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Video: Porsche vs. Corvette prequel at the 12 Hours of Sebring originally appeared on Autoblog on Fri, 19 Mar 2010 19:55:00 EST. Please see our terms for use of feeds.

During my recent trip to India, I flew down to Bangalore for one reason: To meet N.R. Narayana Murthy. Murthy is the co-founder, executive chairman and former CEO for 21 years of Infosys, the first Indian company to go public on Nasdaq and effectively the company that began the $30 billion Indian IT outsourcing market.

Murthy’s idea was so successful that it quickly became controversial—not only within the United States where some Americans feel Indians are “stealing jobs,” but also in India where many are concerned about a tech economy that doesn’t make anything. I wanted to meet with Murthy, because in many ways he’s the best person to address what Indians at home and abroad are facing and where Indian entrepreneurship goes from here.

Here are a few highlights from our meeting:

His Day Job. Murthy thought he was stepping down from Infosys back in 2002, but he couldn’t fully let go. As such, he still works pretty much full time for the company, traveling to meet with customers and running a lot of the company’s mentoring and training programs. The more surprising aspect of his job: He personally signs off on the architecture of every building on each one of Infosys’ campuses that employ some 17,000 people around the world. The one we were sitting in was spread of eight acres and had some remarkable buildings, including one that looked like the Luxor casino in Las Vegas.

I asked why this was a top priority—after all, many Valley campuses are plush but from an architecture standpoint look about the same. He said when GE and other American multinationals were starting to come into his business everyone thought Infosys would lose the local talent war. So Murthy studied why people want to work at a particular place. One of the results was the comfort and design of the facilities. That was in 1994 when Infosys was designing the very building we were sitting in as we had this conversation. “I’ve been in charge of every building since– all over the world,” he says.

Hurting or Helping Local Entrepreneurship? Given exactly how plush Murthy and his colleagues have worked to make Infosys, has he indirectly hurt Bangalore’s entrepreneurship scene by making the risk of leaving so daunting? He smiled when I asked this and said, “We may have unwittingly. But I do feel like the spirit of entrepreneurship is alive and kicking in Bangalore.”

Further, I asked about Bangalore’s Zippo-flipping, free-spending generation of young techies who’ve graduated to a huge wave of multinational jobs that pay them far more than their parents ever made, in many cases more than the rest of their families combined. Murthy didn’t deny that that instant-gratification, “gimmie” contingent was strong in the city he helped build, economically speaking. But he blames the Internet and the mass-cross-pollination of Western pop culture, not the bigger paycheck from companies like his.

“We are moving towards a uniform, global culture with an intense competitive spirit and an intense desire for instant gratification,” he says. “But I have a firm belief that each generation is better than the previous one. The Indian entrepreneurs today are more daring than we were.” (This from a man who became a capitalist after after hitchhiking across communist Eastern Europe and getting thrown in jail for chatting up someone’s girlfriend on a train. “More daring” is a tall order, young Indian techies.)

Is India’s Tech Community Too Addicted to Services? Clearly, services has been a great business for Infosys and the hundreds of dollar-millionaires and even more rupee-millionaires that the company’s generous stock program has created. But a lot of Indian CEOs and investors complain that in most cases services-based tech businesses are a great way to get revenues quick, but not a way to build a huge, high-growth business. There’s a big question of whether India’s tech sector has a worrying lack of product-building know-how.

Murthy says it’s a progression. “India missed the industrial revolution, but Indians had intelligence,” he says. “We had to make do with pen and paper. We were always forced to look at the abstract. What is happening in India today is the creation of jobs. Let’s create jobs as long as they are legal and ethical, it doesn’t matter, as long as we make money. The time will come for creating products. I wouldn’t lose sleep over this. If we create enough jobs we’ll raise the confidence of the youngsters and they’ll create products.”

India’s Infrastructure. Here’s something it’s hard for even Murthy to be upbeat about: India’s shoddy physical infrastructure. Murthy has traveled the world and it’s frustrating that so much money has poured into the country he loves, and yet, the infrastructure is still so shockingly bad.

There is progress—Infosys for instance has benefited from a new overpass that cuts down on the drive to the campus by more than thirty minutes. (See!) But it’s not moving nearly fast enough, he says. “I don’t know if we will reach the level of the United States or China,” he adds.

Murthy gave a more nuanced explanation than the usual “it’s corruption” answer you get in India. He explained that 65% of India’s population lives in rural areas and 35% live in cities. And there’s such polarity between the quality of life that politicians have to appear to be doing more for the villages than the cities if they want to get re-elected. That leaves prosperous economic cities blighted by poor sewage systems, pollution spewing generators and beggars weaving through traffic tapping on car windows. “Different emerging nations take different paths,” he says. “In China, they chose to emphasize giving people economic freedom first and political freedom second. In India we chose the opposite path.”

Hurting or Helping US-based Indians? All you have to do is read the comments on one of Vivek Wadhwa’s posts to see the ugly, anti-immigrant, anti-Indian fervor that’s been whipped up in America, post-recession. A lot of it has to do with outsourcing. I asked Murthy if he felt his company and industry’s huge success has indirectly made life harder for Indian-Americans. He turned the blame on xenophobes like Lou Dobbs and grandstanding politicians who use the wedge issue to get viewers and votes.

But it’s an issue he has to address a lot. He answers it by saying every morning he gets up and gets a Pepsi out of his GE Fridge and drives his American car to work where he sits down at his Dell computer. India used to have companies that made soft drinks, refrigerators, cars and computers. But the American ones were better. Allowing them in hurt Indian workers in the short term, but provided a far better quality of life for a much bigger swath of Indians long term. He argues outsourcing has done the same thing for US companies. Greater efficiencies and cost-savings enables these companies to stay competitive and there’s no reason they can’t—in theory—plow those savings into better local jobs or job training.

This argument isn’t going to pacify hate-mongers, because nothing will. Murthy knows that too and while he regrets it, he seems to accept it as reality.

Advice for Entrepreneurs. Murthy has started a $170 million venture fund, so although he spends most of his time still at Infosys, he clearly cares about encouraging the next generation of entrepreneurs. He had two big pieces of advice for them. One, be able to articulate what you do in one sentence. If you can’t, you don’t have a good idea. And two, make sure the market is ready. Businesses are killed, not congratulated, for being ahead of their time.

Kevin Rushby thought he didn't get on with horses. But a two-day ride across beautiful countryside of Provence was the start of a new love affair

When the horses come down from the hill, I'm standing on the lane, wondering if there is any way to get out of what is about to happen. It's an impressive sight: the dozen horses, manes and tails in motion, all cantering through the forest, the dog barking at their heels. There were two patched and painted ponies, like Apache war steeds, a pair of dainty Arabs, dish-faced and bug-eyed, like they had pranced straight out of a Stubbs painting. There were a couple of greys and some big brown mares. The biggest brute will be mine, I thought – the one with the grudge.

