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Games Without Frontiers: Victory in Vomit — The Sickening Secret of 'Mirror's Edge'
Mirror's Edge Screenshot courtesy Electronic Arts
By now you have probably heard the warning: Playing Mirror's Edge will make you vomit. The hot new videogame is a sort of "first-person runner": You're a courier who travels across the rooftops of a locked-down, police-state city, delivering black-market messages by using acrobatic feats of parkour. You're constantly leaping over gaps 40 stories in the air, tightrope-walking along suspended pipes and vaulting up walls like a ninja. It doesn't do justice to call the action in Mirror's Edge "intense": It quivers, like a hummingbird, and your first-person view is constantly whipsawing like a paranoid cameraman hunting for the best shot. Only 15 minutes into the game, my mouth began overproducing saliva, and I had to pause the action for a few seconds to avoid carsickness. I would feel like a total lamer, but apparently even the Penny Arcade guys wrestled with nausea. Still, it made me wonder: What makes Mirror's Edge so different? Sure, the action is swoopy and vertiginous, just as it is in many other games. But I've played plenty of first-person shooters that required me to navigate ridiculous, zero-G boss lairs that were suspended over improbable heights, and none of those ever made me feel nauseated. Why does this game get its hooks into my brain so effectively? Why does it feel so much more visceral? I think it's because Mirror's Edge is the first game to hack your proprioception. That's a fancy word for your body's sense of its own physicality — its "map" of itself. Proprioception is how you know where your various body parts are — and what they're doing — even when you're not looking at them. It's why you can pass a baseball from one hand to another behind your back; it's how you can climb stairs without looking down at your feet. Most first-person shooters do not create any sense of proprioception. You may be looking out the eyes of your character, but you don't have a good sense of the dimensions of the rest of your virtual body — the size and stride of your legs, the radius of your arms. At most, you can see your arms carrying your rifle out in front of you. But otherwise, the designers treat your body as if it were just a big, refrigerator-size box. Worse, in most games your virtual body cannot do even the most simple things that it ought to be able to do. Every time I'm playing a first-person shooter, I'll inevitably try to jump or walk up onto an object — a ledge, a curb, a railing along a wall — and discover that I can't. The designers decided they didn't need to worry about those subtle physics, and the resulting limitation completely breaks the illusion that I'm in that virtual body. Mirror's Edge, in contrast, does something very subtle, but very radical. It lets you see other parts of your body in motion. When you run, you see your hands pumping up and down in front of you. When you jump, your feet briefly jut up into eyeshot — precisely as they do when you're vaulting over a hurdle in real life. And when you tuck down into a somersault, you're looking at your thighs as the world spins around you. What's more, the Mirror's Edge world feels tactile and graspable. Because the game is designed around the concept of parkour, or moving through obstacles, most times when you see something that looks like you could jump on it, you can. The gameplay requires it. The upshot is that these small, subtle visual cues have one big and potent side effect: They trigger your sense of proprioception. It's why you feel so much more "inside" the avatar here than in any other first-person game. And it explains, I think, why Mirror's Edge is so curiously likely to produce motion sickness. The game is not merely graphically realistic; it's neurologically realistic. Indeed, the sense of physicality is so vivid that, for me anyway, the most exhilarating part of the game wasn't the obvious stuff, like leaping from rooftop to rooftop. No, I mostly got a blast from the mere act of running around. I've never played a game that conveyed so beautifully the athletically kinetic joys of sprinting — of jetting down alleyways, racing along rooftops and taking corners like an Olympian. It's an interesting lesson of game physics: When you feel like you're truly inside your character, speed suddenly means something. The opposite is also true. Without a sense of physicality, speed feels lifeless. In Halo, you're playing as the cyborgically enhanced Master Chief, so your top speed at an open run is — according to Halo nerd canon — 30 mph or something. But it doesn't feel very fast at all, because your avatar doesn't appear to be actually exerting himself. When you run, your body bobs along not much differently from how it moves when you're walking, except the scenery goes by more quickly. The combat in Mirror's Edge felt more believable than doing battle in Halo, too. When the cops were shooting bullets at me and I was frantically racing to escape, I kept thinking: "Damn, I'm going so fast I might just escape!" In most first-person games, I usually wonder the opposite: How are these guys not hitting me? So the brilliant physicality of Mirror's Edge isn't just a boon to the game's physics. It also makes the narrative and drama more plausible. So yes, by all means, I'll keep on playing Mirror's Edge, even though it occasionally makes me want to vomit. In the past, I've often wanted to wretch because a game is so bad — but I've never felt sick because it was so good. - - - Clive Thompson is a contributing writer for The New York Times Magazine and a regular contributor to Wired and New York magazines. Look for more of Clive's observations on his blog, collision detection.
Publ.Date: Mon, 17 Nov 2008 02:00:00 GMT
Source: Wired.com

