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We are hugely grateful to Design Boom for spotting the work of Kordian Lewandowski, a Polish man with a bit of time on his hands who creates sculptures out of polystyrene based on classic works in stone.
Featuring Mario and Princess Peach.
Mr Lewandowski's website is a real treat. Get on over there to see these amazing works in (almost) 3D.
One of the most popular stories on Times Online today concerns Robert Harrison, who takes photos of space using only a digital camera and a big balloon.
The tale reminded me of the latest armchair campaign for Toshiba, which was taken with a weather balloon and a host of Toshiba cameras beaming images back to Earth. If you haven't seen it, take a look at the video above. Well worth a look.
If you are one of those people who use the world's most common online password - 123456 - to protect valuable e-mail or data, then some people might say that you deserve to be hacked for sheer stupidity.
Luckily for you, Google doesn't see it quite like that.
According to the latest post on the Google blog. the company is rolling out a suspicious activity log as an extension of the basic activity log.
I checked my Gmail account and - yes - it's there. In tiny print at the bottom of the inbox is the invitation to check account activity. This opens up a separate box that tells you where your Gmail has been accessed recently on all platforms, and whether you have two machines logged in simultaneously.
Presumably, if in three hours "I" check my Gmail from China, then I'll get a big red alert from Google, along with advice to change my password sharpish.
One question: if Mr(s) Suspicious tries to change my password, thereby preventing me from logging on, will Google allow it?
Only one way to find out: we rang Google.
A spokesman told us that the best way to avoid this happening was to set up your account with a mobile phone number and alternative e-mail address, so that the password cannot be changed without a PIN number as consent. "We advised people to do this six months ago," he said. "But of course we can't force them."
So, if a suspicious user from a strange IP address is identified in my Gmail, will s/he be prevented from making any changes? "That's a very good idea."
We'll take that as a "no" then.
If you think the suit's sharp, wait till you get a load of his knives.
Carl Elsener Jr, the current president of the Swiss army knife maker Victorinox and grandson of the company's founder, was in London this morning to promote the company's latest product: a secure USB flash drive.
And when he says secure, he doesn't appear to be mucking around. Victorinox is so confident of the combination of encryption and fingerprint security built into the drive that it has offered "a six-figure sum" (presumably in pounds, rather than - say - yen) to anyone who can crack it.
Before you head round to the company's Swiss HQ with a computer prodigy and a machete, however, you should be aware that even if you did lop off the fingers of the drive's owner, the fingerprint recognition still wouldn't work. It detects heat, too, you see. Oh, and oxygen. So plastic fingerprint covers are out too.
We did wonder whether a severed finger kept at body temperature in a convenient trouser pocket might be the answer, a fiendish masterplan thwarted only by the arrival of tea and sandwiches.
One more thing: if someone does acquire your drive and your finger, they still have to get past the 256-bit encryption. If the miscreant fails, the drive self-destructs. Yes, self-destructs. Just like in Mission: Impossible.
What a shame that the actor Peter Graves died the other week. He'd have liked to see this, even if "This USB drive will self-destruct in 30 seconds" doesn't quite have the same ring about it.
Here in the United Kingdom, Norfolk has something of a reputation as a place where time travels more slowly than elsewhere.
But this is ridiculous.
Take a look at the image above, of Dereham High Street as it is today. Now, using Street View, click right to take a stroll down the street.
Et voila! Woolworths is back from the dead!
For some reason, the Street View team must have taken at least two months between shots here, perhaps distracted by Dereham's myriad attractions, such as St Withburga's Well and the Norfolk Rural Life Museum.
Or perhaps there's a crack in the space/time continuum hovering above Dereham. If anyone sees a 1950s police box in the vicinity, could you let us know?
So, it was a big night for Uncharted 2: Among Thieves at the video game Baftas in London last night, but what for me was most striking was just how much this event has grown up in parallel with the industry it celebrates.
Whereas a few years ago, all the jibes would have been about boys in bedrooms, last night not one person even attempted a joke about adolescents and their solitary gaming habits. Instead, a procession of presenters came on and made jokes about the games themselves, using them as common cultural reference points in the same way we do films or TV programmes. It was, to say the least, refreshing.
As David Parfitt, the deputy chairman of Bafta, reminded everyone at the start, these are the only awards for video games in the world that are presented by an awards giving body that also does other things (such as film and TV). They really are becoming the Oscars of the game industry.