Far below us, down 700m of mountainside, shimmering and hazy, was the Côte d'Azur with its white tower blocks, black cars and scorched skin. But we were no longer in that world; we were in a golden forest of field maples, oaks and scarlet sumac near the village of Sainte-Agnès, just a few miles north of Monaco, close to the Italian border. We were setting out on a two-day ride into the virtually uninhabited interior, our saddlebags stuffed with supplies and bedrolls.

Denis came past me, whistling, then shouting for the dog, "Avant, avant, Uxel! Allez, Juanita!" And the dog, a huge lolloping hound, was behind Juanita, one of the painted ponies, urging her down. I noticed that the dog appeared to know the horse's name, and thought, "Is that possible?"

I stepped back. My partner, Sophie, and six-year-old daughter Maddy were with Denis, catching horses by the manes, slipping on bridles, tying them up to a rope strung between two trees. But I stepped back.

I'll be honest. Horses and me never did click. A bite on the hand long ago, tales of terrifying injuries, cowboy movies where they get thrown and trampled and bitten and generally reduced to a bloody, quivering pulp, and finally the time in Sudan – I blush at the recollection – when I coolly threw myself up on a mule, and went directly over the other side into the dirt. If only the whole village hadn't been watching! Some of them laughed so hard they had to lie down. Gimme a bike any day. To add to my woes, Sophie and Maddy are comparative experts – and they look good in jodhpurs.

The night before, Denis had explained his methods. "I leave the horses out on the mountain – that way they get strong and they have the security of the herd. They got a pecking order and they got leaders. I work with 'em."

Denis Longfellow inspires confidence. Born in California in the 60s, he grew up surrounded by writers and poets (Henry Wadsworth Longfellow was an ancestor). In the 70s he moved to Provence and spent 10 years with the last generation of old-time shepherds: "They couldn't read or write, but they knew how to keep animals."

Denis has a direct simple animal psychology: "In Europe you got a lot of culture grown up around horseback riding. There's a guy two metres up there, looking down on someone, and he wants to make that seem mysterious and complicated. But it ain't. Horseback riding ain't complicated."

Now, here on the lane, Denis is about to show me how simple it is. He grabs the big brown mare – the one with the grudge, of course – and he grips the reins in one hand together with a fist full of mane and he says to me. "Hold her like this. Get a foot in your stirrup, then jump up."

I do it. The horse keeps steady. Denis positions my toe in the stirrup. "It's a natural position: feet underneath, basin ..." he points at my pelvis. "That's where you ride – in the basin. You can stand if you want, but keep your head down and butt up. Hold the mane with both hands if you need to."

Maddy and Sophie are up, too. Mel and Liz, colleagues of Denis, are up. The loose horses are milling, hooves clattering on tarmac. The dog, Uxel, is waiting for a signal. Denis jumps into the saddle. A piercing whistle. My brown mare, Mada, turns sharply right and pounces forwards after the loose horses. A cacophony of hooves explodes around me. A black horse bashes my knee. We're going downhill at a trot and my bum is being punched. Stand up. Grab mane. Horse's head starts to pump up and down as she breaks into a canter. Denis comes rattling past, cooler than a cowboy dude, leaning back like he's tootling a Harley D up Route 66: "Sit back. Use your basin. It's like making love."

I can't sit. I can't make love with my basin. I can't do anything but hold on. And yet that's cool. Denis is cool. "OK, basin up and head down," he shouts. "Like a jockey."

I'm laughing with exhilaration. We sheer away down a broad grassy footpath. Sophie is alongside me on her grey gelding and grinning. "Well?"

I can't stop smiling. "I – think – I – might – like – this ..." How come, I'm wondering, I never realised what fun this could be? And I haven't even thought about falling off.

After an hour we pull up by a tumbledown cottage where a man with a face full of furrows is waving a bottle of pastis. He pours me a stiff measure.

"You'll never believe what I saw this morning: a man with a knapsack and nothing else – naked!" He laughs. "I hardly see a soul up here, though it's just a few kilometres from the coast."

A curious thing about Provence is how the coast and the mountains have exchanged population: the coast was once an overheated pirate-afflicted zone that nobody wanted, while the cool hills were desirable – everyone lived up here. Now the population is all down on the coast, even though it's still overheated and pirate-infested (they sail in gilded mega-yachts these days), and the hills are silent: you would struggle to get a pétanque match together in most villages.

Riding through the sun-dappled forest, the only humans we see are a couple of mushroom collectors. We emerge at an abandoned coastguard station and a magnificent panorama. Behind us are the snow-capped Alpes Maritimes, ahead the sparkling sea and the mountains of Corsica on the horizon, 200km away. Westwards we can see Provence disappearing in ridges of blue and violet, while to the east are the mountains of Italian Liguria.

"I guess most kids in England learn horseback riding indoors," Denis says to Maddy.

She nods: "My horse is called Pippin. We go across the ring from A to C, then B to D. It's fun."

I think Maddy is missing the rule-bound predictability of the riding school, a place where correct clothes, posture and meticulous attention to detail are observed. She has coped with the intensity of this outdoor experience with remarkable sang-froid, but for her – truth to tell – the confidence nurtured in the riding school is indispensable here.

Lunch is laid out: tiny black Niçoise olives, cheeses, hunks of bread, a bottle of red wine, pasta and salads. We eat and talk, then some of us snooze. Later we trot onwards in the deep glow of late afternoon. Denis tells me how he breaks new horses in.

"There ain't no problem when they live in a herd. The young colts run with us and they see what happens with the older horses. When they're three years old, I put a bridle and saddle on them. I use hackamore bridles so there's no bit. They take to it real easy."

In a broad meadow we gallop about and round up the loose horses, whooping and yelling like cowboys on the range. It is both ridiculous and wonderful. That evening we light a camp fire, put some sausages on to cook, and watch the stars come out.

"If only I'd known riding could be like this!" I say to Denis. "No pomp – just relaxed."

My attitude to horses has, I admit, been damaged by exposure to a certain kind of horsey person: braying women in uptight clothes, red-faced toffs in white cravats, all wearing those foul black helmets with a ribbon on top. (I have to stop myself at this point since Maddy and Sophie love this kind of kit.) Denis, I scarcely need to say, does not wear any of that ghastly garb, favouring jeans and checked shirts with sunglasses under a baseball cap.

"A lot of guys come to it when they are older – thirties, forties, even fifties and sixties," Denis says. "There's no problem with age at all."

There is a commotion among the horses and Maddy goes to investigate. She comes back grinning sheepishly. "They're doing binki-bonki."

A torch reveals what exactly binki-bonki is: a grey gelding in an aroused state mounting a chestnut mare.

"Ah, that's Dodo," says Denis. "He gets in the mood every three or four months – no problem." He goes back to turning sausages on the fire.

Next morning we ride for about three hours and have lunch on a hilltop before heading back towards Sainte-Agnès, at 760m the highest coastal village in Europe. We unsaddle the horses and send the herd off into the forest, then sit down to an excellent dinner in the village restaurant.

