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【コナミが回教徒虐殺を楽しむ鬼畜ゲーム発売へ】 KONAMI，3人称シューター「Six Days in Fallujah」を発表
ついでに東京大空襲ゲームと
ヒロシマ・ナガサキ原爆シューティングゲームでも作ったらどうだ。
コナミさんよ……（苦笑）
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http://www.4gamer.net/games/088/G008889/20090407042/
2009/04/07 19:36
ニュース
KONAMI，3人称シューター「Six Days in Fallujah」を発表
ライター：朝倉哲也
海外のゲーム情報サイトJoystiq（http://www.joystiq.com/2009/04/06/konami-announces-six-days-in-fallujah-game-based-on-real-batt/）によると，KONAMIはTPS「Six Days in Fallujah」（http://www.4gamer.net/games/088/G008889/）を，2010年中に発売すると発表した。
Six Days in Fallujahは，2004年にイラクのファルージャで起きたアメリカ軍とイラク武装勢力の戦いを，ペンドルトン海兵隊基地第1海兵連隊第3大隊の視点で再現したTPSだ。開発は，「クロースコンバットV 〜ノルマンディー上陸作戦〜」などで知られるデベロッパAtomic Gamesが担当。対応機種は，Xbox 360，PLAYSTATION 3，そしてPCが予定されている。
ゲームの詳細は発表されていないが，実際に戦闘を行った部隊が，ビデオや写真，日誌などを開発元に提供するといったサポートを行っているという。かなりリアルなゲームになりそうだ。
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関連記事
イラク戦争遺族が，KONAMIの新作シューター「Six Days in Fallujah」を非難
http://www.4gamer.net/games/088/G008891/20090408021/
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http://www.4gamer.net/games/088/G008891/20090408021/
2009/04/08 14:16
ニュース
イラク戦争遺族が，KONAMIの新作シューター「Six Days in Fallujah」を非難
ライター：朝倉哲也
イラク戦争で親族を亡くした遺族が，まだ戦争は終わっていないとして，先日KONAMIから発表されたタクティカルシューティングゲーム「Six Days in Fallujah」を非難している。
イギリスの新聞The Daily Mailのオンライン版，Mail Onlineの記事によれば，「イラクでの戦闘で亡くなった大勢の人達の事を考えると，それを華々しい活躍としてゲーム化するのは残念」という，イラク戦争で息子を亡くした父親の談話や，「まだ継続している戦争をゲームとするのは時期尚早」という，元イギリス海兵隊指揮官の談話などを伝えている。
Six Days in Fallujahは，2004年11月7日〜12月23日にかけての，イラクの都市ファルージャで行われた戦闘をベースにした三人称視点タクティカルシューティングゲームだ。
ゲームの詳細は発表されていないが，アメリカ海兵隊が当時のビデオを提供するなど開発のサポートをしていることから，実際の戦闘に基づいた，リアリティを重視したタイトルとなるはずの本作。リアルさの追求はゲーマーとして歓迎すべきことだが，比較的近年の戦争を扱うだけに，今回の批判にこの「リアルさ」，生々しさが上乗せされて問題視される可能性も考えられなくはない。今後が気になるニュースといえるだろう。
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http://www.joystiq.com/2009/04/06/konami-announces-six-days-in-fallujah-game-based-on-real-batt/
Konami announces 'Six Days in Fallujah,' based on real battle in Iraq
by Ben Gilbert { Apr 6th 2009 at 2:31PM }
Sourcing dozens of US Marines from Camp Pendleton's 3rd Battalion, 1st Marine Regiment, the Atomic Games-developed Six Days in Fallujah was announced this morning for Xbox 360, PlayStation 3 and PC. Set for release "next year," the third-person shooter takes place during the real-life 2004 US Marine-lead battle for the central Baghdad city and attempts to recreate the battle on a day-to-day basis.
"We replicate a specific and accurate timeline -- we mean six days literally," Atomic Games president Peter Tamte told the Wall Street Journal. "We track several units through the process and you get to know what it was like from day-to-day." Unfortunately, for all the realism touted by the game's developer, Konami's VP of marketing, Anthony Crouts, gives the impression that the publisher's still playing it safe, saying, "We're not trying to make social commentary. We're not pro-war. We're not trying to make people feel uncomfortable. We just want to bring a compelling entertainment experience. At the end of the day, it's just a game."
With little go to on other than the handful of screens you can see below in the gallery, we'll just have to wait and see more on Six Days in Fallujah before we cast any judgments. One thing's for sure: With the battle this game is based around having occurred so recently, its developers have a built-in audience to appease (who grew up with video games, mind you) and we wish them luck.
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http://online.wsj.com/article/SB123902404583292727.html
ARTS & ENTERTAINMENT
APRIL 6, 2009
Game Face
Iraq, the Videogame
War is hell. Should it be a game?
By JAMIN BROPHY-WARREN
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Konami/Atomic Games
A screenshot from "Six Days of Fallujah," an upcoming videogame about the battle for Fallujah in 2004.
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In a darkened hotel room just south of San Francisco's downtown, Peter Tamte, president of Atomic Games, is excitedly running through the details of the company's latest project, "Six Days in Fallujah." Mr. Tamte and his team tapped dozens of soldiers who were involved in the real-life 2004 battle for the Iraqi city to add realism to their action game, which the company plans to release next year.
