Thursday, January 9, 2014

CES 2014 Is Turning Into A Funeral For 3D

Journalists take photos of a Panasonic television with Panasonic “Life Screen” technology during the 2014 Consumer Electronics Show (CES) in Las Vegas, Nevada, January 6, 2014. Steve Marcus / Reuters
In the span of three years, Vizio has become the most important company in television. And this year, with zero fanfare, it got rid of 3D TVs across its current product line.
Vizio’s decision appears to be a unique one; 3D is still found in a large share of 2013’s most popular televisions, and will be present in many of 2014’s models, too. But it makes explicit what TV manufacturers have been gradually coming to terms with over the last two product cycles, as evident in their increasingly subtle marketing of 3D televisions: 3D wasn’t just a failure — it has become a liability.
Panasonic, which admitted a year ago that its massive 3D push “hasn’t really worked,” has largely disappeared the feature from its new lineup. About 90% of Panasonic’ s 2013 range had some sort of 3D feature. Its 2014 lineup, announced today, has either substantially dropped 3D support or made it a secret: of its 14 new TVs, just three is branded as 3D.
CES 2010 was all about 3D TV, as was CES 2011. The next year, the industry’s hangover was setting in — by CES 2013, 3D had become fully commodified. It was included in TVs and simply listed as a feature. It was there because it had no reason not to be, not because anyone was asking for it.
In 2014, however, manufacturers are beginning to wonder if 3D is even worth an afterthought. Aside from the requisite glasses-free 3D demos (this year dominated by Dolby, in cooperating with multiple companies including Vizio), it has been largely banished from the big-name displays at CES. In big box stores around the country, its retail presence has been reduced to small stickers on display sets. When, for example, was the last time you saw a commercial featuring a family gathered around a sleek set donning a pair of clunky 3D glasses?
Elsewhere in the electronics industry, 3D’s vital signs are equally grim. Enthusiasm for 3D smartphones died before ever gaining traction. Sony, which almost singlehandedly promoted mainstream 3D gaming with a slate of PlayStation 3 games and even a PlayStation branded gaming monitor, not to mention its TVs and cameras, didn’t bother to include 3D support in the PS4, at least at launch. (It’s not present in the Xbox One, either.) 3D Blu-ray releases promise less and less each month; the calendar is clogged with no-name films and 3D remastered cash-ins. Avatar, released in 2009, amazingly, is still the best example of a modern 3D film.
Vizio’s decision to eliminate 3D entirely points to an unexpectedly sad fate for the feature, once heralded as the savior of an industry that has seen its margins shrink more and more by the year as unfamiliar “good enough” brands have appeared in stores, unflatteringly, alongside decades-old prestige brands. Vizio seems to be betting that 3D isn’t just seen as unnecessary, but as a waste and a potentially harmful bit of marketing. A TV with a 3D feature that you’ll never use is a TV that you feel like you’re probably paying too much for.
Rather than becoming a cheap standard feature on every TV, like motion-smoothing or surround sound, it’s possible 3D may be erased from the TV industry’s narrative entirely, at least until someone figures out a better way to do it.
CES, where 3D burst onto the stage, is the perfect place for its funeral.
Update: A Dolby rep emails: “To clarify, Vizio will continue to pursue glasses-free 3D technology, in collaboration with Dolby and Dolby 3D; Vizio is showcasing a Dolby 3D display at CES this year.”

What Video Games Would Look Like Without Outsourcing

John Gara/BuzzFeed
Last month, Michael Thomsen, writing for The New Yorker, sketched the rise of a ubiquitous but little-discussed practice in the world of video games: outsourcing.
Video-game makers were beginning to deal with the complexity and cost of their operations by relying on outsourcing—by using both temporary workers in the United States…people in low-wage developing countries.
Game Developer Research found in a 2008 survey that eighty-six per cent of game studios used outsourcing for at least one aspect of development. In 2009, Electronic Arts laid off more than twenty-six hundred employees; the C.E.O., John Riccitiello, said the company had overinvested in internal development and vowed to increase focus on outsourcing. “The high-cost locations have gotten so far out of line that the best we can do is keep a core design team there, and use support in other places like Montreal or South Korea,” he told investors at a 2009 presentation.
Game outsourcing involves delegating to studios in the global east and south a variety of development tasks, from 3D animation to character design. By far the most commonly outsourced job, however, concerns so-called “asset dumps,” the thousands and thousands of static, three-dimensional objects needed to populate a massive three-dimensional world.
These objects are usually mundane — ashtrays, trash cans, debris, the things that say “Made in China” in the real world — but are sometimes quite significant. It can be hard to suss out exactly what in each game comes from an outsourcing studio, and that’s by design; the point of these companies is to do heavy lifting for Western and Japanese developers without calling attention to themselves. But the Indian studio Dhruva, one of the oldest game outsourcing shops, has a public portfolio, and it reveals the nearly elemental degree to which some games are outsourced.
We took three games that Dhruva worked on, and, applying the company’s own descriptions of their contributions to the games, redacted all the visual information that came from India.

