CNET News reporter Ina Fried testing out Microsoft's much-heralded Project Natal.
(Credit: CNET News)According to a report issued by British games magazine MCV, Microsoft's much-heralded Project Natal hands-free gaming control system could hit store shelves as soon as November 2010 and cost as little as $50.
MCV said that Microsoft could launch Natal with a 5 million unit global shipment.
"This and other details have emerged following a behind-closed-doors Microsoft tour of U.K. publishers and studios," MCV wrote. Microsoft "has been demoing the tech and detailing its 2010 plans in order to spur more development support."
MCV also said that it had been told by a publishing source that Microsoft is "trying to get as close as possible to 'impulse buy'" with Natal.
The technology is considered very important for Microsoft as it seeks to differentiate the Xbox from Sony's PlayStation 3 and Nintendo's Wii.
The Seattle Times weighed in on the story by predicting that, "This is probably a preview of what (Microsoft CEO) Steve Ballmer and (president of the entertainment and devices division) Robbie Bach will disclose at the Consumer Electronics Show in January."
Microsoft did not immediately respond to a request for comment.
There are literally hundreds of banned Xboxes for sale on Craigslist right now in the wake of a decision by Microsoft to kick as many as a million players off of Xbox Live for illegally modifying their consoles to play pirated games.
(Credit: Daniel Terdiman/CNET)Update (5:45 pm): This story now includes a statement from Microsoft.
Want an Xbox 360 but don't care about playing online or taking part in any of the Xbox Live services? Then this is your lucky day.
Thanks to a recent decision by Microsoft to ban as many as a million players from Xbox Live for illegally modifying their consoles to run pirated games, there is now an absolute glut of "modded" Xboxes for sale on Craigslist.
And while a brand-new Xbox Arcade--the lowest-price version of the console--sells for $200 with no free games, it is now possible to spend as little as $100 for a used, modded Xbox that comes with a slew of hit titles. You just have to be willing to give up using Xbox Live and be OK with your new game collection including mainly pirated titles.
Running a search for "modded Xbox" on Craigslist's Bay Area site returned 35 listings from the past three days. A similar search on New York Craigslist resulted in 87 listings. And dozens and dozens more are for sale on other local Craigslist sites.
One listing promised a "banned/modded" Xbox 360 with a 20 gigabyte hard drive; 20 HD movies; and 13 games including Madden 2010, Call of Duty: Modern Warfare 2, NBA 2K10, and others.
"Everything works perfectly," the ad reads. "The 360 was treated better than I treat most people."
The ad also reminded potential buyers that, "since the console is banned, you will not be able to connect to the Xbox Live service. Therefore, this posting is for those of you who don't care if you can play online or not."
One Craigslist poster named Danny Cuccovia, a 22-year-old student from West Valley College in Saratoga, Calif., was actually looking to buy a modded Xbox 360, and despite the incredible deals available right now, wasn't interested in one that couldn't get him onto Xbox Live.
A gamer looking to potentially go pro, Cuccovia suggested that modded Xboxes are great because there is no end to the supply of pirated games and that sellers of those games put very realistic-looking labels on them.
He also said he was sure that many of the people selling their banned Xboxes on Craigslist were doing so because they want to get a new one.
That was certainly the case with Kevin, a 29-year-old from Manhattan's East Village who logged into Xbox Live a few days ago only to discover the bad news about his console.
"I logged in, tried to play a game online, and it said I had been banned from the service for violating the terms of service," Kevin, who wouldn't give his last name, said. "I cursed, put my controller down, cursed Microsoft, and then bought another Xbox."
But even though he bought another used console that was advertised as being unmodified, Kevin said that when he tried to log on to Xbox Live, he quickly discovered he'd been cheated: the new device had been banned, too. So on Tuesday, he bought another one.
"If you're interested in a modded Xbox," he said, "I've got one for you."
Interestingly, Kevin and another New Yorker with a banned Xbox, 16-year-old Muhummad Sheikh, both said that the ban seemed to apply only to the console and not to their Xbox Live accounts.
Kevin said that his account still works, and that he was able to keep all his achievements, but he lost all the saved games. "They've done something funny," he said. "They call it a corrupted profile."
For sellers like Kevin, the rush to sell their banned Xboxes in order to buy a new one is pitting them against dozens, if not hundreds of people in the same boat. That means that getting the price they want is going to be near impossible. Kevin said that he had originally asked for $175--with an available legitimate copy of Rock Band for an additional $50--but has now dropped his price to $150. And still he has no bites.
"Someone (offered to) buy it for $100," Kevin said, "but I haven't capitulated yet."
In a statement issued late Wednesday to CNET News, Microsoft suggested that players who buy used Xboxes should beware that the company doesn't necessarily stand behind the consoles.
"If you purchase a modified console second-hand, the warranty is not transferable and the purchaser assumes the risk for any previous modifications," the Microsoft statement said. "If you purchase a console that has been previously banned, you will not be able to connect to (Xbox) Live."
To Kevin, the fact that the consoles have been banned but players' accounts still work smells a little fishy since that means if someone buys a new Xbox, they'll be able to get right back into their Xbox Live account and pick up, more or less, where they left off. And that could well mean that for the Xbox Live obsessed, there's no choice but to buy a brand-new machine, especially since many of the other consoles for sale on Craigslist right now have also been banned.
"Well, the holidays are around the corner," Kevin said. "They know what they're doing when it comes to making money."
Update (5:50 p.m.): This story has been updated with a statement from Microsoft.
It's oh-so enticing: you find a copy of a brand new game like Call of Duty: Modern Warfare 2 on a pirate site and the temptation to download it is too strong.
Well, that temptation may have cost up to 1 million users of Microsoft's Xbox Live the ability to use that service. According to a report in InformationWeek, Microsoft has banned as many as a million players from Xbox Live for altering their consoles in order to play pirated versions of games.
This week, Activision's new Call of Duty was released, and InformationWeek speculated that because pirated versions of the game appeared on various sharing sites in advance of the release, the game's developer may have exhorted Microsoft to enact the bans.
