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The player-driven economy of EVE Online is large and complex, mirroring some of the intricacies of real-world economics. As the player base and the collective scope of their activities in-game expanded, CCP Games sought out an economist to monitor and, if need be, regulate New Eden's economy. CCP's Lead Economist, Dr. Eyjólfur Guðmundsson, recently spoke at the Edinburgh International Festival about how who he is and what he does at CCP Games.

His talk in Edinburgh dealt with how EVE's economy has evolved from a system dependent upon NPCs, as is the case with most other MMOs, to "a pure capitalist market" driven by players. Much of the economy's evolution is predicated on CCP's single-server approach, where all players interact in the same space. Thus, commerce remains more dynamic and linked to large scale player activities, rather than being based off of a collection of NPC-seeded goods iterated across various duplicate shards. Check out Gamasutra's coverage of Dr. Eyjólfur Guðmundsson's talk during his session at the Edinburgh International Festival for the full scoop on the economics of EVE Online.

As the number of people embracing MMOs has increased exponentially over the years, so too has the frequency and scale of fraud related to these games and credit card transactions. Chargebacks resulting from fraudulent credit activity are a growing problem for MMO publishers. Gamasutra has run an enlightening Q&A with Gene Hoffman, Chairman and CEO of Vindicia, a billing and fraud management company with no small amount of expertise in the MMO arena. The interview discussed the ramifications of chargebacks for MMO publishers, such as Blizzard, which sheds some light on the fact that having the dominant industry marketshare comes with a few downsides as well.

While not commenting about Blizzard specifically, Hoffman says, "We have noticed across all our gaming clients when it comes to fraud is that the 1% chargeback rate is really a marketing budget. Having your chargebacks too low often means you aren't being aggressive enough on the customer acquisition side." Have a look at Gamasutra's talk with Hoffman, a discussion which ranges from in-game theft to hybrid subscription/micro-transaction business models.

These have been some turbulent times for both Mythos and Hellgate: London. Following the closing of Flagship Studios, recent news revealed Namco-Bandai Games as Hellgate: London's saviors, while the fate of Mythos remained uncertain, but grim. However just over a week later, the Hellgate: London page at Namco-Bandai has already disappeared.

In another turn of events, Gamasutra reports that Korea's T3 Entertainment, perhaps best-known for their online music game Audition, is seeking programmers for its new development studio in San Francisco: "T3 Entertainment is searching for creative minds to passionately continue development of Hellgate: London and Mythos, along with other new games, which are being published by HanbitSoft Inc." This may put to rest the dispute over IP which HanbitSoft was engaged in with Flagship Studios, as T3 Entertainment is HanbitSoft's largest stockholder. With any luck, the opening of a North American studio signifies a healthier future for both Mythos and Hellgate: London. We'll keep you posted, once more details become available.

Paul Barnett, the Creative Director at Mythic Entertainment, is not a man who minces his words, particularly when it comes to Warhammer Online. We covered how Barnett envisions Warhammer Online being free of the 'corruptive' influences of World of Warcraft. Gamasutra expanded on Barnett's talk at the Develop Conference and Expo in Brighton, distilling other aspects of the speech down to his top lessons learned. Barnett emphasized the importance of simplicity in game design, citing other titles that became mired in complexity. "People like the illusion of choice... they like a long menu at a restaurant despite the fact they will always order from the same three things," he said.

On the topic of having a singular vision, given the time and cost involved, he stressed that game developers tend to fall into two camps: heretics and believers. Mythic hasn't "got time for people who have no morale or don't think we're going to succeed, and mess around in palace intrigue. Heretics must be burned publicly. It doesn't matter how talented they are. If they're a heretic, they go, because cancer spreads." Conversely, he stated his preference to hire less-talented 'believers' with intense drive over those talented 'heretics' whose skills come with limitations. Have a look at the Gamasutra piece for more of Barnett's views on game design and a little more of what we can expect from Warhammer Online. Some of his ideas are bold and intended to stir up controversy, but the man definitely has some memorable lines.

"What's the real narrative or emotional value? Sometimes it's really interesting when you're in the guild in a massively multiplayer game and you attack the fortress or whatever. Some great things can be told, but it's not guaranteed. The value is not always there."

