible — or at least it seemed possible for a few weird months last year — is that Axie is tied to crypto markets. Players get a few Smooth Love Potion (SLP) tokens for each game they win and can earn another cryptocurrency, Axie Infinity Shards (AXS), in larger tournaments. The characters, themselves known as Axies, are nonfungible tokens, or NFTs, whose ownership is tracked on a blockchain, allowing them to be traded like a cryptocurrency as well....

Axie's creator, a startup called Sky Mavis Inc., heralded all this as a new kind of economic phenomenon: the "play-to-earn" video game. "We believe in a world future where work and play become one," it said in a mission statement on its website. "We believe in empowering our players and giving them economic opportunities. Welcome to our revolution." By last October the company, founded in Ho Chi Minh City, Vietnam, four years ago by a group of Asian, European, and American entrepreneurs, had raised more than $160 million from investors including the venture capital firm Andreessen Horowitz and the crypto-focused firm Paradigm, at a peak valuation of about $3 billion. That same month, Axie Infinity crossed 2 million daily users, according to Sky Mavis.

If you think the entire internet should be rebuilt around the blockchain — the vision now referred to as web3 — Axie provided a useful example of what this looked like in practice. Alexis Ohanian, co-founder of Reddit and an Axie investor, predicted that 90% of the gaming market would be play-to-earn within five years. Gabby Dizon, head of crypto gaming startup Yield Guild Games, describes Axie as a way to create an "investor mindset" among new populations, who would go on to participate in the crypto economy in other ways. In a livestreamed discussion about play-to-earn gaming and crypto on March 2, former Democratic presidential contender Andrew Yang called web3 "an extraordinary opportunity to improve the human condition" and "the biggest weapon against poverty that we have."

By the time Yang made his proclamations the Axie economy was deep in crisis. It had lost about 40% of its daily users, and SLP, which had traded as high as 40 cents, was at 1.8 cents, while AXS, which had once been worth $165, was at $56. To make matters worse, on March 23 hackers robbed Sky Mavis of what at the time was roughly $620 million in cryptocurrencies. Then in May the bottom fell out of the entire crypto market. AXS dropped below $20, and SLP settled in at just over half a penny. Instead of illustrating web3's utopian potential, Axie looked like validation for crypto skeptics who believe web3 is a vision that investors and early adopters sell people to get them to pour money into sketchy financial instruments while hackers prey on everyone involved.
The article does credit the company for building its own blockchain (Ronin) to provide cheaper and faster NFT transactions. "Purists might have taken issue with the decision to abandon the core blockchain precept of decentralization, but on the other hand, the game actually worked."

But the article also chronicles a fast succession of highs and lows:

• "In Axie's biggest market, the Philippines, the average daily earnings from May to October 2021 for all but the lowest-ranked players were above minimum wage, according to the gaming research and consulting firm Naavik."

• Axie raised $150 million to reimburse victims of the breach and repair its infrastructure. "But nearly two months later the systems compromised during the hack still weren't up and running, and the executives were vague about when everything would be repaired. (A company spokesperson said on June 3 that this could happen by midmonth, pending the results of an external audit....):

• Days after the breach it launched Axie: Origin, a new alternate version with better graphics/gameplay — and without a cryptocurrency element.

• About 75% of the 39-year-old gamer's co-players have "largely" stopped playing the game. "But at least one was sufficiently seduced by Axie's potential to take a significant loan to buy AXS tokens, which he saw as a way to hedge against inflation of the Argentine peso. The local currency has indeed lost value since he took out the loan, but not nearly as much as AXS."

Thanks to long-time Slashdot reader Parker Lewis for sharing the article

A special ESPN+ show Saturday brought back John McEnroe "to face his ultimate opponent. Himself." TechCrunch reports: The 45-minute film will showcase how the match was created using a combination of artificial intelligence and machine learning, plus five virtual avatars of John McEnroe from pivotal points of his career. The team at [technology/production company] Unit 9 spent a day with John in order to bring the vision to life via full-body scanning, motion capture and Unreal Engine MetaHuman technology (a cloud-based app that creates photorealistic digital humans). The avatar game system will be projected on a hologram particle screen and will be a simulation of gameplay with a system of ball launchers and ball return robots.

