“It’s probably the greatest creative risk maybe going on in the game industry today,” he said, responding to audience questions about dealing with failure. Calling Spore “massive” he continued, “I believe it’s going to be one of the greatest franchises in our industry and will rival World of Warcraft or The Sims or Rock Band. It’s going to be right up there.”

“Or not.”

He went on to say that EA was “100% behind the team that’s creating that, and we will live and fall together,” regardless of the outcome, but that the project was one that was well thought out and well executed.

Want to get digital copies for yourself? They’re available for download at the official Into The Pixel web site.

While Riccitiello was proud of his achievements at EA following his return to the company, he warned developers and publishers not to make some of the mistakes the company has made in the past. Those mistakes, he said, involved the stifling of creative talent and their ensuing departure.

Riccitiello took DICE attendees to school this morning with his talk on Game industry Economics 101. EA, like Activision, Sony, Microsoft, will continue to absorb developers, as it did with Bioware Pandemic last year. And that presents a danger.

“Organisations are not coming together in a good way,” he said, resulting in less interesting products born of “creative failure.”

In the cases of Bullfrog, OSI and Westwood, Ricitiello said that the belief that EA and its studios could be one big happy family, with a one-culture-fits-all mentality doesn’t work. Those teams suffered, and eventually lost talent, because creative decisions were escalated to the top levels of the company and creative contributors were “buried in layers of bureaucracy and policy.”

What does work, Riccitiello said, are what he called “city-state” teams, with strong leaders like the ones Bioware, Maxis, DICE and Distinctive. Outside of EA, he pointed to Rockstar Games, Valve and Blizzard as strong examples of the kind of creatively independent models to follow.

He had strong words for publishers who were looking to consolidate, saying “The command and conquer model doesn’t work. If you think you want to buy a developer and take their name off the credits, taking away their autonomy, you’re making a profound mistake.”

The solution was to “Find the people you trust and give them the keys.”

ACADEMY AWARDS TOP HONORS TO CALL OF DUTY 4, BIOSHOCK, THE ORANGE BOX AT 11TH ANNUAL INTERACTIVE ACHIEVEMENT AWARDS

The Academy of Interactive Arts & Sciences Inducts Mike Morhaime Into Hall of Fame and Bestows Lifetime Achievement Award Upon Ken Kutaragi

LAS VEGAS – February 8, 2008 – And the winners are … Call of Duty 4: Modern Warfare (Activision), BioShock (2K Games) and The Orange Box (Electronic Arts and Valve Software); each picked up four statues at the 11th Annual Interactive Achievement Awards® last night. The award ceremony was hosted by comedian and avid video game player Jay Mohr at the Red Rock Resort in Las Vegas.

The Academy of Interactive Arts & Sciences also honored two industry icons for their tremendous contributions. Mike Morhaime, president, CEO and co-founder of Blizzard Entertainment®, was inducted as the 11th member of the prestigious AIAS Hall of Fame and Ken Kutaragi, former president and CEO, Sony Computer Entertainment Inc., received the highly coveted Lifetime Achievement Award.

“The Interactive Achievement Awards is the forum for the industry’s best game makers to evaluate the merits of more than 160 titles submitted for consideration and honor the best in technical innovation and gameplay experience,” said Joseph Olin, president of the AIAS. “This year’s winners truly represent the best cross section of interactive entertainment, demonstrating the power of next-generation platforms that have come of age.”

These peer-based awards recognize the outstanding products, talented individuals and development teams that have contributed to the advancement of the multi-billion dollar worldwide entertainment software industry.

