When Interactive Isn’t Interacting

There’s an article over on C|Net by regular virtual worlds writer Daniel Terdiman that’s worth a read. In “Making virtual worlds more lifelike” (Link) Terdiman talks with the folks at PARC studying users inside virtual worlds and video games. From the article:

“It’s incredible the palette of skills you need to design these spaces in the right way,” he said.

Among the skills that would be helpful would be urban planning, sociology and politics, fields of expertise game companies are not brimming with.

I know some industrial designers who might have a useful palette. From my own experience, virtual world design problems have a have a lot in common with the real world problems IDers routinely encounter. And as virtual worlds become more realistic that does kind of make sense, doesn’t it?

The Barrier Thins

realVSvirtual

As much as I’d like to post more often, both time and my slowly wearing hands prevents that. Fortunately, some posts don’t need many words. The above image is a comparison shot. One side is real. The other side is an image from the CRYSIS game engine. It’s more impressive if you see the big image (Link).

via Blue’s News

{Image source unknown}

For the Love of Music

Interesting article on Reuters (Link) concerning the difficulty in placing a value on music. The piece mentions the following pricing models currently in play:

  • The CD Model – this is basically looking at assumed prices for manufacturing tangible products and coming out with a standard $1 per track figure.
  • The Variable Model – in this one music prices are set relevant to a number of factors, such as popularity and age of the music.
  • The Convenience Model – for the mobile crowd that just has to have the latest tune, this model basically puts pricing in the hands of the labels and retailers (or carriers).
  • The Value-Added Model – here the labels would bundle additional content with the music track; what most of us would call useless junk.
  • I’ve heard of these models before, but unfortunately I still don’t see what I’d call “The Experience Model“. In that scenario digital music is free. If people want it on CD or want something else tangible, they pay for the manufacturing just like any other product. Where the real money comes is from bundling an experience with the music. Continue reading

    Platform for Public Court on WoW Acquaintances

    Most recently I once again pointed out my assertion that internet anonymity is a thing of the past in comments regarding an article (reLink) in the Harvard Business Review. I’ve just finished reading a New York Times article on C|Net, “Online throngs impose a stern morality in China” (Link), that documents our increasing move into a non-anonymous and highly-connected world; some of it facilitated by social software (like MySpace) and MMORPG’s (in this case, World of Warcraft) that bring together people who might not otherwise interact in meatspace. Here are some clips from the article:

    It began with an impassioned, 5,000-word letter on one of the country’s most popular Internet bulletin boards from a husband denouncing a college student he suspected of having an affair with his wife. Immediately, hundreds joined in the attack.
    Continue reading

    Urban Vinyl Blends

    branjackin

    With all the corporate concern floating around that consumers will adversely impact their brand (some of it valid), there are times when the suits sitting in boardrooms should take a clue from some of the more inventive mashers out there… like urban vinyl artist Sket One. Via Vinyl Pulse comes notice of the Subcultures show (Link) which opened this evening and features five custom pieces of Sket’s blending toys with household items. Nicely done.

    We could only wish all packaging was this much fun. But it’s far more important to shave a tenth of a penny off a blow-molded bottle so some CEO can have a golden parachute that includes a penthouse he may never use than making the everyday things that litter our lives less mundane. Isn’t it?

    {Images source: Vinyl Pulse}

    {Update: It appears this post has been picked up and is spreading around the net. I just want to point out that I’m well aware of the reasons why bottles are the way they are. As a product designer – especially one very familiar with high-volume plastic production – I’m all too versed in the practical reasons that go into choosing a bottle. However, I’m also aware that putting a few pennies into material, maybe adding some minimal tool action, and allowing designers to be a bit more creative can yield better returns than sticking an expensive and mostly-ignored television commercial in front of ad-resistant consumers who don’t really care what brand of commodity X they buy. It’s not like most people believe half the claims floating around out there anymore. Now put your product in a promotional container that people absolutely love, and you’ve got some relatively priceless buzz.

    Of course, if executives sit around and say stuff like “We don’t know who buys this sh*t” – a phrase I actually heard once at a client meeting – then maybe more drastic changes are required within the company. But I suspect there are lots of white collar-types out there who are totally into their own branded commodity. The world in general may not understand that particular enthusiasm, but everyone likes the results of such happy dedication. How about letting it show a little? We could all use a little of that in this day and age.}