The best comment of the night probably came from the actor Ralf Little. “Anyone in from Pro-Ev Soccer?” he asked. A cheer of recognition went up. “Get out!” he said. “You've really dropped the ball this time haven't you? I spent countless hours playing your game and the new one's rubbish.”
Amid all the back-slapping, it was hard not to feel sorry for Ubisoft and the team from the stunning Assassin's Creed 2, which though consistently nominated alongside Uncharted 2, Batman: Arkham Asylum and Call of Duty: Modern Warfare 2 in several categories, walked away only with 2nd place (behind MW2) in the GAME players' award.
For a game such as AC2 to come away empty-handed is real evidence of what a strong year it's been for the games industry.
This year looks even better. The Bafta nominations were announced in February, too early for the likes of Heavy Rain, Bioshock 2, Mass Effect 2, God of War 3 and more to feature. All of those games will I'm sure make an appearance on the shortlist next year. And it's only March now. Can't wait.
Video highlights of the Bafta video game awards will be available shortly on the Bafta website.
Further to our most curious news story of the day, we bring you pictures of the team behind the new invisibility cloak demonstrating its capabilities to the British cabinet.
Sorry, couldn't resist.
Here's a great film about the wonders of Chatroulette. Enjoy. chat roulette from Casey Neistat on Vimeo.
So, last week at GDC, Sony launched its Move motion-controller system.
This week, the first commercial has gone out in the United States. And you can watch it above.
Closer to home for us in the UK is the announcement that Sony has teamed up to bring a film streaming service ("At last!" you cry) to its customers in a new deal with LoveFilm, a company that once accused me of stealing one of its films that I didn't even like. I had posted it back to them and it got lost. Still, I bear no grudges.
The new LoveFilm service will offer around 2,500 of the company's 67,000-strong library of movies for instant streaming to Sony's latest Bravia TVs and tip-top Blu-ray players.
What? No PS3? We contacted both Sony Computer Entertainment and Sony UK to check this out, and it seems that the PS3 has indeed been left behind in this brave new world, an odd thing to do, you might think, for a flagship product.
Edward Uzzell of Sony UK told us that the deal didn't include PS3 because the competitive marketplace was different and the rights issue was a nightmare, plus the PS3 already offers a selection of movies to download, so things might have become complicated.
Before you rush out and buy a new Sony product, though, a word of caution. We wouldn't be at all surprised if the PS3 didn't get a big movie streaming deal all of its own in the UK by the end of the year. Just a feeling...
Last year, I wrote a story with the headline: Spotify 'could be dead within a year'. I do sincerely hope that company will look back on it and laugh in my face. In my opinion, the service is excellent and invaluable. Now it seems the experts I quote in that piece will be proved wrong. Pcpro.co.uk reports: Music streaming service Spotify claims to have more than 300,000 paying customers - but insists that even users who don't pay are contributing to the bottom line. Daniel Ek, the 26-year-old CEO of Spotify, took to the main stage to take part in a keynote debate on the final day of South by Southwest interactive here in Texas, at which he was widely expected to announce a US launch date for the service. It soon became apparent that wasn’t on the cards, with Ek claiming that organising the rights needed for Spotify in the US was a fearsomely complex process involving more than 5,000 publishers, collecting societies and labels. Refusing to be drawn on a date for a US launch, Ek instead used his keynote to demonstrate Spotify to the largely American crowd, reveal a few interesting facts and figures and to talk about how he sees the service developing. According to Ek, Spotify now has around seven million users across the six European countries it operates in, and it’s adding around 1,000 paid users a day. Currently, 320,000 people pay £10 a month for the service.
Is it just me, or has Spotify stumbled across a business model?
Honestly, this is hard to believe. Engadget reports (as I’m shaking my head): Microsoft just mentioned in a Q&A session here at MIX10 [a tech conference currently taking place] in no uncertain terms that clipboard operations won't be supported on Windows Phone 7 Series... so that's that. Kind of ironic considering that the WinMo of old has been enjoying the functionality since time immemorial, isn't it?
This means that you won't be able to copy and paste text using Microsoft's new software for phones. Yes, yes it is ironic as Endadget suggests. Some might even call it stupid. Not having copy and paste was one of the oldest complaints with the iPhone’s software, which Apple belatedly fixed. As The Wall Street Journal reported recently, it is no wonder Microsoft employees are turning to the iPhones in their droves.