Sniper: Ghost Warrior 2 - 2013


From the Dhruva website:
Dhruva worked on environments, props and vehicles, essentially creating entire levels but without putting them together. The work was submitted in the CryEngine. Thanks City for an exciting project!

With outsourcing:

With outsourcing:

Without outsourcing:

Without outsourcing:
John Gara/BuzzFeed

Forza: Horizon - 2012


From the Dhruva website:
Dhruva created vehicles and environements for the game. We have happy to have a chance to yet again work with the folks at T10 and meet PG Games. Check out our work in the portfolio.

With outsourcing:

With outsourcing:

Without outsourcing:

Without outsourcing:
John Gara/BuzzFeed

Kinect Star Wars - 2012


From the Dhruva website:
With Kinect Star Wars, Dhruva embarked on an epic journey of handling over 4000 man days of work for the project including working on full levels, environemnt, architecture, foliage, vehicles and characters. It was a learning experience for us and we could not have done it without the patient help of our friends over at TRI and MGS.

With outsourcing:

With outsourcing:

Without outsourcing

Without outsourcing
John Gara/BuzzFeed
(Also, Dhruva’s language is somewhat unclear. If in fact they produced the environment and the architecture, as well as the character and vehicle models, then you’d be left with, just, um, lasers.)
John Gara/BuzzFeed
These three games — while AAA — may not top sales charts. But that doesn’t mean the heaviest hitters don’t outsource assets. As Thomsen reported, artists in Malaysia contributed work to Bioshock Infinite, and Virtuos, the Chinese giant, worked on The Last of Us. Next time you sit down with that game, consider this passage from a press release, and how your playing experience might have differed without outsourcing (the emphasis is ours):
Virtuos is proud to have created character art, environment art, and props for The Last of Us, including clothing for main characters Joel and Ellie.

I Nuked My Twitter Feed And You Should Too


1:00pm

5:00pm
Yesterday I did what for me qualifies as the unthinkable: I nuked my Twitter feed.
For the better part of five years, Twitter has been the dominant internet service in my life. It’s easily the most used app on my phone and probably responsible for 75% of my idle swiping and tapping. For work, it is absolutely essential both as a broadcasting platform and as a means to figure out what the hell is going on in the areas I cover. It’s the first thing I look at in the morning and often the last thing I check at night. I’ve been meticulously curating my Twitter feed for as long as I’ve worked in media. And yesterday, I systematically destroyed it all. Here’s why.
I’ve been involved on three distinct beats: politics, media, and tech. With each beat I added a different caste of follows. In some cases I went overboard, following obscure, entirely nonessential persons, brands, celebrities, news organizations, and a generous handful of very stupid parody accounts. I’d gone as high as 2,000 follows, but as of yesterday the number was at 1,838 accounts. It was entirely too many. Going into 2014, my feed had become intolerable. During big news days, my feed would move quicker than I could read it. Lately, Tweetdeck’s internet client began to fail me, lagging under the weight of nearly 2,000 constantly chattering voices. The noise had overpowered the signal. I found myself wondering, at times, if the signal still existed at all.
I’d joked a lot in the past about a “Great Reset,” but my envy for those with more manageable accounts — and perhaps more discipline — was real. I was nervous to knock down something I’d spent so long building, but gradually realized I had no choice. Twitter was too much, even when nothing was happening.

So I began:

I Nuked My Twitter Feed And You Should Too
There’s no reliable way to bulk unfollow, and besides, I wanted to savor the experience. The web client is the easiest way to go about this (on Twitter’s mobile every unfollow asks for confirmation) but it’s still a pain. The “unfollow” button isn’t very responsive to clicks and sometimes it took three or four tries to go through. This led to a lot of quick unfollow/refollow clicks, which would send a “Charlie Warzel is now following you on Twitter!” emails to friends, co-workers, family. It’s a process that seems intentionally designed to be frustrating and it’s a pretty good deterrent for bulk unfollows. Oh, and it took nearly three and a half hours.
The most surprising thing about the process is how genuinely hard it was for me. Scrolling through my following list was like unpacking the contents of a time capsule, or flipping through an old high school yearbook, before throwing it away. I was surprised I could remember the stories behind so many of the accounts I followed, as many of them corresponded to different moments in my career or different news events. Political consultants from my time in D.C. Police scanners and random Boston residents from last year’s bomber manhunt. And some rather embarrassing novelty accounts.

