http://www.worthplaying.com/article.php?sid=24794

Quote:At 9:02 am local time on Wednesday, April 19, 1995, in the street in front of the Murrah building, a rented Ryder truck containing about 5,000 lb (2,300 kg) of explosive material exploded. The car bomb was composed of ammonium nitrate, an agricultural fertilizer, and nitromethane, a highly volatile motor-racing fuel. Timothy McVeigh, a Gulf war veteran, was arrested by an Oklahoma Highway Patrolman within an hour of the explosion after coincidentally being pulled over for having no license plate. At his trial, the United States Government asserted that the motivation for the attack was to avenge the deaths of Branch Davidians at Waco, Texas, whom McVeigh believed had been murdered by agents of the federal government. McVeigh called the casualties in the bombing "collateral damage" and compared the action to actions he had taken during the Gulf War. The attack was staged on the second anniversary of the Waco incident. McVeigh is thought to have modeled the bombing on a similar event described in The Turner Diaries, a white supremacist novel that was found with McVeigh when he was arrested.

The effect of the bombing on the city was immense. Beyond the death toll of 168 (including 19 children and one rescue worker), the bomb injured over 800 people and destroyed or seriously damaged more than 300 buildings in the surrounding area, leaving several hundred people homeless and shutting down offices in Downtown Oklahoma City. Over 12,000 people participated in relief and rescue operations in the days following the blast, many of whom developed post traumatic stress disorder as a result. The national and worldwide humanitarian response was immediate and overwhelming, as was the media response. The area was flooded with rescue workers from around the nation and aid agencies coming to assist the survivors, as well as hundreds of news trucks coming to cover the story.

Quote:AUSTIN, Texas - April 18, 2005 - The Game Initiative announced today that 250 executives from advertising agencies, game developers and publishers participated in the first annual Advertising in Games Forum on April 14, 2005 in New York City. The audience consisted primarily of advertising agency executives seeking to understand the market opportunities and expectations. Earlier in the week Massive Incorporated announced its game advertising network and IGN Entertainment signaled its entry into the advertising in games business.

A number of key facts, figures and estimates were provided to the audience by leading industry experts at the Advertising In Games Forum. Highlights include:

* The Yankee Group forecasted advertising in games is expected to rise to $800 million in 2009 from nearly $120 million in 2004.

* $266 Million, or more than one-third of advertising in games in 2009, will come from "advergaming," when advertisers create a game around a product rather than place their brands within a well-known title, according to Yankee Group senior analyst Mike Goodman at the Advertising In Games Forum.

* Mitch Davis, chief executive of video game ad network Massive Inc., told the audience video game advertising would top $1 billion in the United States by 2010, and approach $2.5 billion worldwide.

* There are 100 million game capable cell phones are currently in the marketplace. 65% of the population owns a cell phone. And the turn over or replacement rate of cell phones is every 16 months, reported Anita Frazier, Entertainment Industry Analyst, NPD Group, at the Advertising In Games Forum. Every cell phone being sold on the market today is game capable. So within 16 months all cell phones in the marketplace should be game capable.

* The top selling 2004 game titles according to the NPD Group: 1. Grand Theft Auto San Andreas – 5.5 million sold since launch 2. Halo 2 on X box – 4.5 million units sold since launch 3. Madden NFL 2004 on PS 2 – 3.5 million units sold since launch 4. ESPN NFL 2K5 –1.6 million units sold since launch 5. Need for Speed Underground 2 –1.7 million units since launch

* Top selling PC title of 2004: Sims 2 with 750,000 units sold., reported NPD Group at the Advertising In Games Forum

* Best selling game title of all time: Grand Theft Auto Vice City with 6.5 million units, followed very closely by Super Mario 64 on the N64 which is about 6.0 milllion units, according to Anita Frazier, Entertainment Industry Analyst, NPD Group, at the Advertising In Games Forum.

Advertising in Games Forum was the first conference where advertisers, publishers and game makers will come together to outline the opportunities and challenges of ads in games, and explore together the most effective way to take advantage of games as a platform while benefiting the consumer.

The Advertising In Games Forum East was sponsored by Massive, Inc., Alias Systems, Microsoft Game Studios, WildTangent, Mary-Margaret.com, GameSpot, GameDev.net, Moby Games, The Bohle Company, XFIRE, Inc., and Business Wire.

About The Game Initiative

The Game Initiative is a leading producer of conferences and events for professionals in the computer and video game industry. The Initiative is chartered with the growth of the industry through events, public awareness, information and supporting programs and serves the needs of companies and people involved in producing interactive entertainment software and hardware for video game consoles, handheld devices, personal computers and the Internet. Game Initiative events include the Austin Game Conference, the Women's Game Conference, The Advertising In Games Forum, The Casual Games Conference, Game Technology Association Meetings and the How to Break into the Game Industry national conference series. More information about the Game Initiative can be found at http://www.GameConferences.com

Clicky!