When McEnroe sends the ball over the net, the avatar responds to the direction of the real ball. As the avatar swings, a new ball is fired from the ball cannon and then flies through a smokescreen at a precise point in space to make it appear from the avatar's racket position.... Unit 9's team analyzed hours of footage from John's matches throughout his entire career and recorded hundreds of shots, strokes and movements. In total, they recorded 308 shots with over 259 loops and blends to really capture his footwork and well-known shot-making and volleying skills.

The best part about this is the team recorded numerous key phrases and statements so McEnroe could talk smack to his virtual self (and maybe even smash a couple of rackets).
As McEnroe himself pointed out to Forbes.... "I can't lose." But he also sounds like he enjoyed the experience: The most interesting recreation of his playing style to him is the 1979 version of him because professional tennis was all so new to him at the time. "That was the year I may have enjoyed the most on the circuit," he says, "I was just coming up, and on the way up and you are so excited and want to travel the world."

From there, he thinks the 1992 version of himself will offer the other end of his career, after having three kids. He knows that 1984 was the best year on tour, but "I have more interest in the young and old opposed to (1984)."
McEnroe also wanted the sport of tennis to get extra exposure — and that it would be good "If we have a way where we project something different and have some fun with it and peoples can laugh with it..."

Or, as AdWeek quotes McEnroe as saying, "Who wouldn't want an opportunity to literally be able to look back at where you started and celebrate how much you've grown and learned along the way?"

"What can scientists learn by teaching two monkeys to play Pac-Man?" asks the South China Morning Post.

"Quite a lot it seems, according to researchers at the Chinese Academy of Sciences." A team of neuroscientists from the academy said they used the classic video game to look at the way the primates made decisions. The result was the first study of its kind to show that monkeys were capable of formulating strategies to simplify a sophisticated task, they said. "To our knowledge, this is the first quantitative study that shows animals develop and use strategies for problem solving," Yang Tianming, corresponding author of the study, said on Twitter. The results were published in the peer-reviewed scientific journal eLife last month.

The scientists used artificial intelligence to come up with a statistical model to find out whether the monkey's behaviour could be broken down into a set of strategies.... The monkeys were then trained to use a joystick to manoeuvre Pac-Man around a maze to collect snack pellets and avoid ghosts. The monkeys received fruit juice as a reward instead of earning points. Yang and his colleagues found the monkeys understood the basic elements of the game because they tended to choose the direction with the largest local reward and knew how to react to ghosts in different modes.... More importantly, the researchers found that the monkeys adopted a hierarchical solution for the Pac-Man game by using one dominant strategy and only focusing on a subset of game aspects at a time.

The researchers said the study was significant because it was quantitative and examined complex tasks.... The study said the findings paved the way for further understanding of the neural mechanisms underlying sophisticated cognitive functions.
Plus, teaching monkeys to play Pac-Man sounds like fun.

Though I wonder how they feel about Donkey Kong....

"Pong on a Commodore 64 is one thing... but Pong in a single C64 sprite? That's uncharted territory," writes Slashdot reader segaboy81.

Neowin reports: The Commodore 64 is an iconic machine. For many of us boomers, it was our introduction to programming... Josip Retro Bits is a YouTube channel that specializes in fun challenges on old hardware like the Commodore 64. In an older video, Josip creates a game of Pong using Basic. On the surface, this doesn't sound very interesting, but it's a real challenge because Basic is very limited when compared to writing machine code. Basically, the C64 is perfectly capable of a game like Pong, but not really in Basic. Spoiler alert: he does it. However, a commenter on that video had a novel idea. How about creating an entire game of Pong in a single spite?
That's a 24 x 21 pixels object. ("It can be seen as a bigger programmable character that can be moved on hardware on steps of one pixel," explains one tech blog.) And another spoiler alert: he does it again.

Here's the repository for the "Tiny Pong" code. It's written in C, with functions like drawScreen() and batSound().

