Personal virtual trainer demonstrates moves, gives advice, and provides motivation

Access almost 500 exercises for flexibility, cardio fitness, strength training and more

Personalized goals let you chose length and frequency of program on a calendar

Customize your environment and pick your favorite type of workout music

Chart your progress with graphs over an extended period of time

In addition to standard Easy, Normal and Hard, the game's difficulty level adjusts automatically based on the player's skill level so that both old and new fans can have a fun and challenging experience.

Engage in two-Player co-op action where you can invite friends and family to experience the horror of the Darkside Chronicles along side you.

Experience environments and areas from classic Resident Evil titles like Raccoon City from Resident Evil 2 and the hidden Umbrella laboratory from Resident Evil: Code Veronica, as well as those new to Darkside Chronicles.

Play as Leon S. Kennedy, protagonist of Resident Evil 2 and Resident Evil 4, his partner Claire Redfield, who appeared in Resident Evil 2 and Resident Evil: Code Veronica, and others still to be announced.

Players can upgrade and customize their weapons for each battle scenario. Each playable character can be specialized for a specific combat style.

Be an Assassin! Plan your attacks, strike without mercy, and fight your way to escape.

Realistic and responsive environments - Every action has its consequences. Crowds react to your moves, and will either help or hinder you on your quests.

Eliminate your targets wherever, whenever, and however. Do whatever it takes to achieve your objectives.

Dedicated historical accuracy, from the models of the in-game cities to the weaponry to the portrayal of actual political figures who died or disappeared in the year 1191.

Experience heavy action blended with fluid and precise animations. Use a wide range of medieval weapons, and face your enemies in realistic swordfight duels.

The ability to battle your friends or jam together at home or online with two turntables or one turntable and a Guitar Hero guitar controller.

Game bundle including software for PS3 and the exclusive DJ Hero turntable/mixer controller that allows players to scratch and mix their way to hero status.

Variety of unique musical content featuring in the form of 80+ DJ mixes pulled from multiple genres including Hip Hop and Dance music fused with Rock, Pop and R&B.

Variety of multiplayer co-op and competitive modes including DJ vs. DJ, DJ + DJ and DJ + Guitar.

Engaging and easy to pick-up rhythm based gameplay in the Guitar Hero tradition.

The Thalo delegation won the overall competition fair and square (despite reports in disreputable media) and with it the Shining Star of Light (left); Kudos to Betsy Book, Nick Yee, Greg Lastowka, Dave Rickey, Larry Yaeger, and Ron Meiners. We believe the mace has been taken to New York, where rumor suggests it may play a role in controlling the flow of events at State of Play this weekend. The delegation from Sysland (Raph Koster, Joshua Fairfield, Mark Terrano, Tim Burke, Nate Combs, and Peter Ludlow) won the Chalice of Saethryd (right), which we understand has been enshrined in a place of honor (relatively speaking) at the IU Law School. The delegation from Aroland was admitted into the Royal Order of Somnambulists and Gluttons (ROGS):

Prices on platinum dropped from $75 per 100k in late 2003 to $50 per 100k in mid 2005. I spent more time speaking with other sellers, and more time diversifying how we obtained platinum until the point where we, 8 people, were the sole supplier on 4 post merge servers, for everquest platinum to the big three sellers. There was no reason for them to lie to us about this, of course. They did have other sources of platinum at a rate of about 50k per day from people selling bits and pieces here and there, or they'd get a million from someone now and again, but they did not have the steady flow on the 4 servers from anyone else at all other than us. This was about $500 a day per server, or about $180,000 a year, divided amongst 8 people. It was barely manageable when you factor in health insurance and taxes.

This is something which happens in games like World of Warcraft, where one supplier might cover all servers with 400 Chinese employees paid low wages to play the game and farm coin for hours and days at a time at a steady rate. EQ has never had that "problem" and even if so, they would be limited to making platinum in the bazaar, as EQ is not modeled as such that you can make money by farming monster kills and getting plat from NPC vendors. This was not a possibility, as a mass influx of chinese farmers would also be noticed within game, unless they were doing Dragons of Norrath crystals, in which case there is not sufficient market for crystals only, in order to supply what this seller needed.

The general consensus was that this supplier got ahold of a dupe somehow, or they had a supplier who had one. When I say dupe I mean any hack, or macro or any way for someone to get money for nothing in game, and certainly something which is not "available to everyone." The best way to put the assertion (and this is all it is at this point; and again, please keep in mind that there are a number of familiar exceptions) is that the practice of game software development generates a way of seeing and defining problems (as essentially precise, logical, and algorithmic), and creating solutions (through linear, text-defined code) that makes other ways of accounting for what happens in VWs seem at worst nonsensical and at best irrelevant or quixotic.

If we were to start from scratch, to get the fire in the belly that Richard seeks, liberate the players in virtual worlds, would we find that a generation that has grown up with videogames as a basic part of their cultural world create very different forms and norms of gameplay sociality than their predecessors? Have they acculturated to the structures and "common sense" of a world they never made? Or are we struggling with deeper fundamentals of modern human nature?

If we were to start from scratch, to get the fire in the belly that Richard seeks, liberate the players in virtual worlds, would we find that a generation that has grown up with videogames as a basic part of their cultural world create very different forms and norms of gameplay sociality than their predecessors? Have they acculturated to the structures and "common sense" of a world they never made? Or are we struggling with deeper fundamentals of modern human nature?