There was much excitement today ahead of Evan Williams's keynote speech at SXSW in Austin, Texas. Three years on from the event which saw Twitter burst onto the scene, the Twitter CEO was expected to launch the company's much anticipated advertising platform.
We have been waiting for this for some time and heavy hints have been dropped all round about it. Those cynics who believe that Twitter still has to prove it has a viable business plan to go with those 75 million plus users wanted Williams to "show us the money".
Alas, he did not. He launched @anywhere, a new way for you to tweet about your favourite stuff directly on the website you are looking at.
The New York Times, Amazon and eBay are initial partners and they will be able to insert a few lines of code into websites so that when you browse a site that uses @anywhere, those with Twitter accounts will be highlighted with a hyperlink.
Mousing
over that hyperlink will show a “hovercard” with their Twitter details including their most recent tweet and a "follow" button.
It is pretty neat but not earth-shattering. Effectively it is Twitter's answer to Facebook Connect.
Williams told the crowd at SXSW that @anywhere should help websites
gain more followers for their accounts. He said it was aimed at lowering
the barrier for adoption and I think it will.
Co-founder Biz Stone explained in a blog post:
Imagine being able to follow a New York Times journalist directly from
her byline, tweet about a video without leaving YouTube, and discover
new Twitter accounts while visiting the Yahoo! home page—and that’s just
the beginning. Twitter has proven to be compelling in a variety of
ways. With @anywhere, web site owners and operators will be able to
offer visitors more value with less heavy lifting.
Meanwhile the fickle SXSW crowd were not too impressed by the announcement and there was a deluge of tweets about how boring it was. There was a queue to get out of the room, according to reports. So we continue to wait for the advertising platform - Williams and co
are not to be rushed.
After a fascinating GDC talk by Richard Lemarchand, Co-Lead Game Designer on last year's runaway hit game, Uncharted 2, we have a better idea of what goes into the making of a blockbuster game.
Mr Lemarchand, wearing a top so colourful that my camera refused to photograph it, revealed a lot about the way Naughty Dog, which developed the game, works, and just how close the game came to disaster.
The problem level, he revealed, was the race along the roof of the speeding train. They knew they wanted that from the outset, but it was “a monster of a level to create.”
The difficulties stemmed from the fact that the team had decided that they wanted the train to move for real, rather than appear to speed against a moving backdrop.
Technical challenges aside, this threw up some interesting anomalies in the physics of the game, he said.
“We had 50 separate cars moving along at a good lick. The enemy navigation systems then became a problem because the train teleports according to the progress you're making,” he said.
In other words, Nate would get to carriage 39 and all his enemies would fall off the train or wander around looking lost.
“Also, physics meant that any grenades you threw kept flying back in your face. Aiming was another bug because by the time you shot, we were 2 metres off target, the distance travelled in one frame.”
To their credit, the Naughty Dog team solved all the problems with nifty programming.
But the big secret to planning a mega-game is revealed in the picture above. It's Post-It Notes. Lots of them, which then get incorporated into a spreadsheet.
All of a sudden, accountancy looks sexy.
This has been my first ever GDC, and after a year or so in which I've done almost the full set of games and electronics-related trade shows, I think this one may just be my favourite.
The reason is simple: nearly everyone who's at this thing works in the games industry, or wants to work in the games industry. As the halls opened for the first time today, you could almost sense the enthusiasm dripping off the walls, like acid blood in the Alien films. But in a good way.
The young lady you see in the picture above was there dancing her socks off to promote Image Metrics, a company most of us have never heard of, but which will be providing the facial animation software that will make characters come to life in the next HALO game.
Funny thing is, she looked like she was having a really good time. As did everyone else.
Despite the fiercely competitive nature of the games marketplace, there's a genuine mutual admiration between rivals. You get the feeling that they might call each other if they get stuck.
GDC is also where fresh talent and ideas can be discovered. Over in the darker corner of the exhibition floor are rows upon rows of developers' booths. Here, people studying games tech at college or keen to get into the industry are invited for one on one chats, or to add their CVs to the fast-growing piles. The Fallout character above was not conducting interviews.
And it's not all small companies, either. Insomniac, maker of the Resistance and Ratchet and Clank, titles, was looking for fresh people, as were Sony and Microsoft, in booths just yards apart. Almost cuddling, you might say. Almost.
