Game Developers Conference 2010 as told to Twitter

Back from Game Developers Conference 2010 and trying to get my bearings like everybody else.

On the heels of my twitter map of GDC 2009, here is a word frequency map of this year’s conference. I think they give a decent picture of what was going on if you weren’t there.

Monday: Day before GDC

Anticipation before the conference starts.

Tuesday: Tutorial and summit day 1

Social games loomed large, as did Facebook, FarmVille, the iPhone, Android, and indie games.


Wednesday: Tutorial and summit day 2

While social games and tutorials were still happening, this was completely overshadowed by the announcement of the PlayStation Move controller.


Thursday: Day 1 of main conference

The expo floor opens (“booth”), Uncharted 2 is big, and the award show dominates.


Friday: Day 2 of main conference

Sid Meier’s keynote, parties, more expo booths. Harmonix, FarmVille. @pocketprotector wins the prize for most tweets.


Saturday: Final day (3) of main conference

Phaedrus’ aka Will Wright’s “surprise” talk takes a lot of space. Mass Effect.

Sunday: Post-conference

A great time, PlayStation move (again), Gabe Newell, time to go home. “See you guys next year.”

Notes:

  • Thanks to Mike Edwards for providing the captured tweets.
  • I have deleted all occurrences of the quite frequent “game”, “games”, “gdc” and “rt” as they did not add any information.
  • “PlayStation Move” on Wednesday is a hundred times more frequent than I would have guessed from going to the conference. This is probably because we are more likely to tweet news items than casual conversation.
  • Made using Wordle.

The NYU Game Center Lecture Series: Journalist Panel

The NYU Game Center Lecture Series: Journalist Panel

Date: March 25th

Time: 6PM to 7:30PM

Location: 721 Broadway, Lower Level Room 006

RSVP: gamecenter@nyu.edu

Please join us for a panel discussion with three important voices from the world of game journalism. Who writes about games? What is the future of game criticism? Where does game news fit into the game industry ecosystem? How is the game press affected by the collapse of print? Why are we still looking for the Lester Bangs and Pauline Kael of game reviews? Come hear our esteemed panelists wrestle with these and other questions and be sure to bring your own.

Stephen Totilo is a reporter based in Brooklyn, New York. He’s the deputy editor for video gaming blog Kotaku. Prior to joining Kotaku, Totilo worked for four years as MTV News’ first full-time video game reporter. His work appeared on-line and on-air across MTV, MTV2, MTVu, MTV’s international channels, MTVNews.com and the MTV Multiplayer blog, which he founded. He also has written about video games for The New York Times, Newsweek, Time, IGN, and Gamespy. One of his best-known projects was a series of critical exchanges written with former Newsweek games writer N’Gai Croal. Totilo holds a masters’ degree from Columbia University’s graduate school of journalism. He also Majored in English at NYU.

Jamin Brophy-Warren is a writer covering arts and entertainment with a focus on videogames and the president of Kill Screen Magazine (http://www.killscreenmagazine.com/). He spent four years at the Wall Street Journal as an arts and entertainment reporter and previously was a music critic for Pitchfork Media.  He’s spoken at Harvard and New York University and currently writes columns for the Wall Street Journal and GOOD Magazine (http://www.good.is/series/kill-screen-on-good/).  In 2009, he was chosen to be a member of Slate’s annual gaming club (http://www.killscreenmagazine.com/) and his writing has appeared in LA Times, Vanity Fair, Fast Company, and others.  He graduated from Harvard University in 2004 with a focus on cultural theory and lives in New Haven, Connecticut with his wife Sorcha.

Leigh Alexander is news director of industry website Gamasutra, author of the Sexy Videogameland weblog, and a columnist and reviewer for publications like Kotaku, GamePro and the AV Club. She focuses on cultural issues surrounding games and gamers.

