Elite: Dangerous is a work of science fiction; that’s not under discussion. So as in all science fiction, the developers just created a galaxy by selecting random areas and dropping in planets or stars. By which we of course mean that the game has based as much of its space as possible on NASA data about what’s out there in the galaxy.
Obviously, NASA has only a picture of what’s present in a small portion of our galaxy. The game uses a bit of technology called Stellar Forge to take what data is available about points of the galaxy, however, and match it to in-game representations. So if you’re gliding through a system with four planets, one covered in ice and one a breathtaking gas giant, that’s meant to be as close as possible to what you’d see in the real world, assuming you could get there. Ain’t science grand?
In other Elite news, PC Gamer reports that space destruction derbies are back, so you can stop spamming Twitter with goat pictures now.
Two weeks ago, a mathemagician over at The Nosy Gamer published some interesting calculations showing that EVE Online‘s subscriptions may have dropped by around 18% in the past two years. CCP has always prided itself on the fact that EVE has grown year-on-year since release, but the last official number we heard was when it reached 500,000 subscriptions back in February 2013. Players have taken the company’s silence since then on the matter of subscriptions as an admission that subs have been falling or at least not growing for the past two years.
So where did this 18% figure come from? It was extrapolated from estimates of player participation in the last two CSM elections, and the reasoning behind the number seems pretty good in the absence of any official announcement. It will probably not come as a shock to anyone if this calculation turns out to be accurate, as EVE‘s concurrent player numbers have also seen a roughly 20% drop since 2013. As development on EVE has been very well-received over the past two years, I’m inclined to believe that the drop in activity has more to do with trends in today’s gaming habits and purchasing choices. Online gaming seems to be going through an evolution, and the mandatory subscription model may be becoming obsolete.
In this edition of EVE Evolved, I run through a set of calculations to work out how many subscribers EVE really has, determine where the reported 18% drop is coming from, and ask whether this is a trend CCP can fight.
In space, no one can hear you scream. Or yell, or fart, or blow up another ship. Sound doesn’t travel well in a vacuum, opting instead to not travel at all. This provides a bit of a dilemma for the Star Citizen developers, since having sound in space is dramatic and satisfying, but it’s also complete bunk in terms of actual science.
Sound designer Luke Hatton weighed in on this on the official forums, explaining that players will hear sounds from space, but they will be synthesized sounds from the computer of the ship, which will cut off when your ship takes enough damage. So you still get your dramatic sounds of ship destruction, but mostly because your onboard computer knows you want to hear it.
, Thanks to Cardboard for the tip!]
City of Heroes players, did you ever think your beloved old world would be the subject of academic research? Olle Sköld from Uppsala University in Sweden recently examined the extant City of Heroes community in an “interpretative case study” in order to “explore how virtual world communities employ new media as a repository to record information about their past.” For seven months beginning with the shutdown announcement date on August 31st, 2012, Sköld analyzed everything written on the City of Heroes Reddit to see just how people in a digital space keep the spirit alive, document their adventures, and promulgate memorykeeping. Reddit, guys. For science. He kinda deserves an award just for that.
The principal finding of the study is that the CoH community, with varying levels of intentionality, documented a range of pasts on /r/cityofheroes, relating to CoH as a game world, a site of personal experience, a product, a nexus of narratives, and a game. The analysis also lays bare the community’s memory-making processes, in which the documented conceptions of CoH’s past were put to work in the present, informing community action and viewpoints.