The queue of the day award, though, must go to bigpoint.com an online gaming portal. “100 million users, one portal” runs its slogan. So were they hiring big today? Not exactly. Someone there had had the great idea of giving away hotdogs at lunchtime to the hordes of tireless jobseekers.
It was an almost religious experience.
More from the floor tomorrow.
I'm a little bit worried.
I went to a talk this morning delivered by Mark Skaggs, who's the vice-president of product development with Zynga, the company that currently has around 30 million people per day playing FarmVille. That's him in the picture. Sorry it's rubbish. I took it.
His mantra, if I understood it correctly, is this: don't give people what you think they want, give them what they actually want. And then give them some more of what they want to ensure they remain loyal.
In the world of online gaming, launching a game is not even half the job. Mr Skaggs advocates using an analytical approach to discover why people aren't returning, what they like, what they don't like, and which colour works best in online ads (pink against a white background).
There is of course a lot of logic to this approach, and a lot of money to be made perhaps on the back of it.
The problem I have with it is that it's an approach that will stifle innovation.
Surely, if you only give people what they know they want, then we will end up with a level playing field where there's no reason to innovate, where playing safe is all? As Henry Ford observed, if he'd asked people what they wanted in 1900, they'd have said a faster horse.
The point is that true innovation is difficult to focus-group or explain until you have actually made the product.
I've watched the games industry grow over the years on the back of innovation after innovation. Sure, there's a lot of me-too stuff out there, and a lot of rubbish, but you can say the same about Hollywood.
So, why am I worried? Because if games makers spend all their time obeying their customers in the hunt for easy cash, we'll end up with a zillion identikit products, just as we have with Hollywood movies.
Or are we there already and I just haven't noticed?
British comedian and former Python John Cleese will take a starring role in the next Fable game, its lead designer Peter Molyneux revealed today at GDC in San Francisco.
Cleese will play the part of a superior English butler in Fable III, due for release on the Xbox 360 later this year. It's a path well trodden by generations of fine English actors before him, not least Sir John Gielgud, who won an Oscar for a similar role in the film Arthur.
Cleese was approached, said Molyneux, because so many people kept talking about the Python-like humour of the Fable games. Why not, he thought, approach one of the knights of the holy grail, even if his father did smell of elderberries?
Molyneux, the first British games maker to be honoured with an OBE for his efforts, brought his trademark charm and bonhomie to his speech on Fable III this morning in San Francisco.
Fable III looks like a complete departure from Fable II, the multi-million selling RPG which helped pioneer the idea of choice and consequences in console video games.
The butler role to be inhabited by Cleese takes the place of the complicated customisable clothing option from Fable II, which Molyneux revealed, over 60 per cent of players never bothered using. “And we spent so long making it,” he opined.
Molyneux's excitement at his project was infectious, but so pronounced that he revealed more about the game than he was supposed to. “Am I allowed to talk about the Natal stuff?” he asked at one point in a stage whisper. “No.” came the reply.
Too late, the cat was out of the bag. Fable III will work with Microsoft's motion-sensitive Project Natal game, so your movements will directly affect the actions of the characters on screen.
Later today, I have a half-hour chat booked with Mr Molyneux. Wonder if he'll let anything else slip.