Journal of Virtual Worlds Research: Virtual Economies, Virtual Goods and Service Delivery in Virtual Worlds

The Journal of Virtual Worlds has a new issue out, Virtual Economies, Virtual Goods and Service Delivery in Virtual Worlds.

Editor′s Corner

Why Virtual-World Economies Matter

Mandy Salomon, Serge Soudoplatoff

Abstract | PDF

Interactive Online Exhibits and Demonstrations

Rethinking Virtual Commodification, or The Virtual Kitchen Sink

Lori Landay

Movie | PDF

Invited Articles

On Money and Magic

Edward Castronova

Abstract | PDF

Characteristics of the Virtual Economy (after ‘State of Play VI’ Conference , 2009)

Julian Dibbel

Interview

China′s New Gold Farm

Anthony Gilmore

Abstract | PDF

Virtual Goods: Good for Business?

Nic Mitham

Abstract | PDF

Peer Reviewed Research Papers

“We Will Always Be One Step Ahead of Them” A Case Study on the Economy of Cheating in MMORPGs

Stefano de Paoli, Aphra Kerr

Abstract | PDF

An Exploration of Entrepreneurship in Massively Multiplayer Online Role-Playing Games: Second Life and Entropia Universe

Stéphane Kieger

Abstract | PDF

Born Virtuals and Avapreneurship: A case study of achieving successful outcomes in Peace Train – a Second Life organization

Robin Teigland

Abstract | PDF

Virtual Commerce (V-Commerce) in Second Life: The Roles of Physical Presence and Brand-Self Connection

Seung-A Annie Jin, Justin Bolebruch

Abstract | PDF

Research Papers

Understanding “Gold Farming” and Real-Money Trading as the Intersection of Real and Virtual Economies

Richard Heeks

Abstract | PDF

World of Warcraft: The Viability of Massively Multiplayer Online Role-Playing Games as Platforms for Modeling and Evaluating Perfect Competition

Eli Kosminsky

Abstract | PDF

“Think Pieces”

Currencies and Capitalisms on the Internet

Minna Ruckenstein

Abstract | PDF

Licensing Considerations for OpenSim-Based Virtual Worlds

Shenlei E. Winkler

Abstract | PDF

Monographs

Teens and Virtual Goods: The Fun, Useful and Affordable Luxuries that are Driving the Virtual Economy

Maura Welch

Abstract | PDF

Editor-in-Chief′s Corner

Topping from the Viewfinder: The Visual Language of Virtual BDSM Photographs in Second Life

Shaowen Bardzell

Abstract | PDF

Demotivation by External Rewards

Jesse Schell’s “Future of Games” talk at DICE is getting a good deal of buzz and discussion.

So here are a few thoughts: The second half of Schell’s talk centers on external reward systems such as the Xbox Live achievement system, and he describes a possible future (that he appears somewhat ambivalent about) in which everything – TVs, toothbrushes, pianos, cars, schools are designed as game-like systems that constantly reward you with points for various actions. Such as, well, brushing your teeth.

Schell’s basic argument is that external rewards are an incredibly strong psychologically motivator.

Yes and no. If you think about the car that gives you points for a mundane activity such as driving fuel-efficiently, then certainly external rewards can work as a motivator.

But I think that Schell a.o. overlook that external rewards are also known to be strong demotivators. A famous 1973 experiment (“Undermining children’s intrinsic interest with extrinsic reward“) showed that when nursery school children consistently received external rewards for drawing, they lost interest in drawing and began drawing less.

Here’s the graph from a write-up of the results that also mentions similar studies of adults. (Expected reward = consistently receiving a reward for drawing.)

But how can that be? Aren’t rewards motivating? Not necessarily, because rewards may trick you into forgetting your original motivation. You think you like drawing, but when you are consistently showered with rewards for doing it, you start thinking that you are really in it for the rewards …

Marc LeBlanc once pointed me to the business book Punished by Rewards: The Trouble with Gold Stars, Incentive Plans, A’s, Praise, and Other Bribes. From the book description:

Promising goodies to children for good behavior can never produce anything more than temporary obedience. In fact, the more we use artificial inducements to motivate people, the more they lose interest in what we’re bribing them to do. Rewards turn play into work, and work into drudgery.