Later that evening, I head out alone on to the rocks around the village. The trip has challenged my prejudice, and then surprised me by flipping it over entirely. The truth is that I was the one with the grudge, not the poor horse. I sit down on a spur of granite and look around. To the south are the bright lights of Menton and Monte Carlo; to the north is complete darkness, punctuated by the hoots of owls calling across the valley. And above, as if attempting to tie these two impossibly different worlds together, is the broad spangled belt of the Milky Way.

• France
• Provence
• Horse riding
• Family holidays
• Camping

Ahead of the release of Shank, which was met by protests from locals during filming, a look at some other location shoots that went bad

Question: if you peaked out your window, and noticed a ragtag gang of knife-wielding teens storming past, what would you do? Call the police, of course. That's exactly what residents of the Heygate Estate in Elephant & Castle did, only to find their estate was actually the film set of dystopian thriller Shank, where knife-wielding gangs roam free, starring Kaya Scodelario (Effy from Skins), Kidulthood's Adam Deacon, and oddly, Tim Westwood. "I can see," offered the director Mo Ali, "how residents might get the wrong impression".

Long gone, of course, are the days of parking your entire film in the MGM lot and making do with a plastic tree and the contents of the fire bucket to make Elvis look like he's in Hawaii. But with the credit crunch, more places than ever are eager to take the film companies' dollar. David Boice – who runs BeforeTheTrailer.com, a fansite that tracks location shoots – points out that previously unlikely locations are now tripping over themselves to give generous tax breaks and entice film crews, with Michigan leading the way. The result? "In the past year the city of Detroit has filled in for Washington [for Red Dawn]. Rather than filming 'on location', they just film where there's the best incentives."

Last April, the LA Times reported that LA-based location shoots had fallen to their lowest level since records began. Put another way: everywhere is anywhere now. But with more locations, come more problems. The films that have been protested about because of the nature of the film are too numerous to mention – from Brick Lane due to perceived prejudice against the Bangladeshi community to Basic Instinct, which, well, take your pick – anti-woman and anti-gay were the main ones.

But, like Shank, what about the effect on the locals? And what, more importantly, about the house prices? You can forgive the residents of London's Kentish Town (Zone 2, tube, nice pubs), for instance, for being concerned when filming commenced on Nick Love's hooligan film The Firm, as they prepared for a brawl scene involving 140 actors, stuntmen, extras, and with dire warnings of "noise and swearing". That wouldn't do. That wouldn't do at all. With Timmy listening! The locals protested, and filming was soon moved to Hackney. "Residents of Hackney were happy for the fighting to take place on their streets," reported a London freesheet, who declined to mention if the residents actually noticed the difference.

Still, brawling in the UK is one thing. When location shoots go global, it can be far worse. Of course, we all know the foreign shoots that went south – Terry Gilliam's aborted crack at Don Quixote, Coppola going cuckoo during Apocalypse Now – but at least those two can say one thing: they didn't bar people from the Almighty. Last September, Julia Roberts was on location near Dehli filming the Brad Pitt-produced Eat, Pray, Love, in which she plays a woman who finds God via food and Hindu spirituality. All well and good. The only problem was, no one else could find God, as their temple was shut. Villagers hoping to celebrate the beginning of Navratri – a nine-day Hindu festival of worship and dance – found their temple sealed by Roberts's security team, which featured the small matter of 350 guards, bulletproof cars, and a chopper. It was a security detail that essentially said: We have your God now. He's shooting a movie. And he's not available for comment. One villager threatened a break in: "I am going to barge in for the evening aarti [ritual]. Let's see who stops me. What is it that they are shooting that we cannot even enter our own temple?"

Of course, upsetting the faithful is one thing. But won't someone, please, think of the dangerous criminals. Not, it seems, Mel Gibson. For his latest, How I Spent My Summer Vacation, in which he'll star as a career-criminal sent to a harsh Mexican prison, 300 real-life inmates were made to relocate from their prison in the Gulf coast city of Veracruz this January to make way for the film crew, causing not just demonstrations by relatives, angry at having to travel further to visit their incarcerated ones, but a full-scale prison riot. "Mel Gibson, it's your fault they want to take away our relatives," read a banner of one of protesters, who clearly wasn't big on irony.

Yet if you can't find it in your heart to feel for the muggers and murders crushed under Hollywood's unfeeling foot, at least spare a thought for the prostitutes. When Ed Harris-starring drama The Third Miracle was filming in Ontario, Canada, in 1998, they unwittingly became the third consecutive production to shoot in the red light districts of Sherborne and Carleton, causing out-of-pocket street workers to protest about lack of earnings.

Yet sometimes, it's not even that their home has been disrupted, trampled on and destroyed. It's that they're not getting enough credit for it. When filming A Quantum Of Solace in the small town of Baquedano, Bolivia, local mayor Carlos Lopez took matters into his own hands by jumping in his car, nearly hitting two police officers as he sped through the barricades, storming the set, and coming to a skidding halt between Daniel Craig and the cameras. The reason? Bolivia was being used to represent local rivals Chile, and that wouldn't do at all. He was swiftly taken into police custody. But as for Bond himself? Not just shaken or stirred it seems, but, according to Lopez, a full-scale pants disaster. "He fled in terror!" he said after being released. "When he saw me, James Bond ran off!" 007, really ...

Still, protests from the locals are what you expect. While filming Australia – the Baz Luhrmann multimillion pound movie/tourist board infomercial – the protests came from closer to home. Extras were appalled when actors climbed upon a first world war memorial in the tiny town of Bowden during a cattle stampede scene, and lobbied to ensure the actors stood their ground and took the marauding 2,000lb beasts like men. Rumours that another memorial was needed for the fallen thesps are, as yet, unconfirmed.

There's even been the odd occasion where it wasn't the filming itself that caused the disruption, but what those filming asked the locals to do. When a crew was about to film aerial scenes for The Dark Knight in Hong Kong, they sent letters to building residents requesting they keep their lights on to present the city in its full illuminated glory. For six days. From 7am to 11pm. Unsurprisingly, they declined. "Producers are able to create the same effects through post-production," argued Gabrielle Ho at Green Sense, "but instead they are asking us to turn on so many lights, wasting so much energy."

Though there is one thing to be said about all these disruptions: they ended once the filming did. The crew of The Beach not only got permission to film in what was part of a protected national park in Thailand – Maya Bay on Phi Phi Le island – in 1998, but also to make it even "more" of a paradise, uprooting trees, removing natural vegetation that held the sand formations together, levelling sand dunes, and adding 100 non-native coconut palms. Fox promised to put everything back the way it was, but there was erosion, and in 2006 Thailand's Supreme Court upheld an appeal court ruling that the environment had been harmed. Still, Leo had had a look, and it seemed OK to him. "From what I see with my own eyes, everything is OK," the self-described environmentalist said in a statement. "I have seen nothing that has been destroyed or damaged in any way – I cannot tell you the reasons why people have been saying the opposite. It is beyond me." It's beyond us too, Leo. Those inconsiderate, unfeeling bastards.

