After unbearable levels of speculation and leaks, Japanese gaming giant Nintendo finally announced the Switch 2 today, surprising nobody. Most of the leaked features were verified by the trailer, but in traditional Nintendo fashion the mysterious 'C' button was rendered blank. What could this little anonymous square be for?

I was 10 when Super Mario Galaxy came out, and I’m 22 now on its rerelease. There was all sorts of confusion before it came out, about what really was the situation surrounding motion controls, which were described as both mandatory and optional by various outlets.

While visiting a sci-fi and comics convention in Toronto recently, I found myself drawn inexorably toward the sound of gunfire, explosions, and grunts of agony and triumph.

I hate being in the ocean. Shallow beaches, I can handle, but the deep sea terrifies me more than spiders, snakes and birds who can talk put together. So a game where you do nothing but drown in open water is not my Game Of The Year candidate. But Sortie En Mer isn't supposed to be fun.

From Friday 24th January we will be running a GLTI.CH Doom WAN Party as part of the Tactical Glitches exhibition. You can join in, play, explode and explore from wherever you are in the world! It’s 20 years since the original DOOM was released. Let’s remember in glti.chy style. We are running the game through a chain of servers and remote software to create a glti.chy soup for viewers playing at Tactical Glitches. Your involvement will help make that soup even glti.chier – how will the players evolve their Tactics to cope with your onslaught? Play Instructions It is SUPER easy to join, but you will need a few bits and pieces. Here is everything you need to get started. Don’t give up:

Download the PC or MAC version of Zandronum (a freeware program for playing Doom). Install Zandronum on your system (make a note of exactly where it installs on your computer e.g. C:\Program Files\Zandronum). Download our GLTICH WAN PARTY MAP pack. Unzip the MAP PACK you downloaded into the Zandronum directory (e.g. C:\Program Files\Zandronum). Now, if you open up the Zandronum directory you will see another directory called ‘Doom Seeker’. Go into there and load the Doom Seeker application. First up, it is worth checking your settings are correct. Go into the ‘options’ menu then click ‘configure’. Got to the ‘File Paths’ setting. Make sure your Zandronum directory is listed here (e.g. C:\Program Files\Zandronum) - add it if it isn’t. Save and go back to the main Doom Seeker screen. You will now see a long list of servers. Our server is called TACTICALGLITCH, it has a British flag. Scroll down until you find it, or alternatively click the ‘Servers’ column header to arrange the list anti-alphabetically. It should be near the top. Double click the server to join!

At this point Doom will load. You may need to press the ‘ESCAPE’ key, go to the game ‘Options’, ‘Set Video Mode’ and fiddle around with how the game looks until you are happy. Fullscreen high resolution is obviously the nicest
Controls (you can change these too in the Options menu) Mouse = move your head around, (or you can use the <-left and right-> arrow keys to look around) W = forward A = strafe left S = backward D = strafe right CTRL = fire SPACE BAR = Open doors T = Type a message and press ENTER to broadcast it! As well as killing innocent players in SUDLAB Gallery, Naples, there are lots of secrets to discover on the map. The monsters WILL KEEP ON COMING! The body count WILL KEEP ON RISING! Have fun! Invite your friends, and get Tactical. Massive thanks to curators and collaborators Nick Briz and Rosa Menkman, as well as SUDLAB Gallery, Naples, and Domenico Dom Barra!

An excellent example of distributed cognition.

The hope that swarms of gamers can help to solve difficult biological problems has been given another boost by a report in the journal PLoS One, showing that data gleaned from the online game Phylo are helping to untangle a major problem in comparative genomics.

The game was created to address the 'multiple sequence alignment (MSA) problem', which refers to the difficulty of aligning roughly similar sequences of DNA in genes common to many species. A DNA sequence that is conserved across species suggests that it plays an important role in the ultimate function of that particular gene.

Although computer algorithms can do very rough alignments of sequences across species, they have proven inept at getting the answer just right. "It is fair to say that present alignments are not just a little bit bad, they are really pretty crude because we have to take a lot of heuristic shortcuts," says Adam Siepel, a computational biologist at Cornell University in Ithaca, New York, who was not involved with the study.

That is where human gamers can make a difference. "Understanding when something breaks a general rule is very difficult for a computer but that is what human visual intelligence is very good at," says lead author Jérôme Waldispühl, a computational biologist at McGill University in Montreal, Canada.