Quote:By Paul Hyman
After four consecutive platinum hits, you'd think a video game developer would want to parlay his success into more elaborate -- and profitable -- next-generation titles. But the co-creator of the Oddworld universe has taken a look at the direction he sees that industry heading and he doesn't want to play. Instead, Lorne Lanning, president and creative director of the award-winning Oddworld Inhabitants, is waving goodbye to all that and is taking his company to where he sees greater opportunities – to movies and TV. This month, he ended Oddworld games with a bang -- by shutting down his 60-person San Luis Obispo, Calif.-based development studio and moving to the Bay Area. In a chat with HollywoodReporter.com columnist Paul Hyman, Lanning talks about the huge hurdles for game developers today, why he is all about protecting his original IP, and the reasons he believes he has a 2-1/2-year window to make his transition.

The Hollywood Reporter: Your games -- beginning with "Oddworld: Abe's Oddysee" in 1997 and continuing right up to your most recent, "Oddworld Stranger's Wrath," this year -- have all taken place in the wacky Oddworld universe that you and [CEO] Sherry McKenna created back in 1994. They've all been solid hits, but this last one was frustrating for you.
Lorne Lanning: Yes, it was very critically acclaimed but it wasn't advertised or marketed because Electronic Arts couldn't get its PlayStation 2 port of our Xbox original to run and if EA isn't on all SKUs, it just won't promote the game. It was very disheartening to us that we could have a title with a Metacritic.com user metric of 9.6 [out of 10], a game that was praised as being a fusion of filmmaking and video games in terms of being less 'gamey' and more story- and character-driven ... and then to see that the largest publisher in the industry had no interest in marketing it regardless of how innovative it was.

THR: You told me pre-launch that it was a challenge to get support for "Stranger's Wrath" right from the get-go and you attributed that to "sequel-itis."
Lanning: It's an industry-wide problem. As game production costs rise, publishers want more sure bets because with rising costs come rising risks. What we see is an industry which is rapidly discouraging innovation because people don't want to take chances on more innovative types of titles.

THR: But your fourth "Oddworld" title was a sequel. Yet you still had a tough time getting a deal?
Lanning: It's not like we alone had a particularly hard time; everybody is having a hard time getting a deal today. It's not that different from taking your movie script around Hollywood. What are your chances of selling it to a studio and getting the financing? There's no doubt that we got the deal because we had a history of successes. A track record is all-important in this business.

THR: Given the way that the marketing of that game turned out -- which must have been a frustrating experience ...
Lanning: Surely.

THR: ... is that why you shuttered your studio?
Lanning: No. If you speak to any developer and they don't tell you they have the same frustrations that I had, they're lying. We closed the studio because of what the realities of the marketplace are. There is currently only one financing model in the games industry, and that is that the publisher pays for the entire game; it handles the manufacturing, the marketing, the distribution, the advertising, practically everything, much the way it used to be in Hollywood pre-United Artists. But, as the film industry matured, it took on a more sophisticated financing structure. Today, for example, studios don't pay for a movie by themselves. They pay a percentage and then other parties pick up the other 66%; it's usually a three-party investment package. But not in the games industry. And so, as a developer, you have limited options in terms of how many parties are actually willing to finance your games, what types of games they are willing to finance, and what are the terms you face as a third-party developer to get that financing. That's not a very exciting climate.

THR: What does that mean for developers like Oddworld that have insisted on retaining the rights to their original IP?
Lanning: To this day, we own every IP we've ever created, as well as all the publishing rights -- licensing, merchandising, game publishing, TV, and film. It wasn't easy but, because we did it from day one, it set a precedent and we were able to sustain those terms through the different deals we did. As we look towards the future, that is not viable for developers to get those terms. Which means that if you're going to get financing on a next-gen title, the publisher is going to own that IP. And, as publishers are currently the only ones financing games, those are the terms of the industry. So, if we were to continue building games, the likelihood would be that we'd be in the business of building other peoples' IPs, and that wasn't why we created Oddworld Inhabitants.

THR: Is this situation going to worsen as games become even more expensive to build?
Lanning: Absolutely. Costs are going up, but not because the quality expectation is higher. Costs are going up because of the design of the next-generation hardware. The code that just one guy used to write on the Xbox is now going to take five guys. It's as if the movie camera that you started shooting with 10 years ago has improved some features and now you need 12 people to operate it instead of one. So you ask yourself, what is on the horizon as a content creation company, which is always how we've seen ourselves. We've always released our properties in video game form, but when you look at the terms and conditions of the next-gen platforms versus what's happening in other media -- like movies and TV ...

