As the mobile version goes live for selected players, other publishers are worrying the success of Fortnite could cut into their profits.
It didn’t seem as if Fortnite had any more records to break, after overtaking PlayerUnknown’s Battlegrounds and becoming the most watched game on Twitch, but now it’s also the most searched for video game on Google – surpassing even Minecraft.
Fortnite also got more searches than the term ‘bitcoin’ and is now estimated to have been played by 45 million people worldwide.
This is of course great news for Epic Games, who confirmed today that invites to play the iOS version of Fortnite Battle Royale, have gone out to certain fans.
But analysts are worrying that the success of Fortnite means problems for other video game companies.
‘We believe the strong growth of Fortnite creates tactical risk to the video game publishers’, said analyst Evan Wingren, as reported by CNBC.
‘The game is gaining momentum in Western markets, which is likely to impact engagement for all AAA games to some degree. We believe Fortnite is growing the overall gaming TAM [total addressable market], but some cannibalisation is likely.’
Rather than forcing EA and Activision execs to eat their rivals, what this means is that other publishers are likely to make about 10% less revenue from their own multiplayer games – because everyone’s spending their time and money on Fortnite.
Fortnite only seems destined to get more popular though, especially considering the mobile versions haven’t even launched properly yet.
Footage of the game on iPhone and iPad is starting to appear around the Web though, and if you want to try and sign-up yourself the link is here.
To explain where the idea for the Nintendo Switch came from, Yoshiaki Koizumi puts his hand into his jacket pocket and pulls out a Nintendo-themed playing card, placing it on the coffee table in front of him. Look back 127 years, he continues, to Nintendo’s founding in September 1889. “Nintendo made playing cards,” says Koizumi, 48. As deputy general manager of the company’s entertainment planning and development division, he’s been one of the leading creative influences behind the Switch. “Playing cards are something that you enjoy eye-to-eye with another person,” he says. “Think about a deck of cards. It's something that is small, many of the games have rules that are easy to learn and people of all ages can enjoy playing them together.” For a deck of playing cards, his thought experiment goes, substitute a games console. The secret to Nintendo's innovation, he concludes, is simple: “It's not necessarily about technology.”
Nintendo’s philosophy for making games has often been counterintuitively low-tech. “A lot of the history of gameplay, up until this point, has been people looking at a screen, not necessarily seeing the facial expression and the body language of the person next to them,” says Koizumi. “So that became a very important, fundamental concept for us moving forwards on Switch: how to preserve that, how to bring people back to that kind of experience.” Whenever he attempts to explain Nintendo’s thinking with Switch, and its approach to game development in general, Koizumi comes back to playing cards: play anytime, anywhere, with anyone and always see how they react. “If I were to put it into incredibly simplified terms, we don't necessarily view this as a gaming machine, we view this as a tool for play,” adds Shinya Takahashi, 53, director and general manager on the same team as Koizumi. The word “play” – and its distance from the word technology – crops up a lot at Nintendo. In an interview with Edge magazine for the GameCube’s launch in 2001, Nintendo’s late president Satoru Iwata said the company’s ambition with its software was to “satisfy people's need to be happy.” The GameCube sold 21.74 million units to the PlayStation 2’s 155 million. The Wii, Nintendo’s next console, sold 101 million units to the PlayStation 3’s eighty-five million.
I meet Koizumi and Takahashi in a hotel room in South Kensington, London. Both sit on a sofa flanked by oversized, floral cushions, attentively listening to my questions in English before turning to an interpreter. Koizumi is the more smartly dressed of the two, the fringe of his hair swept carefully to one side, a Nintendo Switch lapel badge pinned proudly on his grey jacket. Takahashi, livelier and more excitable, fixes me with his gaze whenever I speak. “You've both worked for Nintendo for a couple of decades, is that right?” I ask. “Twenty-eight years,” says Takahashi, pausing to do some mental arithmetic. “Nineteen-eighty-nine!” he adds. “Nineteen-ninety-one,” chirps the ordinarily straight-faced Koizumi.
