It may have required some background knowledge of 300 and Chris Hecker to understand, but the Joystiq webcomic lovers chose via parliamentary procedure 2P Start's entry as the best webcomic of last week.

Second place went to Penny Arcade and third from Scott Johnson's Extra Life. Thanks to everyone who voted and be sure to let us know of any gaming comics you stumble upon this week!

What is a magic crayon? If you're envisioning Harold and his purple outlet of creativity, you wouldn't be far off from the intended metaphor. Chaim Gingold, design lead for Spore's editors and cell game, described the magic crayon as a toy that is simple to use and yet gives the user enough power to create something they'll appreciate.

Gingold kicked off his presentation, one of the last after a marathon of lectures and roundtables at this year's Game Developers Conference, by defining a magic crayon through example. Photoshop is not a good magic crayon, for example, because it is very hard for most people to use. Neither is Super Mario Bros., since you are not changing anything in the world. Kid Pix fits the schema for a magic crayon, as does the Mii creator, which is an "absolutely beautiful, wonderful magic crayon," he said.

A skit that went great until some guy... Mega64 contributed a few new skits to the Game Developers Choice Awards last week to much applause and laughter, including a pretty poignant piece on Feel the Magic XX / XY (we're still waiting for that one to pop up on the internet). One in particular made the crowd scream more than anything else that night. The YouTube description reads thusly: "A skit that went great until some guy made it all awkward."

We won't spoil the rest, so check out the video after the break.

If you've followed the Game Developers Conference at all, you probably heard about Maxis programmer Chris Hecker comments that the Wii is nothing more than two GameCubes duct tape together (though, to be fair, that's a 0.5 upgrade from comments that the Wii is "GameCube 1.5"). We're willing to wager that "Product X is just two Product Ys duct tape together" is on track to becoming a popular phrase in gaming circles.

Kim Pallister of Microsoft Casual Games has risen to Hecker's defense, which ultimately led to an apology we feel was somewhat coerced by his overlords at EA and Maxis. The major point in Hecker's argument is that having an innovative control system "should not give them a 'get out of jail free card' on the fact that they have delivered an underpowered machine," according to Pallister's interpretation. And by underpowered, Hecker is referring to computations and not the graphics system, which puts his rant in line with what he said last year that the PS3 and Xbox 360 also underperform in terms of computational power while focusing on a graphics-heavy system.

We're not going to take sides on his point that Nintendo needs to "recognize and push games as a serious art form," though the statement does make for a great discussion. We will say all three companies have pushed for more involvement with independent developers. (Microsoft has Castle Crashers and Roboblitz, Sony has flOw and LittleBigPlanet and Nintendo has Line Rider and possibly Telltale's Sam & Max.)

Don't forget about the heap of praise that the IGDA community gave Hecker just last year after winning the Community Contribution Award. Though, to be fair, that award is just two IGF awards duct taped together.

On the first floor of Moscone's North hall last Friday, flOw developer That Game Company presented their storied origins. Co-founders Jenova Chen, who took a brief recess from the company to help on the DS version of Will Wright's Spore, and Kellee Santiago, met at the University of Southern California.

"I don't see [video games] as being any different [than other interactive media], it's all story telling," Santiago said.

Chen, who affirms that his proudest work is flOw and Cloud, explained their place in gaming with an ever-popular culinary allegory. Think of Gears of War as steak and World of Warcraft as chicken. Let's give lettuce a relation to Nintendogs and fish can be Brain Age.

"Let's say you focus on chicken, but somehow you find a way to make it accessible and customizable," said Chen. The according Power Point slide shows the chicken transition into a bucket of Kentucky Fried Chicken. "That also expands the audience or customers. How can you make existing games more accessible to wider audiences?" Does that mean flOw is a bowl of cereal? All we know now is that we're quite famished.

At an early session Friday, id Software CEO Todd Hollenshead gave a lecture on the problems of piracy on the internet. During his speech, Hollenshead revealed that, although they are still primarily a PC developer, id Software had begun to look at console game releases as a way to financially combat piracy.

"Piracy has pushed id as being multiplatform," Hollenshead said, noting that the current project Enemy Territory: Quake Wars is being scheduled for release on PC, Xbox 360 and PlayStation 3. Hollenshead's rationale is that console piracy is, by a large factor, minimal relative to the rampant PC piracy.

In Hollenshead's lecture, entitled "The Videogame Piracy Problem: Fifteen Men on a Dead Man's Chest," was a discussion on the problems of piracy, his company's experiences with the issues, and suggestions to help the diffuse the issue.

Speaking about the history of upstart developer That Game Company at GDC, President Kellee Santiago revealed an extremely interesting tidbit as to where flOw was heading on consoles. Two companies were interested in the title: Sony, as we all are now aware of, and Nintendo.

"That was the hardest decision we ever had to make, choosing between Sony and Nintendo," admitted Santiago. Speaking during the Q & A, Santiago clarified that "they weren't right for us at the time. Sony kind of came to us with the process of incubation ... They helped us get our studio started." Nintendo did not approach them; the team actually cornered them about Cloud at a prior Game Developers Conference. FlOw creator Jenova Chen chimed in, saying "in the end, we are game makers and not console makers," expressing his satisfaction working with Nintendo on other projects. That Game Company did not rule out working on the Wii in the future.

From our current impressions, we think Nintendo missed a golden opportunity here. We'll have more on That Game Company's presentation later in the day.

The following is a pseudo-live blog of the event from earlier this afternoon. Read on for a full description of each game proposed.

