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nVidia Joins Forces With VW and Uber

January 12, 2018 by  
Filed under Around The Net

GPU maker Nvidia has decided it needs more friends in the car industry and is teaming up with the super popular VW and Uber.

For those who came in late, VW was Hitler’s favourite car company which got into hot water when it was discovered to be lying to various authorities over diesel emissions in its cars. Uber is  still reeling from the side effects of intense sexual harassment investigations, sketchy global business practices, unhappy drivers, discrimination within the company ranks, and sexist behavior within its board. 

Nvidia already has partnerships in the industry with companies such as carmaker Tesla and China’s Baidu, makes computer graphics chips and has been expanding into technology for self-driving cars.

Nvidia CEO Jensen Huang told the assembled throngs at the CES technology conference in Las Vegas that Uber’s self-driving car fleet was using its technology to help its autonomous cars perceive the world and make split-second decisions.

Uber has been using Nvidia’s GPU computing technology since its first test fleet of Volvo SC90 SUVs were deployed in 2016 in Pittsburgh and Phoenix.

Uber’s autonomous driving program has been shaken this year by a lawsuit filed in San Francisco by rival Waymo alleging trade secret theft.

Nvidia said development of the Uber self-driving program had, nevertheless, gained steam with one million autonomous miles being driven in just the past 100 days.

With Volkswagen, Nvidia said it was infusing its artificial intelligence technology into the German automakers’ future lineup, using its new Drive IX platform. The technology will enable so-called “intelligent co-pilot” capabilities based on processing sensor data inside and outside the car.

So far, 320 companies involved in self-driving cars – whether software developers, automakers and their suppliers, sensor and mapping companies – are using Nvidia Drive, formerly branded as the Drive PX2, the company said.

Huang added that Baidu and German auto supplier ZF Friedrichshafen had selected Nvidia Drive for their AV computing platform development in China.

Nvidia added that its first Xavier processors would be delivered to customers this quarter. The system on a chip delivers 30 trillion operations per second using 30 watts of power.

Nvidia will collaborate with Silicon Valley startup Aurora – co-founded by the former head of Google’s autonomous program, Chris Urmson – to build a new self-driving hardware platform using the Xavier processor, Huang said.

Courtesy-Fud

With Digital Downloads Rising, Is It Game Over For Video Game Retailers

January 8, 2018 by  
Filed under Gaming

2017 ended up as a solid year for games retailers.

It got hairy at times. Earlier in the year, GAME issued a profit warning and its share price plunged to a worrying level – before a surprise intervention from Sports Direct arrested the slide (the sports retailer bought up a chunk of GAME’s shares).

Over in the US, GameStop’s profit was hit by lagging Xbox One sales – results that would have been worse had it not been for the sale of Kongregate, which added $7.3m to its bottom line.

The first half of 2017 was concerning, and it was following a disappointing Christmas 2016, which suffered significantly from the under-performance of key titles, in particular Call of Duty: Infinite Warfare.

Then things took a turn for the better.

Nintendo Switch was the hero the market needed. Strong launch sales were set back by stock shortages, but that was quickly rectified in time for Christmas. Switch has been a dream for the High Street. The lack of space on the machine’s internal hard-drive means that it has become a very physical-friendly product (IHS estimate that only 20% of Switch game sales are digital), and the variety of accessories has created a plethora of add-on products for retailers to sell.

Then came Call of Duty: WWII, which is on track to be the most successful Call of Duty of the generation.

Those two, combined with continued strong sales of PS4 hardware and software, meant that 2017 was a solid year for the market. In the UK, where physical sales had been declining, overall sales of physical software was flat compared with the year before.

Furthermore, 2017 saw an increase in downloading across the board. This was particularly notable in the AAA console space, where anecdotal reports stated that between 30 – 45% of AAA game sales were now being made via Xbox Live and PSN.

This trend is only likely to accelerate. We are already seeing publishers behave more aggressively in pushing digital retailers alongside physical ones, and we can expect that to increase.

2018 is also likely to see a decline in PS4 sales. We are now into the fourth year of PS4 and Xbox One, and Xbox (physical) sales have already begun to slide. PS4 will likely follow as this generation starts to show its age.

Talk of PS5 and Xbox ‘Two’ is already beginning to surface – with some developers already working on next generation specs – but even the most optimistic of analysts do not expect to see anything before late 2019.

So with digital adoption accelerating, the current generation showing its age and with no major hardware launches on the horizon, 2018 can look bleak for the physical retail market.

It is worth observing that physical games retailers are not oblivious to the market trends. Most major retailers have been transitioning their business models and diversifying, whether that is through events, esports, digital, content, accessories, technology and so on.

Therefore, retailers like GAME and GameStop don’t necessarily need to sell as many games or consoles in 2018 as they did in 2017 to enjoy a strong year.

However, physical game sales remain the bedrock of these businesses, and any significant downturn will have a negative effect. GAME, for one, is aware of this, which is why it has repeatedly told its shareholders of its short store leases, allowing the firm to reduce its store base rapidly if needed.

So what can games retailers bank on in 2018 to keep sales buoyant?

The most obvious product is Nintendo Switch.

The console will be heading into its second year, where sales will likely accelerate (Nintendo anticipates 20 million shipments over its 2018/2019 financial year, bringing the total to more than 36 million consoles in the market by April 2019). This creates a big audience for retailers to capitalise on.

However, there are some lingering concerns. Last year’s sales performance was boosted, globally, but Zelda, Mario Kart 8, Splatoon 2 and Super Mario Odyssey. These were the four major system sellers for the console during the year. 2018 currently lacks a killer app for Switch (with the exception of Pokémon, which only has a tentative 2018 date and may arrive in 2019). It’s common for Nintendo to limit the window between announcing a product and releasing it, and the firm is planning one of its ‘Direct’ video presentations later this month. Yet, as it stands, there is uncertainty over what software will drive Switch sales during the first part of the year.

The other key product is Red Dead Redemption 2. This is a major launch for Spring 2018 and may well be the biggest game of the year. The last Red Dead Redemption (2010) sold 15 million units globally, yet that was in an age before GTA V. GTA V has shifted more than 86 million games worldwide (by comparison, GTA IV – which came out in 2008 – sold around 30 million). It’s very unlikely Red Dead Redemption 2 will get close to GTA V’s massive figure, but even half-way will be a major, major boost to the market, and anticipation for Rockstar’s next open world epic is enormous.

Of course, there will likely be a strong download element to Red Dead this time around – especially as Rockstar has spent the last five years training its audience to download things through its Grand Theft Auto Online mode (a similar phenomena happened last year around Destiny 2, which performed very strongly over Xbox Live and PSN).

It’s also worth noting that the Red Dead and Rockstar names alone do not guarantee success. As we have seen with Star Wars: Battlefront II and Call of Duty: Infinite Warfare, if gamers are unhappy for whatever reason, they will vote with their wallets irrespective of the brand name attached to the product. Red Dead Redemption 2 has the ingredients to be a major hit, but nothing is certain in this business.

Beyond Nintendo Switch and Red Dead Redemption 2, Ubisoft’s big March game is Far Cry 5, Xbox has a slightly stronger slate with Crackdown 3 and Sea of Thieves, and Sony is expected to launch Spider-Man and God of War. Yet little is known about the back half of the year at this stage. Companies such as Take-Two, Ubisoft and Square Enix have teased some special projects for the year, but what they are remains a mystery.