Takahashi and Koizumi’s curriculum vitaes read like a birthday wish list from my childhood. One of Takahashi’s first jobs was as a designer on Wave Race 64, he was also producer on Mario Kart: Double Dash!! and general producer on Dr. Kawashima's Brain Training. Koizumi was assistant director of Super Mario 64; director of Zelda: Ocarina of Time; Majora’s Mask; Super Mario Sunshine; Donkey Kong Jungle Beat; Super Mario Galaxy; Super Mario Galaxy 2; Super Mario 3D Land and Super Mario 3D World. The pair, with their combined half-century of service, have played a key role in shaping the company’s next big hope.
The joyous idiosyncrasies in the Nintendo games I played, and still play, are what make them stand out. Accompanied by countless others, I am the intrepid explorer in the worlds it creates. In 1997 I glided through the serene landscapes of Pilotwings 64, watching the Space Shuttle take off from a virtual Cape Canaveral on Little States Island. My childhood friends and I raced around the upper deck of Block Fort in Mario Kart 64’s Battle Mode. Galloping across the fields of Hyrule in The Legend of Zelda: Ocarina of Time, it felt like I was venturing out alone against an insurmountable enemy. At their best, Nintendo’s games have always had an intangible, brilliant weirdness. That happy knack has a lot to do with heritage, which is more keenly felt at Nintendo than other games companies. For Takahashi, who has spent his entire adult life building on that heritage, the feeling of pride is clear. His favourite moment as a developer remains the time he saw someone playing a demo of the first game he had worked on, a little-known SNES title released only in Japan. “To see their reaction, to see the joy on their face,” he says. “That's a memory that I'll always keep.”
Shinya Takahashi, one of the leading creative minds behind the Switch, has worked at Nintendo for twenty-eight years
Kiyoshi Ota/Bloomberg via Getty Images
The launch of Switch comes at a tumultuous time for Nintendo. Its debut smartphone game, Super Mario Run, was released in December 2016, five years after Iwata warned that doing so would cause Nintendo to “cease to be Nintendo”. In March 2015, as the company announced plans to develop games for smartphones, Iwata admitted it would be “a waste” not to. “It is structurally the same as when Nintendo, which was founded 125 years ago when there were no TVs, started to aggressively take advantage of TV as a communication channel.”
In 2014, it was Iwata, in collaboration with The Pokémon Company’s Tsunekazu Ishihara, who conceived of the idea of Pokémon Go, inspired by a Pokémon-themed April Fools’ Day gag on Google Maps. Launched on July 6, 2016, the game now holds the record for most revenue grossed by a mobile game in its first month ($206.5 million), most downloaded mobile game in its first month (130 million), most mobile app store charts topped simultaneously (70) and the fastest mobile game to gross $100 million (20 days). Nintendo owns a thirty-two per cent stake in the Pokémon franchise and an undisclosed stake in developer Niantic. Something, somewhere, had changed Iwata’s mind.
Iwata passed away in July 2015 at the age of 55. He wasn’t around to admire the record-breaking success of his collaboration, but his way of thinking still dominates Nintendo. “On my business card,” he said during a speech at the Game Developers Conference in 2005, “I am a corporate president. In my mind, I am a game developer. But, in my heart, I am a gamer.” Iwata, like Mario-creator Shigeru Miyamoto, composer Koji Kondo, GameBoy-inventor Gunpei Yokoi, Takahashi, Koizumi and many others, all got what it meant, and still means, to work for Nintendo. “Typically, you go to a programmer and tell them what you, as a designer, want to do. They then tell you all the reasons why you can’t do that,” Shigeru Miyamoto told The New Yorker in December 2016. “Mr. Iwata was different. He felt it would be shameful for him to say something was impossible.” It’s a cliché that listlessly flops out the mouths of many company executives, but Iwata’s sentiment feels different – and it all rests on the word “shameful”.
For Nintendo’s rivals, achieving the impossible is oft-linked to rapid growth and big profits. Nintendo is, at times, confusingly different. In a speech delivered in 2011, Iwata drew a clear line between his company and its smartphone competitors. “Their goal is just to gather as much software as possible, because quantity is what makes the money flow.” Nintendo, he implied, was different. That same year, Iwata finished the point he had started: “I believe my responsibility is not to short-term profits, but to Nintendo's mid-and-long-term competitive strength.” It’s an attitude that helps explain the company’s stoic response to its failures: Nintendo had expected to sell 100 million units of its Wii U console, in the end it shifted closer to thirteen million. The Switch must do better.