THR: What's happening in movies and TV that's so attractive to you?
Lanning: Ten years ago, if I were trying to raise money for an all-CG animated film, not only would I have heard 'it's never been done before' -- since "Toy Story" hadn't come out yet -- but I'd be asking for a minimum of $120 million. Today, I believe I can make three times that film -- meaning in terms of what's on the screen -- and I could do it for $35 million. So, as CG is evolving -- becoming more efficient, more streamlined, more practical at a more reasonable price -- we believe we can hit that $35 million price point with a CG film today, a film that we currently own all the publishing rights to.

THR: As long as I've known Oddworld, I've heard people asking you when is an Oddworld movie coming out.
Lanning: Which has always been part of the plan. And the reason why today seems to be the right time is that game technology is now moving in an opposite paradigm. Video game systems aren't being designed to be conducive to development, creativity, or content. They're being designed to be cheaper for manufacturing. If movie cameras were made that way, you'd have a rebellion in Hollywood. But this isn't Hollywood and it isn't a movie camera; it's a videogame system and the public wants basically a $1,000 box but only wants to pay $150 for it. I'm not saying that anyone is guilty in this process, but this is the reality of the current climate for development in video games and where it's headed. And because the costs are higher, more ownership needs to be seen on behalf of the publishers and, quite frankly, I don't blame them. They can say, "Look I used to pay for video games when they were $6 million, but now they're $16 million. And you know what? My shareholders are not going to like it if I fund your game, it's a big hit, and then you take it to someone else. That's going to hurt my stock. We need to see a path to ownership or ownership right out of the gate."

THR: What is Oddworld's next move?
Lanning: We have some fascinating opportunities. For instance, all the technology that we built for "Stranger's Wrath" can be used to generate all-CG TV shows that surpass the visual quality of CG for TV today at just a percentage of the cost. You can understand the opportunities if, say, you look at India which currently has 70 cable stations and is discussing 700. The same in China. The same all around the world. When you look at the world market and how many more stations are being created, well, everything in entertainment needs content.

THR: Are you implying that, given the way the games industry is headed -- with increasingly more expensive production -- that developers like you who have original IP may abandon gaming and go into other forms of media because they can make more profit off the same tools?
Lanning: Currently there aren't many game creators who have true multimedia IPs. Oddworld is kind of obvious that way. And so, for us, what we're choosing to do is abandon 100% in-house development for games. Every time we pursued other opportunities in the past, we just wound up being completely consumed with the game productions because we just don't have the bandwidth or the time.

THR: And you've chosen to make this move now because ...
Lanning: Because we believe there's a window that's open for all-CG feature films and TV. And if we don't crack it in the next 2-1/2 years, we're not going to be able to. Our plan is to be a content creation company with someone else bearing the load of the actual production. We'll stay focused on multimedia content, really solid concepts that would make great games, great TV, great movies.

THR: Using the Oddworld universe?
Lanning: Not necessarily. We've been cooking up other non-Oddworld stuff.

THR: Where is the game industry going in the next two years -- in the same direction that prompted you to get out? And what will that mean for other game developers who are in the same situation? Will they get out too?
Lanning: What it means moving forward is more consolidation, fewer opportunities for developers to make money and own properties, and continued sequel- and license-itis.

THR: What then is your best advice to game developers? Follow your model?
Lanning: [Laughs] You know, we're really brave and are willing to bite the bullet. We don't look at our company and go, wow, if we sell it now, we could pocket big bucks. No, we're saying we set this company up to build brands and create exciting entertainment and we're not about to stay a slave to this just so we can put some extra money in the bank. So my advice is this: Follow what you love. There are some guys out there who just love game development. And if they stick to it, they'll probably prosper -- if they're really intelligent and have the discipline and wherewithal to pull it off. This is still a lucrative career. I mean, the quality of life issue is an ongoing one and it really is a problem with no sign of real change on the horizon. But people still make good salaries. However, if you're a third-party developer who wants to be a content creator and to control the destiny of that content, the game industry is not the place to be right now.

THR: So the moral is, what? Keep your eye on Lorne Lanning and then, when he's successful at doing what he intends to do, follow suit?
Lanning: From your lips to God's ears.

Paul "The Game Master" Hyman was the editor-in-chief of CMP Media's GamePower. He's covered the games industry for over a dozen years. His columns for The Reporter run exclusively on the Web site.

Quote:GameStop buying EB Games
Former retail rivals to merge in $1.44 billion deal; new company will be biggest game-store chain in America.

