March 15th, 2013Top StoryFour Signs Your Relationship Might Be DoomedBy Melanie Pinola
The Four Horsemen of the Apocalypse are:
All couples experience conflict, but the strongest ones deal with it with more respect. If your relationship shows any of the above signs, all may not be lost, but it's a good indicator that you and your partner need to work better together to keep the relationship from falling apart. The Four Horsemen of the Apocalypse | YouTube |
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March 15th, 2013Top StoryObserver Effect: Jared Kushner's Newspaper Has a BirthdayBy Adrian Chen and a Gawker correspondent
In the introduction to The Kingdom of New York, the 2009 Observer anthology, longtime editor Peter Kaplan—who resigned while the book was making its way to the presses—wrote that to the paper, the city "was the world's richest coolest burg, a never-never land on a perpetual Thursday night." Now Thursday was profoundly literal. Paparazzi flanked the entrance, waiting for Katie Holmes. In attendance were Hannah Bronfman, Ray Kelly, Harvey Weinstein, Cory Booker, Dan Abrams, Ron Perelman, Spike Lee, Joel Klein, and Rupert and Wendi Murdoch. The dining room was bathed in golden light, shaded by four blooming cherry trees. Arthur Carter, the paper's founder, was there, and Kaplan, and Kaplan's Twitter ventriloquists, Jim Windolf and Peter Stevenson—men who had made the paper what it was, or what it had been. Winding through the crowd was the paper's latest editor, Ken Kurson, a friend of the paper's current owner, Jared Kushner, and a former Giuliani operative. He didn't speak to many people, but David Carr rubbed his shoulder in greeting. At opposite ends of the restaurant there were two stations where guests could have caricatures done on blank Observers, so that it looked as if they were the subject of a meaty takedown. This week's actual print edition of the Observer featured a special pullout section profiling "Influential New Yorkers," including Ivanka Trump, who is married to Jared Kushner. "That's the thing about genetics," the paper wrote, in a capsule entry praising its owner's wife's business acumen (published under the byline of "The Editors"). Genetics! Breeding, if you will. There was a time, when the Observer maintained a careful and admired balance between chronicler of and caller-of-bullshit about the elite, that the marriage of Ivanka Trump and Jared Kushner might have been the Observer story of the decade. The merging of the bloodlines of brass-plated businessman-carney Donald Trump and the New Jersey real estate mogul turned blackmailer turned convicted felon Charles Kushner—it would have been a spectacle, but the Observer was in no position to spectate. Thus New York magazine had quickly broken down the Observer's list of New York's "Rising Stars," pointing out that beyond Ivanka Trump, the list was padded with Jared Kushner's friends, business partners, and cronies. The future belongs to the children of the past. Meanwhile there were tiny fish tacos and canapes made from hollowed-out cucumber slices. Guests bolted mushroom caps with meatballs inside, because the waiters weren't sticking around to take back the spoons that held the '50s-ish fungal treats. And there was Donald Trump himself, in a blue suit, white shirt, and shiny blue tie. He posed for a picture with a woman on each arm. Did he think his daughter had only made her husband's newspaper's list because of her connections? "Probably not, she deserves to be there," he replied without hesitating. "She's amazing, she's beautiful." In person, Trump somehow looked and acted less realistic than he does on television. Soon Trump was gone, part of the hit-and-run bold-name circuit. Katie Couric came and went. "I just can't," she said, when greeted by a non-famous journalist. Google chairman Eric Schmidt—who has invested a bunch of money with Jared Kushner's younger brother Joshua, head of the investment firm Thrive Capital—left before Couric. Charles Kushner, Jared's father, who made lively Observer headlines and spent two years in prison for hiring a prostitute to have sex with his brother-in-law so he could send a tape of the encounter to his sister in an attempt to obstruct an investigation into his financial misconduct at the family real estate business, would stay until the end. "You're very pretty and you should enjoy it," Bloomberg told her. "It's something you'll look back on all your life." Mayor Michael Bloomberg arrived and was buttonholed by Nana Meriwether, the current Miss U.S.A. They discussed Baltimore, where she was from and where Bloomberg went to college, and South Africa, where she was born. "You're very pretty and you should enjoy it," Bloomberg told her. "It's something you'll look back on all your life." Then it was time for Jared Kushner to make a speech. Donald Trump Jr. slapped him on the shoulder and said, "Go to work, man." Kushner sidled up to a microphone on the staircase overlooking the room and placed his feet wider than his hips as he spoke. Kushner is 32, but he doesn't project adulthood very well, and his voice is high-pitched. He looks like Bruce Wayne, but when he opens