Nintendo's Yoshiaki Koizumi demos the Switch during its unveiling at an event in Tokyo in January 2017
The Asahi Shimbun via Getty Images
When it launches on March 3, the Switch will cost £280. Nintendo is releasing the two major day-one titles – 1-2-Switch and The Legend of Zelda: Breath of the Wild – with Konami’s Super Bomberman R, Activision’s Skylanders: Imaginators and Ubisoft’s Just Dance 2017 completing the line-up. Before the end of 2017, Nintendo will add Mario Kart 8 Deluxe, Splatoon 2, Super Mario Odyssey and ARMS, a new, fast-paced fighting game that makes full-use of the innovative Joy-Con. Fire Emblem Warriors, Xenoblade Chronicles 2, Sonic Mania and a clutch of other high-profile titles from third-parties will also be available before the year is out. As ever, Nintendo will be hoping a small selection of big names can help lift an otherwise lacklustre line-up.
In recent generations, Nintendo’s home console successes have tended to come in fits and starts: the Nintendo 64 sold relatively well, the GameCube poorly, the Wii was a runaway success, the Wii U a runaway failure. But, from Wii to Wii U to Switch, Nintendo’s thinking has become clearer. The Wii, with its intuitive motion controls, opened up play to everyone, while the Wii U’s tablet-like controller laid the groundwork for the Switch’s far more polished, portable design. Takahashi describes it as a “unified system”, a blend of handheld and home console, finally made possible by the technology available to Nintendo. “It just so happened that various technologies were coming together,” adds Koizumi “And we saw that we could combine them together to solve exactly that problem. And that, I think, was the real inception of the Switch.”
The careers of Koizumi and Takahashi, both arts graduates who have worked for Nintendo their entire adult lives, are typical for a company whose employees pride themselves on lifelong devotion. “We started just a few years before the N64 era,” says Takahashi. “When we were making that shift from 2D to 3D gaming with the N64, we were two of the main individuals within Nintendo who were really leading the designers and helping to draw them out of that 2D world and into 3D game design,” he adds, pausing thoughtfully. “To put it more simply, the two of us like doing new things.”
While much of the press attention, and Nintendo’s own marketing, has focussed on how the Switch is both a handheld and home console, Takahashi seems more enthused about the new Joy-Con controllers. The palm-sized red and blue batons, packed with accelerometers, gyro sensors, infrared cameras and no fewer than 22 buttons, promise both confusion and potential. Takahashi asks if I’ve played a 1-2-Switch minigame where you have to guess the number of balls inside the controller, an impressively realistic sensation created using HD rumble, another feature squeezed into the palm-sized Joy-Cons. It’s a seemingly inconsequential feature that, for Takahashi, could change the way people play games. For the first time, players are asked to play a game where they’re not meant to look at the screen. It’s a very ‘Nintendo’ idea.
Takahashi asks what other 1-2-Switch minigames I’ve played. I reply while miming milking a cow. He laughs enthusiastically. “You seem like you liked that,” he says, laughing again. Whether guessing the number of balls, milking a cow, having a Wild West shootout or unlocking a safe, all the minigames in 1-2-Switch have one thing in common: you look at the person you’re playing against, not the screen. “If you play 1-2-Switch you get a sense for what we were trying to achieve with the hardware,” Takahashi continues. “We didn't start with the idea of trying to create an integrated device that combined a home console with a handheld. Instead, we started with the idea of wanting to create a device that had a versatility of play that could appeal to as broad of an audience as possible.”
Nintendo’s games have always had the ability to turn us all into children again. When someone gets nostalgic about their childhood, I tend to warp-pipe back to a time of leaping plumbers, drifting go-karts and Pikachu electrocuting Captain Falcon. And as with any great creative work, a great game needs a soul. “Those of us who are working on the software side are always worried about one thing: how to get players to empathise with what they're seeing in the game,” says Koizumi when I ask about the role of emotion in Nintendo’s games. “We're always looking for ways to make different elements of the game the exact balance of surprise and empathy, which kind of play opposite one another to create that experience.”