Shank is out on Friday

• Julia Roberts
• James Bond
• Terry Gilliam
• Skins
• Mel Gibson
• Baz Luhrmann

Filed under: Etc., Government/Legal

Report: Disgruntled hacker disables 100 cars in Texas remotely originally appeared on Autoblog on Fri, 19 Mar 2010 17:31:00 EST. Please see our terms for use of feeds.

Last week we told you about how Chevrolet, a division of General Motors, was bringing an augmented reality (AR) marketing promotion to SXSW in Austin. Now General Motors is kicking it up a notch with some experimental technology that will bring the world of AR to car windshields and provide a heads-up-display (HUD) experience.

The new technology, still very much in the testing phase, uses an array of sensors which track both objects on or near the road, as well as the position and angle of a driver's head and eyes. By combining the data from these sensors, GM can then project images onto the windshield with lasers to help drivers stay safe when driving.

Sponsor

"Let's say you're driving in fog," says Thomas Seder, group lab manager for GM's research and development. "We could use the vehicle's infrared cameras to identify where the edge of the road is and the lasers could 'paint' the edge of the road onto the windshield so the driver knows where the edge of the road is," Seder said.

In other words, it would be like having a fighter pilot's HUD in your car, except instead of tracking the sky for bogies, your car tracks the road for possible dangers. The display works by coating the windshield with transparent phosphors which emit light when excited by a laser. GM says this is better for the driver because the entire windshield can be used to display information, not just a portion of it like current in-car HUD systems. The technology also includes the ability to recognize and read road signs and alert the driver to when they are driving too fast or if construction is ahead.

The company says that while this exact technology will not be in any cars in the near future, some of the features will start to be rolled into upcoming models. What this likely means is the transparent phosphor windshield will be placed in cars and used to display other HUD information, like speed, gas and other indicators.

The hard part of this technology doesn't seem to be displaying it; rather, the barrier is in the sensor work between tracking objects on the road and tracking the position and angle of the driver's eyes. Since it's much easier to simply display objects that don't rely on exact positioning for the driver's point-of-view, it's likely we'll see these additions before the true AR experience becomes a reality.

Eventually, however, GM hopes technology like this will make for better turn-by-turn directions and make it easier to find locations upon arrival. We've all heard our GPS systems say, "You have arrived at your location!" only to look around and not necessarily know where it is. With this new system, GM hopes they can solve the problem of "the last 100 yards" by displaying indicators of specific locations based on the sensor readings.

This certainly seems like the future of driving, but I wonder if it will be displaced by cars that simply drive themselves. If we can create sensors good enough to find the lanes in the road and nearby vehicles, why not just let the car drive it self and skip the HUD? Either way, its great to see AR taking steps forward beyond marketing and into practical application in a consumer space, even if it is years in the future.

Crashed web sites, stolen credit card info — imagine seeing the damage caused by Internet viruses and worms unleashed on a fleet of vehicles. The results could include vehicle location data used with malicious intent, the prevention of a plug-in vehicle battery from recharging, remote starting of a car, or even — as a disgruntled young former car salesman in Texas has demonstrated this week — stranding drivers with a car that won’t start and a horn that won’t quit.

Here’s what happened in Texas, as Wired and the Austin News report: A terminated employee from a car dealership called the Texas Auto Center logged into the company’s web-based system and was able to remotely wreak havoc on more than 100 vehicles. The dealership’s system is able to disable the starter system and trigger incessant horn honking for customers that have fallen behind on car payments. It’s meant to serve as an alternative to repossessing the vehicle, and the ex-Texas Auto Center employee, arrested Thursday on charges of computer intrusion, was able to set off the horn command at will and make it so drivers couldn’t start their cars.

Cars are growing ever more connected to communication networks, and upcoming generations of electric vehicles will take it a step further with connections to the power grid. Already, electric car makers have unveiled smartphone apps designed to let users to remotely control certain vehicle functions and battery charging. Down the road, we’ll likely see not only electricity flowing to cars from the grid, but also the flow of data between cars, the grid, home energy management systems, utilities and third-party service providers.

As Ford’s director of connected services Doug VanDagens told us recently (GigaOM Pro, subscription required), “For electric vehicles, connectivity to the web and data are “required over and above what gas engines require.” Apps can use data — about topography, traffic, battery and vehicle health, infrastructure availability, driving behavior — to help orient drivers in the nascent world of electric mobility, both in and out of their vehicle.

While these tools and technologies could help reduce fuel consumption, make electric vehicles more convenient, and enable utilities to prevent excess strain on the power grid as plug-in cars create new demand, that shift to an increasingly digital transportation system brings with it (as Katie has explained in the context of the smart grid buildout) one of the banes of the Internet: hacking.

The stakes, of course, are very different. Certainly nobody wants a virus on their PC. But the prospect of a hacker seizing control of some aspect of a car — a ton of metal capable of going 60-plus MPH, that costs tens of thousands of dollars, and that maybe has a battery in its belly that requires a sophisticated system of thermal controls – is a far scarier thought.

The potential consequences of cyber attacks on a digital power grid could be similarly frightening. Andy Karsner said back in 2008, when he was with the Department of Energy: “This isn’t the cyber-attacking that you think of just for passwords. This is the capacity to destroy hardware in your home, at airports, at military bases, your car, if its connected through the grid.”

We should note that remote immobilization systems like the one involved in the Austin incident have been in use for a decade or more, and yet we have not seen vehicles crippled en masse by hackers. But companies should realize this could be a sensitive issue among consumers, while both companies and regulators need to recognize risks that go along with the transition to increasingly digital and connected systems for transportation and power.

Image courtesy of Defragged’s photostream Flickr Creative Commons.

[‘Design Diversions’ is a biweekly GameSetWatch-exclusive column by Andrew Vanden Bossche. It looks at the unexpected moments when games take us behind the scenes, and the details of how game design engages us. This time -- how emotional design can make us think about not thinking about violence.]

Senseless violence in videogames is fun, but more importantly, it can also be intellectually stimulating and thought provoking. While designers and critics alike cry out for more depth in games, pathos is not the only path to artistic merit. For a medium that's constantly patronized, misunderstood, and derided even by its supporters, sometimes satire and irony is the best way to get a point across.

This is the philosophy of Grand Theft Auto: Vice City, as the most unapologetic of that series so lambasted by those who were the target of the game’s satire. The ultraviolent and candy colored Vice City is an excessively pink world in which violence is comical and cartoonish. Violence in this game is already highly desensitized. Pedestrians die, but after their bodies despawn the world will be back to normal as if nothing happened, maintaining the status quo like a TV serial.

It's the worst possible environment for a serious engagement with issues of violence, but it's a great environment to engage with how we depict violence. Most games take the opposite position of Haunting Ground, and are designed to soften, justify, or excuse violent actions so that players feel like heroes instead of murderers.

