As part of the GamesBeat "fireside chat" series during GDC 2010, Bungie's Joseph Staten and BioWare's Ray Muzyka discussed some of the challenges with maintaining big, huge franchises with Spike TV's Geoff Keighley. Staten noted that Bungie originally "had absolutely no 10-year plan" for the Halo franchise. Now, for Bungie's next project -- the one that isn't part of the Halo franchise -- Staten said that "the responsible thing to do" is to "create something with legs," adding that it's easier to secure funding with a project that has long term potential for investors. Muzyka added that it's important to create a product that keeps players emotionally engaged, so that they anticipate the next installment.

When asked about how consumer feedback affects the development of a franchise, Muzyka pointed to the many changes that BioWare made to the various game mechanics and systems of Mass Effect when creating Mass Effect 2. "You've got to listen to fans," said Muzyka, "really, the changes you saw in the second game came from the feedback" from the first Mass Effect.

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EEDAR hosted a two part panel at GDC this year. In the second half of the panel -- you can read about the first half here -- Jesse Divnich presented the results of an Xbox Live Achievement study the firm recently conducted. The info was pulled from a pool of 32 million data points -- provided by MyGamerCard.net -- and centered on a random sampling of 100 different Xbox 360 games.

Probably the most interesting statistic that Divnich dropped: An average of only 4 percent of Xbox gamers actually managed to earn all of the achievements in any given game. When focusing only on major, "AAA" titles, that number drops to 2 percent. Meanwhile, less than 10 percent of consumers get more than 80 percent of Achievements. Furthermore, Divnich noted that only 27 percent of users manage to unlock more than 50 percent of Achievements.

Divnich concluded his talk by saying that developers should learn as much as possible from Achievements. He advised studios to use them as motivational tool for users noting that the number of unlocked Achievements tends to drop off at around 30 percent. He added that gamers who manage to unlock at least 80 percent of Achievements are typically motivated to unlock the remaining 20 percent.

Finally, Divnich stated that developers can use Achievements as a form of direct user feedback. By observing which Achievements are unlocked, developers can see the parts of a game that players enjoy. This, in turn, can help developers decide what to focus on in the sequel. Beyond that, Achievement monitoring could even help them decide whether to make a sequel at all.

Believe it or not, many of the best games start out as student development projects. The Misadventures of P.B. Winterbottom, flOw and even Portal all began life as student projects. Speaking at a GDC panel, the developers of the games listed above gave their advice on how budding student game designers can see their own projects become a success. The panel included Kim Swift, designer of Portal and currently of Airtight Games, Matt Korba and Paul Bellezza of The Odd Gentlemen (P.B. Winterbottom), and Kellee Santiago of thatgamecompany (flOw).

The advice was wide-ranging, though all the panelists agreed that the best way to get a game noticed is to submit it to as many competitions and festivals as possible. Swift specifically noted that it's a good idea to literally drag people to come and play your game at festivals and shows like GDC. The game itself should "grab" players as well, with Korba saying that a festival showing of a game should be get players involved within five minutes.

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GDC generally isn't packed with the "oohs" and "ahs" that are typically exuded during E3 or the Tokyo Game Show. The name says it all, really, what with it being the Game Developers Conference. That doesn't mean their aren't hot scoops to be found though. This year we got our first taste of the PlayStation Move, Deus Ex: Human Revolution and, of course, the hamster ball-inspired future of video games. Now, with GDC over and done, it's time for us to say goodbye. You'll see a few more GDC stories popping up over the next few days but, for now, watch the video above and see how the Joystiq team spent the week in San Francisco.

Game industry analysis firm EEDAR dropped some interesting statistics during its GDC panel this year. The first half of the presentation -- hosted by EEDAR president Geoffrey Zatkin -- concerned new intellectual property in the games industry. According to Zatkin, the amount of new IP released has increased slightly over the last three years. Specifically, it was up to 22 percent in 2009, up from 17 percent in 2006. However, breaking it down by console, Zatkin stated that new IP currently comprises 27 percent of Wii software, while that number drops to 17 percent on the PS3 and 360.

He added that certain genres see very few original properties, particularly fighting games. Furthermore, the relationship between new IP and ESRB ratings is different on various platforms. Most new IP on the Wii tends to be rated E, while new properties on 360 and PS3 tend to be rated T or M. Using data like this, Zatkin said, publishers can decide what sort of games to release on which platforms. The question, according to Zatkin, is whether publishers decide to follow the trends or fill the "holes" in their portfolios by releasing titles in underrepresented areas (any pubs up for a mature Wii fighting game?).