Wow, that's deep but in all seriousness there is a certain truth to his sentiment. Leveling can be a painfully dull experience and usually MMOG use the same formula and mimic the same rags-to-riches journey. While there is nothing wrong with that, it can become tiresome and insipid if you no longer care for the redundant leveling experience. So maybe developers do need to instill a sense of danger, a sense of importance and meaning to the leveling experience. Fun is most important, and MMOGs should be enjoyed and not an emotional rollercoaster into dystopia.

Of all the unlikely comparisons we've heard over the years, one we hadn't really anticipated was the comparison between Jumpgate Evolution and Gran Turismo. And just the same, there it is, smack dab in the middle of a recent interview Gamasutra conducted with NetDevil's Scott Brown. Brown says that in Jumpgate Evolution, instead of merely relying on a level-based progression system, you can achieve ranks in specific classes of weapons and ships in a manner not unlike Gran Turismo's license system.

Brown goes on to talk about their priorities when it comes to putting the game through beta, the lessons they've learned from both Auto Assault and Jumpgate Classic, and the iterative development strategy they've employed. The interviewer also expressed shock--as many have--about the game's relatively lilliputian group of developers, with only 13 people developing such a brilliant-looking game. It's worth a read if you consider yourself a pilot-to-be.

Many of you probably know Josh Drescher from his nifty production podcast videos for Warhammer Online. While you may think of him as "that video podcast guy" Drescher does also work on Mythic Entertainment's upcoming MMORPG as well. In an interview with Gamasutra, the man behind the digital curtain of animated bits discusses his thoughts on MMOs in the post-WoW era. The general gist of his thoughts? World of Warcraft has done quite a bit of good for the industry --- which is true -- and Warhammer Online is a different experience that will draw from the general audience created by Blizzard's success. He also plays the "WAR doesn't have to compete against WoW" record once more, in case you hadn't heard the tune already.

From the sounds of things, Mythic doesn't seem to think its game is going to gain enough critical mass to tip the scales against World of Warcraft -- and why should it? Drescher himself puts it best when he says, "I imagine if you ask most of the people who are continuing to work on [Vanguard, Lord of the Rings Online], they're profitable, and really, at the end of the day, that is the most basic metric of success."

Nolan Bushnell, who bootstrapped the entire video game industry with Computer Space, Pong and the Atari 2600, later went on to found Chuck E. Cheese and several other ventures, has the solution for expanding the size of the gaming market. Casual games, everywhere. And how to pay for them? 30 second ad spots -- commercials, just like the ones on television or before movies. And he can target these ads better than ever. Are ad-supported games the wave of the future? In your MMO of choice five years from now, will a shampoo ad run whenever you ding? And by then, will you even mind? Gamasutra interviews Nolan Bushnell about casual games, targeted advertising, and the death of the hardcore gamer.

Blizzard's own Rob Pardo recently dropped something of a bombshell about World of Warcraft at the Paris GDC event when he revealed in a keynote that the game was originally planned as a free-to-play experience. He also adds that, "We didn't want to charge a subscription, but as we researched market conditions, we realized that wouldn't support us." Pardo also discussed how Blizzard drove into the MMO genre in astonishingly tongue-in-cheek fashion: "Very naively, or else we might not have done it." The notion of a free-to-play World of Warcraft makes us wonder just how the game would have panned out had Blizzard stuck to their original plan. Might MMOs have become as big a business as they are nowadays? Who knows, but it's fun to think about the possibilities nonetheless.

You can find the rest of Pardo's discussions within Gamasutra's website. He discussses everything under the sun in relation to Blizzard. Multiple franchises, the Activivision-Blizzard merger and making communties for games are just a few of the many topics covered.

As much as we like gaming on our PCs, even the most stalwart fanboy has to concede that sometimes the whole process is just a huge pain in the butt. While installing Age of Conan for the first time the other day, this blogger spent no less than five hours downloading the client, patching Windows Vista, updating video drivers, then tracking down a hack to undo the damage down when those video drivers didn't work properly. While there are supposedly a "maze of challenges" ahead with porting the game to consoles, those problems are largely Funcom's and not the consumers'.

This is something that the recently-formed PC Gaming Alliance (PCGA) would like to solve. Rick Carini, CTO of gaming technology at Dell and chairman of the PCGA, posits that this needless complexity is the barrier impeding the continued growth of PC gaming. Even hardcore gamers find themselves stymied sometimes by this. The PCGA is looking to push for standards on the side of game makers and computer manufacturers to ensure that a computer sold as a "gaming PC" should be able to run the majority of games. We're not sure what, if anything, will come of the PCGA's work, but we're hopeful they can develop some sort of standard to bring more warm bodies into the fold.