"Xbox 360 consoles are equipped with digital rights management technologies designed to detect pirated software," InformationWeek wrote, "but some players have successfully 'modded,' or modified, their machines to circumvent DRM protections."
Even if someone has been banned, their Xbox will still play offline games, InformationWeek said. But it's not at all clear if the bans are permanent or if Microsoft will allow those who have been booted from Xbox Live to return at some point down the line.
In a statement Microsoft said its "commitment to combat piracy and support safer and more secure gameplay for the more than 20 million members of the Xbox Live community remains a top priority. All consumers should know that piracy is illegal and modifying their Xbox 360 console violates the Xbox Live terms of use, will void their warranty and result in a ban from Xbox Live. We can assure you that if an Xbox Live member follows the Xbox Live terms of use, purchased a retail copy of Modern Warfare 2 and played the game on an unmodified Xbox 360, no action will be taken."
And on the Xbox support page, Xbox Live Director of Programming Larry Hryb, aka Major Nelson, has addressed some of the circumstances that could lead to a player's being banned.
"Players who find their Gamertags banned from Xbox Live have wound up in that situation due to violations of the Xbox Live Terms of Use," Major Nelson wrote. "The Xbox Live team monitors players for not just cheating, but also for things like threats, racism, profanity, and just being an all around poor sport and ruining the game for others.
"When a Gamertag comes up as violating our policies for online behavior, the person who owns that Gamertag is punished by being banned from the service. Keep in mind, this isn't just a ban on a particular game. This is a ban on the Xbox Live service as a whole, so you won't be able to go online at all during your ban. Initially, you may be banned for a day, a week, or depending on severity, permanently! Kiss that $50 goodbye."
MOUNTAIN VIEW, Calif.--While I'm sure that many of the people in the room were familiar with prediction markets, I wonder how many of them had ever seen an active one up close and personal before.
Providing that sense of deep immersion, of course, was exactly the point of an exercise run Monday during a session of Singularity University's executive program by Melanie Swan, a Silicon Valley hedge fund manager. Swan, the principal of MS Futures Group, had tasked small groups of students with coming up with world-changing product ideas and then simultaneously had the students vote in an online prediction market looking at which product and team would be rewarded with the most faux-venture capital.
Despite the fact that some technical problems got in the way, the point was made: prediction markets, given enough active participation, are increasingly seen as an excellent way to arrive at the answers to any number of questions, whether it's sales figures, who will win presidential elections, or who will get the most VC funding. Indeed, the winning technology concept--a pill that could cure cancer--and team were accurately prognosticated by the market.
For the group of superstar achievers like the students in the executive program, this was but one piece of a meticulously constructed nine-day education that many hope will supplement and enhance already successful careers in a wide range of disciplines.
Other sessions included looks at the state-of-the-art in medical research from Daniel Kraft, an instructor in Stanford's cancer/stem cell biology institute, and Chris deCharms, the founder of Omneuron, a company working on new MRI technologies; future forecasting from Peter Bishop, the coordinator of the futures studies program at the University of Houston; a workshop in the future of medicine and biomedical technology from Stanford developmental biotechnology professor, Stuart Kim; and a talk by Harvard Law School professor and Internet law expert Johnathan Zittrain.
And that was all just on Monday.
Four start-ups emerged
Earlier this year, Singularity University (SU) ran its inaugural summer session, a nine-week program based at NASA's Ames Research Center here in the heart of Silicon Valley, aimed at giving the best 40 of more than 1,200 applicants a highly concentrated education in a series of exponentially growing technologies like biotechnology and bioinformatics; nanotechnology; AI, robotics, and cognitive computing.
For those students, who were chosen based on having demonstrated top-level academic rigor, entrepreneurial and leadership skills, an interest in global issues and who were seen as already being at the top of their chosen fields, the nine weeks were a marathon of long days and nights of lectures from world-leading thinkers, workshops in the technologies that could shape the future and group projects centered on coming up with ways to positively impact a billion people. Already, four start-ups have emerged from the summer session.
But now the first of SU's nine-day executive program is in full swing, and according to co-founder, X Prize Chairman and CEO Peter Diamandis, the goal now is to distill the best parts of the nine-week SU version and present them to the new students in a way that will be of the most use to them.
"The executive program is really focused on providing the information in a much more organized and digestible fashion for executives, addressing the issue of what's in the lab today and where is this going in five years," said Diamandis (see video below). "What is the key terminology that (the students) should know about these fields, what are the top ten breakthrough milestones that you should be watching out for, and, ultimately, how are these breakthroughs going to affect you, your company and your industry."
That's obviously a very ambitious mission statement, but for many of the 20 people lucky enough to be taking part in the executive program, Diamandis and his fellow organizers have succeeded in pulling together something very worthwhile, even as it is one of the most intense experiences of their lives.
"It's like taking medical school and boiling down four years into about four days," said Michael Gillam, a physician who runs the health care innovation lab at Microsoft. "That will give you a sense of the sort of depth of the material" covered during the executive session.
From the beginning, SU's founders--futurist and "The Singuality is Near" author Ray Kurzweil; Diamandis; and ex-Yahoo Brickhouse head Salim Ismail--had planned on the institution offering both the longer summer sessions and shorter, three- and nine-day executive programs. In the process of actually putting them together, though, Ismail said, the three-day version got scrapped for simply being too short.
Instead, the executive program's first group of students--20 people of varying ages and professions, half of whom are American and half international--arrived at Ames on Friday having paid the $15,000 fee, each in search of something a little bit different.
Sole focus is on tomorrow
For Gillam, the rationale for taking nine days off from work--he said he'd come on vacation from Microsoft since it would have been impossible to take part in the summer session--was crystal clear: to get a deep dive in the technologies that are coming screaming down the line at us.
"You can go almost anywhere today and hear about historical trends (or a) deep analysis of today," Gillam said. "But there's virtually no place where the sole focus is on tomorrow, and where we are going. That was extremely intriguing and what captured my attention."