And about 18 minutes into the video, he not only plays a game of Pong inside the sprite — he simultaneously makes that sprite move around the screen like the ball in a game of Pong.

On the VRChat platform, there's a fake law-enforcement agency called The Loli Police Department, reports Input magazine.

Though it began as a joke, after four years its Discord channel now has 11,000 members, and "The tightly run community allows members to experience a fantasy version of police life and prides itself on being a source of chaotic good in the strange world of virtual reality." Members move through the ranks — from cadet on up — based on their activity level, which is tracked via the group's Discord. Everything is carefully orchestrated to mimic IRL police.... Karet, a 29-year-old game developer and LPD captain from Texas, says that the hard work of volunteers allows users to roleplay police activities in a realistic environment. "We have some of our own worlds — like the hospital for our medical division, where we can pretend someone is getting treatment, or the jail where we put criminals," says Karet, who designed the LPD station and jail.

One of Karet's favorite things to do is mess with users at random. "Lots of people in VRChat like to sit in front of mirrors," he says. "I will go up to the mirror and do a 'mirror inspection.' Then I say it's an illegal mirror and start looking for someone to blame and arrest. They just don't know how to handle that," he laughs. There are other ways to get people into trouble, too. "I can pull out a bag of weed and make it look like it came out of someone's pocket," Karet says. "They always say it's not theirs."

Being a VRChat police officer comes with its share of challenges. Members are aware that their form of roleplay — which frames spot checks and fake drug busts as harmless fun — doesn't sit well with some members of the community....

Despite the power dynamics at play, LPD members are not moderators of the VR world and ultimately can't make much in the way of real change. "One of our new officers came to me upset because they stepped in when they saw harassment, but then they got the brunt of the attack from the harasser," says Karet. "I commended him, but it's not what we do. We're just trying to have fun. So usually when we encounter something like that, we just leave the world." Thankfully, Karet says, the LPD can help their community somewhat. "We encourage LPD officers to help out new users. It's easy to spot them, so we often go and give them a hand, show them how things work," he says. The LPD used to run events for this purpose, but they were recently brought to a halt. "The events are on hiatus because it became a bit cult-y. Everyone was trying to recruit people into the LPD."

An anonymous reader shares a report: When Facebook hosted an internal competition a few years ago to develop new product ideas, a handful of employees teamed up to build a robot named Max. Shaped like a small, upside-down bowl, Max was designed to be a companion -- a physical device humans could talk to that could detect their mood, according to two people familiar with the hackathon project. The creators gave Max little ears and whiskers so the device would be more fun and approachable, like a cat. Max never evolved beyond the hackathon. But engineers and researchers at the company, now called Meta Platforms, are still grappling with the thorny problem the experimental robot cat was designed to combat: loneliness.

Meta, with a mission to help people connect online, has discovered through internal research that its products can just as easily have an isolating effect. As the company struggles to retain and add users for its already-massive social networks, making sure those people are happy is key to Meta's financial success. Loneliness has come into sharper focus at Meta during the Covid-19 pandemic, as people use its social media apps as alternatives to in-person experiences. Meta has promoted its role as a digital connector, running ads touting its groups and messaging products. "We change the game when we find each other," reads a tagline for one of its recent commercials. But internally, employees are questioning their products' impact on mental health.

Speaking to the BBC on the 30th anniversary of Civilization, American developer Sid Meier says if major companies continue to focus on monetization or other things that are not gameplay-focused, they risk losing the audience. From the report: "The real challenge and the real opportunity is keeping our focus on gameplay," says American developer Sid Meier. "That is what is unique, special and appealing about games as a form of entertainment. When we forget that, and decide it's monetization or other things that are not gameplay-focused, when we start to forget about making great games and start thinking about games as a vehicle or an opportunity for something else, that's when we stray a little bit further from the path."

