Sources are telling us that we should expect new skateboarding titles from both Electronic Arts and Activision in 2015. Word is that Activision is preparing a new Tony Hawk title and Electronic Arts will be bring out a new Skate title as well.
While Activision and Electronic Arts have not made the announcements yet, our sources tell us that we should expect both titles to be announced in the near future for a likely late 2015 release. It is unknown who might be handling the development on both titles, but word is that both titles are already deep in development.
With the release of a new Tony Hawk and Skate titles, it will revive the Skateboarding segment that has been dormant for quite some time. EA has not produced a new title in the Skate franchise since Skate 3 and the late couple of Tony Hawk titles didn’t do so well, but the re-issue of original Pro Skater for the Xbox 360 and PlayStation 3 with DLC made up of levels from 2 & 3 have shown that interest does still exist for this segment.
Our hope is that it will be less like what we saw with the SSX revival that EA tried and then realized that it was not really want the people wanted and more like a new next-generation skateboarding title that puts the fun back into skating. We will have to wait and see.
While Grand Theft Auto may remain the industry’s true juggernaut, pretty much the only single franchise whose launch is capable of spiking software sales figures for an entire year and pushing all rivals out of the field in the process, Call of Duty has become the industry’s banner carrier in a different way. GTA’s extraordinary launches are such enormous events precisely because Rockstar wisely chose to avoid the annual update treadmill with the game; Call of Duty, meanwhile, has managed to continue a steady streak of enormous launches despite the punishing requirements of such a schedule.
It’s hard to overstate just how important this difference in approach is to a game franchise. GTA’s main instalments are all developed by the same studio, Rockstar North, meaning that each subsequent game begins its lengthy gestation after the launch of the previous title. The result is that the ball is rarely if ever dropped in terms of quality; no untested team gets to mess things up in an “off-year”. Each new GTA game follows a clear evolutionary path from the previous game, as the studio learns and develops its approach; a major advantage over the “three steps forward, two steps back” games that result from an annual update cycle with different teams working on different schedules. Finally, GTA’s spaced out launches give each one the sense of being a genuinely enormous event, and the games continue to sell at a solid price point for many months after launch, a feat which is otherwise only achieved in this industry by Nintendo’s key titles.
“The sheer scale of GTA’s success has made it into an unbalancing factor in the publisher’s figures”
Again, this contrasts with the annual update cycle for games like Call of Duty; on a couple of occasions, new CoD games have arguably truncated the sales of their predecessors when they launched. All of these benefits, however, are outweighed by the big problem with such an irregular launch cycle, namely that it plays merry hell with Take Two’s financial performance. The sheer scale of GTA’s success has made it into an unbalancing factor in the publisher’s figures; it means that from the perspective of the markets, everything else Take Two does is relegated to being a “snack between GTAs”. The “snack” quarters in the company’s financials are by no means bad, but they end up being compared, desperately unfairly, to the GTA quarters, and analysts fret endlessly over whether the company is a one-trick pony and how far down the tubes it will go if GTA ever falters. Of course, annual updates also make more money – in the short term, arguably; GTA may be genuinely evergreen due to its slow update cycle, where annually updated games, apart from sports titles, tend inevitably to lose steam). But even if they didn’t, it’s hard to imagine a company like Activision risking a “spiky” set of financial results. Huge companies don’t just want to make more money; they want to make more money in a predictable way, with a nice growth curve and no nasty dips that make shareholders lose confidence.
Thus we end up with the situation now facing the Call of Duty franchise. We’re a long day from the heady days of Infinity Ward’s groundbreaking CoD 4: Modern Warfare. As of this year, there are now three separate studios working on the franchise, with the instalment that launched this week, Call of Duty: Advanced Warfare (“CODAW”, which is fun to say but not remotely as fun as “CODBLOPS” was a few years back) being the first full game in the franchise from Sledgehammer. This is one interesting approach to keeping the quality of the games high in spite of the annual treadmill; the other key approach being employed by Activision is to throw money at the franchise like confetti at a particularly exuberant wedding, with CODAW’s most eye-opening use of cash being the suitcases full of it which were presumably delivered to Kevin Spacey’s door in order to persuade him to dress up in a motion capture gimp suit and deliver a villainous performance that’s at times delightfully Frank Underwood but all too often disappointingly Lex Luthor.
Keeping the quality bar high is an extraordinarily important task for Activision – be it through giving studios the time they need to genuinely polish their franchise instalments, or hiring famous faces to do their best with the games’ B-movie scripts (seriously, CODAW’s singleplayer campaign was apparently written by a 15 year old off his tits on Mountain Dew and Doritos who had just watched Michael Bay’s Transformers movies back-to-back and emerged with the sole complaint that “there weren’t enough explosions”). Last year’s CoD: Ghosts was judged both critically and commercially as a slip for the series, which may be partially responsible for the lower pre-orders for this year’s instalment which have been tracked by many analysts.