For Peter Platzer, a currencies and commodities trader from New York, attending SU was all about having meaningful interactions with the diverse and accomplished group of faculty and staff and to get a better understanding of the kinds of exponential technologies that are being discussed there.
And according to organizers, some of the students, whose numbers include venture capitalists, entrepreneurs, CEOs, and government representatives, even came solely for the chance to meet, and potentially invest with, members of the start-ups that came out of the summer session.
Alumni network
Those potential relationships are possible because one of the things that's already developing at SU is a strong alumni network. That's evident at the executive program in the group of summer session graduates who have returned as faculty assistants--who also happen to be able to sit in on all the deliberations and discussions--and in the number of faculty who themselves have come back for more.
Diamandis said that there's no doubt that SU is fostering an ongoing network that is sure to benefit all who join. For example, he suggested that if, in the future, a graduate wanted to find someone who was a European robotics expert, they would likely be able to find such a person in the SU program. Because the executive program will be repeated in February and again in April, and the nine-week program next summer, there will only be more members of the network as time passes.
And as proof that SU graduates take their membership in that network seriously, Ismail pointed out that though it's only been two months since the summer students graduated, they'd already had a reunion.
To faculty member Dan Barry, a former NASA astronaut--and cast member of CNET News parent company CBS' "Survivor"--the main difference between the summer session students and those in the executive program is that while the former tended to be very smart people at crossroads in their lives and careers, the latter are very established in their respective businesses and are seeing how they can become aware of, and perhaps utilize, the future technologies being discussed.
Still, Barry said he sees more similarities than differences between the two groups. Both, he said, are "interested in technology and the future and are concerned about the state of the planet and the people on it."
For Barry, taking part as part of the faculty has been a refreshing change of course that, thanks to the "potential and excitement (I see) reflected in their eyes," has re-energized him professionally.
"When I talk with other astronauts...about space, we tend to talk about technical things," Barry said. "When I talk (to the students) it helps me to remember...what's spectacular about going to space."
This photo of U2 lead singer Bono, shot during U2's Rose Bowl show on October 25, by amateur photographer Bruce Heavin, was taken with a Canon PowerShot G11, and is representative of the high-quality pictures that ticket-holders can easily take these days at concerts and other events with point-and-shoot cameras. Note the people in the picture snapping their own images of Bono.
(Credit: Flickr user Bruce Heavin)At last month's huge U2 show at the Rose Bowl in Pasadena, Calif., how could you tell the difference between the professional photographers and your average amateurs?
Answer: the professionals were the ones whisked away after Bono and friends finished their third song, and the amateurs were still there, happily shooting to their heart's content.
Nearly every person at any show these days is going to have some form of camera with them, be it a point-and-shoot, an iPhone or some other camera phone, and it seems that there is almost no way to imagine keeping all those devices out.
That new reality is forcing an increasing number of bands to come to grips with the fact that they can't really control the images from their shows, and that, for the most part, they're better off letting fans cram Facebook and Flickr with such pictures anyway.
"It's an acknowledgment of the way technology is changing, and how much digital cameras have become a part of our lives," Rob Sheridan, the creative director for Nine Inch Nails, told CNET News. "Now that everyone has video and still cameras in their phones, and pocket digital cameras take HD video and great quality pictures, not only is it impossible to keep cameras out of shows, but it's fighting an increasingly uphill battle against what is now a cultural norm: people freely documenting their lives and the things they do to share it with friends and family."
In fact, the only people who may emerge frustrated from this new paradigm are the professionals. For those shooting with credentials, the phrase is "three songs and you're gone," said Bob Carey, the president of the National Press Photographers Association, meaning that pros are generally allowed to shoot from a designated "pit" near the stage during a band's first three songs, and then they have to leave.
Last month, I was one of those sporting a photo pass at the 96,000-fan U2 Rose Bowl show. And even as I was clicking away during those first three songs, I was acutely aware that there were hundreds of people even closer to the stage than I was, toting cameras capable of taking some pretty great pictures. Indeed, a quick Flickr search confirmed just that.
Little dynamos
Many of those fans--and thousands more throughout the Rose Bowl that night--were shooting with nothing more than a camera phone. And no one worries about the dissemination of images taken with devices like that. But some people were shooting with cameras like Canon's new PowerShot G11, a little 12.5-ounce, 10-megapixel dynamo much more than capable of producing professional images.
Shot with a press credential from the photo pit and with a digital SLR, this CNET photo is not all that distinguishable from the photo (seen above) by amateur Bruce Heavin, which he took with a Canon PowerShot G11, a point-and-shoot camera.
(Credit: Daniel Terdiman/CNET)So, while the professionals are being ushered out after those three songs, how is it that the fans are able to keep shooting?
The answer is camera policies in effect at concerts, which are almost always defined by the bands themselves. And conversations with people throughout the music industry make it clear that while there are no standard policies, and that the rules run the gamut from "anything goes" to "no pictures, please," artists today are increasingly tolerant, even encouraging, of fans taking all the pictures they want.
Look, for example, at the Nine Inch Nails Web site, which spells out the band's open camera policy, "inviting fans to capture the events with anything from a cell phone to a hi-def video camera." The reason is clear: "The results have been overwhelming, filling our own galleries with thousands of images and videos from every show, and inspiring a number of ambitious fan-sourced video projects within the NIN community. Some of those projects are starting to surface now, and we couldn't be happier with the way the fans have organized themselves and created some truly impressive work."
Further, Sheridan told CNET News, even the proliferation of pictures of the band's shows taken by fans hasn't hurt its commercial interests.
"Despite the fact that our fans take thousands and thousands of their own photos at each NIN show with whatever camera they'd like, we still sell prints of live photos taken by me through a Web site called frcphotos.com," said Sheridan. "This is presumably the type of thing that other acts would be trying to 'protect' by limiting photography at shows, but we've found that fans are still eager to purchase reasonably-priced professional prints, often taken at angles or distances that only someone working for the band would have access to."