When you visit the History of Computer Chess exhibit at the Computer History Museum in Mountain View, California, the first machine you see is "The Turk."

In 1770, a Hungarian engineer and diplomat named Wolfgang von Kempelen presented a remarkable invention to the court of Maria Theresa, ruler of Hungary and Austria. It consisted of a mechanical figure dressed in (what Europeans saw as) Oriental garb, presiding over a cabinet upon which a chess board sat. Full of gears ostentatiously placed in a front side drawer, The Turk was cranked up by hand, after which an opponent could sit down and play a game against the dummy.

"Even among the skeptics who insisted it was a trick, there was disagreement about how the automaton worked, leading to a series of claims and counterclaims," writes author Tom Standage. "Did it rely on mechanical trickery, magnetism, or sleight of hand? Was there a dwarf, or a small child, or a legless man hidden inside it?"

What if the best thing art has to offer is freedom from choice? There’s a reason it’s high praise, not criticism, to say that a film or a piece of music or a good novel “sweeps you along.” There’s a selflessness in it: not just the pleasure in pausing the parts of the brain that plan and calculate and select, but in the temporary surrender of investing in someone else’s choices. Good art can be where we go for humility: when we’re encouraged to treat each of our thoughts as worthy of being made public, it can be almost counter-cultural to admit, in the act of being swept along, that someone else is simply better at arranging the keys of a song or the twists of a book and making them look like fate. Freedom from choice is a seductive way of thinking about art—and it’s at the heart of the debate over the cultural value of video games. 

In this in-depth analysis, Daniel Johnson discusses games, language and sociology with regard to Valve's Portal - please note that the article contains story spoilers for the game.

In 1959 Erving Goffman released The Presentation of Self in Everyday Life; a book that went on to heavily influence future understanding of social interactions within the sociology discipline. In it, he discusses social intercourse under the metaphor of actors performing on a stage. Specifically, in the second chapter he shares the idea of a front and backstage to social interaction.

As with the theater, we have a place where we manage the performance and a place where we give that performance. As social interlocutors engaged in interaction, we are presenting an impression of ourselves to an audience; we're acting out a role that requires constant management at the whim of the interaction.

The front stage is the grounds of the performance. The backstage is a place we rarely ever want to reveal to others,

The film critic Roger Ebert’s recent comments about video games and their potential as art, and especially the immense stir the comments caused on discussion forums all over the internet, shows the intrinsic interest there is in the question of whether video games are art. Of course, many people see the debate as entirely pointless, and there is the separate question of why we should want to establish that video games are art.

But the question remains, and it is entirely sensible: are video games art?

Individual opinion on this issue is understandably varied, but what has not be been noticed in all of this debate is that video games are increasingly a topic of study within the philosophy of the arts. A number of recent philosophical papers and books, including those by Aaron Smuts, Dominic Lopes, and my own book The Art of Videogames, have taken up the task of explaining video games in terms of the arts. A natural aspect of this explanation is the status of this new medium within the

Video games have come a very long way since the 1980s... As Tom Bissell, a journalist, former Salon writer and lifelong gamer, explains in his new book, "Extra Lives: Why Video Games Matter," the graphics, storytelling and interactivity of gaming have all made tremendous leaps forward in recent years, allowing players to intermingle with nuanced, fleshed-out digital characters in near-photo-realistic environments. Among the most notable recent examples is Rockstar's "Red Dead Redemption," a game the New York Times hailed as a "tour de force" for its ability to submerge players in a complex and believable world. In his book, Bissell argues that it's finally time to take video games seriously as an art form, and give them the formal analysis they deserve. (He also describes what it's like to play "Grand Theft Auto 4" while high on a cocaine binge.) Salon spoke with Bissell about the video games that blew his mind, the industry's violence problem, and what Roger Ebert doesn't understand

With its latest entries having just appeared online, the Famicase exhibition -- curated by Tokyo game culture shop Meteor -- once again proves why it's a yearly art/game highlight. The premise? A collective of Japanese designers and artists imagine cartridges for their favorite Famicom (8-bit Nintendo) games that never were.

While this year's crop has strayed away from anything as blatantly/lightly controversial as last year's Bush Jr cart, it takes no less a sardonic swipe at Western culture with Burp'n'Shoot! above. The game, the artists say, is a "fun lazy redneck experience" that involves "sitting on the backyard couch drinking Budweiser and shooting at empty cans, watermelons and a broken TV" while avoiding the errant basket- and baseballs of the neighbor kids (Note: "Budweiser and gun controls required").