Epic Games is apparently doing a good job selling and supporting its Unreal Engine 3 in the Korean market. Yet another developer has licensed the engine for an MMO project. This time it's T-Entertainment, which is working on a "space opera" MMO called L2. Wow, that sounds like the name of another Korean MMO!

Welcome to the club, T-Entertainment! Meet AcroGames and Bluehole; they're also Korean developers using Unreal Engine 3. Oh, and of course you know about Webzen's Huxley, which is built on Unreal Engine 3. Yes, also Korean. Let's not forget the illustrious NCsoft, which already used the previous version of Unreal for Lineage II, and plans to use version 3 for not one but two new projects.

There was an interview with Epic Games' Mark Rein at Gamasutra several months back. He said that Epic is working hard to propagate Unreal Engine 3 in Korea, but described serious challenges -- particularly with customer support. It looks like Epic is finding ways to deal with those challenges after all.

[Via Worlds in Motion]

Animax Entertainment is a full-service creative studio that specializes in character-driven digital content. Animax is the company behind TyGirlz.com and Beanie Babies 2.0, virtual worlds that accompany lines of plush toys, and has new ventures in the pipeline for the virtual space. In preparation for its new projects, Animax has appointed Sabri Sansoy to the position of Chief Technology Officer, where he will spearhead Animax's expansion into MMOs and virtual worlds.

Sansoy, formerly the vice president of interactive entertainment technology at GSN (Game Show Network), was chosen by Animax for his past experience with convergent media. (And presumably not for his attempt to fly around the world in a hot air balloon!) "Animax is a leader in building cutting edge interactive applications with a robust portfolio of innovation, exceptional talent, and exciting business opportunities in the pipeline. I am very honored and excited to contribute to the growth and success of this company," Sansoy said of his appointment. If the new offerings from Animax Entertainment are anything like what they've produced in the past, we're likely to see 'play' with more lines of toys extending into the virtual realm through interactive narratives, that place where toys and games meet.

An acquisition on this scale doesn't happen overnight, and since the original announcement there have been numerous noteworthy developments. Gamasutra delves into the acquisition providing an in-depth analysis which focuses on the overall impact thus far about key players and their new positions, what this means for Blizzard Entertainment, and of course more numbers. The piece also includes commentary with some respected authorities in their field including Massively's own Michael Zenke.

Joe Ludwig is probably best known for his role as producer on the historical MMO Pirates of the Burning Sea. Today the Gamasutra site is running an opinion article written by Mr. Ludwig, looking into the surprising dearth of console MMOs on the market. He's essentially responding to a post by Dan Rubenfield, a confrontational post that puts MMO developers "on notice". While undoubtedly there are several opinions in the post to take issue with, the Gamasutra article tackles this statement directly: "If you continue to refuse to acknowledge consoles as the de-facto standard for AAA gaming, you will go out of business. Quit making PC games. It's a waste of time and money."

Ludwig asserts that he'd love to make console games, but there are numerous barriers between his interest and reality. We've even talked about a number of these problems on the site, but they're well worth exploring again. Problems like the lack of a keyboard, the rarity of a double-console household, and the hoop-jumping required to get content certified all warrant a look. Of these issues, Ludwig sees the console holder's demand for a share as the most daunting obstacle. In the near-future, console MMOs are probably doomed. What the future might hold is another story entirely.

Ah, the ever-debated subject of MMO subscription models. We've seen a lot of discussion on the subject, some good and some bad. Gamasutra just so happens to be running a pretty good discussion featuring SOE's John Smedley, Three Rings' Daniel James and EA Mythic's Mark Jacobs all chiming in with their opinions on the matter. The selection is also a good one as Smedley represents a company hybridizing its models, while James is from a company that's more or less full-on microstransactions and Jacobs is firmly for sticking with subscriptions.

Each of the three mens' reasoning for their companies' model choices all make sense when you consider their reasoning. From what we can gather, all three viewpoints have their merit and really no one subscription model is going to win out anytime soon. Subscription models were a hot topic this year at ION and of course Massively discussed it as well in one of our podcasts. So if you'd like to dig deeper on the current state of the argument we highly recommend those features to you.