Some artists are clearly concerned about fans' rights to take pictures, and go so far as to issue reminders when there are restrictions. For example, the indie rock due, Tegan and Sara, have sent tweets saying things like, "Hollywood Bowl restricts cameras that are deemed professional. This usually means cameras with a removable lens. So keep that in mind!!!"
And, of course, other rock stars are not at all behind the notion of fans taking pictures. Among those are said to be Prince, Kanye West, Bjork, and others. At shows by those artists, security is known to assiduously stop people from taking pictures of any kind, even with camera phones, though one wonders just how effective such policies can be.
Less anti-camera attitudes
But clearly, anti-camera attitudes are becoming less and less prevalent these days.
"It's something that artists have come to realize they have no control over," said Abe Baruck, a manager who works with big-name acts like Journey, Clint Black, and Peter Wolf. It's "more a realization that this is just the way people enjoy entertainment. They want to capture something for their own nostalgia (and it) just doesn't go anywhere other than for their own use."
That thinking is likely what is behind the restrictions on specific kinds of camera equipment at some shows, like U2's, and on professionals.
Even though millions of amateur photographers now own digital SLRs, there is still a mindset in the entertainment industry that anyone toting one at a concert is a professional and therefore should be limited in where and how they shoot.
That's why some bands, like U2, make a point of allowing fans to take pictures, so long as they stick to lower-end equipment. "Since 2001, U2 has openly allowed fans to bring cameras to their shows," reads the FAQ on the site U2tours.com. "Your camera, however, must be a point-and-shoot camera; DSLRs are not allowed."
"It's just a very simple calling card saying, 'I'm a professional media person,'" Philip Blaine, a producer with Coachella promoter Goldenvoice, said of photographers with digital SLRs, "'and I know how to utilize this media in a professional manner.'"
And while it's generally bands that are setting camera policies, some venues have also asserted control over what fans can and can't bring.
One example is the Hollywood Bowl, in Los Angeles. As evidenced by the tweet from Tegan and Sara, that venue imposes restrictions around certain kinds of equipment. A Hollywood Bowl spokeswoman said that that venue won't let ticket-holders bring in professional-grade equipment.
Professional sports seem to largely work the same way. According to NFL spokesperson Brian McCarthy, football fans are allowed to bring in any kind of still camera--though lenses are restricted to less than six inches long, for security reasons--they want. That policy is standard across the entire NFL, McCarthy added, and prohibits fans from bringing in any kind of camcorder.
The same basic policy applies to other sports, too. According to Nick Ohayre, a spokesperson for the NBA's Golden State Warriors, fans are free to carry and use cameras at basketball games, so long as they don't use flash and don't bring large, professional equipment.
But over time, as the technology improves, it may become more common and force sports leagues and entertainers to pay more attention to what's happening with imagery taken by the thousands of small devices fans bring with them to events, especially as the quality of pictures from those devices is often good enough for professional publication and licensing.
Some even think that band representatives need to do a better job of keeping up with what's possible in technology.
"I don't think they're aware of some of (what's possible) with new devices," said Carey of the National Press Photographers Association. "I don't think they've figured out the nuances of what point-and-shoots can do with photos and video."
But the increasing permissive attitude toward letting fans shoot whatever photos they please may simply come down to the realities of what it would take to do a serious search of every one of the thousands of people who go through an event's gates.
In the old days, said New York freelancer Lia Bulaong, if she wanted to sneak a camera into a show, she would hide its battery in her bra and then convince security she had brought her powerless camera into the show in order not to risk it being stolen from her car.
But in the last two or three years, she said, such subterfuge is pointless.
"No-camera policies just became extra ridiculous because pretty much everyone has a camera in their phone," Bulaong said. "Venues can't turn away camera phones and will never the capacity to check them in like they do coats and bags."
Plus, she pointed out, more and more, the bands want to incorporate the fans' phones into their shows.
"The one thing you will see at every concert now, regardless of the artist, is the moment when everyone has their camera phone out and the venue is awash in tiny lit up screens."
In a world in which Disney defines its brand and the content it releases under its own name as being aimed at the broadest possible audience, Mickey Mouse is known largely as a feel-good, happy-go-lucky cartoon character.
But that's not how Mickey was in the early days. Back in 1928, when he first hit the world stage, he was a very badly behaved mouse. And now, one of the best-known video game designers in the world wants to bring back a little of bit of Mickey's dark side.
And he'll get his chance to make that a reality. Warren Spector, the game designer behind the Deus Ex franchise, is working on a new game, Disney's Epic Mickey, which is being positioned, in part, as a "re-imagining" of Mickey Mouse.
Planned for a fall 2010 release, Disney's Epic Mickey will be an adventure-platforming game exclusively for Nintendo's Wii. The story is built around a world--crafted by the sorcerer from The Sorcerer's Apprentice--in which a series of forgotten Disney creations live, and thrive. Among those characters is Oswald, Walt Disney's earliest cartoon star. As the years pass and Oswald becomes bitter at Mickey's success, Mickey inadvertently destroys Oswald's comfort zone in the cartoon wasteland and he must face the consequences of what he has accidentally wrought.
"It's a game where we remind (people) that Mickey is a hero who solves problems by dynamically changing the world around him and deciding how to interact with the people and places and problems he encounters in this strange new world," Spector said.
In 2005, Spector formed a start-up, Junction Point, which Disney bought when it commissioned him to work on the Mickey Mouse game. "I've wanted to work for Disney forever," he said, "so that was not a stumbling point for me at all."
And because Spector is a lifelong Disney fan and animation "freak," everything came together in 2007 for him and his Junction Point team to take on perhaps the best-known cartoon character of all time. On Tuesday, Spector talked with CNET News about the project.
Q: How did you get involved?