The winners in each category are as follows:

Overall Game of the Year:
Call of Duty 4: Modern Warfare

* Publisher: Activision
* Developer: Infinity Ward
* Producer: Mark Rubin
* Game Director: Jason West
* Creative Director: Vince Zampella

Console Game of the Year:
Call of Duty 4: Modern Warfare

* Publisher: Activision
* Developer: Infinity Ward
* Producer: Mark Rubin
* Game Director: Jason West
* Creative Director: Vince Zampella

Computer Game of the Year:
The Orange Box

* Publisher: Electronic Arts, Valve Software
* Developer: Valve Software
* Producer: Gabe Newell

Outstanding Innovation in Gaming:
Rock Band

* Publisher: MTV Games
* Developer: Harmonix
* Producer: Robert Jerauld
* Game Director: Bob Settles
* Creative Director: Jonas Norberg

Handheld Game of the Year:
The Legend of Zelda: Phantom Hourglass

* Publisher: Nintendo of America
* Developer: Nintendo
* Producer: Shigeru Miyamoto
* Director: Eiji Aonuma Massively

Multiplayer Game of the Year:
World of Warcraft: The Burning Crusade

* Publisher: Vivendi Games
* Developer: Blizzard Entertainment
* Producer: Frank Pearce
* Game Director: Rob Pardo
* Creative Director: Chris Metzen

Cellular Game of the Year:
skate.
Publisher: Electronic Arts

* Developer: EA Mobile
* Producer: David Manriquez
* Game Director: David Manriquez
* Creative Director: Derek Zakaib

Role-Playing Game of the Year:
Mass Effect

* Publisher: Microsoft Game Studios
* Developer: BioWare
* Producer: Casey Hudson
* Lead Designer: Preston Watamaniuk
* Art Director: Derek Watts

Racing Game of the Year:
Motorstorm

* Publisher: Sony Computer Entertainment America
* Developer: Evolution Studios
* Producer: Simon Benson
* Creative Director: Paul Hollywood

Outstanding Achievement in Game Design:
The Orange Box: Portal

* Publisher: Electronic Arts, Valve Software
* Developer: Valve Software
* Lead Game Designer: Robin Walker
* Game Director: Kim Swift
* Creative Director: David Speyrer

Adventure Game of the Year:
Super Mario Galaxy

* Publisher: Nintendo of America
* Developer: Nintendo
* Producer: Takao Shimizu
* Game Director: Yoshiaki Koizumi
* Creative Director: Shigeru Miyamoto

Sports Game of the Year:
skate.

* Publisher: Electronic Arts
* Developer: EA Black Box
* Executive Producer: Scott Blackwood

Strategy/Simulation Game of the Year:
Command and Conquer 3: Tiberium Wars

* Publisher: Electronic Arts
* Developer: EA Los Angeles
* Producer: Mike Verdu
* Creative Director: Matt Britton

Action Game of the Year:
Call of Duty 4: Modern Warfare

* Publisher: Activision
* Developer: Infinity Ward
* Producer: Mark Rubin
* Game Director: Jason West
* Creative Director: Vince Zampella

Family Game of the Year:
Rock Band

* Publisher: MTV Games
* Developer: Harmonix
* Producer: Tracy Rosenthal-Newson
* Game Director: Greg LoPiccolo
* Creative Director: Josh Randall

Outstanding Achievement in Animation:
Assassin’s Creed

* Publisher: Ubisoft
* Developer: Ubisoft Montreal
* Animation Director: Alex Drouin
* Lead Animators: Elspeth Tory, Sylvain Bernard

Outstanding Achievement in Art Direction:
BioShock

* Publisher: 2K Games
* Developer: 2K Boston, 2K Australia
* Visual Art Director: Scott Sinclair
* Technical Art Directors: Hogarth De La Plante, Andrew James, Jay Kyburz, Nate Wells

Outstanding Achievement in Visual Engineering:
Crysis

* Publisher: Electronic Arts
* Developer: Crytek
* Director of R&D: Douglas Binks

Outstanding Character Performance:
The Orange Box: Portal

* Publisher: Electronic Arts, Valve Software
* Developer: Valve Software
* Writer: Erik Wolpaw
* Voice Actor: Ellen McLaw
* Character Name: GLADos