It's the same treatment summer blockbusters get. But unlike most of these media, Vice City goes a step further. This is a game that mercilessly skewers the groups most opposed to its existence, freely leaps into self parody, and satirizes the cultural attitudes towards violence that ultimately gave it form. By the end of Vice City it's clear that everyone from the mob to the talking heads on the radio are guilty of the same violence as the protagonist. No one in Vice City is innocent, and neither is anyone in the world.

How to Take the Sense Out of Violence

While technology makes blood and gore more realistic, game designers continue to construct this violence to minimize its impact. In the goriest of games (like Mortal Kombat) violence is there to thrill or disgust, not to inspire existential terror. Designers (and gamers) get excited over realism, but we want it for specific reasons. Despite how much we clamor for realism in graphics and physics, emotional realism actually gets in the way of enjoying games like Grand Theft Auto.

For this reason GTA4 has actually been criticized for being too realistic. GTA4 succeeded in its attempt to be more serious and taken more seriously, but it resulted in a different game experience--one that many fans hadn't been looking for and subsequently found in the much less serious Saints Row 2.

GTA4’s Nico feels more like a person than the caricature that is Vice City’s Tommy Vercetti, and for that reason it can be hard for players to engage senseless violence. Even the normal missions feel a little odd considering the sheer number of people you kill, creating a scenario in which the gameplay and story don’t quite mesh.

Abstracting Emotion

Trauma Center is an interesting example of a game that uses abstraction to eliminate squeamishness. This is a game inspired heavily by medical dramas with surgery-based gameplay. Medical dramas have a wide appeal; exposed organs do not. Surgeons and other medical professionals have to get used to blood and guts, but most people are pretty squeamish about that. Even the bloody fantasy violence of the average videogame can be less intense than the exposed entrails of a living human. Because of this, the designers went to great lengths to create a representation of the human body that wouldn't be grotesque.

Naoya Maeda, the lead 3D and event designer said on the Trauma Team web site that he came up with this abstract approach while thinking of how a surgeon would see the entrails. What's interesting about this approach is that the more realistic option may be less "true." In the game, the player is a doctor and revulsion is not part of the experience. In the same way, Tommy Vercetti attitude towards human life is pretty obvious from the way pedestrians are depicted.

A World of Mannequins

In violent videogames, it’s common to dehumanize the enemy so that players can feel justified in killing them. Zombies, robots, and aliens all serve their roles. With human opponents, it’s common to make them as evil as possible, which may be why WWII is the favorite FPS genre and Nazis the favorite foe. Ultimately though, the greatest tool for removing humanity is simply to leave them undeveloped.

The civilians in GTA don’t mourn, cry, or express themselves. Because they don't exhibit sympathetic actions, it's hard to empathize with them. They exist only to run screaming like Godzilla was stomping through the city. Vice City is inhabited by crash test dummies that respawn endlessly no matter how many times they die. It’s similar to watching Bugs Bunny gets blasted point blank with a shotgun: the next second, he's up and chomping carrots.

No matter how many times the player dies in GTA, or however many generic citizens he wastes, everything in the world will be respawning and back to normal in minutes. In this way, actions that would normally appear reprehensible loose all their emotional impact. If GTA was an accurate murder simulator, depicting the horror of real-world violence and murder with unflinching accuracy, the nightly news stories would have been about kids getting PTSD.

Sensitive Violence

If there is a flaw in this form of violence in videogames, it’s that it isn’t violent enough. It’s emotionally casual, designed specifically to not challenge the player’s feelings of empathy or guilt. Although it takes a lot of design work to make sure the player won’t feel sorry for the extras, seeing how many pixilated crash-test dummies you can run over isn’t emotionally challenging for the player.

Haunting Ground has a near-opposite outcome, but the design is obviously quite intentional. Compare GTA to the visceral Manhunt, and you can see that Rockstar is quite capable of creating an experience uniquely tailored to inspiring certain emotions. That’s a game that really does make the player feel like a murderer.

So Vice City is engineered for players to be as violent as possible without thinking about it. This is where a lot of game stop, having accomplished their purpose, and just let the player have fun. But Vice City fills the game with relentless satire, and this cleverness works in part because it's so violent. The result is a game about thinking about not thinking about violence.

Whose America?

The talk radio blabbering about videogame violence is underscored by the incredible violence perpetuated by the player. With Tommy Vercetti chaining rows of exploding cars and fighting everything from SWAT to the US Army, the irony of legislating against bleeding pixels isn’t lost on the player.

The jingoistic ads run by the game's gun stores unsubtly implicate that GTA is not the cause of America's attitudes towards violence, but a product of it. The entrepreneurial rise of the main character reflects a certain pulling-yourself-up-by-your-bootstraps-attitude that, along with this construction of violence, satirically constructs Tommy Vercetti as an ideal American.

Vice City is violent videogame about America’s attitude towards violence. Vice City came out after GTA 3, and it was born while the immediate reaction to that game was fresh in the minds of its audience and opponents. As the in game talk show parody unfolds, extremists from all sides fight over which vision of America to cram down the rest of the country’s throat while the player is laughing at them and having a grand old time.

While the guests on talk radio worry about fictional violence, their world is being blown up by the player on a regular basis. After mowing down the city in a tank, players may wonder why they aren't the ones being discussed on the news. Shouldn't they be thinking about real violence? Shouldn't the player? It's fun to live the American Dream as Tommy Vercetti, but is this bitter satire worth bringing to reality?

Even though Vice City goes to great lengths to create emotionally uninvolved violence, it wants the player to be conscious of how different this is from real world violence. At the time, the charge levied against the playerbase and the industry was that videogames confused the two. With the pitch perfect satire of radio pundits and activists, Vice City invites the player to think about whether the game is more damaging to society than the people trying to ban it. Rockstar has a clear agenda, of course, and stacks the deck in their favor. Even so, that’s a lot to think about for a game that’s not supposed to be about thinking at all.

Pathos certainly has its place in videogames, and it's certainly something we need more of. A GTA like game that forced players to confront the realities of murder would be an interesting idea. It couldn't work as a satire, and it wouldn't really be fun, but that’s just fine as it’s another way to engage the player. One of the great things about survival horror games like Haunting Ground is that they've proven that games don't necessarily need to be fun to be compelling.

But let's not underestimate Vice City just because it makes us laugh.

[Andrew Vanden Bossche is a freelance writer and student. He has a blog called Mammon Machine, which is updated less often than this message, and can be reached at AndrewVandenB@gmail.com]

Filed under: Motorsports, Lexus, Toyota

Gallery: 2010 Lexus LFA racer

Report: Akio Toyoda sitting out this year's Nurburgring 24 originally appeared on Autoblog on Fri, 19 Mar 2010 14:01:00 EST. Please see our terms for use of feeds.