his mouth, he sounds like Michael Jackson. Nor, for a newspaper mogul, is he particularly good with words. He was admitted to Harvard, to the surprise of people who knew him in high school, after a very large donation to the university by his father. On the subject of his smarts, one former Observer employee said, Kushner manages to be both self-deprecating and menacing—confessing his academic weakness the way a man in the forest clutching a Bowie knife might confess to you that he feels hungry. Here is a passage from his address: "You know when I bought the paper, today the media world is much bigger than it was seven years ago. The landscape has changed dramatically and when I think about how it is today, even seven years ago, it's much much different than the one that was twenty-five years ago when Arthur, who is also here tonight, who is a truly brilliant and a very, very special man, decided to start this paper. He really had audacity to do that. And I think that, as the owner of the paper, the thing that I try the hardest to do is really put this organization in a place where while the content quality, the mediums will change, what we stand for in terms of being there as a paper that really is there for the truth and is a paper of journalism and producing great content and really loving the city of New York, we'll be able to find the next twenty five years." Mayor Bloomberg spoke next, lowering the microphone so deeply that he accidently turned it off. "When I first heard about this twenty-fifth birthday party," he said, after he'd turned it back on. "I thought, 'Wow, Jared, you're growing up so fast!'" He praised the paper with a series of adjectives. It is, he said, "ambitious," "opinionated," "independent," "sophisticated" and "street smart." "They share some incredible, sometimes unbelievable stories, that ya just gotta know about," the mayor said. The mayor had said that the Observer today is better than it had ever been. Kaplan, approached for comment on that proposition, declined. Gawker owner Nick Denton attempted to goad him into a response, but Kaplan brushed by him with a laugh. Then it was time to cut the salmon-colored, four-tiered cake, featuring the Observer's logo, the trenchcoated man watching the sunrise—or the sunset—with a paper under his arm that may or may not be the Observer. Kushner stood next to the company's new CEO, another brother-in-law, smiled, and posed for a picture. |
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March 15th, 2013Top StoryCreating a Video Game With Nintendo Sounds Stressful, Amazing and UnrealBy Stephen Totilo
Miyamoto, who works primarily out of Nintendo's headquarters in Kyoto, has famously high standards for the games he oversees. Japanese game developers at Nintendo with whom he works often joke about him metaphorically flipping over the table, urging big changes, en route to the creation of what tend to be well-made, highly-regarded games. As a result, Miyamoto is not just Nintendo's head of video game development; he's widely regarded as the top game developer in the world. In Vancouver, Miyamoto was meeting with the Canadian studio, an outfit called Next Level Games that has partnered with Nintendo on game development for about a decade, to check the progress on the Luigi's Mansion, which was then a primarily single-player game featuring Super Mario's brother, Luigi, tiptoeing through haunted locales, vacuuming ghosts. The Canadian team was dabbling with a multiplayer mode. "Miyamoto-san actually challenged us to say that this multiplayer will only be in the game if people will constantly play it, similar to Mario Kart," Next Level gameplay engineer Brian Davis recalled in an interview with Kotaku. Mario Kart is, of course, one of the most popular multiplayer video games of all time. Probably in the top five. Next Level director Bryce Holliday remembered the same conversation, as this kind of thing doesn't seem like a line you'd forget. He said they'd just shown Miyamoto a tech demo of multiplayer. "That was his response: 'Put it in the game if people can play it longer than they play Mario Kart.'" No pressure! To most people, video game development is a black box. We play games. We enjoy them. We might notice credits rolling or logos on a DVD case, but game creators are mostly unseen. Their process is seldom exposed to the public. Even in the world of game development, among those who do know how games are made, Nintendo is its own blacker box of mystery. The Japanese firm is arguably one of the most secretive companies in all of entertainment and yet have also consistently produced excellent games longer than any other game company. Whatever mysteries they have must shroud very effective techniques. Earlier this week, I got a rare chance to peer inside, to explore Nintendo's process and try to figure out how they do what they do. I did this via an unusual trans-continental interview set up by Nintendo officials. Ostensibly, we'd be discussion Luigi's Mansion: Dark Moon, which is days away from reaching players' hands. But during our hour-long chat, we dug deeper than simple product hype. My interview with the game's creators was networked