Verisimilitude is par for the course for military games which often tout their faithfulness to real battles and wars. As the capabilities of videogame hardware have burgeoned, the bar for realism in games has been raised. But Atomic Games wants its new release to be more than a game. The company sees it as a new kind of documentary.
"For us, games are not just toys. If you look at how music, television and films have made sense of the complex issues of their times, it makes sense to do that with videogames," Mr. Tamte says.
Videogames are not foreign to using real-life events as fodder. Many military games such as some of the popular Call of Duty and Medal of Honor series are based on past American campaigns during the various wars over the last century. The "serious games" movement, which often seeks to teach a particular message or idea, frequently draws on current events as well. MtvU, the college version of Viacom's MTV, launched a Web game called "Darfur is Dying" in 2006 to teach about the atrocities in the Sudan, and non-profit Global Kids and developer Gamelab created "Ayiti: The Cost of Life" that challenges players to keep a virtual family of five alive and healthy in Haiti.
But Atomic Games argues that releases like those, while drawing from real facts, are still just historical fiction. "Six Days," which uses actual events as its backdrop, is billed as having far deeper roots in reality and will be the first major game released about the ongoing war in Iraq. "We replicate a specific and accurate timeline -- we mean six days literally," says Mr. Tamte. "We track several units through the process and you get to know what it was like from day to day."
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Konami/Atomic Games
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To develop the game, Atomic is working with more than three dozen soldiers who were in Fallujah, consulting thousands of photographs (some of which were mailed on memory cards from Camp Fallujah), and looking at classified satellite imagery to ensure that the game's appearance is faithful to the actual location. In addition to creating the game, Atomic will also use some of the material to create a training simulation for the military.
Eddie Garcia, a Marine sergeant from the Bronx, received a Purple Heart after being injured on the first day of fighting in Fallujah. Having worked with Atomic on one of its past titles, he was involved in the design process from the very beginning. He tweaked how characters communicated with their superiors and walked them through the different tactics the Marines used in battle.
One of the most important contributions to the game was Mr. Garcia's diary. During the battle, many Marines carried a small notebook to keep notes about their positions and their activities each day. Mr. Garcia, for example, had marked the exact time that he had launched a particular illumination flare during the battle which could then be incorporated into the game. In aggregate, the notebooks gave Atomic an overhead view of the entire battalion's movements.
"It's easy to be an armchair quarterback [about war] when you're at home. There were 19-year-olds in the Marines making life-altering changes," Mr. Garcia says. "I think this game will add some humanity to the subject."
Atomic Games had to create new technology to match the Marines' fighting style. Unlike many cinematic depictions of ground fighting, Marines in Fallujah often opted for knocking over the rebar-and-concrete houses with bulldozers or by calling in air strikes, rather than bursting in the front door. Atomic was forced to create a new game engine, the software that governs the physics and appearance of the in-game world, to depict the structural damage. In the game, buildings fall apart and columns crumble under the onslaught of bullets and grenades.
Discuss
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The new technology becomes immediately apparent when the game is played. Atomic chose an over-the-shoulder point of view to simulate the look of an embedded journalist following your squad, and players must duck and dive into cover. Because all the elements of the game are destructible, hiding spots become more precarious and deteriorate through the course of the firefight. Players can use this to their advantage to knock over walls and expose enemies or chip away at columns that might be shielding an aggressor's position.
But according to Atomic Games, "Six Days" lacks one notable aspect of documentary: commentary. Recent films such as Michael Moore's "Fahrenheit 9/11" have popularized a more argumentative style of documentary filmmaking. But those involved in the new game said they didn't want to push a particular viewpoint and certainly weren't taking a stance on the morality of the invasion.
"We're not trying to make social commentary. We're not pro-war. We're not trying to make people feel uncomfortable. We just want to bring a compelling entertainment experience," says Anthony Crouts, vice-president of marketing for Konami, the game's publisher. "At the end of the day, it's just a game."
Creating a game absent of political overtones may prove difficult. Although Atomic Games is talking to Iraqis involved in the conflict, they haven't decided whether players will be able to fight as an enemy against the marines. The game is still in development and Atomic may change its mind. "We're still deciding what's appropriate to include," says Mr. Tamte.
"The process of constructing the game will have built-in decisions made by the creators that will have ideological overtones," says Aram Sinnreich, an assistant professor of global media at New York University. He says that choices that videogame makers make to add and excise content are no different from those of filmmakers. "What goes in their product constitutes a bias."
In parts of the "game-amentary," as the developers of "Six Days" have called it, users are forced to make hard choices. In one opening sequence, an enemy bursts from a door without a weapon in hand. Players can decide if this character qualifies as a hostile and can act accordingly. Whether you choose to shoot the unarmed person will drastically change your experience with the game and will be heavily based on the player's own support or objections to the war. Those personal feelings are complicated by the need to survive to succeed in the game.
"There are things you just can't do with passive media," says Mr. Tamte. "The decisions you make in the game -- we can make you someone else."
While these questions about documentary elements in games may be new, Oscar-nominated filmmaker Ken Burns says the standards of good documentary work, regardless of medium, will remain the same as those established by Aristotle. "We're all bound by the same ancient laws to tell our stories," he says.
Write to Jamin Brophy-Warren at Jamin.Brophy-Warren@wsj.com
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