As you can see, this is completely at odds with the argument that Schell is making. I can’t claim to be an expert on the psychology here, but it does seem that external rewards may have a kind of reversal effect: If you dislike the activity, external rewards make it more attractive, but if you like the activity, external rewards make it less attractive.

So one theory to use could be Michael Apter’s Reversal Theory, according to which we switch between telic (focused on external goals) and paratelic (focused on immediate enjoyment) states. Hence the introduction of an external reward will switch us from the paratelic state where we are enjoying a task, to the telic state where we are performing a task for external rewards.

On a more personal note: I sometimes hear of universities that want to reward researchers for publishing papers or talking to the media. This always strikes me as unpleasant because it discounts the pride that we (hopefully) have in our research. If we started to do research only for the external rewards, our productivity would surely drop.

And that, my friends, is why external rewards can be demotivating.

Variation over Time – The Transformation of Space in Single-Screen Action Games

Here is a paper I wrote a few years ago but never posted: Variation over Time – The Transformation of Space in Single-Screen Action Games was published in the Space Time Play anthology in 2007.

At that time, I was becoming interested in doing detailed analyses of specific video game designs. (Also evident in my Swap Adjacent paper.) I think it is important to paint the big picture, but I find it interesting to supplement this with more specific examinations of very focused topics. The big and the small pictures are then meant to supplement each other.

Variation over Time concerns the kind of early video game design where variation was provided by opening the playing field during the course of a level. Examples include Space Invaders, (Ms.) Pac-Man, Pengo, and Super Bomberman. From the paper:

My interest here is in a specific way of providing variation, the qualitative change of difficulty that is created by opening the playing field during a game level. This is a type of design where obstacles are gradually removed and the playing field becomes more open as a result. We can see this design in a number of board games (e.g. backgammon, chess, checkers), and it was a popular design in the non-scrolling action video game, most prominently in the 1980s. But for reasons I will discuss later, this design has become unusual in contemporary video games. Consider the early video game Space Invaders (Taito 1977) as a first example. (Figure 1.)


Figure 1. Space Invaders (Taito 1977)

More.

4:32 – the Life of a Conceptual Game

My conceptual game 4:32 from the 2010 Global Game Jam has taken on a pretty fascinating life of its own. (Blog announcement here.)

Here is Alec Meer’s post at Rock, Paper, Shotgun, where the game was presented under the heading of “PC Gaming In 2010”. A long flame war ensued on the site, showing that some people clearly felt cheated by the game. Which they were, of course, but that sort of is the game. One commenter compares 4:32 to rickrolling and is taking the whole thing personally:

… I bet there will be many other people disappointed or outright enraged by this. This has got nothing to do with “playground attitude” as it deserves to be called out for what it is. There are good and there a bad jokes, but this one is completely off the mark.

Part of the strong reactions at Rock, Paper, Shotgun seemed to come from people who felt that the game had crossed some line by forcing them to install and uninstall plugins.

Over at Play This Thing, Greg Costikyan’s post about the game immediately led to a flame war about PC vs. console gaming.

Petri Purho also blogged about it here.

I am pretty happy with the response, but it’s also interesting to see how players interpret the game in their own way. I didn’t think it was about PC vs. console gaming, and I didn’t think that a conceptual piece like this could get people that agitated. But then again, it’s a long-standing observation that some audiences will get angry if they feel a specific “work of art” breaks the conventions they expect – and the audience may even take it as a personal insult. That wasn’t intended, but it seems I did succeed in making something that played with player expectations!

Statistics: 13.000 games played. 513 games completed. (Cheating may have been involved, but I think that’s part of the game.)