A few examples:

A few examples:
Severing these connections felt a bit like I was casting aside the corresponding memories as well. And, though it sounds dumb, there were even a few poignant moments. People I’d followed (some of which I knew) who were now deceased. I unfollowed them, knowing full well that I’d never follow them again — an unexpected last good-bye of sorts. Also, I had to unfollow my parents, which just felt kind of wrong. I then watched with a pit in my stomach as brands and news organizations slowly took over my feed.

And finally, at 4:48 p.m., it happened.

“You aren’t following anyone yet.” Yet! That’s not quite how I’d put it, but way to look forward, Twitter.

But then… a lot of weird stuff started to happen…

Once the purge was complete, Twitter immediately started treating me like a new user, placing a large “suggested follow” widget at the top of my now-barren feed. On mobile, Twitter tried to coax me to “follow 6 more accounts.” Even after five years on the service, offering up innumerable data points, Twitter seemed to know nothing about me. I asked it to forget, and as far as I can tell, it did.
Instead of past follows, the recommendation widget suggested the usual coterie of bland celebrities and brand accounts. A reset in the truest sense.
Second, even though I’d successfully unfollowed everyone, Twitter refused to clear my feed completely. It continued to feed me from tweets, without explanation, from one of my former editors, as well as Business Insider’s Henry Blodget. This is still happening, to my knowledge. It seems, in my case, there is no escaping Henry Blodget.
Brian Ries @moneyries
@nickrizzo @cwarzel shows me the only Twitter user you are following is @Reince.
Since I wasn’t following anyone, Twitter used the open real estate to house some promoted follows, like Reince Priebus. To anyone who bothered to look at my account, it looked like the Republic National Committee had sponsored my feed.
My stream, aside from the occasional Blodget tweet, was comprised entirely of my own material. This made the occasional sponsored tweet stand out even more than normal. Its subject matter was eerily prescient:
But the strangest thing of all was the feeling of isolation. My once-kinetic feed was now nearly static, but I knew that Twitter — my old Twitter, your Twitter, Twitter at large — was still happening around me. Last night, watching the BCS National Championship game — an event I’d usually follow along with on Twitter — I sent off a few errant tweets, without the benefit of context. I fired off my observations into the ether, unsure of their place in the rhythm and relevance of the conversation. It was like going deaf in the middle of a dinner party.
This Twitter experience — all broadcasting and zero listening — is shared with two other groups: robots and celebrities. I am neither, so Twitter became, for my purposes, rather worthless. It was only one night, but the silence was enjoyable. One or two texts aside, I hardly picked up my phone. I read more than I usually do. It was a brief forced respite from the minutiae of the nightly Twitter outrages and micro news cycles.
I was also rather lost. Before nuking my account, I was keenly aware of my tether to Twitter, but stepping away revealed just how much I depend on my feed. In the past 20 hours I’ve been disconnected but also disoriented. Not only do I not feel like I know what’s going on in the areas I cover and care about, but I also don’t know where to look to find it. I ambled about the internet for a while this morning, typing in URLs and following links. At one point I ended up at Yahoo’s homepage earnestly seeking news. The only tweets I saw were those that were emailed or messaged directly to me. It might sound overdramatic, but it’s an isolation that feels, for better or worse, very real.
That said, I can’t shake the feeling that anyone who relies on Twitter every day should try this. I’m slightly unnerved by the experience so far, but excited to start over. I nuked my feed, and I’m fine. Now it’s time to rebuild.

21 Google Book Scans That Bring Surprising Intimacy To The Digital Book World

A sweet child-painted drawing shows the subtle treasures hidden in books.
Throughout The Dutch Twins by Lucy Fitch Perkins (1911). Digitized April 7, 2005.

2. Even the images, simply titled “Employee’s Hand” look like eery pieces of pop art.

Even the images, simply titled "Employee's Hand" look like eery pieces of pop art.
An Account of the Societies for Reformation of Manners, in England and Ireland by Josiah Woodward (1701). Digitized Jan. 24, 2011.

3. And the basics of the library books become oddly comforting.

And the basics of the library books become oddly comforting.
From the front matter of English Traditional Songs and Carols edited by Lucy Etheldred Broadwood (1908). Original from Harvard University. Digitized Nov. 6, 2007.

4. “The End” is framed by blotted ink marks.

"The End" is framed by blotted ink marks.
From p. 450, Female Piety: or, The Young Woman’s Friend and Guide Through Life to Immortality by John Angell James (1853). Digitized Feb. 13, 2007

5. “Distortion”

All from A Prognostication of Right Good Effect, Fructfully Augmented Contayninge Playne, Briefe, Pleasant, Chosen Rules (1555). Digitized Jan. 20, 2011.

6. “Digitization Equipment”

The front and back of Six Questions, Stated and Answered, Upon which the Whole Force of the Arguments for and Against the Peerage-bill Depends (1719). Digitized Oct. 17, 2011.