Gallery: The 10 Coolest James Bond Cars Ever
: Sweet cars and amazing, if improbable, car chases have been essential elements of James Bond movies since the series began in 1962. The tradition continues in Quantum of Solace, which finds our favorite superspy behind the wheel of a hot Aston Martin DBS and — in a nod to these eco-conscious times — a Ford Edge that runs on hydrogen (in the film, if not in real life). But it takes more than a fuel cell to make the list of the 10 coolest Bond cars ever. Left:
Aston Martin DB5
The quintessential Bond car appeared in Goldfinger, and it is both the most famous Bond car and one of the most iconic vehicles in the history of film. In addition to gorgeous lines and stunning speed, Bond's DB5 featured machine guns, a bulletproof shield, radar and that über-cool ejector seat that could villains flying at the push of a button. : This one's tricky because Bentley never produced a car called the Mark IV. Ian Fleming made that up. Bond drove a 1933 Bentley convertible with an Amherst-Villiers supercharger in the novel Casino Royale. Various Bentleys have appeared in Bond films, including From Russia With Love, in which our hero seduces Miss Sylvia Trench behind the wheel of a 1930 Bentley Derby similar to the one in this photo by Flicker user starpitti. : The Lotus Esprit from The Spy Who Loved Me is almost as famous as the DB5, if only because it could turn into a submarine at the flick of a switch. The car featured surface-to-air missiles, torpedoes and depth charges, all of which we find amazing given the shaky reliability of the electrical systems in British cars. : Strictly speaking, this wasn't Bond's car. It was driven by his assistant, Aki, in You Only Live Twice. But it makes the list because it was chock-full of cool gadgets — including a television, a cordless phone and a voice-activated stereo – that are commonplace today but the stuff of science fiction in 1967. Toyota built a GT without a roof because Sean Connery was too tall for the coupe. : Aston Martin returned to Bond's fleet in 2002 after the spy's brief dalliance with BMW in the late 1990s. The Vanquish that appeared in Die Another Day came with an ejector seat and a cloaking device that rendered the car invisible. We prefer the more muscular and understated DBS in Casino Royale because it's a better match for Daniel Craig's darker, more brooding Bond. : Yes, Bond drove a Mustang, albeit briefly, in Diamonds are Forever, and he looked almost as cool as Steve McQueen did driving his 'stang in Bullitt. Connery took the Mach 1 on a wild ride through Vegas, getting up on two wheels to squeeze through an alley. The film editors weren't so skilled: The car is shown entering the alley on one set of wheels and emerging on the other. : Pierce Brosnan drove the convertible Beemer in The World Is Not Enough, but it was a BMW in name only. The Z8 was still a prototype when filming started, so the film featured a Cobra kit car wearing BMW skin. We're still not sure where Q found room for the surface-to-air missiles, let alone the six cup holders, but now we know where they put the movie camera.: Bond stole this car from a dealership showroom to make an escape in The Man With the Golden Gun, making a spectacular corkscrew jump over a canal to elude his pursuers. The stunt was planned with help from a supercomputer at Cornell University, and it is the only time in history an AMC Hornet has ever looked cool.: This Whyte Industries jobby appeared in Diamonds Are Forever. It's a moon buggy. 'Nuff said.: Another Bond car that wasn't what it appeared to be. The 2CV couldn't outrun its own belching plume of exhaust, so the car in For Your Eyes Only was tricked out with a hotter engine, a modified transmission and a reworked frame. It still had trouble outrunning the humble Peugeots – Peugeots — pursuing it, so Bond had to resort to skilled driving and good luck to make his escape.
Publ.Date: Sat, 15 Nov 2008 05:00:00 GMT
Source: Wired.com

Top 10 Wired.com Music Photos, Decided by You
: Conveying the excitement people feel about music in a still image can be like describing sight to the blind. The 10 reader-elected finalists of our music photo contest may not make you hear music, but they expertly capture a musical moment. Blair takes home the gold with his photo "The Horn Player" at left. Click through the gallery to see the contestants who were nipping at his heels. Since we had so many great photos that we thought should've received more votes, and because we love to anger readers with our selections, we've also compiled a Wired.com Editor's Choice Music Photo Gallery. Our next twice-monthly photo contest is Heat. It's cold outside this winter and we need to warm our feet by your photographic fire. Check out the contest page for more information. Left: The Horn Player Submitted by Blair Photographer's comment: "Covent Garden, London.” : DreadHead Submitted by Amaiia Photographer's comment: "Guitarist of the famous French ska band Fizcus live @ Seasplash Festival, Croatia." : Jeff Locke Submitted by Christie Hemm Photographer's comment: ”He's good.” : Fizcus Submitted by Podi Photographer's comment: "French ska band Fizcus on concert "13/1 sec, f/3.5, flash on, second curtain" : The Underbelly Submitted by Elizabeth Kovach Photographer's comment: "Messing around with the organ." : On the Outside Submitted by Ross Gilmore Photographer's comment: "Old busker plays his banjo, against a 14-foot-high security fence, at an outdoor rock concert." : Tickling Ivory Submitted by Bob Photographer's comment: "Hands playing piano." : My Stepfather's Piano Submitted by Tin Man Photographer's comment: "I'm no photographer, I'm a musician, and this is my art. My stepfather left me this piano when he died in 1998, and I use it to compose. Its sound is not great by traditional standards, but to me it is wonderful.” : Tandoori Tunes Submitted by Joakim Lloyd Raboff Photographer's comment: ”A musician sat down and played a tune while I tried to listen to a podcast on the beach in Goa, India." : Yaya Submitted by amaiia Photographer's comment: "Jadranka Bastajic Yaya, lead singer of Croatian band Jinx. "Canon EOS 350d, f/4.0, 1/200, 50mm"
Publ.Date: Mon, 17 Nov 2008 05:00:00 GMT
Source: Wired.com


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