Other than the obvious Karaoke titles and the later Mario Party games, audio is an untapped resource in gameplay input. Kicking off the Experimental Gameplay Session at this year's Game Developers Conference, a dozen or so quick-and-dirty games set out to change that.

Here are some of the highlights from those initial games.

• The selected music will create falling enemies from the top of the screen (Though it was written with pop in mind, classical music was used to a rather disappointing effect). As a ball tethered to both sides of the screen, you move it with the mouse to capture the enemies. Capture radius too small? Talk (or yell) into the microphone and the radius increases accordingly). We rank this one impressive.
• Designer Sean Barret created a Tempest style game, where the player has two shooters representing the bass and treble. As enemies come down the field, your shoots created the notes according to the row you were at (the bass blaster had five or so lines reserved, while treble had eight or nine). In this scenario, the game was forcing you to play the song. To prove this point, we witness the horrible sounds made when shots are fired randomly or targets missed.
  
• In another game, blips appeared on the screen and you had to avoid them with your mouse cursor. Each near-hit would register a sound, starting with a simple bass beat. As the game progressed, more obstacles and lighting effects would appear. Eventually, we lost track of what the point of the game was, though the flashing lights, reminiscent of a rave, enjoyed us enough not to care. The audience agreed, cheering wildly at the demo's conclusion.

At yesterday's Experimental Game Design lecture, Alex Butterfield discussed his latest project, the mind-bending PSP title Crush, billed as a "revolution twist on the puzzle platform."

Butterfield's presentation focus on the challenges of making a game that seemingly transitions from 2D to 3D without effort. Crush is designed so that your character, who is under hypnosis to cure insomnia and forced to find a way through 40 dream sequence levels, can only "crush" (transform 3-dimensional space into 2-dimensional platformer) horizontally and top-down.

Of the challenges discussed, Butterfield talked about the shortcut challenge, whereas the clever player would be able to use the crushing ability to move from the beginning of the level to the end without effort. Thus, the team devised three different blocks whose behavior differed when crushed: ghost block (insubstantial), solid blocks (impassible) and hollow blocks hollow block (somewhere in between).

Other issues include disorientation, which Butterfield tried to fix by way of camera work and the placement of prominent landmarks to help the player. There were two design flaws that the dev team worked to solve. The creation of cut-zones let the developers section off part of the level so that one does not accidentally crush themselves next to a horrid enemy without prior knowledge. A safety feature was also implemented so that a crush process does not cause the character to fall helplessly to their doom; "an explanation as to why you failed the puzzle" will be shown instead. Many of these problems were also solved, of course, through countless QA and debugging.

Following the talk of problems and problem solving, Butterfield moved into the realm of conjecture, philosophy and other higher-order thought. What if you were allowed to crush at any angle? What if you could crush outward into four dimensions (with time being the 4th candidate); i.e. a block could become a bridge, a cockroach would crush into a centipede, etc. How about multiplayer? Butterfield suggested separate realities for each character, whereby only you control the crushing in your reality and only your movement would be reported to the other player's screens.

There's no clean-cut solution, but some of these problems give us an idea of the far future of platform puzzlers. Crush is looking good and the game's twist well-executed. The game is slated for release later this year on the PSP.

While at the Vicious Cycle booth, we got a chance to view at Vicious Engine, now working on the Wii, and how the team sees to implement controls for first-person and over-the-shoulder titles.

Essentially, only the nunchuk is used for camera and movement. The top joystick moves and strafes your character, while left and right rotations trigger the accelerometer and rotate the characters perspective left and right and a forward / back roll with cause the camera to look down / up, respectively. In play testing the control scheme, using the accelerometer control to move the camera feels awkward, and the rotations seem to move in 15 degree spurts (as opposed to fluid movement). After a few minutes, however, the movement became more intuitive.

With the simplification of movement in one hand, the other hand (and, more importantly, the infrared motion sensor) is free to control whatever -- sword-fighting or off-of-middle cursor positioning. Level Designer Bryan West told us, rather bemused, that with how the control scripts are implemented in the engine that even he could build a game with what's available.

Visually, the engine looked slightly better than Red Steel, especially the character model we saw. West talked with us and lamented about the common trend of ignoring Wii's graphical capability and simply upscaling textures used for PSP titles. We're assuming, then, that we won't be seeing the same issue with Alien Syndrome, a PSP and Wii title using the Vicious Engine. West also told us that they are working on a Wii game internally that involves the Vicious Engine but cannot currently discuss at this time.

6:20 p.m.: The Joystiq crew walks the red carpet, because we're just that important.

6:33 p.m.: Gnarls Barkley's cover of the Violent Femmes' "Gone Daddy Gone" is blasting as we find seats in the press section. Cushy seats with recline-able chairs.

6:42 pm: Sam and Max introduce the start for the independent games festival. The mention of projectile vomiting is disturbing, but welcoming somehow.

6:43 pm: Jamil Moledina and Simon Carless march onto stage, noting that the show is being broadcast to the entire world. We sense somewhat sinister undertones.

At tonight's Game Developers Choice Awards, Epic Games' Gears of War took home three awards: best technology, visual arts, and the coveted Game of the Year award. On the independent side of things, Bit Blot's Aquaria won the Seumas McNally Grand Prize from the Independent Games Festival.

Okami picked up a win in one of the four categories it was nominated in (take that, AIAS). Unfortunately, Loco Roco did not pick up any awards despite two nominations (character design and audio). Independent game Everyday Shooter won two awards and a distribution deal from GameTap.

View the full list winners and nominees from both events below.