The financial model that supports how games companies make their money has changed dramatically in the past decade or so. Now many developers and publishers rely on in-game purchases to help with their bottom line rather than solely on the up-front cost of buying a title to play. [...] Some games companies are also exploring the introduction of non-fungible-tokens (NFTs) - a form of digital art that players can buy and own -- into their games. [...] Sid Meier says that if major companies continue to focus on ways like this to monetize gaming, they risk losing the audience: "People can assume that a game is going to be fun and what it needs for success are more cinematics or monetization or whatever -- but if the core just is not there with good gameplay, then it won't work. "In a sense gameplay is cheap... The game design part is critical and crucial but doesn't require a cast of thousands in the way some of the other aspects do. So it's perhaps easy to overlook how important the investment in game design and gameplay is."

The global games market is reported to be worth around $175 billion and is forecast to almost double in five years. But Sid Meier says that continued growth isn't guaranteed: "There are lots of other ways that people can spend their leisure time... I think the way the internet works, once a shift starts to happen, then everybody runs to that side of the ship. "I think we need to be sure that our games continue to be high quality and fun to play - there are so many forms of entertainment out there now. We're in a good position... but we need to be sure we realize how critical gameplay is - and how that is the engine that really keeps players happy, engaged and having fun."

Sid says he has no plans to retire just yet, and explains the most gratifying change he's experienced during his more than 30 years in the industry, is the wider public's shift in attitude when it comes to games. People were telling him back in 1991 that he was "wasting his time" working in games - now he smiles, as people say to him: "I wish I could get a job making games."

Samsung held a launch event for its new Galaxy smartphones in a metaverse this week but many people struggled to gain access as they encountered technical difficulties. CNBC reports: The South Korean tech giant hosted the event Wednesday on Decentraland, a cryptocurrency-focused virtual world that users can create, explore and trade in. Decentraland, one of many metaverse efforts, is accessed via a desktop browser. Users create an avatar which they can then navigate around the blockchain-powered virtual world using a mouse and keyboard -- something that isn't exactly intuitive for non-gamers. The event specifically took place in Samsung 837X, a virtual building that Samsung has built on Decentraland that's designed to be a replica of its flagship New York experience center. Samsung 837X is there all the time but there just happened to be an event inside the building's "Connectivity Theatre" on Wednesday. But CNBC, and many others, struggled to find the 837X building and when we did many of us were unable to gain access to it.

When an avatar is first created on Decentraland, it lands in a sort of atrium where clouds appear to be gliding across the floor. There's a round pool in the middle that has a worrying vortex in the center. Our avatar was soon surrounded by around 20 others. A chat box in the bottom left-hand corner of the screen was full of messages like "help" and "I hate this game." One user named claireinnit#87fa, boldly claimed "we're in the ----in future." On the opposite side of the intimidating pool, three large boards read "classics, events and crowd." An ad for Samsung 837X hang on the "crowd" board. Once clicked (easier said than done), you're then given the option to "jump in." After jumping in, you're transported to Samsung's little world on Decentraland and you can see the 837X building. There's a pizza store next door, but not much else.

CNBC immediately noticed a large line of people at the main entrance to the 837X building. People were struggling to get in. Some users were getting their avatars to jump on other people's heads as they clambered to the front of the queue but it didn't help. The doors wouldn't open and the chatbox was again full of pleas for help. A rumor circulated that a YouTuber had managed to find a way in, while a CNET journalist wrote on Twitter that they had managed to gain access by switching to the "ATHENA" server. It wasn't immediately obvious how to do this. "Many people were unable to actually enter Samsung 837X before the event started," wrote CNET's Russell Holly. [...] After around 30 minutes of trying to access Samsung's building in the metaverse, CNBC gave up and went back to the real world.

One day, we will all don AR glasses, capable of serving up information geospatially tied to every house and place in our neighborhoods. But who will own and control these spatial AR layers? From a report: It's the stuff of nightmares: The other day, I found my property occupied by a stranger, who was renting it out, Airbnb style. The good news: I'm OK. I wasn't actually evicted from my own home -- at least not in this world. Someone had acquired my property in Upland, a blockchain-powered game that allows people to buy, develop, rent out and sell virtual land parcels based on real-world property borders. It's a bit like Monopoly, played on top of Google Maps, with virtual land speculation happening on a gamified version of the real world. With bright and colorful imagery, and a goofy-looking llama as a mascot, Upland emphasizes that it's all fun and games. That's true for its economy as well, as most of its in-game transactions have little to no monetary value in the real world. The person who bought my property currently makes the equivalent of 4 cents a month in Upland's in-game currency by renting it out to other players.