The Legend of Zelda: Breath of the Wild, the Switch's most high-profile launch game, is also being released for the Wii U
Nintendo
For Nintendo, nowhere does that balance play out more than in Zelda, a franchise Koizumi has worked on for nearly two decades. So what can people expect from the latest instalment? “I think you're going to find a lot of elements that really bring it back to the very first Zelda game, in the sense that people will find puzzles as they explore and get to solve them,” he says, referring to Breath of the Wild. Previously, Link’s world was alive to a point, now it teems with weapons, secrets and foes. “It also brings in some new elements like this idea of a wild, natural world surrounding you and challenging you to survive,” explains Koizumi. That battle to survive is not just at the core of Zelda, but also a challenge Nintendo must face as it approaches the launch of its latest console. “In that sense this Zelda has a story to it, of course,” says Koizumi. “But the adventure is bigger than that, it's about the entire world as well. And that world is very wild.”
Despite the commercial ups and downs, Nintendo continues to innovate and surprise. “The source of our creativity, really, for the past thirty-to-forty years has come from the fact that we don't look at what other companies are doing and try to replicate their success,” says Takahashi. “The core of Nintendo culture is this feeling that if all we do is replicate somebody else's success, we'll never actually achieve the same level of success that they had.” That, continues Takahashi, is the reason for Nintendo’s reputation as a highly-secretive company. “We're so busy thinking about things that other people aren't doing,” he says, half-smiling. “We don't want to tell people what we're thinking about because then other people might do it.”
Parents – don't worry about your children spending all their time online playing games. It may actually be improving their performance at school.
That's according to new research from RMIT University in Melbourne, Australia. The institution found that playing games could help students in sharpening skills learned at school, and then applying them elsewhere.
Research was conducted by Alberto Posso, associate professor at RMIT's School of Economics, Finance and Marketing. Posso investigated data from the globally recognised Program for International Student Assessment, scraping the test results from more than 12,000 Australian 15-year olds.
Posso looked at tests covering maths, reading, and science, while also collecting data on students' online activities. Those who played online regularly saw sharp improvements in academic performance over those who did not.
“Students who play online games almost every day score 15 points above the average in maths and 17 points above the average in science,” said Posso.
“When you play online games you're solving puzzles to move to the next level and that involves using some of the general knowledge and skills in maths, reading, and science that you've been taught during the day,” Posso added. “Teachers should consider incorporating popular video games into teaching – so long as they're not violent ones.”
The integration of gaming and education is nothing new – educational games have existed almost as long as personal computers. However, recent years have seen the growth of collaborative, online learning experiences using the medium, with the likes of Minecraft having its own Education Edition.
Mojang
However, while gaming can have beneficial results, social media may have the opposite effect. Posso's research found that students who visit Facebook or other similar sites daily are actually more likely to fall behind in subjects such as maths, reading, and science – some as low as 20 points worse than those who never use social platforms.
“Students who are regularly on social media are, of course, losing time that could be spent on study – but it may also indicate they are struggling with maths, reading and science and are going online to socialise instead,” suggested Posso.
“Teachers might want to look at blending the use of Facebook into their classes as a way of helping those students engage.”
Posso does highlight that other factors could have major impacts on teenagers' academic progress though, suggesting that repeating a school year or skipping classes has a far greater negative impact than a Facebook addiction.
Real-world community divisions could also influence development to a worse extent than social media. The study found that “indigenous students or those from minority ethnic or linguistic groups” were at “greater risk” of falling behind than teens that engaged in high use of social media.
Posso's full research, Internet usage and educational outcomes among 15-year-old Australian students, has been published in the International Journal of Communication.
The following is a republished account written by Kate Hedin, who recreated some of Frank Lloyd Wright’s famous projects on the popular video game platform, Minecraft. Her work is known as Wrightcraft. This was first published on the Frank Lloyd Wright Foundation.
I started with one of my favorite Wright buildings: the Robie House, in Chicago. I had visited the house in person several times, and even took one of the multi-hour in-depth tours, leaving me with a whole album of photos from my trip and a memory of being in the space. Next, I did a bit of research online. I found blueprints and floorplans of the house, as well as additional photos from angles and locations I didn’t have access to on my trip.
Now came the task of recreating this structure in Minecraft.
One of the biggest challenges of building in Minecraft exists in the very premise of the game: every item occupies a one cube unit of space — there are no curves, no diagonals and no angles other than right ones. Furthermore, there is also a rather limited color/texture palette to work with. Though initially this set of fixed variables might seem restrictive, I found this type of problem-solving puzzle quite exciting.