through a video-conferencing system. I sat in a conference room at Nintendo's offices on Park Avenue in New York City. In front of me, I saw this: The top-left rectangle was a feed from Nintendo's Redwood City offices near San Francisco. Two public relations people sat closer to the camera. In the back were two of the Vancouver-based Next Level people working on the new Luigi game: Holliday on the left, Davis on the right. In the bottom-left rectangle were Yoshihito Ikebata, the supervisor for Luigi and Ryuichi Nakada, another supervisor who backed Ikebata up. Both men work out of Nintendo's Software Planning & Development Department and were sitting in a conference room in Nintendo's home offices in Kyoto, Japan. At least one other Nintendo official was off-camera. In the top-right rectangle was a translator and another member of the Nintendo team at the company's U.S. headquarters in Redmond, Washington. The translator, Jonathan Yeckley, would interpret my questions and the Next Level guy's answers for the Japanese developers and would translate what was said in Japan for the rest of us. We did this conference call at 8pm in New York. That made it 5pm in California and Washington; 8am the next day in Japan. I've interviewed Nintendo developers dozens of times, but usually in the same room at an E3 conference hall or in a hotel meeting suite. The translator is usually in the room with us—not that the likes of Miyamoto or Nintendo president Satoru Iwata always need them; they don't need English questions translated. Interviews through even the best translators are challenging. You ask a question. You are given an answer in a language you don't understand. You nod politely, try to react to tones of voice to convey interest. Then you listen to the English version of the answer, either looking at the translator (that feels wrong) or at the person who gave the answer but is no longer talking (that feels odd, too). It occurred to me, as I looked at the monitors showing people who work in three countries, that communication would be a huge challenge for people making games while an ocean and a language apart. And I realized, as we talked, that the kind of video conference we were doing was a big part of how these folks at Next Level and Nintendo made their Luigi games. But even this set-up didn't prepare me for some of the things these creators told me about their process. I was at times incredulous. I was intensely intrigued. You Might Not Know What Hardware Your Game Will Be OnDevelopment of Luigi's Mansion: Dark Moon, a successor to the GameCube's Luigi's Mansion, started in 2009. The game runs on the Nintendo 3DS, which was announced in 2010 and released in 2011. When Next Level started making their 3DS game, they didn't know about the 3DS. "Nintendo usually keeps a lot of secrets," Holliday said. "Even being the developer, after learning about the project, we didn't know what we were building it for or on. We had to kind of envision what system this would be for. So we just started writing paper designs, researching the old game and coming up with new ideas. We pitched a detective game, and then we were working on a little Gauntlet-style paper design to kind of shift the series and then eventually we started getting more details from Nintendo about where they wanted to go with the framework."
Back in Japan at that time, the Nintendo folks had a clearer idea of what the game would be for. They were aware of the 3DS project and had decided that a new Luigi's Mansion game could be a good fit for it. They also thought that Next Level Games, which had made two Mario soccer games and a long-awaited sequel to the classic Nintendo game Punch-Out under Nintendo's supervision, would be good for the Luigi project. So they phoned Next Level and got them on a video conference. Holliday remembered that video call. "We were developing something in secret, like we usually do working with Nintendo," he said. "There was a conference call very similar to this one where it was kind of announced to us that we would stop working on what we were currently doing and start—they even added a little drum roll—to work on Luigi's Mansion." He clarified that, yes, Kensuke Tanabe, the long-time Nintendo producer who also worked with the Japanese company's in-house Texas-based studio on their Metroid and Donkey Kong games, did some rapid hand-tapping on the table. "Tanabe-san is a funny guy, and he was trying to get me excited for this bad news," Holliday joked. You Might Be Getting Involved In Something That Has A Long HistoryNintendo has been making video games and hardware for a few decades, so making a sequel to one of the company's games involves an intersection with roads paved a long time ago. That first Luigi's Mansion was a launch game for the GameCube in late 2001, meaning it had been in development for perhaps even a decade before Next Level was assigned to the new game. Players of the first Luigi's Mansion had experienced a single-player game about Luigi trying to catch ghosts that made for normal TV screens. Internally, however, Nintendo had dabbled with a multiplayer mode and had also tried making the game run in 3D.