However, Upland has big ambitions, which include eventually expanding into AR, and providing its data via APIs to third-party developers who may one day be able to build their own game and nongame applications with it. And the company is not alone: A small but growing number of startups and crypto initiatives have begun selling and renting out AR spaces tied to real-world addresses. One day, these efforts could be key to telling your smart glasses which information to display as you look at a famous landmark, or even your neighbor's home. This brings up a ton of questions: Who should have the rights to an AR layer tied to a physical address? What does it mean that these AR properties are being divided up among early adopters before most people even know they exist? Will we see the same issues that have plagued real world real estate, including gentrification and displacement, replicated in AR?

"In recent months, at least half a dozen game studios have revealed plans to add NFTs to their games or said they were considering doing so," reports the New York Times.

Then they were confronted by gamers like 18-year-old Christian Lantz, who for years has played GSC Game World's first-person shooter game S.T.A.L.K.E.R. Mr. Lantz was incensed. He joined thousands of fans on Twitter and Reddit who raged against NFTs in S.T.A.L.K.E.R.'s sequel. The game maker, they said, was simply looking to squeeze more money out of its players. The backlash was so intense that GSC quickly reversed itself and abandoned its NFT plan.

"The studio was abusing its popularity," Mr. Lantz, who lives in Ontario, said. "It's so obviously being done for profit instead of just creating a beautiful game...."

[C]lashes over crypto have increasingly erupted between users and major game studios like Ubisoft, Square Enix and Zynga. In many of the encounters, the gamers have prevailed — at least for now.... Players said they see the moves as a blatant cash grab. "I just hate that they keep finding ways to nickel-and-dime us in whatever way they can," said Matt Kee, 22, a gamer who took to Twitter in anger this month after Square Enix, which produces one of his favorite games, Kingdom Hearts, said it was pushing into NFTs. "I don't see anywhere mentioning how that benefits the gamer, how that improves gameplay. It's always about, 'How can I make money off this?'"

Much of their resentment is rooted in the encroachment of micro transactions in video games. Over the years, game makers have found more ways to profit from users by making them pay to upgrade characters or enhance their level of play inside the games. Even if people had already paid $60 or more for a game upfront, they were asked to fork over more money for digital items like clothing or weapons for characters.... Merritt K, a game streamer and editor at Fanbyte, a games industry site, said gamers' antagonism toward the companies has built up over the last decade partly because of the growing number of micro transactions. So when game makers introduced NFTs as an additional element to buy and sell, she said, players were "primed to call this stuff out. We've been here before."

That has led to bursts of gamer outrage, which have rattled the game companies. In December, Sega Sammy, the maker of the Sonic the Hedgehog game, expressed reservations about its NFT and crypto plans after "negative reactions" from users. Ubisoft, which makes titles like Assassin's Creed, said that it had misjudged how unhappy its customers would be after announcing an NFT program last month. A YouTube video about the move was disliked by more than 90 percent of viewers. "Maybe we under-evaluated how strong the backlash could have been," said Nicolas Pouard, a Ubisoft vice president who heads the French company's new blockchain initiative.

Game companies said their NFT plans were not motivated by profit. Instead, they said, NFTs give fans something fun to collect and a new way for them to make money by selling the assets. "It really is all about community," said Matt Wolf, an executive at the mobile game maker Zynga, who is leading a foray into blockchain games. "We believe in giving people the opportunity to play to earn."
The article also rounds up examples of game companies it says have "come out against crypto."

• "Phil Spencer, the head of Microsoft's Xbox, told Axios in November that some games centered on earning money through NFTs appeared 'exploitative' and he would avoid putting them in the Xbox store."

• "Valve, which owns the online game store Steam, also updated its rules last fall to prohibit blockchain games that allow cryptocurrencies or NFTs to be exchanged...."