As a result, 2018 will likely remain a difficult year for games retailers. GAME and GameStop’s new growth areas are showing signs of life, and both companies are on solid financial footing. Yet any significant downturn in physical game sales will take a heavy toll, and the market will be relying – once again – on just a handful of products to see them through.

Courtesy-GI.biz

Were Physical Games Sales Flat In The UK In 2017

January 5, 2018 by  
Filed under Gaming

23.7 million physical video games were sold in the UK during 2017, the latest data from GfK reveals.

It is pretty much identical to last year’s number of 23.8m – a decline of 0.4%.

In terms of revenue, the amount of money made by physical games has risen slightly by 2.1%. This is due to an increase in game pricing over 2017, driven partially by the higher priced Nintendo Switch games. In total, £792m was made from physical software sales in 2017.

We have requested additional sales figures for UK hardware and accessories from GfK, which will likely show some growth for the UK physical retail market overall.

The best-selling game of the two weeks over Christmas and New Year was Call of Duty: WWII, which has now scored nine consecutive weeks at the top of the charts. It equals the number of consecutive weeks Modern Warfare 2 spent at the top of the charts, and if it gets two more weeks, it will match Call of Duty: Black Ops III as the most No.1s overall for a Call of Duty game.

Call of Duty: WWII has already well passed Infinite Warfare’s lifetime sales, and was the UK’s second best-selling game of 2017. The best-selling game was FIFA 18, which was the No.2 over Christmas and New Year. FIFA 18 has been on sale for five weeks longer than Call of Duty: WWII.

Physical sales of FIFA are actually down quite notably compared with the 2017 edition. The number of FIFA 18 units sold in the UK is 16.2% down compared with FIFA 17, however, digital sales have not been taken into account.

Indeed, it wasn’t an especially happy Christmas for EA. Take Star Wars: Battlefront II, the company’s big Christmas shooter is down 51% compared with sales of last year’s Battlefield 1 (which was on sale for four weeks longer by the end of the year) and 49% compared with the first Star Wars Battlefront (the first EA one, anyway).

Sales of the new Need for Speed is also down 11% compared with its 2016 predecessor. Although, once again, digital numbers will likely have made up for some of this decline (if not all of it).

It may have been a tough few months for EA, but it was a strong end of the year for Ubisoft. Assassin’s Creed Origins is up 32% in sales compared with last year’s Watch Dogs 2, and 13% up compared with Assassin’s Creed Syndicate (which was on sale for a week longer back in 2016). Nintendo also had a strong end to the year, with Super Mario Odyssey, Mario Kart 8: Deluxe and The Legend of Zelda: Breath of the Wild all in the Top Ten come New Year. All three games sold over 300,000 copies a piece so far, with Mario Kart 8 ending the year as the No.1 Switch title (just narrowly ahead of Super Mario Odyssey).

The late release of the year, PlayerUnknown’s Battlegrounds, performed strongly. The boxed version didn’t feature a disc (it’s just a code in a box), but still debuted at No.4, dropping to No.8 and ending the year at No.11. It is likely that digital will have made up the bulk of sales, but it still performed well as a Christmas gift.

Here is the GfK/UKIE Top Ten for the Week Ending December 30th.

Courtesy-GI.biz

HDMI v2.1 Standards Finally Set

December 4, 2017 by  
Filed under Around The Net

The HDMI Forum has officially published the latest HDMI v2.1 specification, paving the way for up to 10K resolutions, dynamic HDR, and support for variable refresh rate.

According to details provided by the HDMI Forum, the new HDMI v2.1 specification will be backward compatible with all previous HDMI standards but will also need the new ultra high-speed HDMI cable for those new upgrades.

As for those upgrades, the HDMI v2.1 standard will offer 48Gbps of bandwidth, which is a significant improvement over 18Gbps of bandwidth on the HDMI 2.0. It will also bring higher resolution reaching 8K@60Hz without the Display Stream Compression (DSC) and 10K@120Hz with DSC. It also features the new Auto Low Latency Mode (ALLM).

Another big novelty for HDMI is support for Dynamic HDR as well as the Variable Refresh Rate (VRR) technology, which should reduce lag, frame stutter, skipping and freezing as well as deal with that pesky frame tearing. Unfortunately, HDMI Forum did not provide a lot of details regarding the VRR technology and we are not sure how different it is from AMD FreeSync.

In addition, the HDMI v2.1 standard will also include eARC, as well as Quick Media Switching (QMS), which eliminates the delay that can result in a blank screen before content is displayed and the Quick Frame Transport (QFT) feature which also aims to reduce latency in gaming and real-time interactive virtual reality content.

According to the press release, the HDMI v2.1 Compliance Test Specification (CTS) will be published in stages from Q1 to Q3 2018 and will notify the HDMI adopters as it becomes available.

Courtesy-Fud

Is Sony’s PSVR Taking Off

November 14, 2017 by  
Filed under Gaming

Sony is increasing the production of its motion-sensitive PlayStation Move controllers ahead of an anticipated deluge of new titles.

Speaking at Develop:VR in London today, Stuart Whyte – Sony London Studio’s director of VR product development – said Sony is tracking the number of players who own Move controllers, and hopes to increase this as the PSVR userbase grows.

“Currently, two thirds of the games released so far on PlayStation VR are Move-compatible or require Move,” Whyte told attendees. “As we see more Oculus and Vive titles come to PSVR, we’re expecting this number to increase. Sony is increasing the Move production capacity to [cater] to this.”

PlayStation Move first launched in 2010 as a response to the huge popularity of Nintendo Wii, but struggled to match that console’s success. However, the tech has been given a new lease on live thanks to its use in PlayStation’s virtual reality titles.

It’s a safe bet that more Oculus and Vive developers will bring their titles to PlayStation’s platform given that it is currently the market leader in VR with over 1m headsets sold. Whyte shared more learnings from the first year of PSVR, revealing that PS4 Pro users are more likely to own the device.

“The ratio of PS4 Pro attachment for PSVR is high,” he said. “One in five PS4s sold now are Pros, but that ratio [for PSVR] on PlayStation Pro is higher again.

“It’s definitely worth supporting the extra power available on Pro when you’re developing for PSVR, but it’s still also super important to run on a base PS4.”

Since PlayStation VR first launched in October 2016, more than 140 titles have been released for us and 75% of this content are games rather than less interactive experiences. Whyte predicts games will continue to be the main sales driver for virtual reality, citing the fact that they already provide 70% of revenue for mobile app stores.

“This is going to be true for VR,” he added.

He continued: “We’re currently sitting at five games sold per headset, so we’re seeing a really strong attach rate from our first year. Many of those games to date are smaller experiences, they’re experiences that we as developers [use to] get to know the platform built around one or two mechanics.

“We feel that for VR to get to the next level, we need bigger, built from the ground up VR AAA experiences.”

Sony London’s answer to this is Blood & Truth, a new VR shooter that is inspired by the London Heist section of last year’s launch title PlayStation VR Worlds. The game will be optimised for PlayStation Move, although Whyte said the team hopes to include standard controls as well.

Courtesy-GI.biz

Are Optical Audio Options Dying

November 2, 2017 by  
Filed under Around The Net

Optical cable, which was the digital audio transfer method of choice for decades, is starting to die out as Toslink is replaced by HDMI.

Through the ’90s and 2000s, the optical cable was near ubiquitous with it being the best way to get Dolby Digital and DTS from your cable/satellite box, TiVo, or DVD player. But now it is starting to disappear from hardware.