According to Ikebata, the new game's multiplayer also had a precedent. "In the development of the first game there were actually [multiplayer] experiments done on the GameCube. Actually, Mr. Miyamoto had very positive impressions with how it worked but for various reasons it didn't make it into the game. So when the development of this game started out, the director of the original game, Mr. Konno, had very strong feelings about definitely including multiplayer in this title. So multiplayer was a decision that was made from the very beginning of development." Your Characters Will Have Rules. You Can Try To Bend Them.Getting assigned to make the new Punch-Out is a sign of trust from Nintendo. They don't farm out their famous franchises to just anyone. But Punch-Out is an easy hand-out next to a game starring the most famous second-fiddle in video games. Next Level got Luigi. That was big. But Luigi comes with rules. It turns out that Nintendo characters often do. One rule for Luigi for the new game? Luigi wasn't allowed to jump. In Super Mario Bros., that's fine. In a Luigi's Mansion? It was not permitted. "That comes from NCL," Davis said, referring to Nintendo by the acronym for their Japanese HQ. "We have a set of rules that we can explore within each character. Different characters like Toad we were restricted on. Well, he can only do certain things in the game. [For example,] he's supposed to look like he's having fun when he's with Luigi. There are situations in the game where, if he's not connected with Luigi, we try to make him look scared or frightened, so that the player feels an emotional connection with him when you leave him."
Ikebata-san and Nakada-san were on our video conference, so I asked them where the no-jumping rule came from. "As for why Luigi can't jump, that's simply a carry-over from the game design that was established in the GameCube version," Ikebata said. "But as to why in the GameCube version Luigi wasn't able to jump, unfortunately I'm not able to answer that." He was at least able to make a sensible, educated guess. "Luigi's Mansion [Dark Moon] is not so much an action game as it is an adventure game. With the limitation on jump, it helps stress the adventure elements of the game. And I imagine that the same reasoning went into the design decision to not let Luigi jump in the original Luigi's Mansion." You'll Get to Work on the Game For a Long Time. And Then Work On It Some MoreA lot of game studios make games in a year or, ideally, in two. Three's less common. More than three? That's exceptional. Luigi's Mansion: Dark Moon extended past three. That's a luxury and it's also a sign, apparently, of some high standards. "The game started out on a new system, so first there was technical [matters] of just getting everything running," Holliday said. "And then we were working with Miyamoto directly, which came with its own differences from earlier groups, which were a little bit more third-party. We were getting a little bit closer into the family, and that provided some different relationship-building that we needed to do and different kind of characteristics that we weren't quite used to.
"As we were experimenting, we had all the different mansions," Davis added, "and we wanted to make sure that all the mansions were up to a certain level of quality as well. That obviously takes a bit of extra time to do." Nakada admitted that he thought the game was finished multiple times. "Throughout the three-year development time there were a number of points where we stopped and were like, 'Well, we're done. This is good to go.' But there were places that we found that were good enough that we actually wanted to take advantage of them a bit more and expand upon those discoveries throughout the development. So that's another factor as to why it took three years." You'll Get Affirmation. But It Won't Always Be Verbal.Make a game with Nintendo and you can hope that you'll finish up with something that's, at worst, good and is, ideally, exceptional. The proof is in the playing, but there are other ways to find out, too.
That happened last year. The Nintendo people didn't have a translator, Davis said, "but we could tell they enjoyed the game by watching them." Then the NCL people started making gestures like they were casting a fishing line and reeling it back in. This was encouraging given that, according to Davis and Holliday, the original Luigi's Mansion was originally going to be a fishing game. Playing a Luigis Mansion was supposed to feel like fishing. The NCL folks were casting out and reeling in their ghosts. They were having a good time, Davis remembered. "They gave us the thumbs up." Luigi's Mansion: Dark Moon will be released later this month on the Nintendo 3DS. It was made by Next Level Games and Nintendo. It includes a single-player adventure and multiplayer. That multiplayer is supposed to be good. Miyamoto said so. |
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![Dad Overhears Son's Plans to Come Out, Assuages His Fears with Preemptive Letter of Acceptance [UPDATE]](http://img.gawkerassets.com/img/18hk7pvzit5iyjpg/xsmall.jpg "Dad Overhears Son's Plans to Come Out, Assuages His Fears with Preemptive Letter of Acceptance [UPDATE]")