• "Tim Sweeney, the chief executive of Epic Games, the maker of the game Fortnite, said his company would steer clear of NFTs in its own games because the industry is riddled with 'an intractable mix of scams.' (Epic will still allow developers to sell blockchain games in its online store.)"

• The blowback has affected more than just game studios. Discord, the messaging platform popular with gamers, backtracked in November after users threatened to cancel their paid subscriptions over a crypto initiative."

Josh Wardle, a software engineer in Brooklyn, knew his partner loved word games, so he created a guessing game for just the two of them. As a play on his last name, he named it Wordle. But after the couple played for months, and after it rapidly became an obsession in his family's WhatsApp group once he introduced it to relatives, Mr. Wardle thought he might be on to something and released it to the rest of the world in October. From a report: On Nov. 1, 90 people played. On Sunday, just over two months later, more than 300,000 people played. It's been a meteoric rise for the once-a-day game, which invites players to guess a five-letter word in a similar manner as the guess-the-color game Mastermind. After guessing a five-letter word, the game tells you whether any of your letters are in the secret word and whether they are in the correct place. You have six tries to get it right. Few such popular corners of the internet are as low-frills as the website, which Mr. Wardle built himself as a side project. There are no ads or flashing banners; no windows pop up or ask for money. There is merely the game on a black background.

"I think people kind of appreciate that there's this thing online that's just fun," Mr. Wardle said in an interview on Monday. "It's not trying to do anything shady with your data or your eyeballs. It's just a game that's fun." This is not Mr. Wardle's first brush with suddenly capturing widespread attention. Formerly a software engineer for Reddit, he created two collaborative social experiments on the site, called The Button and Place, that each were phenomena in their moment. But Wordle was built without a team of engineers. It was just him and his partner, Palak Shah, killing time during a pandemic. Mr. Wardle said he first created a similar prototype in 2013, but his friends were unimpressed and he scrapped the idea. In 2020, he and Ms. Shah "got really into" the New York Times Spelling Bee and the daily crossword, "so I wanted to come up with a game that she would enjoy," he said. The breakthrough, he said, was limiting players to one game per day. That enforced a sense of scarcity, which he said was partially inspired by the Spelling Bee, which leaves people wanting more, he said.

"Streamers are not really known for hard partying..." writes the Guardian's videogames editor, after meeting the up-and-coming stars of Twitch.

"I was instead astonished — and, honestly, worried — by how hard they worked." The woman sitting next to me told me that she streams for eight to 10 hours every day, and when she wasn't live she was curating her social media, responding to fans, scouting for brand partnerships or collaborations with other streamers; throughout our conversation she was visibly resisting the impulse to check her phone, where new stats and fan comments and potential opportunities were presumably stacking up. I asked what she does for fun and she seemed genuinely confused by the question.

Playing video games for an audience for a living sounds like fun — and hell, there are many worse jobs out there — but it is also an ultra-competitive profession that attracts millions of aspiring kids with limitless energy and absolutely no concept of work-life balance. It involves extreme hours and intense pressure to be constantly available to the audience of viewers on whom they depend. And according to recently leaked Twitch data, the top 1% of streamers on its platform received more than half of the $889m (£660m) it paid out to creators last year; three quarters of the rest made $120 (£89) or less. Millions made nothing at all.

I was not surprised, over the following years, to read story after story about these energetic young people — with what must have seemed like the best job in the world — burning out. When you are broadcasting yourself so much of the time, when your hobby becomes your job and your job becomes your hobby, and when your personality becomes your brand and your brand becomes your personality, what does life offline look like for you? Who are you when the camera is off? The fact is that, especially for up-and-coming streamers trying to make it in the crowded world of playing video games on the internet, the camera is almost never off. Sticking to a regular schedule is the best way to build an audience on Twitch, and those schedules regularly involve at least eight hours of continuous streaming, five days a week or more... The reasons for these ultra-demanding hours are simple: the more you broadcast, the greater your chances of being featured on Twitch's homepage, the more followers you accrue, and the more money you might eventually make.
The article acknowledges that among Twitch streamers, "tens of thousands of creators make at least a livable wage.