A source of gossip and speculation at all the sessions on the
future of gaming here at GDC is the battle that has broken out at
Activision over the fate of Call of Duty: Modern Warfare 2. To
recap: the future of the one of the most lucrative and popular video
games is in doubt after open warfare broke out at the the company
behind it. Activision Blizzard, the publisher of the most
succesful release of last year "Call of Duty: Modern Warfare 2", has
fired the two studio heads responsible for the game widely acknowledged
as the biggest launch in gaming history. It made a record $550 million in its first five days in the autumn and has earned more than a billion dollars now. In
a lawsuit filed in Los Angeles Superior Court, Jason West and Vince
Zampella are now suing the games publisher, seeking damages in excess
of $36 million, as well as future royalties. They claim control
of the brand and say Activision dismissed them to avoid paying hefty
royalties. Zampella had served as CEO and West as chief technology
officer at Infinity Ward, the studio behind last autumn's immensely
lucrative "Call of Duty: Modern Warfare 2" and other games. Activision
Blizzard, which acquired Infinity Ward for $5 million in 2003, said it
was looking into breaches of contract and insubordination by the two
senior employees. The company said the lawsuit was "meritless" and its
decision to dismiss them was justified. In scenes that flashed
round the gaming world, Zampella and West were grilled for six hours
and then escorted from the studio's headquarters in Encino, California,
by security staff. West updated his Facebook status to read: "Jason
West is drinking. Also, unemployed." Infinity Ward did not make
every Call of Duty title. But the two executives oversaw creation of
the World War II video-game and the sequels set in later periods which
have pulled in about $3 billion in revenue. Zampella and West
were the "creatives" and Activision the big bosses - it is a bit like
the old Hollywood studio system which hired stars - and the question
now is - who retains control of the product they create? Analyst Michael Pachter of Wedbush Morgan Securities wrote in a note earlier this week: The
contributions of West and Zampella are difficult to assess, but the
pair has had incredible success with each version of the game created
under their supervision. The 'secret sauce' of their involvement is
analogous to the direction of a movie; some directors work with certain
types of material in a unique way, and repeatedly achieve commercial
success with that material. We think that West and Zampella provide
something unique to the creation of games at Infinity Ward, and think
it's likely that their contribution will be missed in future
installments.
Relations had been difficult between the
studio heads and Activision for more than a year amid suggestions that
the original creators did not agree with corporate plans for the
franchise and wanted to move to another company. Activision said
it plans to form a new business unit around the Call of Duty franchise,
focusing on online content and expanding the brand. “We were
shocked by Activision’s decision to terminate our contract,” West said
in a statement. “We poured our heart and soul into that company,
building not only a world class development studio, but assembling a
team we’ve been proud to work with for nearly a decade. We think the
work we’ve done speaks for itself.” Their lawyer Robert Schwartz said: Instead
of thanking, lauding, or just plain paying Jason and Vince for giving
Activision the most successful entertainment product ever offered to
the public, last month Activision hired lawyers to conduct a pretextual
‘investigation’ into unstated and unsubstantiated charges of
‘insubordination’ and ‘breach of fiduciary duty,’ which then became the
grounds for their termination on Monday, March 1st.
Activision
said it planned to release a Call of Duty game later this year
developed by Treyarch, another studio which has been behind less
successful games in the franchise. The company said in a statement: Over
eight years, Activision shareholders provided these executives with the
capital they needed to start Infinity Ward, as well as the financial
support, resources and creative independence that helped them flourish
and achieve enormous professional success and personal wealth.
While
the company showed enormous patience, it firmly believes that its
decision was justified based on their course of conduct and actions.
Activision remains committed to the Call of Duty franchise, which it
owns, and will continue to produce exciting and innovative games for
its millions of fans.
In the meantime the number of Modern Warfare 2 players has hit 25
million and Activision has announced at GDC that a Modern Warfare 2
"Stimulus Package", a map pack that will include brand new multiplayer
maps, will be released on March 30. I suspect that Activision has deeper
pockets for lawyers and will retain control of Call of Duty - but
without their stars, it remains to be seen how much of a franchise is
left. The word at GDC is that the case is going to force the big companies to
look again at their valuable "creatives" and find ways to keep them sweet -
probably by giving them a bigger slice of the profits of the
blockbusters they create.
Well, Sony finally did it, and last night announced an autumn launch date for its motion control system, PlayStation Move, in San Francisco at the Game Developers Conference.
As an announcement, it was about as surprising as the sun rising each morning, though there was one unexpected factor: the price, under $100.
For those of you unfamiliar with the idea, the Move is Sony's attempt to join the motion control party that was kicked off by Nintendo's fabulously successful Wii. The controllers track the motion of the player and replicate it on screen. The party will be gatecrashed this November by Microsoft and its Project Natal, which uses the human body as a controller.
I am in the unusual situation of having played with both Natal and Move. I'd like to be able to tell you which is better. I just can't.
First of all, at these preview events, the companies only show the software that works best with their new toy. So Microsoft had us all jumping around like loons to catch balls flying at us, or let us loose on a driving game, controlled by an imaginary steering wheel and foot movements.
Natal works really well with these games, but you do wonder how it will cope with football games such as FIFA, or with the subtlety of Call of Duty.
The FIFA question also applies to the Sony Move. Perhaps I'm just tired and jet-lagged, but I can't see how hand-held controllers will add to a game of virtual football. They certainly don't on the Wii. For shooting games, though, Move works really well, the controller transforming itself into a gun, for which purpose there is a trigger lurking underneath. Just like on the Wii.