What the crap? A French comic? Are the French even allowed to make comics? Aren't they too busy being snooty and smoking Gauloises and wearing inappropriate swimwear? Where do they find the time to make comics, anyway?*

Well, the French can do all those things as long as they keep making comics this good, I tell ya. West Coast Blues is a cracking good crime comic, not really noir but definitely a tale of bad people doing bad things to each other. It's also, oddly enough, very wryly humorous, in a way we don't often see in crime comics here in the States. It was a novel by Jean-Patrick Manchette in 1976, and in 2005, Manchette's old collaborator, Jacques Tardi, finally adapted it to comics (and then Kim Thompson translated it into English). Presumably, had DC's association with Humanoids continued, this would have been a DC book. As it is, Fantagraphics has published it in the States. Good for them!

The plot is deceptively simple, as for most of the book, we have no idea what's going and Manchette simply follows his main character around. We begin in the present with George Gerfaut, cruising around in his Mercedes in the middle of the night listening to West Coast style jazz (hence the name of the book - George digs the jazz!). After a few pages, we're introduced to another man, Alonso Emerich y Emerich, a Dominican of German descent who used to be in military intelligence. We have, initially, no idea what his purpose is, because we quickly get back to George, who is passed by two cars, one chasing the other. The first car crashes, the second car takes off, and George helps the first driver to the hospital. Then he returns to his house. A few days later, his family heads out on vacation. It takes us a few pages to realize that this is happening in time well before the opening scene, because Manchette doesn't give us any indication that we've flashbacked. That's okay, though - the transition between the "present" and the "past" is interesting because Manchette links them through George driving late at night. While we may be a bit lost initially, we quickly regain our footing.

George doesn't realize he's being tailed by two hitmen in the employ of Alonso, who goes by Mr. Taylor. Again, we don't know why they want to kill George (we can figure out it has something to do with the driver of the car, but we don't know what), but that's part of the fun. Because as the follow George to the seaside, the plot kicks into high gear. It's rather humorous - the hitmen can't kill George. Through, really, very little effort on his part, he manages to elude them. In their first attempt, he manages to grab one of the killer's balls, which of course tends to put him off. This attempt switches something on in George, and he abandons his wife and returns to Paris. The killers can never quite catch up with him, and when they do, he escapes again, killing one of them almost accidentally. Then he flees into the forest and ends up in the foothills of the Alps, where he's found by a slightly eccentric woodsman. And he simply stays there. He becomes someone else completely, learning how to be self-sufficient, hooking up with a woman, and changing his appearance by growing a beard. But the second killer tracks him down, and George ends up back in the world, ready to find out exactly why these two men were sent to kill him.

The fascinating thing about this story is the character of George. Actually, Carlo and Bastien, the two hitmen, are pretty interesting as well, but George is the central character, so he ought to be fascinating. As I pointed out, he doesn't escape from the killers because he's tougher than they are; he might be a bit smarter, but he's also really lucky. Manchette doesn't make it a ridiculous, corny kind of luck, but he does show that George happens to do things that throw them off the track without knowing he's doing it. This makes the pursuit rather odd and darkly humorous. The book is full of violent death, and it's definitely not a comedy, but just the fact that these two professional killers have such a tough time blowing away this rather inept sales manager makes it border on the surreal. Then, we think the book will be about George becoming more of an independent dude and less of a simpering whiner, as he's forced to live in the wild for so many months. But Manchette doesn't quite give us that, either. George is a complicated guy who realizes certain things about the way society is structured but still yearns for other things. By the end of the book, we're back on the freeway, but Manchette has made us see that George has changed, just maybe not enough that we would expect. West Coast Blues is, in my mind, very "European" in that regard - this is a broad generalization, but Europeans are more bound by history, both societal and personal, than Americans, so if this book had been written by a Yankee, it probably would have ended much, much differently. That it doesn't is a testament, I think, to Manchette's storytelling - he never takes the easy way out, even if George's fate might seem like he does. George has been affected by what happens to him, but in not so overt (American?) way.

Tardi's art is quite stellar, as well. He's amazingly detailed, but he doesn't pull any tricks on the reader - his work is very straight forward. He relies on very strong storytelling skills, as he simply takes us through George's story. We get a great sense of place from Tardi, either in the urban settings or, even more impressively, in the rural interlude George experiences. Tardi does masterful work with the characters, too - they look and move like people, stumbling when you might expect it, breaking bones when you'd expect it, acting like human beings. His best work might be with Carlo and Bastien, as George remains very low-key throughout (except for one brief scene). Carlo and Bastien, however, have a fun relationship, and Tardi helps with it. Manchette gives them good banter, but Tardi manages to portray their care for each other even as he keeps their faces impassive. It's a very verbose comic, but Tardi matches Manchette with panels that demand a great deal of attention - this is a visual feast as well as a literary one.

I suppose the only problem one might have with the book is its somewhat excessive narration, because often Manchette simply tells us what the pictures already do (and Tardi adapted it to comics, so why he didn't cut some more of it is beyond me). Occasionally, the narration is absurdly excellent - when Manchette lists all the weapons Carlo and Bastien have in their car, for instance, it's a comic mini-masterpiece - but occasionally, we can tell exactly what's going on and don't need to be told. Again, this is a comic adapted from a book into French and then translated into English, so there are many filters for it to go through. I don't have too big an issue with the words, but I should caution you that it feels bloated every once in a while.

Other than that, West Coast Blues is a very good crime comic. The fact that it has a slightly different sensibility than most American crime fiction makes it refreshing, and the fact that Manchette has a wry sense of humor about the material works well, too. And it looks great. And Ed Brubaker thinks Tardi is great. Dare you go against Ed Brubaker????

* Before you jump my shit, I'm joking. I am well aware of the long French tradition of comics, and cut my teeth on Asterix and Obelix before I had even heard of the X-Men when I was but a lad. Chillax, people!

Next: Can it be more Tardi? Well, of course it can!

Filed under: Motorsports, Hatchback, Volkswagen, UK, Racing

Gallery: AmD Milltek Racing Volkswagen Golf touring car

AmD Milltek Racing brings the Volkswagen Golf back to the British Touring Car Championship originally appeared on Autoblog on Fri, 19 Mar 2010 13:29:00 EST. Please see our terms for use of feeds.

Given how bad most people are at driving, I have to wonder why car companies keep giving us tools of distraction — ways to make phone calls when driving, to watch DVDs when driving, etc. Add to that list sharing your geo-location when driving. After adding real-time news headlines to the dashboard of its cars, BMW has added social networking features which can be accessed via the iDrive feature. You can even email your location and destination. Putting aside my snark hat, this feature could actually be useful as it can tell your friends and family where, exactly, you are — though at a cost of $199 a year.

Here’s how it works:

And now watch some stupid human car tricks.

Drivetm

Uploaded by luvnews. – News videos from around the world.

Photo courtesy of The Diesel Driver.

The first car equipped with Google’s Android mobile operating system will hit the streets this April 23. It’s called the Roewe 350, and it will launch at the Beijing Auto Show.

Roewe vehicles are luxury cars made by Chinese car company SAIC (Shanghai Automotive Industry Corporation) using technology purchased from British company MG Rover, which has been owned by both BMW and Ford in the past.