"It is no wonder, then, that many streamers end up obsessed with the numbers and graphs and invisible algorithms that determine their fate."

"For Halo fans who only care about multiplayer, 'Halo Infinite' is a free-to-play game," writes the Washington Post. "But improbably, it's messing up the free-to-play part." [I]ts progression system has been widely criticized for being too slow. You can only advance...and earn rewards by completing specific objectives for a few hundred experience points. Nothing else counts toward your progress besides a morsel of experience points earned just by playing a match, win or lose. Many of these challenges distract from the objective of winning matches, like when players are asked to use certain weapons or vehicles to get a kill. And since the current playlist system means you can't choose what game type you'll play, oftentimes you'll see people running around using less-than-viable guns instead of, say, capturing the flag in a game of Capture the Flag...

Progression by itself is a tricky balancing act for developer 343 Industries, a studio that has never released a free-to-play game before. The issue is exacerbated by separating rewards out to be used only for specific armor sets. So for example, if you earn a blue color coating for armor, it's applicable to only one type of armor. Currently, there are samurai-themed items on sale in the digital shop, including a sword belt for $15. The value of the sword is significantly lowered once you realize it can only be used along with the armor set unlocked by playing the event. There's a surprising lack of cosmetic interoperability: If you want to wear the sword belt on your Mark VII armor, you're out of luck. "Infinite" restricts armor customization to specific "core" armor sets, like the Mark VII or Mark V. Anything samurai-related can only be attached to the samurai armor set.

If all of that sounds confusing, it is, and it's one of the main reasons the game's monetization needs a rethink. Regardless of your opinion on the value of cosmetic-only rewards, 343 Industries had years of industry research to fall back on to implement these features better, communicate them more clearly and understand how challenge-only progression might divide the player base between people who focus only on completing challenges and those who'd rather work toward the objectives of a match.

All this criticism comes with a big caveat: The core gameplay of "Halo Infinite" has received almost universal praise. The game is undeniably fun for almost anyone who touches it. But the fun turns to frustration if players don't feel sufficiently rewarded for the experience. Therein lies the great divide in the Halo audience. Longtime Halo players like myself play the games because, well, they feel fun to play; "Halo Infinite" succeeds on those merits. But players who are accustomed to earning cosmetic rewards in free-to-play games feel cheated when those rewards don't come fast enough. That's just how multiplayer games work these days....

"Halo Infinite" was very nearly a home run, but 343 Industries is struggling coming to grips with the free-to-play reality, and the audience is left confused and frustrated because of it.

DevNull127 writes: Saturday afternoon, 91 geeks huddled around a Twitch stream to hear the winners announced for the 27th Annual Interactive Fiction Competition. This year's competition attracted 71 entries, and $10,396 was raised for a cash-prize fund (which is divided among all the game authors whose entries ranked in the top two-thirds, with the first-place finisher receiving a prize in the hundreds of dollars and the last entry in the top two-thirds receiving $10). But there's also a long list of fun non-cash prizes available in a "prize pool," and starting with the author of the first-place game, authors take their turn choosing. (Prizes included everything from 0.055 in Ethereum cryptocurrency to the conversion of your text adventure into a professionally-produced audiobook.)

After a six-week period where the general public played and voted on the 71 games, the first-place winner was chosen. It had a strange title — "And Then You Come to a House Not Unlike the Previous One." Its welcome screen jokingly promises "the latest in ASCII graphic technology to occasionally write high-res, text-based images directly onto a screen that is eighty characters wide or more..." In this text adventure game you play a teenager who starts out....playing a text adventure game (called "THE GLUTTONOUS ELF: Adventure #1"), with the game itself ultimately offering a kind of meta-commentary on the world of text adventures over the years.

Perhaps not surprisingly, this game also won a second award — the contest's special prize for the entry most-liked by the other games' authors who'd entered this year's competition.

This year's runner-up was "Dr Horror's House of Terror". It's not to be confused with the Christopher Lee/Peter Cushing movie with a similar name — except perhaps with some playful and intentional overlap which becomes apparent as the game progresses.

And a splendid time was had by all.