Warren Spector: I was out pitching a near-future science-fiction game and an enormous epic fantasy role playing game, and my agent suggested we talk to Disney. They turned things around and asked me if I wanted to a Mickey Mouse game, and I told them no, because I don't do kids games and Mickey's been kind of a kid property for a long time. But they said, No, no, we want someone to bring Mickey to a gaming audience in a whole new way and make him a hero for the 21st century. Pretty much at that point, I was in.
What was it like to get a chance to re-imagine Mickey Mouse?
Spector: How often do you get a chance to work with the most recognizable movie star character property on Earth? That's an opportunity most people never get. There was pretty much no way I could say no. Mickey touches everybody, and none of us will ever meet a human being who doesn't know about this character.
What's the best-case outcome for this game, in your fantasy?
Spector: The best case is to change the way people think about Mickey Mouse. He's not just your 8-year-old kid's best buddy, or a character who teaches infants colors on Mickey's Clubhouse. He's a hero again. In his early days, he appealed to every body. From 1928 to the mid-1930s, moviegoers around the world, everybody, men, women, old, young, you name it. Everybody loved Mickey. And the opportunity to bring him back to that place, where he's not just an icon on a watch or a T-shirt, but is actually a character that people care about in a narrative context, or want to be, to look up to as a character whose skin they want to inhabit for awhile, Boy, I can't think of a better (challenge) for someone who tells stories and makes games for a living.
The logo for Disney's Epic Mickey.
(Credit: Disney Interactive Studios)
Why does Mickey need re-imagining? And why now?
Spector: There's these characters, like Mario and Link (from the Zelda games) and Sonic, and I don't know if it's true, but you've got to believe that those characters--who are three heads tall and cute and iconic--at some level were inspired by Mickey Mouse. So why shouldn't Mickey be at the top of the gaming heap? Mickey deserves to be at the top of the game hero pyramid.
What are some of the things you're doing to make this new Mickey recognizable for everyone?
Spector: I came into this with a pretty good idea of who Mickey was. I wanted to remind Mickey that it's okay to be mischievous and badly-behaved. For so many years, he hasn't been allowed to do anything remotely mischievous. But if you go back to those early cartoons, he was very badly behaved, and we've got to let him get back to that. And in his early cartoons, he was very cartoon-y, he squashed, he stretched. He could remove his tail and use it as a sword. That was the second thing. And the third leap was mischievous cartoon character made of paint. So we talked about what we could do if we gave Mickey control over the stuff that he's made of and let him paint and then use paint thinner to remove stuff.
Were there other things that were essential for bringing Mickey to this medium?
Spector: One major challenge was finding a look for him, especially a 3D look. With a couple of rare exceptions, Mickey's always been in 2D and the animators cheated all the time, with the way his ears work and the way his nose fits relative to the rest of his face. In 3D you can't do that, so I looked at the few previous 3D Mickeys and I didn't feel anybody had gotten it right. We went through probably thousands of concepts trying to find the right look.There are a lot of people at Disney who care a lot about Mickey Mouse, and so getting a look that people could get behind was tough. Rendering it in 3D was tough and then getting it to move like a cartoon character was a huge challenge and tons of fun, and you'll tell me if we succeeded.
Warren Spector, lead designer on Epic Mickey.
(Credit: Disney Interactive Studios)
How much control did you have and how much control Disney assert?
Spector: I was really worried about that when I first started on this. There are lines you don't cross with Mickey Mouse, OK? But the thing that surprised me was how far out those lines were and how obvious it is where the lines really are.
There are people who say, 'Oh, give Mickey a big knife and put a gun in his hand, and then I'll like him.' Well, come on, nobody's going to do that. And you're not going to make Mickey evil, you know? And when you have an icon, where any combination of three circles defines Mickey Mouse for most people on the planet, you're not going to make his head square. I'd say it was a pretty easily negotiated deal, creatively.
Talk more about where the story idea came from?
Spector: During a meeting with the Disney guys, they showed us a PowerPoint with the concept of cartoon wasteland, a world of rejected and forgotten Disney creativity. And the foundation was making Mickey relevant to a gaming audience and a modern audience. It was funny because I watched this presentation thinking, Holy Cow, this is phenomenal and the seed of an amazing thing. And then all the execs were saying, Oh, you don't have to use any of that, this is just our think tank's concept. And I'm sitting there, going, Are you guys crazy. That's a great idea. Why would I not use all of that? I just thought it was so funny because they were trying so hard to make it clear that I had all this creative freedom, and I was like, No, I don't want it, I want this as my starting point.
Can you tell me something about working with these famous Disney characters that would surprise us?
Spector: I think the thing that surprised me the most is how easy it is to get these characters almost right. It's like, drawing Mickey or any other character in the Disney archives, they are so well known and defined and recognized and have such strong personalities that getting them 90 percent right is very easy. But that last 10 percent that just nails them, that's really, really hard. And that goes for how they look, and how they act and how they move, which is one of the reasons why I was so proud of my animators. I didn't tell them to do this. They came up with this idea on their own, of going back to the old cartoons, and rotoscoping them. They took the old cartoons and took our model and rig and then duplicated classic 2D animation, and composited our guy into classic Disney 2D cartoons. When you couldn't tell if it was our model or the original 2D animation, that was when I knew we had it.
Why only the Wii?
Spector: At the beginning, it was supposed to be on all platforms. I remember vividly how nervous I was about that. The idea was we were going to do a Wii port and I was never comfortable with that because the Wii really deserves its own design, something that takes advantage of what the Wii does best. We were talking about this one day and (Disney Interactive Studios executive vice president) Graham Hopper basically said, What does it take to ensure quality? I said, you can never guarantee greatness, but you need enough time and money to be competitive and it helps if you can focus. A single platform would be great. And it was an easy step from there to, Hey, we should do a Wii exclusive.
What about the Wii "stalling?" Does that worry you at all?
Spector: Yes and no. I've been doing this for 20 years, and I've had this saying, That I just need to sell one more copy of a game than is necessary to get my publisher to fund my next one. So I'm looking at this as, I've got a responsibility to Mickey Mouse and to Disney, and if I do something really good, commercial success will follow. I've got to believe that. And once you start talking about painting, people's hands (on the Wii) just immediately start moving as if they're holding a brush. It just totally works. I think we're on the right platform.