Zatkin also discussed the best time for publishers to release new properties. A bar graph illustrated a slight trend away from the industry crowding all its releases into the holiday shopping season, though it still accounted for 37 percent of releases in 2009. Zatkin also pointed out that many publishers release their major titles at the end of their fiscal quarters. The lesson for publishers looking to release new (and risky) properties? Keep your games out of the fourth quarter and try to release them in the second month of any given fiscal quarter.

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The GDC 2010 Microtalks session was a frazzling experience in many ways. The format of the event essentially assures it. Ten lecturers -- all from different sectors of the game industry -- each spoke for five minutes and each were allowed to use 20 different slides. Naughty Dog's Richard Lemarchand set the stage for the speakers, announcing the theme of the talks as "come play with us." The goal of the microtalks, said Lemarchand, was to help game creators capture the "radicalizing exuberance" of games and give them the energy to "transform the world" through the power of play.

The resulting cavalcade of images and ideas -- ranging from methods of play to behavioral economics -- is a bit difficult to distill. Thankfully, we were taking notes. There was too much at the event to condense here, but it was definitely a thought-provoking event. We've highlighted a few of the more interesting speeches after the break.

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The title of Silent Hill composer Akira Yamaoka's GDC panel was "As long as the audio is fun, the game will be too." Kind of a perplexing title, especially if you've enjoyed Yamaoka's work in the horror genre. Don't get us wrong, it's good, we're just not sure fun is the word for it. Yamaoka used the panel to explain precisely why his music and sound effects are so disturbing, and it's more technical than you might think.

"Sound is very close to stimulating emotions in your brain," said Yamaoka via an interpreter. "What do humans fear?" He asked. In the case of audio, he noted that gaps between visual cues and accompanying audio. Specifically, if a sound precedes a visual cue, it can cause anxiety, while a sound that arrives too late is comforting. As an example, he noted the sounds of footsteps being made slightly before the onscreen action in a game. He noted that this effect can be felt even if the sync between sound and visual is off by a few frames of animation. Yamaoka said later in the panel that he used this technique in Silent Hill 3.

Another technique mentioned was the use of silence."When there's no sound, the brain fills in the gap," said Yamaoka. He then played a special version of Beethoven's "Für Elise" which had been injected with tiny, periodic gaps of silence. He then played the same piece, only this time injecting harsh noise instead of silence. Even packed in a fully lit lecture hall with hundreds of GDC attendees, it was unsettling. Unfortunately, Yamaoka wasn't able to give us the sound samples used during the panel, so we've done our best to recreate them:


Thankfully, Yamaoka closed the session with a soothing guitar performance, which we were able to capture for your enjoyment. Listen to it below and stay tuned for an interview with Mr. Yamoaka on Joystiq in the near future.

There was an interesting moment during the Q&A session of Peter Molyneux's Fable 3 panel at GDC this year. When asked if Fable 3 will be released on PC, Molyneux was cagey though he did say that he would 'love' to see the game appear on the platform. He was careful not to raise the ire of Microsoft's "PR police people ... with sniper rifles," but went on to state, "I can say, mystically, that I love the PC." He continued, "I love what's happening to the PC, and I would love to see the Fable franchise on the PC." He concluded that he would want to make sure it was "a truly amazing experience on the PC and that, you know, it's brilliant."

Hardly a confirmation of any actual plans for a PC version of Fable 3 -- and it should be noted that Fable 2 has remained exclusive to the Xbox 360 since 2008 -- but it's clear that Lionhead would jump at the opportunity if given the chance.

During the Game Developers Conference, Eidos Montreal Art director Jonathan Jacques-Belletete revealed that Deus Ex 3 has been officially renamed Deus Ex: Human Revolution. If the name sounds familiar, it's because Square-Enix actually trademarked it last month. The title accurately reflects the game's story, which takes place before the events of the original Deus Ex. According to Jacques-Belletete, the world in Human Revolution is on the cusp of a "transhuman revolution," the beginning on mankind's first real foray into cybernetics. As such, the Eidos Montreal team came up with a very unique visual style for the game, taking the common aesthetics of cyberpunk and blending them with those of the European Renaissance -- think Shakespeare meets Blade Runner.

If it sounds like a weird mix, it is. It was no easy task for the development team either, with Jacques-Belletete noting that it took well over a year to finally strike the right balance. But employing the talents of well-known artists Jim Murray and Thierry "Barontieri" Doizon, they managed to come up with an aesthetic that really works. Unfortunately, we weren't allowed to take pictures of the concept art and pre-rendered characters we saw, so you'll have to take our word for it.