The latest Roku and Apple TV 4K, don’t bother and you can’t find it on many TVs. Chromecast Audio uses an optical connection because of space constraints any technical reason. The Chromecast Audio uses the mini-Toslink variant which fits inside a 3.5mm
analog jack.

This is mostly because it has been eclipsed by HDMI with ARC, even if in theory the optical has more bandwidth. However, as CNET points out, the optical audio connection is far more limited. It can’t transmit the high-resolution audio formats that came out with Blu-ray more than a decade ago, such as Dolby TrueHD and DTS Master Audio.

HDMI has expanded its capabilities significantly over the brief time it’s been available and since no-one could be bothered upgrading optical because HDMI received greater acceptance the tech was toast.

Fibre technology will still be around as the backbone of the world wide wibble, but chances are you will not see it in your home in a few years.

Courtesy-Fud

Are Rising Game Development Cost Hurting Some Studios

October 18, 2017 by  
Filed under Gaming

Making games is expensive. Let me rephrase that: making games is really, really expensive.

Obviously, that’s no secret, but the numbers involved are even surprising to those of us who follow the industry every day. Last month, Kotaku reported many studios budget around $10,000 per person per month to cover salaries plus overhead. Considering that many of the more polished games on the market can take years to create, budgets can spiral out of control very easily and this has a impact on the entire ecosystem.

Moreover, that $10,000 figure is actually lower than many studios spend, industry veterans Brian Fargo (inXile Entertainment) and Jeff Pobst (Hidden Path Entertainment) tell me.

“I used $10,000 per man-month [for budgets] when I was a producer for Sierra online in 2000,” Pobst notes.

Fargo concurs: “I would say [$10,000 is] on the low side. I think Tim Schafer pointed out a couple of years ago that this is why these things cost so much to make. There’s a big difference between small developers cutting their teeth that have no overhead versus a team of people who’ve been in the business for two decades. They have families and expect medical insurance, and so it’s not going to be something that costs less than $10,000 on average for my people.

“That’s on the low end by maybe 20% or 30%. I don’t think we’re seeing double that, but certainly it’s the trajectory we’re all going towards. I think that’s a fair number. It’s always been a funny disparity. We talk about making a game with a budget of, say, $10 million and the smaller developers tend to look at it and go, ‘How do they waste so much money?’ And then the triple-A guys say, ‘How do they do it for so cheap?’

“That seems to be the perpetual argument on these budgets when you want to do something that is ambitious, and that’s ultimately what we get rewarded for. Any title that comes out that is ambitious in some way is more likely to be rewarded than one that isn’t.”

Ambition is a wonderful thing, and most developers have ambitious visions for their games, but then they meet the reality of what ambition costs. The double-A space is now having to invest more than is reasonable for small or mid-sized studios.

“The industry continues to get more binary between the haves and have nots,” Fargo continues. “When I see something like salaries going to as high as $20,000 per man-month in San Francisco, that really only affects the smaller to mid-size companies. The big companies – take Blizzard, for example – they can drop $70 million on a project, kill it and then start all over again. Rockstar can spend five years on a game.

“The extra salaries really don’t affect them, in my opinion, as much as it does the smaller to the mid-size companies. So yeah, it definitely puts pressure on us.

“Also, what I’m seeing recently is that there was the single-A and double-A indie space that was sort of ripe for opportunity for a while – us included, and we’ve been doing well – but that’s getting more competitive. And the budgets of the double-A products are starting to approach triple-A budgets of 10 years ago.”

Citing Ninja Theory’s Hellblade and Larian’s Divinity: Original Sin 2 as recent examples, Fargo laments that expectations for games coming out of the double-A space are rising too rapidly.

“All of a sudden double-A developers are spending in excess of $10 million,” he says. “And it’s only a matter of time before this rises to $20 million. In fact, I wouldn’t be surprised if there were some at those values already. So now what you’ve got is the triple-A people who are unaffected by the salaries and they’re going to be spending hundreds of millions of dollars between production and marketing, and then you’ve got the double-A companies now starting to spend significant money. What that’s going to do is to create an expectation from a user’s perspective of what the visuals should look like.

“It creates a harder dynamic for even the smaller companies, because some product is at $39 or $44.95 that doesn’t have a multi-million dollar marketing budget. It’s still going to have production values that are incredible, and so what will people expect out of a smaller developer? That’s the cascading effect of all these different things, and of course you layer on top of that the discoverability issue we’ve all got with an un-curated platform and it makes it very tricky.”

While the major publishers like Activision or EA still manage to reap massive profits, other studios are certainly not getting wealthy by making games. California, where so much of the industry is based, makes the cost equation even more difficult.

“Consumers don’t fully understand how truly expensive it is to put out a AAA game now,” says Turtle Rock GM Steve Goldstein. “If you start looking at what it costs for someone to be employed in southern California, working in the knowledge industry, it’s a lot. And the most frustrating thing actually, and it’s something I complain about at the studio all the time, is that we got people here that are working their butts off, who do well, but still can’t afford to buy a house in southern California. It’s ridiculous. The cost of doing business in tech is so high, especially in California, [that] unless you are the biggest of the biggest, there’s a real risk of being able to continue in this medium.

“For us to make a new IP that’s AAA and that’s a boxed product just doesn’t make sense. Because the publisher’s going to have to spend $50 to $100 million, which, as your math just points out, isn’t making anybody rich over in development. They’re going to make that investment… They’ll release [that IP] during the holiday season so they can get that additional sales push, but it’s going to be coming out amidst a ton of other titles and established franchises, so you have to try to get above the noise level just to get the IP known – it just doesn’t pencil out.”

When you combine the continued escalation of costs with the challenge of getting above the noise upon release, it can feel like a Sisyphean task for a small or mid-sized games studio.

Fargo offers, “It feels like the budgets for the double-A products have doubled to tripled just in the last five years. Back in 2012 when Broken Age and Pillars [of Eternity] came out, I know what our budgets were then [for Wasteland 2] and I know what the budgets are going to now. I have a sense of what Larian and Obsidian are spending, and I know these numbers have gone up significantly.

“Curation has always been a hot topic. One might argue there’s a greater risk of a game being lost in a sea of products, than that of a great game not making it through the quality bar to be in the store. The stats of more and more and more games hitting Steam have not been favorable for any of us… You’ve got kind of a one, two, three-punch against the smaller publishers/developers.”

The shift to digital storefronts and the rise in the sheer number of titles flooding those digital shelves is not ideal, Pobst agrees, and it’s making life hard for the really small indies out there.

“For a period of time… we could sell games that were not $60 top price games, and we could make good money… and we could get the opportunity to make more games,” he says. “That opportunity is being challenged because there is such a large number of games at low prices in the marketplace. That takes the market, which gives lots of people choice and is really good for gamers in the one sense, and it splits the amount of money against a large number of people.

“I know a large number of individual indies who are closing up shop because they aren’t now even making enough money to pay for their own well-being. And that used to be a pretty sure thing. If you had a three-person shop or a four-person shop, you could sell enough to actually make a living. Now that’s becoming challenging with so many games available for purchase.”

One way to alleviate the sting of rising costs has been to use crowdfunding sites like Kickstarter, and while that has been a boon for the mid-size studios like Double Fine or inXile, in some ways the crowdfunding phenomenon has been a double-edged sword when it comes to setting expectations on budgets, says Pobst.

“If there’s a financial pressure, it’s really hard for people to get together and actually make great entertainment. So this is hard; this is really hard. And the only reason I think that there is a surprise is in part because of the Kickstarter phenomenon, where people were looking to raise the last $500,000 of a $2 million game, and people thought the game was made for $500,000… Games are really expensive to make, especially the kind that the consumer really desires.

