It’s been 30 years since writer/director Steven Lisberger first started working on bringing his vision of TRON  to the big screen. The film ushered in a new generation of computer animation, which allowed audiences to be transported into cyberspace and experience video game battles within the mainframe. TRON was the first movie to have a hit video game tie-in at the arcade, which seamlessly connected the film universe with the real world’s burgeoning video game industry.

One of the people who were both influenced by TRON and active in cyberspace was architect-turned-commercial director Joe Kosinski, who ended up working with Lisberger to bring TRON: Legacy to the big screen. Now Walt Disney Pictures  is bringing TRON: Legacy to the big screen, using the latest computer graphics technology to introduce a new wave of video game battles on the Grid. And Disney Interactive Studios  has enlisted Propaganda Games  to develop the TRON: Evolution game, which tells the story of what’s been going on within the TRON mythology over the past three decades.

Matt Ployhar

Recently, I was featured in a prominent publication in an article about PC gaming. What I’m reminded of is how easy it is to be taken out of context -- for right or wrong.

The article was well-written and I stand by most of what I’m quoted as saying. A few things, however, were lost in translation. It’s easy to forget that the people listening to me may not also share my viewpoints, convictions, experiences or vantage point, and therefore, it’s all too easy to be misinterpreted.

Whether you’re developing a new game or have an existing game that you want to port to the netbook platform, it’s important to know how to optimize it. The netbook market is growing steadily and creating new opportunities for game developers on this mobile platform. According to a 2009 report from the NPD Group, nearly 40 million netbooks have shipped so far, and around 139 million are projected to be shipped by 2013.

The best way to show you how to optimize your game for netbooks is to describe what we did when creating a demo for Fireflies. It’s a great example of the easy optimizations and quick performance gains you can achieve when developing games for this fast-growing market.

The perennial goal of creative professionals working on animation and special effects for motion pictures and television -- as well as computer-aided design (CAD) professionals -- is to deliver top-notch work on time and under budget.

While production times might be expected to decrease in direct proportion to available processing power, the ambitions of creative professionals are outpacing Moore’s law, which says that transistor density will double approximately every two years. Evermore complex rendering algorithms deliver increasing levels of visual subtlety and devour advances in processing power as quickly as they become available.

Matt Ployhar

By Matt Ployhar

In my last blog, I talked about some of the biggest factors impacting the gaming ecosystems today. In part one, I discussed the impacts of mobile form factors; this time, I’ll discuss the biggest implications occurring in the formats and business models.

So, in no particular order, here are some of the biggest format and business-model evolutions I see taking place in the video game industry.

Interactive entertainment’s answer to art-house films is indie game development. Titles like Minecraft , Recettear  and World of Goo  have captured a legion of forward-thinking fans’ and bedroom coders’ imaginations alike. But despite consistently raising the bar for innovation and creativity, life left of the keyboard isn’t all fun and games. Dave Gilbert, founder of indie adventure-game studio Wadjet Eye Games  (The Blackwell Legacy , Puzzle Bots ), explains the indie life to Scott Steinberg.

William M. "Trip" Hawkins III - founder of Electronic Arts and father of the 3DO console - needs no introduction to serious gamers. But three decades after writing the blueprint for the PC and video game business, his latest creation - social games start-up Digital Chocolate  - is rewriting the rules again.

Originally a developer of games for mobile phones, the company has shifted its focus to Facebook and other social networks to tremendous success. It’s garnered more than 20 million monthly users within a year with hits like Millionaire City , MMA Pro Fighter  and NanoStar Castles . Here, Hawkins explains why he believes social gaming and virtual goods are the future of interactive entertainment.

By Matt Ployhar

It’s in the nation’s best interest to have a bright gaming future. Sound like a pretty bold declaration? Well, there are several things that have occurred over the past few years that have led up to my position that I’d like to share. You can then draw your own conclusions.

The keys to our future well-being are all about our ability to innovate. I originally started thinking in this direction when I was attending a private games summit a little over two years ago with several key industry execs. During the lunch conversation, several games ISVs (independent software vendors) observed that they couldn’t get their hands on enough H1B work visas and permits for foreign workers and students. The key reason they had to look outside the U.S. was that they could not fulfill the demand in their respective companies for employees with strong computer science, math and science skill sets.

Whether 3D moves beyond a stylistic evolution and becomes a revolution, though, has yet to be seen. As some developers and players note, the unique visual effect of 3D -- with the initial disorientation of viewing a scene with an illusion of depth and then continuing to direct the action -- can take some getting used to. However, the PC games that have made the jump to 3D run the gamut, including StarCraft II, Call of Duty: Black Ops, World of Warcraft and Duke Nukem Forever.

PC developers need to spend much less time tweaking the rendering effects in their games, as opposed to more than several months to rewrite a console game engine from the ground up to support 3D. And Mick Hocking, a vice president at Sony Computer Entertainment Europe and the head of the company’s 3D initiative, says that while some of the technology used to produce high-quality 3D displays has existed for a long time, it’s only recently become available at a consumer price point.