As for the game itself, there aren't many new details. The development team, which started as only a handful of people in 2007, has ballooned to over 130. Human Revolution runs on a proprietary engine and is played from a first-person perspective, though it pops into third-person for certain attacks and taking cover. Only a tiny sliver of actual gameplay was shown during the panel, including a few environments and a conversation between two characters. The environments in particular were impressive, especially the apartment of the main character, Adam Jensen.

Further details, like the release date and planned platforms, remain under wraps for the time being. One thing, however, is certain: We're definitely ready to see more.

Speaking during GDC, Peter Molyneux highlighted Lionhead's strategy for Fable 3, specifically noting that a franchise will die if it fails to grow. "If we don't grow as a franchise, If Fable doesn't get bigger as a franchise," said Molyneux, "then it will eventually die." Lionhead is "very happy" with the success of Fable so far, with Molyneux stating that the original Fable sold "about 3 million" copies, while Fable 2 moved approximately 3.5 million.

He added that he hopes that 25-30 percent more people will play Fable 3, explaining Lionhead's plans to craft Fable 3 as more of an action-adventure title -- a genre which tends to perform better than RPGs. The overall goal for Lionhead is to sell more than five million copies of Fable 3. According to Molyneux, Fable 3 needs to sell that many in order to "be part of the big boys, the big blockbusters."

How will Lionhead rope in that many new customers? Read our full coverage of the Fable 3 GDC panel to find out.

Peter Molyneux has made it clear that Fable 3 is ditching as much of the 2D interface from Fable 2 as possible. Speaking at GDC, he finally showed us exactly how Lionhead will achieve this. According to Molyneux, Microsoft user research revealed that a majority of Fable 2 players understood fewer than half of the features in the game. "We're creating content that people literally don't care about," said Molyneux.

To help rectify this, Fable 3's menu system is managed entirely from within the game world. When players pause the game, their character is instantly warped to a chamber with different rooms that serve different functions. Molyneux specifically demonstrated the dressing room, where players will change clothes. Molyneux contrasted the process with that of Fable 2, in which changing outfits was like "going in the morning and choosing index cards to choose what you wear."

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Update: Microsoft has assured Joystiq that Twitter is not going to be integrated into Fable III. According to Microsoft, "what Peter meant was he was inspired by the 'followers' mechanic on Twitter, and its influence can be seen specifically in the 'Follower' feature [of Fable III]."

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Original: "Fable III Twitter integration revealed"

During his panel at GDC 2010, Lionhead's Peter Molyneux revealed that Fable III will include some form of Twitter support. Molyneux discussed the game's experience system, noting that the most important thing in Fable III is to acquire followers. We've heard that before, but then Molyneux said he was going to give the audience a "clue" about a new feature, but that he wasn't allowed to say more. Said Molyneux, "I Twitter now and, you know, I've got followers on Twitter. That's an interesting mechanic, and we integrate that into the Fable experience."

True to his word, Molyneux didn't drop any further hints, but considering that followers are akin to experience points in Fable III, we're assuming @conanobrien will soon rule us all.

At a GDC 2010 event, LucasArts announced that The Secret of Monkey Island: Special Edition is headed to a plethora of new platforms and services. First and foremost, it's been ported for both the PlayStation Network and Mac OS. Furthermore, the game is also making the jump to the Telltale games store as well as InstantAction.com. There are currently no details as to when the game will hit the services mentioned above, but rest assured we're following up with LucasArts right now.

It's worth noting that InstantAction.com is currently down for "maintenance," with the site's blog mentioning some "exciting announcements" in the near future. Regardless of when the game does show up, it's definitely good news for adventure fans that have been deprived of the remake thus far.

Sony announced during its GDC 2010 press conference that the upcoming US release of EyePet will feature support for its motion controller, PlayStation Move. The game will allow players to manipulate toys and also play games with their EyePets. Furthermore, it's even possible to create new toys. The promotional video during the event showed off a child using the Move to draw a car on some virtual paper, which then jumped off the page and became an object that players and the EyePet could then interact with.

In addition, Sony announced that EyePet is slated for a North American release this holiday. There was no mention of what will happen to the European version of the game, which was released last year. Presumably, Move support will be added once the peripheral launches.

During its GDC press conference, Sony announced that the PlayStation motion controller -- newly dubbed PlayStation Move -- will launch in several different packages to accommodate the various gamers out there. Sony is planning an "aggressive" marketing campaign around the new peripheral when it launches later this year and -- similar to Microsoft's launch plans for Project Natal -- it will treat the launch of the PlayStation Move as a separate "platform launch."

There will be multiple bundles, including a bundle that includes a PlayStation 3 console, the PlayStation Move and the PlayStation Eye. Furthermore, the company will launch a starter pack, which includes a PlayStation Move, a PlayStation Eye and an unnamed game all for under $100.