Outstanding Achievement in Story Development:
BioShock

* Publisher: 2K Games
* Developer: 2K Boston, 2K Australia
* Writer: Ken Levine
* Character Designer: Rob Waters

Outstanding Achievement in Game Play Engineering
:
The Orange Box: Portal

* Publisher: Electronic Arts, Valve Software
* Developer: Valve Software
* Lead Game Designer: Robin Walker
* UI Designer: Alden Kroll
* AI Designer: Tom Leonard

Outstanding Achievement in Online Game Play:
Call of Duty 4: Modern Warfare

* Publisher: Activision
* Developer: Infinity Ward
* Lead Online Designer: Todd Alerman
* Lead Online Programmer: Richard Baker

Downloadable Game of the Year:
Puzzle Quest: Challenge of the Warlords

* Publisher: D3 Publisher or America
* Developer: Infinite Interactive, 1st Playable Productions
* Producers: Arthur Kawamoto, Steve Baldoni
* Game Directors: Steve Fawkner, Janeen Fawkner

Outstanding Achievement in Original Music Composition:
BioShock

* Publisher: 2K Games
* Developer: 2K Boston, 2K Australia
* Composer: Garry Schyman

Outstanding Achievement in Soundtrack:
Rock Band

* Publisher: MTV Games
* Developer: Harmonix
* Music Supervisors: Paul DeGooyer, Eric Brosius

Outstanding Achievement in Sound Design:
BioShock

* Publisher: 2K Games
* Developer: 2K Boston, 2K Australia
* Sound Designers: Emily Ridgway, Patrick Balthrop, Justin Mullins
* Audio Lead: Eric Brosius

Since 1996, the Interactive Achievement Awards have recognized outstanding games, individuals and development teams that have contributed to the advancement of the multi-billion dollar worldwide entertainment software industry. More than 160 titles were played and evaluated by members of the Academy’s Peer Panels. The panels are comprised of the game industry’s most experienced and talented men and women. Each panel is responsible for evaluating one award category. Interactive Achievement Award recipients are determined by a vote of qualified Academy members. Award voting is confidential, conducted online and supervised and certified by VoteNet Solutions, Inc. The integrity of the system, coupled with a broad-based voting population of AIAS members, makes the Interactive Achievement Awards the most credible, respected and recognized awards for interactive entertainment software.

Mizuguchi explained he was inspired by games at a young age, fascinated by Atari’s dedicated Pong platform. He says he also discovered the music of The Beatles at the same time, combining the two experiences in a visual and emotional way.

He says he later was motivated to join Sega when he saw the Sega R-360 arcade cabinet for the first time. The enclosed, fully rotating cabinet gave developer AM2’s G LOC a more realistic flight simulator experience (and surely induced plenty of nausea). When Mizuguchi saw the R-360 for the first time, he thought “Wow, who did this?”

His first project at Sega, arcade racer Sega Rally, got its own answer to the R-360 later, with a full-sized rally car chassis that sold a total of four units.

Moving on to the console division, the producer went to work on Space Channel 5. It was the result of his fascination with MTV culture as a child and his first foray into merging the emotional response from music with interactive entertainment.

His next was Rez.

The game, once known as K-Project was not just inspired by the paintings of Wassily Kandinsky, a Russian painter who had experience with the condition known as synesthesia. It was also partially inspired by Mizuguchi’s early fascination with the Sensorama, a multi-modal device that promised an experience combining wide vision, motion color, stereo sounds, aromas, wind, and vibrations. “Wow,” Mizuguchi said, questioning “What is this? What’s happening inside?”

Combining those two motivators with Mizuguchi’s interest in understanding why people, regardless of region, reacted to music at clubs and festivals physically—and vocally, as Mizuguchi said “Waaaaagggh!”, arms stretched high.

These combinations continued, with games like Lumines, which recreated the “play with music” gameplay design and Ninety Nine Nights, Q Entertainment’s attempt to combine action games and movies. NNN, Mizuguchi explained, was heavily influenced by Akira Kurosawa’s Rashomon. Lumines II, which felt to many like a retread, was an attempt to more heavily incorporate music videos into the gameplay.