“What we saw with the crowdfunding experience, that we went through ourselves as well as many others, is that the average experience where you get a certain amount of money or you just make your minimum, becomes an expectation of what it takes to actually create product, and that’s pretty much not true. You’re typically investing some of your own money or another investor’s money into the product and, often, people are using crowdfunding to complement that so that they can have enough to make the whole thing.”

The $10,000 man-month figure, while scary, is not necessarily universally applicable. Location of your studio and cost of living certainly is a factor in how much employees get paid, and smaller indies aren’t going to have the same overhead as double-A teams filled with veterans. Beyond that, there are different approaches to what kind of team to build.

Pobst explains: “If you visit a development studio there are going to be several different models. The model we [use] at Hidden Path, and I’ve heard places like Crystal Dynamics, is to try and favor a smaller staff with more highly compensated people… The philosophy is that, if you have people who know each other really well and work together really well, their output is going to exceed what the other model [yields].

“The other model is a few highly experienced people that you compensate very highly because they’re your leadership, and then [you hire] a larger number of younger and more inexpensive people. You tend to have more of those people to do the same amount of work, and there’s a lot more management overhead. That can work, and there are many companies that use that model. In fact, if you start looking at successful titles, you’re going to find examples of both. There is no one right model.”

While the cost per head may not compare perfectly on a project-to-project or company-to-company basis, the budgets for games continue to go up no matter what. What can the mid-size studios do to compensate for this worrying fact?

“It depends on the genre you’re in, but the scope and scale of the thing is what you really need to keep an eye on,” Fargo advises. “The visual and audio expectations are rising as the budgets for the double-A games has risen… I would tell developers to keep a really close eye on the scope of the product; better to have something that’s very small and tight and polished than something that’s overly large… and hits a lot of different things but don’t quite visually hold up to the others.”

The other issue to contend with is how games are transforming to games-as-a-service, which could be a positive in terms of generating more revenue or a negative because of the need to support staff year-round.

“As I look out towards the future, we are most definitely looking to incorporate aspects of that business model,” Fargo notes. “The plus sides of it, of course, is that there’s no piracy, and you’re able to do better business in some territories where piracy is extremely high. But also it allows you to build a community and have a live-ops team and do [fewer] products, but keep people on it everyday and make it better – doing tournaments and all of those things… It’s a very compelling thing to have [but] it does put pressure on a single-player experience game.”

Turtle Rock’s Goldstein sees the games-as-a-service model going one step further, effectively becoming Netflix-like subscriptions to access content; something big publishers like Ubisoft and EA have predicted is on the horizon. Subscription revenue could be a way to help mitigate rising costs.

“I can absolutely see something like that happening down the line,” he says. “Netflix is now playing with budgets that are approaching blockbuster films, so I could see those numbers working for each of the publishers, where they have their users paying a subscription and they release a certain number of really high-end titles as well as a bunch of indie titles… I could see that in five years.”

Rising costs have been putting the squeeze on mid-sized studios, but that’s not to say triple-A developers and publishers are immune. As Pobst points out, “There used to be a lot more publishers than there are now.” As the saying goes, the bigger they are, the harder they fall, and smaller companies have a chance to succeed by being more nimble.

“Adapting is part of the game industry,” Pobst continues. “You try and find the areas to adapt to that match your skill set. If you’re a great narrative designer and your team makes great narrative games, you probably don’t go into mobile and focus on free-to-play monetization. It’s not really playing to your strengths.”

Being nimble allows a studio to try new things. VR is the perfect example of that. Both Hidden Path and Turtle Rock are taking a chance on the emerging medium in the hope that it does become a growth market, and their respective experience should set them up well for the future if VR truly goes mainstream.

And if a studio manages to create a hit, suddenly you have a built-in audience that’s more likely to purchase your next title, based on studio reputation alone.

“You’ve got to give Bungie credit for creating Halo after several other games before that, and then creating Destiny after Halo – that’s a big challenge to do,” Pobst says. “And then the folks as Blizzard, they’ve created multiple different hits, which is fairly rare in our industry. If you can build trust with an audience and they can really buy into the anticipation of whatever you’re going to do, your ability to spend more to get it right is there.

“Once you do cross over that threshold, Bungie or Blizzard, their budgets are going to be much, much larger than anything you or I have talked about. Their per head rate or the amount of money they’ll put into a game is much, much higher for two reasons: one, they know that if they deliver something quality, people will buy it because of the reputation they have. And two, by spending more money, they are putting a greater distance between them and the next competitor. And that greater distance will pay off in the long run.”

If a studio does manage to cross that threshold, a huge advantage is unlocked. Suddenly, you’re not worried as much about the money to achieve your creative vision, Pobst says.

“If I’m really focused on the dollars…then I’m not actually focused on the best entertainment I can possibly create. If you know that the audience is going to come in a disproportionate way to what you spend, spending stops becoming the problem. A lot of these [bigger] studios are really focused on: ‘How do I execute the best? How do I have my team work well? How do I know exactly which features to invest in and which features not to invest in?’ You get to a whole set of problems that are far beyond the money problems.”

Some have made comparisons to Hollywood and the drastic divide between indie film labels and behemoth studios like Universal, but for all the talk of haves and have nots, Fargo concedes that game creators have a chance at success for lower investments – for now, at least.

“You look at PUBG, that would be considered a smaller Hollywood film and it sells 15 million copies, but that’s more profitable than most of the Hollywood blockbusters,” he says. “I don’t know that there’s a parallel in the film business where people on a semi-regular basis are spending under $10 million on a movie yet it’s producing blockbuster Hollywood profits. The games business does continue to do that – Rocket League, for example.

“There’s enough cases where these smaller titles have just nailed it, but the effect of that is their next ones are going to see a huge difference in budget.”

Courtesy-GI.biz

Is Valve’s Steam Dominance Killing PC Gaming

September 25, 2017 by  
Filed under Gaming

Earlier this week I wrote about a recurring problem in games, and what I was going to do as a member of the media to try and fix it. Today I’m going to talk about something I’m doing to fix it as a customer and gamer.

I hadn’t intended to write a follow-up piece, but I hit a bit of a breaking point this week with the one-two punch of PewDiePie dropping the n-word on stream and Bungie removing a white supremacist symbol from its Destiny 2.

Both events are part of a wretched pattern that has been recurring in games for several years now, a pattern where we see some deep-seated prejudices in gaming culture come to the fore in alarming clarity for a moment, everyone points and decries the awfulness, then everyone else gets angry at the people who didn’t like the awful thing. If we’re very lucky, the people who screwed up in the first place publicly apologize, reflect on their mistakes and try to do better the next time. It’s much, much rarer to see anyone indirectly responsible for this pattern take an honest look at their role in it, and we absolutely need them to if this is ever going to get better.

“People talk about racism, sexism, transphobia and the like as if they are diseases, but maybe we should think of these things less like contagions and more like environmental pollutants”

People talk about racism, sexism, transphobia and the like as if they are diseases, like it’s something binary you either have or you don’t. “This is racist. That is not racist.” But maybe we should think of these things less like contagions and more like environmental pollutants. They surround us at all times, but in varying concentrations. They’re like arsenic in your drinking water, or rat feces in your popcorn; we should aspire to have none at all, but that’s a difficult enough task that we “accept” both in small quantities. (Seriously.) When they are present in very small amounts, the damage they do is manageable. But when the concentration is high enough, they can be fatal.