Google Voice may not have made it onto the iPhone yet, but the service has still managed to attract more than 1.4 million users.
In a story posted Friday, BusinessWeek is reporting that Google Voice has grown to 1.419 million users, 40 percent--fully 570,000--of whom use the service every day. The information comes from documents in which Google responded to questions from U.S. regulators interested in whether the search giant is improperly blocking calls to phone numbers in specific rural areas of the country.
But while the information about the number of users of the service was included in the documents Google handed over, they were not meant to be made public.
"Though the number of Google Voice customers was redacted in the version that was made public, BusinessWeek reviewed the information in the redacted sections," BusinessWeek reporter Arik Hesseldahl wrote. "'We had intended to keep sensitive information regarding our partners and the number of Google Voice users confidential,' Google said in a statement to BusinessWeek. 'Unfortunately, the PDF submitted to the (U.S. Federal Communications Commission) was improperly formatted.'"
Hessedahl added that subsequently, the FCC has replaced the first letter on its site with one in which the information originally intended to be redacted has been blacked out.
He also reported that another since-redacted section of the documents suggests that Google intends to take its Voice service global and has inked deals with several "international service providers for inputs to Google Voice." However, Google said that no such international services have gotten off the ground so far.
That Google should screw up something so simple as PDF formatting is terrific, from a reporter's perspective. Surely however, its investors, board members, and executives are none too happy with the employee responsible for ensuring that the relevant passages of the documents were blacked out. But, as someone who may not have been too successful at such an operation myself, I shouldn't throw stones.
And in the spectrum of corporate secrets it would have liked to keep to itself, the number of Google Voice users is kind of small potatoes. Somewhere, Larry and Sergey are probably breathing a sigh of relief that that's all that escaped the faulty digital black-out.
So, word to the wise, corporate types: if you have to give the government documents that are going to be made public, pay a little more attention to the way you format your PDFs. A lot could hang in the balance.
People always talk about dog years, or cat years, but what about video game console years?
It's hard to know what that math is, but one thing is certain: Sony's PlayStation 2 turned 9 years old Wednesday, and it sure feels like the best-selling video game console of all time has been around a whole lot longer than that.
Yet even though we're already more than three years into the PlayStation 3/Xbox 360/Wii console generation, the PS2 is still going strong. Routinely, month after month, its sales are in six figures--146,000 in September in the United States alone, according to The NPD Group--and there's no reason to think the 485 (and counting) developers who have made games for the platform are going to stop any time soon.
The PS2 turned 9 on Wednesday. What's that in video game years, if dog and cat years are equal to 7 human years?
(Credit: Sony)In large part, that's because there are millions of people for whom the world-beating processing power of the PS3 and the Xbox 360, and the graphics-so-good-you-can-see-beads-of-sweat-on-sports-players'-bodies aren't worth paying several hundred dollars for. For $100, they say, you can get one heck of a good video game playing experience with a PS2.
It "still holds a place in my heart--there's so many great games with huge amounts of replay value," said Michael Steavenson, a public relations professional who bought his PS2 around 2001. "I'm not so interested in blazingly fast processing speeds, graphics that make games look like a movie, or uber-cutting-edge hardware stats. If the game is well-designed, fun to play, and provides me with a good emotional connection, I'll play it forever."
According to Sony, one out of every three U.S. households owns a PS2, and, worldwide, almost 140 million people have one. To date, Americans have bought more than half a billion PS2 games, and all told, nearly 10,000 titles have been released for the platform. Not bad for a machine that has earned the right to be living out its golden years sitting on a porch somewhere, smoking a cigar and grumbling about kids these days.
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The Edge and Bono perform before 96,000 fans during the U2 360 concert Sunday at the Rose Bowl in Pasadena, Calif.
(Credit: Daniel Terdiman/CNET)
PASADENA, Calif.--If you were one of the 96,000 people packed into the Rose Bowl Sunday night for the U2 concert--said to be the largest concert ever held here--you were sharing the experience with at least a few other fans off-site.
There's no way to know yet how many exactly, but it's safe to say millions of people around the world were also watching the concert live on YouTube, a potentially server-crashing Webcast that may have been the biggest live-stream yet.
For months, the band has been on tour with its U2 360 concerts. And to top off the grand claims, it has been called the biggest rock tour in history, at least as measured by the size and cost of its infrastructure--more than $750,000 per show, according to Rolling Stone.
Only days ago, the band announced that it would share the Rose Bowl concert live, with fans across the globe. Just before the band came on stage, a roadie calling himself Rocco got up in front of the crowd of 96,000 and said, "Tonight, you are the ones making history," shouting out that those in attendance would be joined by viewers in "North America, South America, Europe, Africa, Asia, Australia, and Antarctica."
For its part, YouTube wasn't sharing much about how it put together the live stream. Before the show started, there was some discussion among reporters on hand at the Rose Bowl about whether YouTube would be up to the task of delivering the show to so many people, live, on so many continents. But if Twitter is any judge, the live-stream went off almost without a hitch. More to the point, a Twitter feed set up on the official YouTube U2 page showcased comments in a wide variety of languages from Webcast viewers.
Back at the Rose Bowl, in an effort to rally the capacity crowd, the concert-goers were told why this show was chosen by YouTube: "Because right here is where the greatest singers of U2 songs are....Tonight, we need to hear your voices, and to hear you sing. Can you do it?"
In response, the crowd roared its agreement, and indeed, throughout U2's approximately two hours on stage, there were several emotional moments when U2 leader Bono stopped singing and let the audience take over the vocals. These were truly beautiful and awe-inspiring moments, as there is very little on Earth like the sound of nearly 100,000 people singing together.