I knew I wanted the build to be as close to scale as possible (rather than up-scaling it to gain a finer granularity of detail) — I wanted to actually be able to walk around inside the house. Reviewing the blueprints of the house and Minecraft’s set of fixed variables, I decided on two elements to help set my starting reference point: Minecraft’s “door” block and the height of your character in-game. From there, I was able to lay out an outline and get a sense of scale, and then I built up from there. The Prairie Style of the Robie House lent itself quite well to the block-palette of Minecraft, and I was quite pleased with how my first build turned out.
I enjoyed the process and the outcome so much that it sent me down the rabbit hole of wanting to recreate more and more Wright buildings. So, just as I’ve added Wright buildings to my collection by visiting them over the years, I’ve now begun literally adding Wright buildings to my collection — all inside this virtual space.
A Wrightcraft recreation of Frank Lloyd Wright's Hollyhock House | Kate Hedin
A Wrightcraft recreation of Frank Lloyd Wright's Home & Studio | Kate Hedin
Each house provides its own set of challenges and puzzles, especially with the limited palette of Minecraft. For me, that’s part of the fun: puzzling out how I can use these resources to create the desired effect.
A side-by-side of the original and the Wrightcraft recreation of Frank Lloyd Wright's Hollyhock House showing the exterior and pool | Kate Hedin
To see more of these builds, including steps in the process, as well as side-by-side comparison photos (actual photos of the houses next to their Minecraft counterparts), follow Frank Lloyd Wrightcraft on its website, Facebook, YouTube, and Twitter.
Top Image: A Wrightcraft recreation of Frank Lloyd Wright's Home & Studio | Kate Hedin
Minecraft is fast approaching ten years of being one of the world’s most popular games, with hundreds of millions of active players across all platforms. It has revolutionized the industry and has turned some of its most talented players into multi-millionaires. It dominates YouTube, is on the shelves of every toy store, and it even has its own Lego range.
Some people play Minecraft because it offers a lot of creative freedom; Minecraft has been used by architects and in schools as an educational tool. For others, it’s the adventure; such a vast world can be explored endlessly and provides hours of entertainment.
If you’re late to the party and have only just bought the game, you might not know where to start. The game drops you into a very vast world, and it can be a very confusing game to get started with. Each world is randomly generated from a string of numbers (known as a seed), so no two worlds are the same. Fortunately, once you’re armed with a few basics and a pickaxe, you’ll learn the ropes in now time. So let’s dive into the basics.
The 2018 beginner’s guide to Minecraft
Crafting
Crafting is central to the game, and is used to make all kinds of different objects from the materials you have. Each item in the game – such as a sword – has its own individual crafting recipe. For example, to make a stone sword, you would craft it like this:
Placing a stick below two pieces of cobblestone would make a stone sword. Swap out the cobblestone for wood, iron, gold or diamond to create different variations, diamond being the strongest and most durable.
Before you start crafting anything, however, you will need to build a crafting table, which is made from four pieces of wood. This is a very simple process and can be done as soon as you step foot into your first world.
How to build a crafting table
Locate a tree and then punch out some wood by holding down left-click.
Press the e key to open your inventory and select the wood, placing it into the four boxes next to your avatar. Four oak wood planks will appear.
Click the oak wood planks and drag them to your inventory. The original piece of wood will disappear because you have turned it into planks.
Then, fill the four boxes where you placed your original piece of wood with the four wood planks. A crafting table will appear.
Drag the crafting table to your hotbar (the single line of boxes) and then exit your inventory. The crafting table will appear in your hotbar and you can select it by scrolling. When it’s selected (i.e. it is in your hand), place it on the floor by right-clicking.
You now have a crafting table, which is a 9×9 area that allows you to craft anything in the game; just right-click the crafting table to use it.
It is important to know how to utilize the crafting feature so you’re ahead of the game when it comes to surviving your first night in Minecraft, because you won’t have long until it’s dark and monsters spawn. Speaking of which…
The first night
Your first night in the game is the hardest because you start with nothing. When you spawn for the first time, the in-game time is noon. You only have a short amount of time (ten minutes) to get a basic shelter together in order to survive. If you don’t build a basic shelter, you’ll spend your first night repeatedly getting mauled by mobs – not fun!