Sony will beat Microsoft to market by a couple of months, and the keen price is unlikely to be matched by Natal, which requires a separate box to function. The Sony system works directly from a standard PlayStation camera.
One impressive feature with the Move is the depth of field and its responsiveness to different speeds or forces of movement. Natal seemed less subtle, but it may have improved since I saw it last at Tokyo Game Show.
Both systems will be on the market for Christmas. Buy early. They're sure to be all over eBay at inflated prices by early December.
The demo of the new OnLive service which launches in the US in June was impressive.
CEO Steve Perlman sped through how the new service which streams high quality games directly to your PC or TV will disrupt the gaming industry.
The problem is that OnLive sounds almost too good to be true. The company says it has come up with video compression technology and a way to make sure the user gets the "optimal route" to OnLive's servers so that gamers will not notice any time lag for the two-way interaction.
What is actually happening is that the control move is being sent over the internet to the OnLive servers - sometimes hundreds of miles away. The servers work out what the move does to the video game and sends the video back down the line. This happens in microseconds - according to Perlman - so quick that you do not notice any lag. Error correction of the delivery of the packets is built into the video compression.
Perlman said that gamers would get great performance regardless of how powerful their computer is, because all the computing is done on the back end. They will need minimum internet connection speeds of 1.5 Mbps
for standard-definition play, and 5 Mbps for HD.
He said that gamers will be upgrading their broadband connections and hinted that ISPs might end up partnering with OnLive to offer higher speeds with the service included. That would make sense because both ISPs and OnLive win when people pay more for high-speed connections.
There will be only "high teens" number of games at launch but the company is expecting to have 50-60 titles by the end of the year on the platform. Big name games will be launching on the OnLive platform as well as the more usual channels.
It certainly appeared to work in the demo at GDC but cynics have already wondered if it will work on someone's patchy connection at home, particularly for multiplayer games.
There is clearly an appetite for OnLive - 250,000 people signed up to be beta testers for the US service.
Perlman, a veteran of Apple and WebTV, told me they were looking to the UK and Europe next to roll out the service. We should expect announcements perhaps by the end of the year.
Crucial to the service is price. In the US it will cost $14.95 a month to subscribe and then you pay on top to rent or buy a game to stream. No doubt they will undercut the price of a physical disk.
OnLive is positioning itself as the gaming answer to the on-demand culture of the digital generation. It sees its users wanting to play a game NOW and not willing to wait to download or go down the shops. It has a certain appeal for sure.
The console is not dead yet - but this could be the first nail in the coffin.
Augmented reality (AR) is all the rage these days.
Point your iPhone camera at just about any major city street and AR can overlay the image you see with information in real time. Nearest restaurant, subway station or ATM machine? It's all there.
But what if you could use AR to spin a convincing yarn?
That's the premise of Ghostwire, an AR-based game currently under development in Stockholm for the Nintendo DSi by A Different Game.
Like Invizimals, which appeared last year on the Soiny PSP, Ghostwire uses the built-in camera function of the console – in this case a DSi - to locate some fairly scary looking phantoms in your immediate environment. The idea is to capture the ghosts, then find out what their problem is and solve it for them, bringing peace to their unquiet spirits.
Tom Soderlund of A Different Game took to the stage at GDC in San Francisco today to explain himself.
“Until four years ago, you needed to wear special goggle and carry a backpack full of electronic kit to get the same effect that we are hoping to conjure out of the DSi game,” Mr Soderlund told his audience.
The game uses some very clever coding to break down and interpret the image the camera sees to ensure that the ghosts appear as realistically as possible in front of you.
“We wanted to make something believable,” Mr Soderlund said. “But because we can't do human beings convincingly on a DSi, we used ghosts. They're great because they can look like anything we want, and in a sense the vaguer they appear the more believable they are.”
Although the rather – ahem – dated nature of the DSi's inner working have caused problems, the biggest challenge facing the team is how to make the game worth playing for more than two minutes. In order to provide a minimum of six hours gameplay, Ghostwire will come packed with minigames and quests, with ghosts becoming more difficult to capture and talk to as the game progresses.
And the launch date for this madness? Halloween of course. When else?
Your writers
Nigel Kendall London
Murad Ahmed London
Mike Harvey San Francisco
David Hutchinson London
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