Ironically, no connectivity
These days, you can find out what's happening at just about any event by turning to Twitter. But at the Rose Bowl, this wasn't the case. It turned out that there was nearly no connectivity, and so there seemed to be a dearth of tweets sent from inside the concert. Still, because the show was being watched by millions of people around the world, there is certainly no shortage of posts on Twitter about what was happening.
That's an ironic turn of events, though, and not at all what I expected. I thought there would be a steady stream of tweets emanating from the Rose Bowl, and I had expected to send many of them myself. Instead, this highly tech-centric concert was ground zero for a disconnected audience. We were truly "stuck in the moment," to quote one of U2's hit songs, though I doubt anyone wanted to "get out of it."
A YouTube representative did tell me prior to the show that the service was using 24 cameras to film the concert, as well as 24 additional closed-circuit TV cameras. Further, he said YouTube was offering its stream at three different qualities, so that almost anyone could watch, regardless of the speed of their Internet connection.
The YouTube U2 page with the stream of the concert, albeit a rebroadcast. But millions around the world watched the Rose Bowl concert live on YouTube.
(Credit: YouTube)Having YouTube produce such a major Webcast is fitting, given the size and scope of the U2 360 tour. Among its facts and figures are tidbits like this: the 360-degree stage--which allowed huge numbers of fans to watch from behind--featured a 90-foot-tall steel structure, topped by a center pylon reaching 150 feet in the air; the innovative video screen atop the stage weighs 54 tons, is 4,300 square feet when closed, and is 14,000 square feet when opened; the screen itself is comprised of more than a million pieces, including components to illuminate 500,000 pixels, as well as 320,000 fasteners, 30,000 cables and 150,000 machined pieces.
The incredible expanding screen
The video screen, according to information provided by the band's publicists, is "broken into segments mounted on a multiple pantograph system, which enables the screen to 'open up' or spread apart vertically as an effect during different stages of the concerts."
I didn't think I'd ever seen such a thing before, and it just about made my jaw drop when I noticed it. Already, the screen was a sight to behold, but it didn't seem all that big, especially when I thought back to what I'd seen the band do with video during its U2 3D film.
The U2 360 video screen featured an expansion system that allowed it stretch to a size more than three times what it is when closed.
(Credit: Daniel Terdiman/CNET)Well, it turns out I was right: I hadn't seen anything like this before, and neither had anyone else who hadn't been to one of the U2 360 shows.
"The video screen is the first LED screen to be based on a geometric system that allows it to expand in two directions simultaneously," U2 360 architect Mark Fisher told CNET News in an e-mail interview. "Video screens are normally flat panels that track like closet doors, or slatted panels that roll up like garage doors. The 360 degree screen uses a scissor-like motion to expand in two directions. It starts as a solid elliptical ring approximately 20 feet deep, and transforms into form a cone-shaped mesh 60 feet tall."
Fisher added that this is the first time such technology--what he called "transforming geometry"--has been used to "change the shape of a video screen."
And while Fisher said that, in general, the technology behind U2 360 isn't in and of itself new, the way it's being used during the tour most certainly is.
"The show employs a large number of computers and electric motors to control the motion of the screen, and there are large numbers of computer-controlled moving lights," Fisher said. "The video on the screen is also created using powerful computers that 'map' the picture onto the transforming screen. All of this automation and programming is possible because the computers available in 2009 and more powerful, and cheaper, than they were when we created the Vertigo tour in 2005."
Google Earth
Another piece of technology used for the tour--at least in a way that U2's fans can interact with--is Google Earth. Fisher explained that the stage's designers decided it would be fun for fans to see the huge structure on Google Earth.
"So we hooked up with the folks that run the operation, and they agreed to let us put 3D models of the stage into the 3D models of the stadiums where it plays," Fisher said. "The 360 degree stage is turned around in each stadium in six days (and) the models stay in each city on Google Earth for slightly longer."
U2 used Google Earth to give fans a sense of how the stage in its U2 360 tour was built. Here is the London site.
(Credit: U2)On U2's official Web site, the band explained what is going on with the Google Earth project: "If you're following the tour as it moves around...there's a very cool new feature on Google Earth--a model of the 360 stage, in situ, at the venue, about a week ahead of each show."
The site also explained that the model that fans see could be red, green or blue, with each color corresponding to one of three "steel teams" that "leapfrog each other from city to city to build the stage in each stadium."
Fisher also weighed in on the site with the real reason why the band chose to implement Google Earth: "We thought it would be interesting to put up on Google Earth a piece of portable architecture, which is what this structure is," he wrote. "In a way it's got no practical purpose...except that it's fun!"
At NASA Ames Research Center, in Mountain View, Calif., two K10 rovers navigate a lunar-like landscape. The K10 program is designed to help NASA do more advanced surveys and surveillance of the moon, and for the time being, the robots are being deployed in a series of similar environments across the planet.
(Credit: Daniel Terdiman/CNET)MOUNTAIN VIEW, Calif.--For a few minutes Thursday, as I steered one of NASA's K10 intelligent robots across a small field of rocky, sandy terrain, I could almost imagine myself piloting the rover across the surface of Mars or the moon.
Until, that is, I realized I had pretty much no idea what I was doing, and saw that my struggles to steer the rover forward were actually sending it backward. Given that this little robot is worth at least as much as a mid-range Mercedes, I was relieved to see the eagle-eyed scientist standing a few feet away from it as it approached a group of large rocks that could send it sprawling, a switch in his hand capable of stopping it dead in its tracks.
I was spending the afternoon at NASA's Ames Research Center here, talking with Terry Fong, the director of the Intelligent Robotics Group (IRG), about the K10 rover program--an initiative designed for remote scouting operations on the moon or Mars. To be sure, the program has been around for a few years, but Fong and his team are constantly tweaking the robots, and so what I got my hands on Thursday (remotely, at least) was a great deal more sophisticated than would have been the case just a few years ago.