To survive your first night, you’ll need to grab yourself some wood to build a basic shelter and create some wooden tools, then hunt down some coal to make a couple of torches. Mobs (monsters) spawn in the dark; you really don’t want to create a shelter and then have a monster spawn inside it!
What exactly are “mobs”?
“Mobs” is the term used to describe Minecraft’s animals and monsters. Mobs can either be passive (such as sheep or pigs) or aggressive, and there are many different adversaries in the game that have the potential to harm you or destroy your creations.
Over the years, mobs have been a huge focal point for the Minecraft development team, and the number of mobs has virtually doubled. However, the mobs you should pay special attention to while you’re still finding your feet are the aggressive ones that can spawn in the Overworld.
Zombies are quite easy to fight; you just need to keep hitting them. Zombies will come after you if you get within a certain radius of them, and they can beat down doors. They are very slow and aren’t a huge threat, but a group of them can be deadly.
Spiders only attack you at night. These pesky monsters have the ability to climb walls, jump and move fairly quickly, though, like Zombies, they are quite easy to kill… most of the time.
Skeleton Archers are a serious threat even for experienced players. This very irritating monster carries a bow and arrow and has the ability to shoot you with it. As a result, these monsters can do damage to you from a considerable distance, and they are very accurate.
Creepers are perhaps the most widely known and most destructive of mobs in the game, especially when you are just starting out. Creepers explode when you get within a certain radius of them and can decimate small bases. It takes them a couple of seconds to explode, but they will chase after you, so just stay well away!
Endermen are the final mobs you need to worry about in the early stages of your Minecraft life. These tall, dark, and slender mobs may look pretty scary… because they are. Endermen are passive… until you look at them… and then you’re going to die, probably, because they have the ability to teleport away from and then back to you, attacking from a different angle. Just keep as far away from them as possible; you don’t stand a chance as a new player!
Mining
As you have probably guessed by the name “Minecraft,” mining is pretty much the most important aspect of the game. When you’ve survived your first night, have a basic set of tools, and know which nasty monsters to look out for, you’re set to begin delving underground and exploring the world beneath you.
The world extends down below the grass by around 100-130 blocks; it is here where you will find all the best resources, treasures, and loot. You’ll find iron, diamonds, and gold, with which you can create more durable tools; and redstone, which is Minecraft’s answer to electricity and can be used to make circuits.
Naturally occurring iron ore can be mined with a stone pickaxe and smelted into iron bars.
It is best to start mining below your shelter, because then you are safe from monsters and you don’t need to run through the wilderness to get home and risk being attacked by a monster. Don’t dig straight down, though, or you may fall into lava or a chasm.
The best way to mine is to dig in a stairway pattern; that way you avoid falling into deadly pits and have a clear pathway to get back home. No matter what method you use to mine, though, always make sure you have a plentiful supply of torches and food; it is dark underground, which makes it hard to see and is the perfect environment in which monsters can spawn and ruin your day!
It is easy to get lost in mining, and people often spend many hours doing it… it is quite therapeutic, and Minecraft’s ambient music only adds to this. Remain vigilant at all times, because monsters do spawn underground in pre-existing caves and dungeons… in fact, it can be just as dangerous below ground as it is above ground.
A ruthless online space game is stretching the boundaries of fun, telling us about ourselves and the wider potential of gaming
How does this sound for some gaming fun … or not?
You spend hours of computer gaming time building spaceships and learning a complicated combat system that requires working a spreadsheet. Then you fly into space where there are no rules, where you can’t trust anyone, and where you are likely to get blown up and stolen from by online gangs of bullies, potentially losing all you had invested hours in building.
No thanks, just pass me the remote.
But for over half a million people the massive multiplayer online space game EVE Online is right up there with their idea of fun. It is a gaming phenomenon that is now attracting serious academic study as it pushes the boundaries of what constitutes ‘fun’ for people. Its longevity and success is posing deep questions about what we want from games, what they can tell us about ourselves, as well as suggesting new avenues for applying gaming concepts to the real world.
It is the real sense of meaning that can be generated in otherwise frivolous virtual worlds that is key to EVE’s success and perhaps the wider applicability of gaming, says University of Melbourne human computer interaction researcher Dr Marcus Carter.