All of these marriages of medium are just portions of what Mizuguchi feels will bring to game development, now, according to him, still in its infancy. The “Big Bang” he says will be a hybrid product for a mass audience that combines online connectivity, video games, music, movies, community and advertising.

Since moving to Q and partnering with friend and now CEO, Shuji Utsumi, Miz says he’s begun to come to terms with balancing art and commerce. Utsumi, he says, has been a good influence, especially when Mizuguchi becomes “too artistic.” “Games,” he says “are entertainment, not just art.”

Schiesel began his line of questioning by addressing some of the Microsoft’s talent losses over the past year, specifically inquiring into the departure of star developer Bungie. “I think that was a case of a creative team really wanting to just be independent,” he said, brushing off rumours that the team felt creatively stifled, saying “No studio had more creative freedom within Microsoft than Bungie.”

On the rest of the departures, Kim called those acquisitions “the nature of the industry”, explaining that the company doesn’t dictate what other publishers do.

Kim responded to questions that the Xbox 360 line-up for 2008 appeared to be a bit thinner than that of 2007, “I think the pipeline is very stacked. You just don’t know about it yet.” The Microsoft exec was quiet on currently unannounced titles, but did point to a trio of top-tier games the publisher will focus on in Halo Wars, Alan Wake and Fable 2.

He pointed to Microsoft’s first-party studios need to shoulder the burden for creating exclusive content for both the Xbox 360 and Windows platform, saying that they’re watching competitors like Sony and Nintendo’s first party offerings closely. “I don’t think anyone should underestimate Sony,” he said, calling both “formidable” competitors. “To count them out would be a foolish mistake.”

While he praised the Wii’s casual market acceptance, calling it “great for the entire industry”, he questioned how financially successful it was when compared against Microsoft’s box. He pointed to 40% of the game-buying public’s dollars going toward Xbox 360 games, hardware and accessories. “How are they using the console?” he asked of the Wii consumer “Are they buying a lot of games?”

When asked if Microsoft being outsold by Nintendo worldwide represented a failure, when compared to the company’s goal to be number one in any space it’s in, Kim said that “No one should be surprised by Nintendo.” Kim tempered that praise, telling Schiesel “I think it’s way too early to declare a winner here.”

Kim said not to expect a lifespan for the Xbox 360 on par with its predecessor, pointing to the strategic benefit of launching a year before a pair of current-gen competitors.

But what about new video game ventures for the company? Microsoft’s Zune, Scheisel added, was behind the curve in the gaming space when compared to its biggest competitor, the iPod. While Kim left the door open, saying “Never say never”, he was realistic about the investment required. “Clearly it’s a big business, but launching a portable device, it’s just like launching an Xbox 360. You have to step back and ask devoting whatever resources you would have to make the Zune a multifunction device, is that really the best way to go from a company standpoint?”

The team also revealed a list of the Blizzard games that have been cancelled over the course of their 17 years, a list longer than you may think.

If you thought Blizzard was only focused on StarCraft, Warcraft and Diablo, think again. While they may have a few lesser known titles like Blackthorne and The Lost Vikings on their resumes, they were at one point working on all of the following.

• Games People Play
• Crixa
• Shattered Nations
• Pax Imperia
• Denizen
• Warcraft Adventures
• Nomad
• Raiko

A look at some of the preliminary artwork, in extra large size, can be seen here.

We know that Blizzard was unhappy with the quality of Warcraft Adventures and many of us were glad to learn of its termination and that Pax Imperia eventually went to another developer. Oddly enough, StarCraft Ghost did not appear on the list, despite appearing to be dead in the water. Unfortunately, Pardo, Morhaime and Pearce didn’t expound upon the games in question, nor did they specifically reveal why they were cancelled, but expect more from their talk later to shed more light on the decisions that go into cancelling a game.