With the launch of the PSP, the unveiling of all three next-generation platforms, and the almost assured launch of the next-gen Xbox, 2005 was already shaping up to be a wild year for the games industry. Today, it got even wilder when the two top specialty game retailers in the US revealed they will soon become one.

At the beginning of the East Coast business day, GameStop Corp. and Electronics Boutique Holdings Corp., owner of EB Games, announced they had signed a "definitive merger agreement." In fact, the deal will see GameStop, which saw $1.84 billion in sales during its last fiscal year, buy Electronics Boutique, which sold $1.98 billion sales during its 2005 fiscal year.

A joint statement sent out by both companies outlined the deal, under which GameStop will pay $38.15 in cash and 0.78795 shares of GameStop common stock for each Electronics Boutique share. The cash-stock combination is worth $55.18, 34.2 percent over EB's $41.12 closing price on Friday. EB's stock rocketed skyward on the news and was up over $14.50 as of press time. GameStop stock also rose on the news, gaining more than $3.10 in value.

Upon its closing, the agreement will see the two companies merge operations under the GameStop banner, which will then fly over 3,200 stores in the US and 600 others in Europe and Australasia. However, to not disrupt plans for the 2005 holiday season, no changes will be made in either company's organization until 2006. Then, in mall locations where there is duplication in retail outlets, store closings will follow "when appropriate," according to a GameStop official.

Though technically a takeover, the GameStop-EB merger met with glowing approval from both parties. "This transaction makes a tremendous amount of sense from an operational, cultural, and synergistic perspective," said EB CEO Jeffrey Griffiths. "We will now be in an even better position to broaden our reach and generate further efficiencies for our business and our customers." Griffiths' role in the new company was not identified.

GameStop chairman and chief executive officer R. Richard Fontaine also had good things to say about the deal, which isn't surprising, as he will retain this top slot after the merger. "We are merging these two companies from a position of strength," he said in a statement. Fontaine also confirmed that one motivation was GameStop's desire to expand outside its traditional North American market. "This merger ... will enable us to enter new international markets and allow us to compete more effectively in the highly competitive US video game industry."

The new GameStop will be well suited to fight off competition from rivals like Wal-Mart and Blockbuster Video's Game Rush subchain. According to Reuters, the post-merger company will be the biggest game retailer in the US, controlling some 25 percent of the market.

Yay!

Legend of the Bueno Taco

Long have there been stories told of the now legendary Bueno Taco. A recipe of a taco of unequaled pleasure for the taste buds, some say it is the most stimulating experience they've ever had with their mouths.

As with most great things, the Bueno Taco was founded by mistake. A foolish girl, Maria, and her friend, Nina, had strayed from the traditional recipe handed down to them. The blasephemous act was considered sin, and they had been ashamed, however they were not going to let the tacos go to waste. Upon tasting the bastard tacos they realized they had created something better than they could ever imagine. They patented the recipe and began to sell the tacos in great quantity.

However, there are consequences for consuming such greatness. As you take each bite it begins to take hold of your thoughts, and then the very reason for your existence. Eventually nothing else matters but getting more taco.

By the time Maria and Nina realized what they had done it was already too late. The taco had consumed the thoughts of many, and started the decay of an entire civilization.

Destroying the recipe was their only option. When they tried to set fire to the paper they found it would not burn. When they tried to cut it up they ruined the knife. When they buried it they would later find it unearthed. It seems nothing could be done to rid themselves of the bueno taco. Their solution was to make a pact, a promise to eachother to never reveal the contents of the recipe to anyone ever again. They would have to pass the indestructible recipe down through the generations, making sure they knew there would be grave consequences if they did not uphold to their responsibility.

El Feo Bandito is a well known pursuer of the recipe. He is crafty, he is cunning, and he has demonstrated he will stop at nothing to taste the Legendary Bueno Taco!

Below is a picture. Ph33r him!

I think I was one of the contestants on American Idol, and that's strange because I can't sing. Anyway, I was filling out a questionaire and all of a sudden Simon Cowell(sp?), the judge from American Idol, came over and we got into a big argument over my spelling and grammar. Then if that wasn't enough one of the other contestants snuck up on me and started tickling my balls.

Song - Artist/Album

Bleed Like Me - Garbage/Bleed Like Me

My favorite song from the newly released Garbage album.

Tendo City Keyword Rankings

I ran this report on the keyword rankings of Tendo City, basicly it shows that if you try in lazyfatbum on just about any search engine, tendo city is the #1 result.

Interesting Tendo City Fact: that on Altavisa there are 42,900 pages found for the keyword body lubrekent, but tendo city is ranked #10.

See attached.