This is a cultural problem, which means all of us play a small role in making it better or worse. Like riding a bike instead of driving a car or using LEDs instead of incandescent lights, our actions don’t move the needle on their own, but can add up to something significant when combined with the actions of enough others. This week’s events left me wanting to do something to make things better, and that’s when I saw a NSFW tweet with some screen caps of the Firewatch Steam forum.

After PewDiePie dropped his racist interjection, Firewatch developer Campo Santo had the popular streamer’s video of the game pulled from YouTube using the service’s copyright claims process. Angry gamers then began review bombing the title on Steam, and poured into the game-specific forums to flood them with abuse. Because that’s how it’s done now. Because we are gamers and every avenue of feedback available to us must be weaponized so that we can have things our way. Because we’re so upset about a developer using a questionable invocation of the DMCA that we would crusade arm-in-arm with overt racists and human garbage rather than let our rage go unvented for even a moment. (See also: People actually concerned with ethics in games journalism who provided willing cover for virulent misogynists and harassers during GamerGate.)

Most of those threads in the Firewatch forum have since been consolidated, with the most exceptionally racist ones being deleted. But it wasn’t Valve who handled the clean up, because Valve offloads moderation of game-specific forums to the developers. Just like translation of its store pages or curation of its catalog, Valve seems to like nothing more to offload the work on others. That approach might be fine for some functions, but the company cannot abdicate responsibility for the community and culture that has come from its own neglect.

“Valve’s dogmatic commitment to removing human judgment from every aspect of the operation is in effect a judgment call of its own”

That’s why I’m terminating my Steam account.

For as much as Valve’s actions have revitalized the PC gaming scene in the last dozen years, its inaction has been steadily deteriorating gaming culture. Our own Rob Fahey has covered Steam’s community woes before, but the company’s dogmatic commitment to removing human judgment from every aspect of the operation is in effect a judgment call of its own, one that presumes everything is acceptable and there are no limits other than legal ones. And on the rare occasion Valve actually deviates from that approach and enforces some standards, it does so reluctantly.

Right now you can find Hatred, Playing History 2 – Slave Trade, and House Party on the storefront, showing that Valve has no problem with the glorification of mass shootings, the trivialization of atrocities, or the gamification of rape. We can give them some points for consistency though, as the availability of Paranautical Activity suggests Valve is unwilling to take a stand even against death threats to its own founder.

This same approach of course applies to the Steam community, which technically has guidelines, but little interest in enforcing them. Hey, there’s a guideline forbidding racism and discrimination, weird. I guess “Nazi Recruitment Group Order#1” (NSFW) with the swastika logo and 76 members has just fallen through the cracks for the last two years. And that user, “F*** Blacks,” with a graphic avatar of a man fellating himself? I’m sure he just changed it and I just happened to visit the site in the split-second that was online before he was banned.

Nope, still there.

Oh, and this one, “Whites Only,” (NSFW) a group “for any fellow White Supremacists, Neo-Nazis, and anyone who just hates colored people!” (If you must click through, be warned it only gets more racist from there.) Maybe nobody’s noticed them. Oh wait, no, here’s a post in the Steam help forums asking people to help ban the group for being racist. Well maybe Valve hasn’t seen it. Oh, wait. There’s a post from a Valve community mod locking the thread and linking to the support page on how to report abusive behavior.

That’s one of 29 community mods volunteering their time “to help keep discussions clean and on topic, and remove reported user generated content around the Steam Community.” If you talk about actual Valve employees, people who might theoretically be trained and compensated to do the job, there are apparently only 12 that mod the community. Even they aren’t necessarily focused on the task; they include programmers, software engineers, and UI designers that the company simply says “spend some time” helping out on the forums.

“Whatever its motives, Valve is clearly just fine operating an online toilet that harbors the worst dregs of society”

By the way, Steam had 12.9 million users online at the same time today. Steam is a massive chunk of the gaming community and Valve has offloaded moderation responsibilities to the developers and the users to a staggering degree. The company is so dedicated to having other people fix its problems that when I filed my request to terminate the account because I was sick of the toxicity, the first response I got from Steam Support said, “Please make sure you’re using the ‘Report Violation’ feature to report inappropriate behavior or users on Steam.”

Whatever its motives, Valve is clearly just fine operating an online toilet that harbors the worst dregs of society. But if it isn’t willing to staff up a reasonable amount of dedicated community management people, enforce even the minimal guidelines it claims to have, and excise these bad faith actors from its community, then I have no choice but to believe Valve wants them there. And if Valve wants them there, it’s fair to hold the company responsible for all the vileness they spew from the platform it owns and completely controls. Whatever benefit Steam once offered me has been more than offset by the harm it causes to its marginalized users, gaming culture, and society as a whole. I won’t be a part of that community any longer.

So my Steam account is gone, or presumably will be once Steam Support gets around to fulfilling my request. While I would encourage everyone reading this to consider whether Steam is a community they want to associate themselves with, I have to acknowledge this is not a huge sacrifice for me. I’m losing access to dozens of games and a backlog of purchased-but-unplayed titles, but I’m not primarily a PC gamer.

Having acknowledged that, it would seem unreasonable that my “call to action” be for everyone to delete their Steam accounts, or for developers to pull their games from a store that provides an overwhelming majority of their business. Instead, I would simply ask that everyone do what they can to foster viable alternatives. As consumers, we can stop buying new games from Steam if they are available on GOG.com, itch.io, or an alternative storefront. Developers, make it a priority to get your games on as many storefronts as possible, even if they only incrementally boost the bottom line. Because right now the PC gaming industry is entirely too dependent on a company with entirely too little interest in basic human decency, and it’s hurting us all.

Courtesy-GI.biz

Do Indy Developers Need a Publisher To Succeed On Steam

August 31, 2017 by  
Filed under Gaming

Discoverability problems on Steam have reached the stage where it’s essential that indie and smaller developers seek out a publishing deal.

That’s according to Bulkhead Interactive producer Joe Brammer, who spoke to GamesIndustry.biz at Gamescom about indie attitudes towards publishers, lessons learned from his first few releases, and the increasingly crowded PC market.

Back in December, it emerged that more than 4,200 games were released in 2016 alone – accounting for 38% of the marketplace’s entire back catalogue – and there has been no shortage of new releases this year. While the platform has become a go-to destination for self-publishing indies, Brammer says it’s harder than ever to generate decent sales this way.

“Nowadays you pretty much need an indie publisher, or you need to have an amazing game,” he tells us. “It would have to be incredible. That doesn’t mean a ‘good enough’ game is a bad one, but it has to be something really special to be picked up organically – something like PUBG.

“The market is changing. Indie publishers are becoming less like indie publishers and more like smaller publishers, but smaller publishers are totally acceptable. That doesn’t mean they’re worse now.”

Brammer’s own game, the upcoming WW2 multiplayer FPS Battalion 1944, is being published by Square Enix Collective following a successful partnership between the two firms for The Turing Test – an arrangement the producer is more than pleased with.

“They listen to us,” he says. “No other indie publisher can give you the power of a megacorporation like Square Enix, but still let you maintain the finesse of that indie mentality. Not that we’re super indie, of course.”

But why go for a publisher at all? There seems to be the lingering perception that publishers are greedy and out to exploit smaller and independent developers – which has led to many new indie publishers referring to themselves as labels instead.

“Indie publishers are becoming less indie and more like smaller publishers, but smaller publishers are totally acceptable”

Brammer’s desire for a publisher stems from his team’s experience with its first release, Pneuma: The Breath of Life – a launch that also introduced him to how challenging the market on Steam can be. He maintains that while some indies may still feel apprehensive about publishers, they are necessary because “the industry has changed massively.”