The 2.1 version of Google Android — the same that Google used in the Nexus One and Motorola Droid — is installed on the vehicle’s GPS computer. You can use the computer for directions and traffic reports just as you can with many other GPS devices. But it’s not all vanilla; you can also surf the web and engage in some form of Internet chatting. There’s no telling yet which chat service you’ll be using, but hopefully you won’t be doing it while you’re driving!

We haven’t heard whether or not you’ll be able to install apps from the Android Market yet. We also don’t know how the device connects to the Internet. The car will cost between 70,000 and 130,000 yuan, or about $10,250 – $19,000.

[via The Next Web]
[img credit: autohome.com.cn]

Tags: android, android 2.1, car, Google Android, gps, roewe 350

Filed under: Security

Disgruntled ex-employee bricks and "honks" over 100 cars using the web originally appeared on Download Squad on Fri, 19 Mar 2010 10:02:00 EST. Please see our terms for use of feeds.

Experts believe release of pent-up energy after such a long, hard winter could produce the most spectacular spring in years

Up in the plane and ash trees, all London's wildlife appeared hard at spring yesterday. Tail feathers were shaking along the Regent's canal, the first buds were bursting on brambles and honeysuckle and carpets of crocuses were delighting crowds in the grand royal parks.

But in the more egalitarian Camley Street natural park, just 100 yards from St Pancras station, there was still precious little sight or sound of a new season. A heron was spotted last week, a few tits were investigating the bat boxes but the grasses were dead, the hedgehog boxes empty and the newts absent.

It's been the longest, hardest winter the UK has known for 30 years, with twice as many frosty nights as usual, says the Met Office. Wales has barely seen a daffodil and vast swaths of countryside that should be green by now are still dull and grey after months under snow. But – shout it! - tomorrow is the vernal equinox, the official first day of spring in the northern hemisphere, when night and day are the same length.The release of pent-up energy could spur the most spectacular spring for years, but there have been losers as well as winners.

For more than a decade, ever milder winters have led to ever earlier springs, with daffodils and frogspawn found at Christmas and confused insects and small mammals stirring in January. But this year, says Matthew Oakes, conservation adviser to the National Trust, harks back to older times when British life, to all natural intents, began near the end of March. "The trend is to earlier seasons, but this is a slow, late, old fashioned spring," he said.

Oakes, who keeps meticulous records of nature's first sightings, says wildlife in London is well ahead of the rest of the country because of the "heat island" effect of 12 million people driving cars and heating their homes. "Outside London, everything appears incredibly late this year. It's the first year since 1996 that there have been no bumblebees in January. In the woods very little has been happening. The bluebells and wild garlic are putting up their first spikes and the primroses are just starting. There a little bit of green from honeysuckle and rose but the woods are really leafless.

"Rooks are only building their nests now. The bluebells this year will be very late, perhaps not in full flower until mid-May," he adds.

Oates's predictions were echoed by Steve Marsh, a conservationist with the Woodland Trust, which has up to 40,000 people recording the arrival of the seasons and posting sightings on the web. He said: "This has been an exceptional season. We've only had one blackthorn in blossom so far, yet usually we would have 1,000 or more sightings by now. There have been only 10 recordings of coltsfoot when we would have expected hundreds. And it's the same with celandines. Normally we would see them now right across the UK, but this year there has been sparse coverage in the south and midlands and almost none reported in northern England and Scotland". But he adds that even this year's "late" spring is early compared to 1970s. "

Among those celebrating, say conservationists, are galanthophiles - snowdrop lovers - and those cherishing bats, who can expect a bumper year because the baby mammals thrive in a hard winter with its deep, refreshing hibernation. Equally, Jack Frost may have stopped some pests in their tracks, including the parasitical sturmia bella fly which has nearly wiped out tortoiseshell butterflies and the midge that can spread the bluetongue virus among livestock.

But pity the very small birds, says Paul Stancliffe, of the British Trust for Ornithology. "We don't know for certain yet what effect this winter has had on bird populations, but other bad winters, like in the 1940s and 1960s, really hit small ones like the goldcrest and the wren very hard. This winter will almost certainly have had an [adverse] effect on them. Frozen water and plummeting temperatures may have also severely reduced populations of birds like the kingfisher and heron, who have had less water open water to feed from."

But the growing British habit of feeding garden birds will certainly have helped, he says. "We spend £200m-300m a year on bird food. That will have seen many birds through the harshest months."

On the wing, there are further signs of winter easing its grip. Scientists in Ghana this week reported great flocks of swifts heading north and the first swallows and wheatears have just arrived in southern England from equatorial Africa after one of nature's greatest annual journeys.

"The migration is well under way," says Stancliffe, whose records suggest we can expect great numbers of swallows, swifts, willow warblers, ring ouzel and housemartins to arrive in the next few weeks.

"The early birds are taking a gamble. If we have had an early spring they get the best choice of nest sites and mates. But in a bad winter, like this, they could be in trouble. Next week we should get a rush of migrants. If this milder weather persists then they will have timed it right. All they need now is a rush of insects."

"It's all about to explode," says Oakes. "It could come with a bang and be one of the most spectacular springs in years. We've all – humans and wildlife – suffered a lot. We all need the sunshine now".

What's thriving

· Snowdrops

· Crocuses

· Bats

What's not

· Daffodils

· Bluebells

· Bumblebees

· Kingfishers

• Wildlife
• Insects
• Birds
• Weather
• Plants

Read more of this story at Slashdot.

UYUNI, Bolivia--"Gray gold" may be the key to a future filled with hybrid or electric vehicles. That's because lithium is the most important ingredient in the batteries that power these cars. Even without many electric cars on the road today the lightest metal on Earth is more and more a mining target of multinational companies as lithium ion batteries power an increasing array of electronic gadgets. [More]

We love technology that makes us feel like we’re living in the future. Case in point: General Motors has been working with several universities to develop a working next-generation heads-up display that turns an ordinary windshield into an augmented reality information dashboard.

Such a system can improve safety and advance knowledge behind the wheel, visually identifying important objects in physical space like road signs and the edges of the road you’re on in conditions of poor visibility. It can even bring GPS functions right into the dashboard by outlining the exact building you’re going to. Check out a demo of the system in action below.

The HUD windshield uses night vision, navigation and camera-based sensors to gather data relevant to your surroundings as you drive, and ultraviolet lasers project corresponding images onto the windshield surface. GM says to look for this system being incorporated into its vehicles in the near future.

Would you be excited to have an AR windshield in your next car?

Tags: AR, Augmented Reality, cars, GM, gps, technology, transportation

The culture clash between social games and core gamers was on full display at GDC. I have been called a traitor to the cause of core gamers, even. At the awards show, when a Zynga rep claimed the social games award for Farmville and did a little bit of recruiting from the stage, he was not only booed, but someone shouted out, “But you don’t make games!” This is a common sentiment out there in the usual gamer haunts.

I have many many thoughts on all this — and I have been posting some of them in various places when discussions arise.

Yes, Farmville is a game. It just requires fairly little skill compared to games for “advanced” gamers. But by any reasonable definition of game, it fits perfectly.