We had driven out to Ames' faux lunar/Martian landscape, a 40-meters by 80-meters field of rocks and dirt tucked away in a quiet corner on the western side of the giant NASA facility. I've been to Ames many times, but this was by far the most peaceful part of the grounds I've visited: the shriek of a red-tailed hawk as it soared high overhead was the only real sound besides a gentle wind.
Fong took us into a small shed just outside a small trailer, and sitting inside was K10 "Red," one of the two rovers his team has here. It's called red because it has a big patch of red on its body. Its twin, K10 "Black" was nearby, already prowling around, lost in its own lunar fantasy, different from K10 Red only in that its body is black.
The two rovers (see video below, but be prepared for substantial wind noise) are built to travel at "human walking speed," Fong explained, and can handle between 90 percent to 95 percent of the terrain here. That includes some softball-size rocks, plenty of loose sand and dirt and even a few steep inclines. Fong allowed that some of the bigger rocks, maybe soccer ball-sized, might be a problem, and the steepest part of the incline might cause the rovers to lose traction. But in general, these are sturdy little robots built to withstand some truly out-of-this-world conditions.
According to NASA, the K10 robots are crucial elements of the space program's directive to achieve more complete investigation of the moon than was possible during the Apollo program.
"Human missions to the moon will provide numerous opportunities to advance the scientific exploration of the lunar surface," a NASA brochure about the K10 robots reads. "Initially, human exploration of the moon will be for short periods of time--no more than a few weeks per year. To make use of the time between human missions, robots can be used to perform highly repetitive and long-duration tasks, such as site-mapping and science reconnaissance.
"NASA's K10 robots are designed to be remotely operated on planetary surfaces and act as scouts for human explorers. Scouting is an essential phase of fieldwork, particularly for geology, to help establish priorities and scientific objectives. Robotic scouting can improve human exploration of the moon by providing mission planners with detailed ground-level information to supplement and complement data collected by orbiting satellites."
Imagine, in the future, the Constellation program kicks in and NASA begins sending manned missions to the moon. Fong explained that the K10s would be essential to maximizing the research that could be done in between visits by astronauts. Indeed, they could be left behind after one mission and then be deployed to gather intelligence for the next manned mission, data that could complement what NASA can see with instruments in lunar orbit.
And while the K10s I saw ran off of Lithium-Ion laptop batteries with a life of about four hours, Fong said K10s that stay on the moon could run on an ongoing basis on solar, or on power cells.
Continuous navigation
To look at them, today's K10s are unchanged since their introduction eight years ago. But pop the hood, as it were, and what you find is an ever-changing Red Hat Linux-based brain. Every few months, Fong said, he and his team replace the standard PC laptops that serve as the K10s nerve centers with newer and more powerful ones. Even considering what a top-of-the-line laptop costs, a couple new computers are pretty cheap compared to the tens of thousands of dollars' worth of lidar, navigational equipment, sun trackers--which allow the robots to figure out precisely where they are, an advantage over compasses when they're being used for field tests in far northern parts of the world--3D surveying instruments and more.
Fong said that while much about K10s remains the same today as in the past, one recent innovation has been building in the ability to process data on the go, rather than what was possible in early missions on Mars, where rovers had to stop, calculate, move, stop, calculate, move and so on. That means, he said, that now, K10s can make real-time navigation decisions, progress that means they can cover ground much faster than their predecessors.
A K10 mini, a one-fifth scale robot NASA's intelligent robots group has built.
(Credit: Daniel Terdiman/CNET)All told, explained Fong, a K10 robot is smart enough to figure out a path between point A and point B and determine which parts of the terrain it encounters it needs to skirt due to big rocks or other dangerous conditions.
In some cases, the IRG scientists will test the limits of what the K10 can do. Fong said that during trials last summer at the lunar-like Black Point Lava Flow, in Arizona, he and his team tweaked the K10s' algorithms so that the rovers would push on, despite confronting bush clusters that compute as rocks to be avoided.
"The robot says, 'Hey, it's rocks,' so we make it a lot more aggressive," said Fong.
Five football fields
One reason the K10s are so important to NASA is that they feature 3D laser scanners capable of surveying as much as 500 yards ahead and identifying and analyzing objects as small as pencil erasers. Similarly, the rovers carry downward pointing cameras that take very high-resolution pictures every few feet, images that can then be used to help the mission planners decide where and how to explore in the future.
Back in a lab at Ames, Fong reached into a large suitcase and pulled out what he called a K10 mini (see video below). This is a one-fifth size model rover that is an experiment to see what's possible on a much smaller scale.
The idea behind the mini rover, Fong said, was to try to understand what's possible with a robot that small. And while it's only the size of a small dog, he explained that its basic software was the same as its larger cousins, and was actually built up around the smallest Thinkpad laptop the IRG scientists could find.
And now, the IRG team is looking toward what's next for the K10s. And that, said Fong, is to determine how best to marry the rovers with human teams so that they can be used to support explorers instead of being autonomous. The Spirit and Opportunity Mars rovers were built to do everything on their own, the K10s can be employed for wide ranges of tasks that aren't efficient or productive for the folks in space suits. And not only that, but because the K10s can be mounted on the lunar exploration vehicles NASA expects to send its personnel around on the moon in, they can be used for research, surveying and exploration wherever the astronauts go.
But at the same time, NASA knows they have a great deal of utility as autonomous explorers, and on the moon, which is within reasonable striking distance of the Earth, there's even less risk involved than there would be on Mars with putting the K10s through rigorous paces since, even if one got damaged, the next manned lunar mission could come and fix them.
Of course, if you're part of the IRG team, or you're an astronaut trained in operating, or working with, a rover, you probably have a lot of confidence about what the robot's limits are. Why else would anyone trust you with such an expensive toy?
For me, however, clutching that joystick back at Ames, trying to get my K10 to go right, or hop over that little rock, every wrong move seems like potential catastrophe. I think it's going to be a while before anyone lets me play with one of those thing without having a guy watching every move I make with it, ready to push his big red button to keep me from sending it sprawling and costing taxpayers a Mercedes' worth of cash. And I'm OK with that.