While Pneuma wasn’t a critical or commercial hit, it sold well enough to let the developers continue making games and move on to The Turing Test. When it came to launching the puzzle game, Brammer and his team revisited Pneuma’s performance and realised while it had sold well enough on Xbox and PlayStation, Steam sales fell short of the mark.

“We decided if we’re going to do anything on Steam, we need a publisher,” he says. “We need someone with those contacts, someone that can give us a bit of help and the punch that we needed. When we went to Square we said we didn’t need money; we just needed help to get the game on Steam, so they actually only helped us with the Steam version. After doing that, I’d have rather they’d taken the Xbox One version as well because they just did a phenomenal job.”

Brammer admitted his team has probably been guilty of “lowballing ourselves” by not asking publishers for more money in the past, perhaps giving the perception that the games are cheap and therefore of a lower quality.

Steam has already been identified as a difficult market for new developers trying to make their mark, thanks largely to the aforementioned discoverability problems. Valve has attempted to revamp its submission process, killing the previous Greenlight system in favour of Steam Direct, which charges developers $100 to submit a game to the marketplace.

However, following the launch of Direct in June, Steam actually saw a spike in the number of games submitted – as many as 213 in a single week, and 730 in a four-week period. Valve has said that the new system is not necessarily designed to reduce the number of submissions but to ensure those that do get through are genuine.

Brammer believes the issue of discoverability is not one that Valve is particularly motivated to solve: “I had a meeting once with a platform holder and I made a joke about the App Store, saying, ‘It’s terrible, you’ll never get found’ – and they said they’d love to have the App Store. The platform holders would absolutely love to have millions of games come out and the good ones rise to the top, almost organically.

“The community sees [discoverability] as a problem and Steam says they’ll fix it, but all they really do is rehash it”

“Frankly, I don’t think Steam sees it as a problem. The community sees it as a problem and Steam says they’ll fix it, but all they really do is rehash it. I don’t know why they’ve made the changes they made when they got rid of Greenlight, but they’re not really stopping anything; they’re just opening things up even more. That’s just the 2017 market and how it works: removing the barrier to entry and creating more content, hoping the good quality content will rise to the top but it’s very difficult.”

Instead, reducing the number of games flooding the PC marketplace – and by extension improving the chances of discovery and success – will partly come down to developers. Brammer encouraged studios to “be more honest” with themselves about the quality of their game – and if it’s not up to scratch, scrap it. His team did just that with a robot football game it was building before work began on Pneuma.

“After three weeks, we had it working in Unity,” says Brammer. “Then I made a joke saying, ‘Why don’t we switch to Unreal Engine?’ and we all looked at each other and said, ‘Is our game a bit shit?’ So we threw it away – but those three weeks were the most important of my career as it led to me working on Pneuma, The Turing Test and today Battalion 1944.

“So developers need to start effectively nutting up, saying ‘My game is crap, I need to do better’. Learn to read the market, because that’s another major difference now: you can’t just release anything.”

Even if a game is of a high quality, Brammer still encourages studios to seek a publisher rather than hoping for PlayerUnknown levels of surprise success. We asked what studios should look for in a publisher, what they should expect or demand.

“Well, if you need to demand something from a publisher, if it’s something they don’t want to give to you, that’s the start of a bad relationship,” he says. “Debbie [Bestwick] at Team 17 says if you go for a fair deal where both sides are happy, you’ll get a better deal out of it. There’s always a bit of push-pull, but if you have to demand something they don’t want to give, maybe it isn’t the right fit.

“Speak to everyone, get everyone’s opinion, but if you find someone you like working with [that’s key]… because you’re going have to trust people with your game. For me, reliability is one of the most important thing. If you find someone you think you can rely on, you should go with them.

“No one’s going to care about your game as much as you are, so you have to find the guys you think care about it enough.”

Courtesy-GI.biz

Is Digital Gaming Facing Global Growth

August 22, 2017 by  
Filed under Gaming

Analyst at Research and Markets’ have just released a report claiming that digital gaming will see double digit growth in the next few years.

According to the “Global Digital Gaming Market 2017” report the global gaming market sales are forecasted to grow by a significant one-digit percentage point in 2017. However, digital games, referring to online, mobile, digital console and computer games, are expected to maintain double-digit growth in the same time frame, championed by mobile gaming. Due to this continuing trend, digital could account for over three-quarters of global gaming revenues by 2021.

Within in the field of mobile in 2017, smartphone gaming significantly trumps gaming via tablet. Gamers from China, the USA, Brazil, the UAE and more all favor smartphone over other gaming devices. In 2016, the popularity of augmented reality games furthered mobile gaming and app sales. In addition, virtual reality (VR) games are also gaining traction after the introduction of VR headsets within the mass market. For instance, one-third of frequent gamers from the USA relayed the intent to purchase these gaming accessories this year.

The market of console and computers games has shown a shift to digital game purchasing as well as microtransactions. Last year, almost one-quarter of computer and console gaming purchases in Germany were digital. Only a single-digit share of total game sales stemmed from boxed games in China, the largest gaming market in the world.

Physical game purchases are not dead yet. This year, over half of console gamers in Brazil stated in a survey that they purchase video games from retail stores as opposed to digitally.

Courtesy-Fud

Intel’s Core i3 8th Generation Processors Are Forthcoming

August 16, 2017 by  
Filed under Computing

While we have already seen some details for the upcoming Core i3-8300, a couple of recent leaks show a bit more information regarding two other Coffee Lake Core i3 SKUs, the Core i3-8350K and the Core i3-8100.

Spotted originally at Anandtech Forums and later further detailed over at Videocardz.com, it is now clear that Intel will push for the higher core count with its upcoming 8th generation Coffe Lake CPUs. Unlike the Core i5 lineup, which will supposedly consist of quad- and six-core CPUs, with and without hyper-threading, the Core i3 lineup will be quad-core SKUs without enabled hyper-threading.

We’ve already had a chance to see some information regarding the Core i3-8300 and it appears that the Core i3-8350K will be quite similar, featuring 8MB of L3 cache and 4.0GHz clock speed. Unlike the Core i3-8300, the Core i3-8350K will have a somewhat higher 91W TDP and be unlocked.

The Core i3-8100, could be the cheapest Core i3 SKU and work at 3.6GHz, have 6MB of L3 cache and the same 65W TDP, as the Core i3-8300.

As announced by Intel earlier, the company will unveil its 8th generation Core Coffee Lake CPUs on the 21st of August so we will have a chance to check out full details for this 14nm Kaby Lake refresh.

Courtesy-Fud

Was The PS3 An Easy Tool For Developers

August 7, 2017 by  
Filed under Gaming

The games industry moves pretty fast, and there’s a tendency for all involved to look constantly to what’s next without so much worrying about what came before. That said, even an industry so entrenched in the now can learn from its past. So to refresh our collective memory and perhaps offer some perspective on our field’s history, GamesIndustry.biz runs this monthly feature highlighting happenings in gaming from exactly a decade ago.

Was PS3 hard to develop for?

The biggest news from 10 years ago this month happened right up front with the delay of Grand Theft Auto IV from its October release window (that had just been announced at E3 the prior month) and would now arrive sometime in the February-to-April stretch of 2008. That was huge at the time, but delays happen, and it’s not the sort of thing we usually lead this column off with. In fact, the reason we’re going over it here is the possible reason for the delay.