Having once made the statement above, I have declined all opportunities to enlarge upon it or defend it. That seemed to be a fool's errand, especially given the volume of messages I receive urging me to play this game or that and recant the error of my ways. Nevertheless, I remain convinced that in principle, video games cannot be art. Perhaps it is foolish of me to say "never," because never, as Rick Wakeman informs us, is a long, long time. Let me just say that no video gamer now living will survive long enough to experience the medium as an art form.

What stirs me to return to the subject? I was urged by a reader, Mark Johns, to consider a video of a TED talk given at USC by Kellee Santiago, a designer and producer of video games. I did so. I warmed to Santiago immediately. She is bright, confident, persuasive.

A lot of game critics you talk to will tell you that, after making a career of playing games, it takes a lot to impress them. But that's not exactly the truth.

Perhaps I shouldn't speak for them, but I know for me that all it really takes for a game to knock my socks off is that smallest yet boldest of features: A single great, new idea. I'm not talking about squishing together the dual-stick shooting of Geometry Wars and RPG elements and hoping for the best. I'm talking about an innovation that takes a single step back from the whole idea of what video games are and reapproaches it in a way that feels utterly fresh.

Sleep Is Death is just such an idea.

Not long ago Second Life was everywhere, with businesses opening branches and bands playing gigs in this virtual world. Today you'd be forgiven for asking if it's still going.

Once upon a time Second Life had a Twitter level of hype. Even those without a cartoon version of themselves couldn't plead ignorance due to blanket coverage in newspapers and magazines.

Second Life is a virtual world started by the US firm Linden Lab in 2003, in which users design an avatar to live their "second life" online.

And everything about this world can be customised for a price - new outfits, drinks in a bar, even a luxury mansion can be bought with Linden dollars.

Mentions of Second Life first crept into the UK media mainstream in early 2006.

A year later, newspapers fell over themselves to cover it, devoting many column inches in their business, technology and lifestyle sections to profiles and trend pieces. By the end of 2007 Second Life had secured more than 600 mentions in UK newspapers and m

Lose/Lose is a video-game with real life consequences. Each alien in the game is created based on a random file on the players computer. If the player kills the alien, the file it is based on is deleted. If the players ship is destroyed, the application itself is deleted.

Although touching aliens will cause the player to lose the game, and killing aliens awards points, the aliens will never actually fire at the player. This calls into question the player's mission, which is never explicitly stated, only hinted at through classic game mechanics. Is the player supposed to be an aggressor? Or merely an observer, traversing through a dangerous land?

Why do we assume that because we are given a weapon an awarded for using it, that doing so is right?

By way of exploring what it means to kill in a video-game, Lose/Lose broaches bigger questions. As technology grows, our understanding of it diminishes, yet, at the same time, it becomes increasingly important in our lives. At what point does

Growing scientific evidence demonstrates that the human brain dynamically changes in response to experience and to changes in the environment, a phenomenon that is known as “plasticity.” It is also believed that timing is crucial – our brains appear to be more susceptible to change early in our developmental lives. Thus, a world with vastly different technology driven demands, opportunities and challenges, is surely going to lead to brain changes: the brain of our children will be different from those of the generations who rode their bikes, jumped rope, and played sports in the backyard, rather than throwing a football with Madden NFL 09.

There has been increasing interest on the possibility that video games may actually induce brain changes that lead to behavioral benefits. A number of applications of computer games have been developed for education and rehabilitation. At least anecdotally, individuals who have played a lot of video games using joy stick controllers in their youth

About a year and a little more ago, as I began designing the uber-awesome DeathSpank at Hothead Games, I played all the way through The Secret of Monkey Island to refresh myself on the puzzles and dialog.

I know this will come as a shock to many of you, but I don't spend my evenings playing through Monkey Island. It's probably been 15 years since I sat down and really played it.

Much like the experience of watching the Maniac Mansion Speed Run, it bought back a lot of memories and little tid-bits of facts, so I started keeping notes and in celebration of all things Monkey Island, I thought I'd share them.

Before we begin, a couple of points:

1) Some of this I've written about before, so I apologize if I'm wasting your time. 2) I was playing the VGA version that was released after the original EGA version. The original original version used 16 colors and the inventory was text only.
4) These are only "some-what" in order. 3) You may disagree with me on some of these, and that's