EVE Online promotes meaning by cultivating consquence. Video: Youtube
Unlike most online games, EVE, launched in 2003, imposes serious consequences for failure, and creates a harsh and cold environment where there is no reset. Once a player takes an action it can’t be taken back or replayed, and the impact can affect every other player in the game.
“EVE can generate an enormous amount of meaning because as in the real world every decision can only ever be made once,” says Dr Carter, who has edited the first book to examine the EVE world, Internet Spaceships Are Serious Business, published earlier this year.
“It shows the enormous breadth of ways in which games can be attractive to people. The appeal of EVE Online is completely alien to most people, but that is why I’m interested in it. It is a contrasting case that challenges how we think about virtual worlds and online communities,” he says.
In EVE, when players fight their space wars they risk permanently losing hundreds and even thousands of hours of game time that some will even have spent real money to acquire. For the players it is more than enough to focus the mind.
It encourages wholesale deceit and espionage that extends well beyond the game, including infiltrating off-game forums to sabotage competing alliances. Once there was even a plot by some players to cut the power to an enemy’s house in London to take them out of an upcoming battle. Sometimes players are forced to set their alarms for the middle of the night so they can get up in time to defend themselves against co-ordinated attacks launched from different time zones.
EVE Online forces players to work hard for their fun. Here a mining operation is underway. Picture: MrDog/Flickr
To protect themselves players band into alliances, some of which boast tens of thousands of players. The largest has 40,000 members, is led by one player named The Mittani, and is known appropriately as The Imperium. The hundreds of thousands of players have in effect evolved their own Star Wars and made their own stories, some of which have been compiled into a book.
real world conflict
And just as the game intrudes on the real world, the real world intrudes on the game. When Russia invaded the Ukraine in 2014 a group of Ukrainians players who were allied with some Russian players suddenly betrayed their partners and defected.
“EVE Online shows that negative things can be part of the attraction of playing games – that ‘play’ can involve struggling to survive in a hard, ruthless and high stakes world. People will question how it can be fun to be stolen from, to be lied to, and to be victimised. But for EVE players it is fun, and that is really interesting,” says Dr Carter.
Russia’s invasion of Ukraine caused EVE Online alliances to split. Picture: European Commission DG ECHO/Flickr
“By playing a game we are pursuing an emotional experience such as fun or excitement. But people don’t realise how often the experience we seek in games can be something other than frivolous, but something serious,” he says. “It suggests that gaming and virtual worlds can be highly effective in motivating people toward achieving goals whether they are personal or professional.”
The key to EVE Online is that the game takes place on a single computer server, distinguishing it from other massive multiplayer online games such as World of Warcraft that take place on multiple servers, putting the virtual world into compartments. But in EVE there is only one world with all 500,000 players in it. And the game designers have taken a back seat, leaving it to the players to create their own play and providing little protection for players from each other.
In such a world it is no surprise that players band together and that alliances are perhaps dispiritingly based on real world ethnicities and cultures. EVE players are overwhelmingly male, white and work in IT. But Russians band with Russians and Reddit users band with Reddit users.
It shows that social prejudice transcends the real world.
“In a game that forces you to trust people when you can’t actually trust anyone, it is no coincidence that players band together with people that seem to be like you,” Dr Carter says.
“It is depressing, but it is also comforting that perhaps this is simply what people are like and that the more we realise that the more we can think about what we can do to stop that affecting our societies in negative ways.”
The game also puts a premium on building social skills, says Dr Carter. He describes EVE Online as a form of “social combat” in which players learn to deceive and spot deception. Some players even report becoming more socially confident through playing the game.
In EVE Online, life can be short and brutal, forcing players to build trust. Picture: Dave B/Flickr
At the same time, the absolute dependence of EVE Online players on each other in a bleakly unforgiving environment means learning to trust someone is crucial to survival.
“It raises the stakes of in-game friendships because people have to be better friends in order to trust one another,” Dr Carter says.
How EVE Online encourages players to interact could have important implications for how we use virtual worlds and gaming ideas for other purposes such as teaching, learning and promoting social interaction for isolated people such as the elderly, Dr Carter says.
“By studying games like EVE that are on the boundary of what games can be, we can appreciate that the space for games is wider than what we may initially have anticipated.”
The tagline for the 1979 movie Alien was “in space no one can hear you scream.” But when it comes to EVE Online the screaming is audible … and worth listening to.