The day after GTA IV’s delay was announced, long-time industry analyst Michael Pachter put the blame on the PlayStation 3, saying, “We think it is likely that the Rockstar team had difficulty in building an exceptionally complicated game for the PS3, and failed to recognise how far away from completion the game truly was until recently.” Combined with a contractual obligation to not launch the game early on one platform or the other, that meant pushing back all versions until the next year.

Granted, the deductions of an analyst aren’t confirmation, and Pachter doesn’t have a flawless track record when it comes to bold speculation. (Here’s one from later that same month that he might like back.)

That said, this was far from the only suggestion that developers were having difficulty with the PS3. Sony had already been chastising third-parties for not taking full advantage of the hardware, and it didn’t help having massive publishing partners like Electronic Arts publicly explaining why the PS3 version of Madden NFL was noticeably inferior. It’s particularly damning considering the company didn’t even attempt to refute the game’s inferiority in any way.

“In the case of the next-generation consoles, many publishers have been developing titles for the Xbox 360 for over three and a half years while everyone who publishes now for the PlayStation 3 with the exception of Sony has been developing for the PlayStation 3 for only a little over one full year,” the company said.

At least Ubisoft was a little more diplomatic, with Yann Le Tensorer, co-founder of Ghost Recon Advanced Warfare studio Tiwak calling the idea nonsense, and then basically repeating what EA had said.

“It’s not harder to develop on the PS3 than it is on the 360; it’s just a different console. Developers might say it’s harder because it just takes time to understand the technology. We’re still early in the lifecycle.”

By the time October rolled around and Midway delayed PS3 releases for BlackSite: Area 51, Stranglehold, and Unreal Tournament 3, the PS3’s reputation was essentially set in stone. And while Sony was able to overcome the PS3’s rough start and turn it into a very successful system over the long haul, the “hard to develop for” tag persisted for years.

Courtesy-GI.biz

Is GTA-V A Gaming Phenomena

August 2, 2017 by  
Filed under Gaming

A lot of exciting things have happened in the games industry since 2013. That time has seen the mobile game space rise to maturity; it’s seen Sony return to console dominance with PS4, and Nintendo bounce from its greatest heights to its lowest ebb.

And yet one thing has stayed consistent throughout that entire four-year period. Through it all, Grand Theft Auto V has steadily, unstoppably continued to sell huge numbers every single week. In 2017 so far, it’s the best-selling game in the UK; in the United States it charts in fourth place.

Previous entries in the Grand Theft Auto series were, of course, landmark titles in their own right – both culturally and commercially. Their content sparked controversy and, from the point when the series shifted into an extraordinary open world with Grand Theft Auto 3, their enormous sales pushed them into a mainstream consciousness that had generally glossed over videogames up to that point. Grand Theft Auto came to be the series that defined perceptions of games in the 2000s, perhaps even more so than Mario or Sonic had done in the 1990s.

Grand Theft Auto V, however, has quietly gone beyond that and become something even more. I say quietly, because it’s not necessarily something that you see if you’re an ordinary game consumer. For most of us, Grand Theft Auto V was a game – a really great, beautifully made, fantastic game – that we played for a pretty long time a few years ago. We’ve moved on, though sometimes it comes up in conversation, or you see a really crazy stunt video on YouTube; it’s part of gamer consciousness, but arguably no more than a number of other superb games of the same era.

Yet unlike all those other games, GTAV keeps on selling. People keep walking into shops and buying it; 340,000 copies in the UK alone this year. The only way to explain those sales is to assume that they are representative of GTAV being purchased along with, or soon after, the upgrades being made by many consumers to next-gen consoles or higher spec PCs. Far more than its predecessors, the game has become a cultural touchstone – something that you simply buy by default along with a new game system.

Of course, individual game consoles have had must-own games before; how many people bought Halo with the original Xbox, or Mario 64 with the Nintendo 64? Never before, however, has there been a game like GTAV, which has served as a touchstone for an entire era of gaming. The closest point of comparison I can think of is something like The Matrix, which was the go-to DVD for people buying new DVD players in the late 1990s, or Blade Runner’s Directors’ Cut, which served a similar role for Blu-Ray. Nothing before now in the realm of videogames comes close.

Something we don’t know, however, is what people are actually doing with those new copies of GTAV; the huge question is whether they’re buying them for the game’s excellent single-player experience, or whether they’re diving into GTA Online. The online game has been a runaway success for publisher Take Two, and has definitely helped to prolong the longevity of GTAV, but it’s hard to quantify just how much it has to do with the continued strong sales of the game itself.

That question is important, because if people are primarily buying GTAV as an online game, it makes it a little easier to categorize that success. In that case, it would belong alongside titles like League of Legends, World of Warcraft or Destiny; enormous, sprawling games that suck up years upon years of players’ attention.

From a commercial standpoint, the industry is still a little unsure what these games are or what to do about them; they are behemoths on the landscape that everyone else needs to navigate around, but while many people share an intuition that they collapse revenues for other games in the same genre, it’s not entirely clear as yet what influence they really have on everything else on the market. If GTAV fits in with those titles, albeit on a level of its own to some degree, then it makes sense; it fits a pattern.

My sense, however, is that GTAV is something entirely different. It’s not quite, as Take-Two CEO Strauss Zelnick rather bombastically claimed at E3, that there are no “other titles… clustered around GTA from a quality point of view.” GTAV is a brilliant game, but it’s hard to support the claim that there’s nothing else out there of similar quality.

Rather, it’s that GTAV has struck a series of notes perfectly, stitching together a combination of elements each of which is executed flawlessly and which combined to make a game that is memorable, replayable, funny, challenging, and – vitally in this era – a never-ending source of entertaining video clips for YouTube or Twitch. Almost every aspect of GTAV is good, but there’s no single part you can point to and say, “this is why this is the game that defines an era.” The magic lies in the sum, not the individual parts.

And perhaps it’s something more than even that; perhaps GTAV isn’t just the right game, it’s also a game that’s appeared at the right time.

Think of the average age of a game consumer, which is well into the thirties at this point. Think of how games have come to be a part of our cultural conversation; no longer in a dismissive way, but as a field of genuine interest, a source of inspiration for other media, a topic of watercooler conversation. Think too of how videogames have begun to inform the aesthetics of the world, from the gloss of Marvel’s movies to the more obvious homages of Wreck-It Ralph or (god help us) Pixels. Somehow they’ve even managed to rope Spielberg into adapting inexplicably popular execrable teenage gamer fanfiction novel Ready Player One. Games are embedded as part of the world’s culture and, more importantly, part of how we talk about that culture.

GTAV arrived, in stunning, endlessly discussable, endlessly uploadable form right at the moment when that transition was being completed. There’s no way to quantify this, but I’ll wager GTAV holds a special record that’ll never go in Guinness’ book. I’ll wager it’s the most talked-about game of all time. Not because of controversy or scandal; it’s a game that’s just been talked about in conversation after conversation, four years of discussing stunts and jokes and achievements and easter eggs, until the game became embedded in our collective consciousness until it was The Game You Buy When You Finally Get A PS4.

There’s never been a game that occupied a place in the public consciousness quite like GTAV; but now that such a place exists for games in our collective cultural consciousness, perhaps it won’t be very long before more fantastic games roll up to take on similar roles.

Courtesy-GI.biz  

Is The Gaming Industry Going Through A Nostalgic Summer

July 12, 2017 by  
Filed under Gaming

I had been repeating that this summer for games offers little outside of some decent Nintendo titles.

