21/01/2022 Many game developers hate NFTs, too

Ubisoft’s NFTs, pictured here, received a critical reception when they were announced.Image: Ubisoft

NFTs have been a contentious topic in the video game industry as of late. Fans did not respond well toUbisoft’s NFT plans, and the outcry toNFTs inS.T.A.L.K.E.R. 2: Heart of Chernobylwas so vehement that the game’s developers decided tocancel them entirely. But it’s not just video game fans that are skeptical of the new technology; many game developers have similarly strong feelings, according to the Game Developers Conference annual survey, which was released Thursday.

“When asked how they felt about the possibility of cryptocurrency or NFTs in games, a few called it ‘the future of gaming,’” the survey said. “However, a vast majority of respondents spoke out against both practices — noting their potential for scams, overall monetization concerns, and the environmental impact.”

“How this hasn’t been identified as a pyramid scheme is beyond me”

Many quotes directly from developers were scathing. “How this hasn’t been identified as a pyramid scheme is beyond me,” one wrote. “I’d rather not endorse burning a rainforest down to confirm someone ‘owns’ a jpeg,” said another. “Burn ‘em to the ground. Ban everyone involved in them. I work at an NFT company currently and am quitting to get away from it,” said another.

Not all were so critical. One positive response called cryptocurrency / NFTs “the wave of the future.” But according to the survey’s data, 70 percent of respondents said their studio had no interest in NFTs, which could indicate that we won’t see a lot of gaming NFTs in the near future.

The survey also showed growing support for unionization in the industry, a topic that has come to the forefront as workershave protested Activision Blizzardand after Vodeo Games organized thefirst certified video game studio union in North America. Fifty-five percent of respondents said game industry workers should unionize — the highest amount in the 10 years GDC has conducted the survey and up from 51 percent in 2021 — and 23 percent said talks about unionizing have happened where they work. While only 18 percent believe the industry actually will unionize, 36 percent said their companies were supportive of union talks.

However, studios still have plenty of work to do to combat toxicity, according to the survey. Only 38 percent of respondents said their companies “reached out to them to start a conversation about how misconduct and toxicity are handled in the industry,” which means that 62 percent didnot. And some of the quotes from respondents were highly critical, calling company responses “tepid lipservice” and “woefully inadequate,” among other things. Even though some did have positive things to say about their company’s action, the survey data indicates developers feel more work needs to be done.

GDC is still set to be an in-person conference

GDC is releasing the survey just about two months ahead of thephysical GDC 2022 conference. Despite a recent surge in COVID-19 cases, the event is still scheduled to take in person from March 21st to the 25th at the Moscone Center in San Francisco.

“We’re committed to having an event in person as long as it’s safe and as long as we’re permitted to do so,” Katie Stern, VP of media and entertainment at Informa Tech, the company that organizes GDC, toldThe Vergein an interview. To go to the conference, attendeesmust bevaccinatedandhave received a booster shot if an initial completed vaccination took place on or before September 14th, 2021. Attendees will also be required to wear a mask.

Stern said GDC is expecting 15,000 to 17,000 attendees, which is down from the29,000 that attended in 2019, the last time there was an in-person GDC show. The DICE Summit is also still scheduled to take placein person in February, thoughE3 won’t be an in-person conference this year.

Arts

https://www.theverge.com/2022/1/20/22893216/gdc-annual-survey-2022-game-developers-nfts

Interesting NFTs
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Tametomo and the inhabitants of Onoshima Island
Katsushika Hokusai (1760-1849) Tametomo and the inhabitants of Onoshima Island 1811 - Japan
Alex in Wonderland
A figure, Alex, stands mostly naked in the midst of a physical and psychological maelstrom. He is clad only in nostalgic 80’s era socks, on a tenuous island between active waters and a variety of shark denizens. Sharks on the right side of the image are all beached, including a shark with a quartz crystal snout, an orange shark wrapped in a life buoy, and a shark further in the distance wearing an 80’s style shirt with the number “88”. On the left side is the largest shark, wearing bright glossy red lipstick and brandishing prominent teeth with braces. She is cordoned off from the figure by a roped float divider, and within her thought bubble is a warning symbol. Behind the figure, hovering in the air, are Grey aliens emerging from the distance, out of a series of elliptical UFO shaped interdimensional membranes. The Greys take on the visual form of spermazoa ostensibly impregnating the interdimensional thresholds. As is typical, these Greys inhabit a zone just behind the unconscious topology of Alex’s dissociative mind. Though Alex’s bottom half is representative, his top half mutates into a psychological cornucopia. In a manner akin to “Auto-Erotic Sphinx”, a predecessor work, the figure has self suctioned—an act of sensual infatuation, enjoyment, and exploration. Upward exists the figure’s primary conscious eye, adorned with a revolutionary beret emblazoned with a Bitcoin badge. The figure’s summit features the nose of a fighter jet facing off against video game Bullet Bills, one of whom is marked by a communist North Korean star. A cropped section of a UFO observes the contest. Alex’s mind branches both left and right. To the left is more singular embodied consciousness, manifesting two eyes and a Ganesh trunk grasping crayons. The right branch dissociates upward diagonally, emerging into an array of eyes, faces, teeth, tail, a unicorn horn, and much more—all of which participate in expressing his unconscious being; a democracy of psychic factions representing thought impressions and associations. All illumination and darkness– fernal, infernal, high consciousness and corporeal underbelly–reside in this realm. In the distance are relatively languid, light clouds, and against the firmament hovers a colossal distant eye peering over the scene and far beyond. This painting possesses underlying genetic traits with previous works such as “Auto-Erotic Sphinx with Toys”, “Dionysus”, and “Fuku-Shiva”. The work serves also as a nod to an earlier period of art inspiration during late teens and early twenties— born out of the nakedness, vulnerability, curiosity, and wonder inherent to coming of age and all subsequent psychedelic revelation.
Tile [7, 13] - The Notch
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