You have to make choices (they are strategic choices rather than real-time, but so what? Games have a long tradition of slower play). The choices require knowledge and skill (the skill is what gets derisively called “spreadsheet gaming” by the cognoscenti, but that’s a brush that EVE Online and other MMOs have been tarred with too). You have to prepare for the challenge. You can screw up. You get rewarded for doing well, etc.

It may seem elementary to those who can juggle complicated business sims, but think of it as the training wheels version for novices to that genre, and you won’t be far off. I think people who didn’t play games in the early days forget that the level of complexity they enjoy today is a phenomenon of the last ten years, a symptom of typical genre development. Social games are more advanced than most of the games made from 1970 to 1988.

Yes, social games truly are social. They just work on somewhat different modes than real-time synchronous games do. Instead of rewarding real-time teamwork the way that group combat in an MMO, playing on a soccer team, or being a member of a chorus line does, they reward asynchronous behaviors.

Most specifically, there is a lot of exactly the sort of weak-tie social design that was intrinsic to Star Wars Galaxies and Asheron’s Call: stuff around gifts, networks of mutual benefit, etc. More, they are exploring some of these things in a deeper way than MMOs do (because MMOs fall back on the synchronous crutch). Which is more indicative of social ties, a user who logs in once a week for a raid, or a user who logs in every day to send every friend a gift? The answer is not straightforward, if you dig into social networking data.

Yes, it is arguably even an MMO. The core activity is single-player, but the features around gifting, fertilizing, helping build structures collaboratively, etc, are all massively multiplayer techniques. Oh, they are not yet truly virtual worlds, though some of them do feature real-time chat, and more will over time, because in many many cases it is a value-add of a feature.

Long ago, I posed the question of whether American Idol was an MMO. And in that post, I said

It’s surprising, in a way, how little collective action matters in most MMOs. Here’s a medium that allows it better than any other game type, and yet we still see fairly little collective action — and when we do, it’s raids — arguably, exactly the wrong sort of collective action to really play to the strengths of what virtual spaces can do, precisely because what MMOs offer is spaces with thousands in them, not spaces with a few dozen.

Well, here we are. Collective action is starting to matter in the social games, and it’s going to matter more, not less precisely because it is an assumed core premise of the genre.

No, social games are not what we think of as a virtual world. But as I said the other day, that definition is evolving.

Yes, social games make money. Do some Googling, people! And no, it’s not all from scams.Yes, there are shady practices. But not all games use them, and if they do, it is less every day as the market gets cleaned up. And even when they do, they are not the bulk of the money.

Social games are not just a fad. There have been a lot of comparisons to things like motion control, 3d imaging, and so on. But back in 2008 there were Gamasutra articles about whether retro-looking gaming was a fad; before 3d graphics got good enough, there were questions about whether it was a fad… the key thing to look at here is whether there are underlying technical and social factors that are pushing development in a particular direction.

In the case of retro looks (which are now a firmly established aesthetic), the answer lay in the somewhat complicated fact that a younger gamer sees all previous aesthetics side-by-side and does not judge their quality based on technology, the way that older gamers do. A push towards innovation and artistic intent in game design called forth the ghost of the 8-bit era, and the pixelated look became an identity badge. Tech helped this along — the rise of Flash as a common game development platform resulted in a “Flash aesthetic” driven by the display limitations that today we see in console games such as PixelJunk Eden and Patapon.

In the case of 3d, the march of technology simply made it work over time, and it evolved from gimmick to tool. This may yet happen with 3d displays as well, or motion control.

In the case of social games, you have to look at the overall context too. As I have been saying for quite some time, all games are becoming connected experiences. And it turns out that social networks are becoming the glue. They are sweeping away all the “gamer-only” networks that so many companies started.

The value in these networks lies in the connectivity to friends, the easy distribution of content across the social graph, the web accessibility, and so on. These are things that we now take for granted. The genie is not going to go back into the bottle.

Now, is the investment level going to change? Absolutely. The white-hot heat around the segment will definitely subside as everyone gets used to the fact that the market is here to stay.

No, social games won’t turn into core games. This is one of the misconceptions that AAA developers often have as they try to establish themselves in the market. It is absolutely true that social games are going to grow more sophisticated over time. But they will do so by growing further along the direction they have already been going.

If you look at the AAA game world today, you can trace just about everything in it to the early core gamer market. Video games got going with sports, dragons, robots, guns, jumping & climbing, and cars. Those were the first big ideas. And here we are now, decades in, and they are still the big ideas. Many other ideas have come along since, but somehow they have always been quirky, “outside the mainstream” — like, say, when Rollercoaster Tycoon, or Guitar Hero, or The Sims came along. The only way something like “playing house” can possibly be “outside the mainstream” is if there’s a subculture in charge.

Well, social games are here and they managed to get themselves established largely without reference to those tropes. As a result, they have a different set of starting premises. Many of the things that were “quirky” are “normal” and vice versa. Central design tropes  include cooperation rather than competition; asynchronous rather than synchronous play; social dynamics; and a very different set of core cultural references. There’s more.

What will happen over time is that this new audience will grow in sophistication. They already take for granted all of the elements of a farming game, for example. You can think of the farming game as equivalent to any other genre, and replete with design tropes that are exactly equivalent to conventions like WASD, hit points, skill point allocation, rocket jumping, and tank-nuker-healer, if you like.

All that is going to happen is a recapitulation of design history, only with a new of new assumptions embedded in the games:

• a far broader set of cultural references.
• a new and different set of core artistic choices driven by different rendering technology
• a fresh and exciting set of design paradigms built around asynchronous sociability and large-scale weak-tie “guild” structures — hoo, is there a design essay lurking in the difference between a guild and a neighbor ring...!
• a whole new set of business models and practices

What this boils down to is that social games will grow along those axes, and not magically turn into what core gamers today consider to be core games. It’s a mistake to think that the game development industry is going to manage to magically make this audience fall in love with sports, dragons, robots, guns, jumping & climbing, and cars.

But there’s hope for core gamers nonetheless: These games are the new home of “worldy” games, in some ways. And they are bringing neglected genres back to life.

Social games are going to push boundaries in design areas that are currently neglected. A renaissance in simulation and strategy games is likely, and I don’t think it is an accident that so many prominent AAA strategy game developers are in social games now.

If what you have craved is greater user agency and impact on a persistent world, a greater sense of community and economic interdependence — those are features that are intrinsic to this new market. As an example, I would point out that there was a core MMO game that many of the readers of this blog loved that had a farming game where you had to check in every few days to collect your stuff and decide what to try to harvest next. And it’s wasn’t Farmville. It was Star Wars Galaxies. In many ways, the features that were seen as oddest or least “gamer-like” in the worldy MMOs are going to be among core features in the social games: housebuilding, shopkeeping, farming, dancing, dress-up, even hairdressing. Right now, these are one-to-a-game. But one possible direction of development is that they not be.

I have thoughts on what all this means for the core games we know and love, but I’ll leave those for another day.