“You keep forgetting Crash Bandicoot,” said my retail friend.

I laughed. “Sure, it’s a nice piece of nostalgia,” I reasoned. “But it’s hardly going to set the market alight.”

“Pre-orders are brilliant,” came the reply. “We’ve upped our order twice. I think it’s going to be the biggest game of the summer.”

I shouldn’t be surprised. We’ve written extensively about the marketplace’s current love of nostalgia, and that trend only seems to be accelerating. In the last two weeks alone, we’ve seen the news that original Xbox games are coming to Xbox One, the reveal of the Sega Forever range of classics for smartphones, and now the best-selling SNES Mini.

The trend isn’t new. Classic re-releases have been standard for over a decade. However, the recent surge in nostalgia can be traced back to the onset of Kickstarter and the indie movement, which brought with it a deluge of fan-pleasing sequels, remakes and spiritual successors.

The trend reached the mainstream around the 20th anniversary of PlayStation, with Sony tapping into that latent love for all things PS1. And today, nostalgia is a significant trend in video games. Look at this year’s line-up: Sonic Mania, Yooka-Laylee, Super Bomberman, Wipeout, Crash Bandicoot, Thimbleweed Park, Micro Machines, Metroid II… even Tekken, Mario Kart and Resident Evil have found their way to the top of the charts (even if they never really went away).

It’s not just software, either. Accessories firms, hardware manufacturers and merchandise makers are all getting in on the act. I even picked up a magazine last week (on the shelves of my local newsagent) dedicated to the N64. This is the industry we live in.

Nostalgia has manifested itself in several different ways. We’ve seen re-releases (Xbox Originals, Sega Forever, NES Mini, Rare Replay), we’ve seen full remakes and updates (Crash Bandicoot, Final Fantasy VII, Resident Evil 2), plus sequels and continuations (Elite Dangerous, Shenmue 3). We’ve seen a plethora of spiritual successors (Yooka-Laylee, Bloodstained, Thimbleweed Park) and we have also witnessed old-fashioned game elements re-introduced into modern titles (split-screen multiplayer, for instance).

It’s not just games. We’ve recently seen nostalgia-tinged TV such as Twin Peaks, Stranger Things and X-Files, plus the cinematic return of Ghostbusters, Baywatch, and Jurassic Park. Yet this trend isn’t so new for film and TV (or music, either). And that’s because they’re older mediums. The demand for nostalgia tends to come from those aged 30 or above, and with video games being such a young industry, we’re only starting to see the manifestation of this now.

It’s perhaps also more significant in games because of just how different the experiences of the 1990s are to what we have today. In terms of tech, visuals, genre and connectivity, video games have moved so quickly. We simply don’t get many games like Crash Bandicoot or Wipeout anymore, which makes the demand for them even more acute.

Can it last forever? Or is this destined to be another gaming gold mine that gets picked to death? It’s difficult to say. Nostalgia isn’t like MMOs or futuristic shooters. This isn’t a genre, but an emotion ‘sentimental longing for a period in the past’. In theory, the clamour for old games and genres should get broader. In ten years’ time, those brought up on a diet of DS and Wii will be approaching 30. They’ll be reminiscing of the times they spent on Wii Sports and Viva Pinata. And the nostalgia wheel turns again.

Nevertheless, what we’re starting to see now is changing expectations of consumers. No longer are they pandering to every Kickstarter that promises to resurrect a long lost concept (sorry Project Rap Rabbit), and they will not tolerate a nostalgic releases that fails to deliver (sorry Mighty No.9). Lazy ports or half-hearted efforts will not win you any fans. If you want good examples of how to do it, look at Nintendo with the inclusion of Star Fox 2 in the SNES Mini, or the documentaries hidden in Rare Replay, or the special PS1-style case that Sony created for the new Wipeout. This is the games industry and the same rules apply. You cannot get away with rubbish.

Of course, big companies can’t live off nostalgia alone. Nintendo can’t build a business from just re-selling us Super Mario World (even if it seems to try sometimes). These moments of retro glory can often be fleeting. Will a new lick of paint on Crash Bandicoot revitalise the brand and deliver it back to the mainstream? It’s not impossible, but unlikely. More often than not you see a brief surge in gamers reminiscing over a time gone by, and then the IP drifts back to the era from which it was plucked. Musical comebacks are often short-lived and movie remakes are, typically, poorly received.

Yet there are exceptions every now and then. Major UK 1990s pop group Take That made its big comeback in 2006, but it did so with a modernised sound that has seen the band return to the top of the charts and stay there for over 10 years. In 2005, the BBC’s Doctor Who returned after 16 years. It was faster paced and far more current, and it remains a permanent fixture on Saturday night TV.

And last year’s Pokémon Go, which stayed true to the IP whilst delivering it in a new way and through new technology, has elevated that brand to the heights not seen since the late 1990s.

“Nostalgia is a seductive liar, that insists things were far better than they seemed. To be successful with it in the commercial world, you need to keep that illusion alive”

They say nostalgia is a seductive liar, that insists things were far better than they seemed. To be truly successful with it in the commercial world, you need to keep that illusion alive. You must create something that looks and sounds like it comes from a different era, but actually plays well in the modern age. And that’s true whether it’s Austin Powers or Shovel Knight.

Indeed, nostalgia isn’t always about the past, it can help take us into the future. One unique example comes in what Nintendo did with The Legend of Zelda: A Link Between Worlds. The company altered the traditional Zelda formula with that 3DS game, and made it more palatable to fans by dressing it in the same world as 1991’s A Link To The Past. It worked, and set the company up to take an even larger risk with its seminal Breath of the Wild.

If the SNES Mini taught us anything, the clamour for all things 1990s remains strong. For developers and publishers who were smart enough to keep hold of their code from that era, they may well reap the benefits.

However, there’s a broader market opportunity here than just cashing in on past success. There’s a chance to resurrect IP, bring back lost genres, and even rejuvenate long-standing brands in need of innovation.

It’s a chance for the games industry to take stock and look to its past before embarking on its future.

Courtesy-GI.biz

GTA V Still Riding High In England

July 6, 2017 by  
Filed under Gaming

GTA V unit sales dropped 10% this week (in terms of boxed sales), and yet the game still returned to the top of the UKIE/GfK All-Formats Charts.

It was a very poor week for games retail in general, with just 171,389 boxed games sold across the whole market. The lack of new releases is the main reason for the drop, and that’s a situation that won’t be getting any better during the course of the summer.

The only new games in the Top 40 are 505 Games’ Dead by Daylight at No.16, Final Fantasy XIV: Stormblood at No.23 and Ever Oasis at No.28.

Although the data shows a difficult week, there were a few positives. Dirt 4, after a disappointing first week, is showing some resilience. The Codemasters game is now at No.2, although sales did drop 49% week-on-week.

Mario Kart 8 Deluxe is back at No.5 with a 45% jump in sales, driven by an increase in available Switch stock, while The Legend of Zelda: Breath of the Wild had a 68% sales jump (but still sits outside of the Top Ten at No.12).

And Ubisoft’s Tom Clancy’s Ghost Recon: Wildlands returns to the Top Ten after a 31% sales boost, driven by price activity at games retail.

Elsewhere, Horizon: Zero Dawn, which was No.1 last week, has dropped down to No.8. The game had been on sale for several weeks, but now it has returned to a premium price point. Tekken 7 has dropped to No.10, while Wipeout Omega Collection, which was No.1 just three weeks ago, has now fallen to No.14.

Courtesy-GI.biz

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