7. “The halo of a removed flower”

"The halo of a removed flower"
From The Ladies’ Work-table Book: Containing Clear and Practical Instructions in Plain and Fancy Needlework, Embroidery, Knitting, Netting, and Crochet (1845). Digitized March 17, 2008.

8. A map left folded.

A map left folded.
The frontispiece to An Autumn Near the Rhine (1818). Probably from Stanford Library, date of digitization unclear.

9. “Neon moiré”

"Neon moiré"
Throughout Alpha Portland Cement for Eternity (1913). Digitized Sept. 28, 2010.

10. “Frontispiece image transferred to the front page.”

"Frontispiece image transferred to the front page."
From the title page of The Mirror of Literature, Amusement, and Instruction, v. 13-14 (1829). Original from Princeton University. Digitized July 18, 2011.

11. “Marbled paper curls and peels”

"Marbled paper curls and peels"
From the rear cover of A Brief Account of Many of the Prosecutions of the People Call’d Quakers in the Exchequer, Ecclesiastical, and Other Courts by Joseph Besse (1736). Digitized June 22, 2006.

12. “Ghostwrist”

"Ghostwrist"
From p. 686 of Proceedings of the Institution of Electrical Engineers, v. 59 (1921). Digitized April 13, 2012.

13. “Employees Hands”

"Employees Hands"
Top: From Theodori Gaze Institutionis Grammaticae Liber Primus (1543). Digitized June 13, 2012.
Bottom: From De Anima by Oswald Coscan and Sebastian Model (1616). Digitized July 19, 2011.

14. A doodle left for those who make it to the end of the book.

A doodle left for those who make it to the end of the book.
The Principles of Advertising: A Text Book by Harry Tipper (1920). Digitized Oct. 12, 2007.

15. “Photographs of digitization equipment superimposed with cover and bookplate images, with neon glitch.”

From History of the Postage Stamps of the United States of America by John Kerr Tiffany (1887). Probably from Stanford University, digitization date is unknown.

16. “An employee’s fingers, a transformative gutter, and color samples.”

"An employee’s fingers, a transformative gutter, and color samples."
Index of Colours and Mixed Tints by Theodore Henry A. Fielding (1830). Digitized March 31, 2006.

17. The Eiffel Tower photographed through folded tissue.

The Eiffel Tower photographed through folded tissue.
From The Colour of Paris: Historic, Personal & Local, ed. by Lucien Descaves (1908). Digitized June 28, 2006.

18. A drawing of a young girl.

A drawing of a young girl.
From p. 98 of Poems for Children by Celia Thaxter (1884). Digitized Nov. 28, 2007.

19. And a drawing of a young woman.

And a drawing of a young woman.
From p. 326 of Simon the Jester by William John Locke (2011). Digitized Dec. 11, 2007.

20. A GIF of a stain’s depth, appropriately titled, “Stain.”

21 Google Book Scans That Bring Surprising Intimacy To The Digital Book World
From Mirth in Miniature: or, Bursts of Merriment (1825). Digitized Feb. 25, 2008.

21. And finally, an apt reminder who all books belong to.

And finally, an apt reminder who all books belong to.
The Following of the Star: A Romance by Florence Louisa Barclay (1911). Digitized April 18, 2008.

For more google book art, visit the Tumblr.

What Happens When A Finance Company Makes A Video Game

Ansarada is a finance company that makes so-called “virtual data room” software—a web client that allows the partners in a merger or acquisition to disclose confidential information as part of the due diligence process. I know, I’m bored too.
Next week, however, Ansarada launches M&ADE, which they are billing as the world’s first mergers and acquisitions game.
And if the trailer is to be believed, this game is better than cocaine.

It’s basically like living inside The Wolf of Wall Street.

What Happens When A Finance Company Makes A Video Game
20 million.

You’re gonna drive sick fuckin cars

What Happens When A Finance Company Makes A Video Game

You’re gonna sail sick fuckin boats

What Happens When A Finance Company Makes A Video Game

You’re gonna walk all badass towards a sick fuckin chopper

What Happens When A Finance Company Makes A Video Game
whushwhushwhushwhush

This game is epic. It’s where legends are made.

What Happens When A Finance Company Makes A Video Game

So like, what do you do in M@ADE?

So like, what do you do in M@ADE?
Robber baron muthafucka

So, it looks like you tap.

What Happens When A Finance Company Makes A Video Game

Like, tap on text.

What Happens When A Finance Company Makes A Video Game
neat?

You tap on text a lot tho

What Happens When A Finance Company Makes A Video Game
a game about lawyers and accountants

And then some check marks appear

What Happens When A Finance Company Makes A Video Game
so um well

And then you’re a legend. Celebrate




 

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