This year’s game has had great critical response thus far, so it represents an important test – given that the quality bar has arguably been returned to a solid level (it’s all subjective, of course, but the overall tenor of the coverage is positive), will sales also get back to an even keel? Or was CoD Ghosts’ weak commercial showing the start of a slide for the series which can only be reversed by a truly radical reinvention? Consumer fatigue, after all, is absolutely a real thing. It’s even tougher for games that for movies; the Marvel Cinematic Universe movies could probably continue for many years to come, since they only ask consumers for a couple of hours of time every few months. CoD players invest dozens upon dozens of hours in each game (in some cases, hundreds), which makes it much more likely that they’ll burn out; that at some point, they’ll reach an annual update that’s just a step too far for them. The best defence against this is keeping the franchise fresh, consistently reinvigorated with new ideas, and of course, keeping the quality bar high; but even that may not halt the slow decline
This year could go either way for COD. Pre-orders are definitely down on the previous year, which does not bode well, but that doesn’t take into account digital pre-orders – and it’s worth noting that on the new-gen consoles there appears to be a very strong trend towards digital pre-orders and first week digital purchases. Activision claims that purchase intent is tracking high, although that’s Schrödinger’s Statistic to a large extent – you don’t know for sure if it’s remotely accurate or not until you open the box with the sales figures inside.
Still, all in all there are some reasons to be There are also reasons to be cautiously pessimistic. One of the biggest problems facing COD this year is, oddly, one of Activision’s own successes – Destiny, which has attracted and continues to enthral a very large number of the core FPS fans who might otherwise be expected to devote themselves to CODAW. It seems plausible that the long gap between Destiny’s launch and the appearance of the first content pack, The Dark Below, is at least partially in order to give players a lull in which investing in COD will seem appealing; it will be interesting to see if that actually works.
The single biggest challenge, however, lies within COD itself. It’s a remarkably successful game and will continue to sell well for years to come, but if this year’s numbers can’t match last year’s (even in spite of much more positive critical reception and consumer word-of-mouth), it will be taken as clear evidence that a peak has been passed. Consumer fatigue, high competition and perhaps a lingering sense of being burned by Ghosts are all potentially damaging factors for the franchise this year; should they conspire to push sales down even by a few percentage points year-on-year, tough questions will have to be asked about the future of Activision’s annual cash- Indeed, in that instance, one might ask some tough questions about Activision itself.
It’s odd, perhaps, to question a company’s prospects when it has just announced record financials, but it’s entirely possible that this is a peak for the publisher. World of Warcraft is far from its peak figures, in spite of occasional bumps when expansions are launched, and Blizzard’s putative replacement, Titan, has been cancelled. Destiny has yet to prove itself as a franchise despite an amazing launch, and as I indicated last year, I’m not sure that Activision and the game’s fanbase see eye-to-eye on how it’s going to develop over the coming years. If Call of Duty also shows itself to be coming off the boil, then only Hearthstone will remain as a truly unblemished bright spot in Activision’s line-up. The markets will, no doubt, have noticed this already; Call of Duty Advanced Warfare’s performance is going to be subjected to intense scrutiny over the coming weeks and months, as analysts and investors attempt to divine Activision’s future from this crucial data point.
Increased violent video game consumption correlates with declines in youth violence, according to a new study. A recent study published in the Journal of Communication by a researcher at Stetson University found that there were no associations between media violence consumption in society and societal violence.
Christopher Ferguson (Stetson University) published his findings in the Journal of Communication after carrying out two studies to see if the incidence of violence in media correlates with actual violence rates in society. The first study looked at movie violence and homicide rates between 1920 and 2005. The second study looked at videogame violence consumption and its relationship to youth violence rates from 1996-2011. He found that societal consumption of media violence is not predictive of increased violence rates in society.
In the first study independent raters evaluated the frequency and graphicness of violence in popular movies from 1920-2005. These were correlated to homicide rates for the same years. During the mid-20th century, movie violence and homicide rates did appear to correlate slightly, which may have led some to believe a larger trend was at play. That correlation reversed after 1990 so that movie violence became correlated with fewer homicides. Before the 1940s, movie violence was similarly related to fewer homicides, not more.
In the second study on video game violence, the Entertainment Software Ratings Board (ESRB) ratings were used to estimate the violent content of the most popular video games for the years 1996-2011. These estimates of societal video game violence consumption were correlated against federal data on youth violence rates during the same years.
Violent video games were correlated with declines in youth violence. However, it was concluded that such a correlation was due to chance and did not indicate video games caused the decline in youth violence. So far studies have focused on laboratory experiments and aggression as a response to movie and videogame violence, and this is the first one which looked at real-life exposure.
The internet has just received the first surge of what will be a raging tide of Call of Duty: Advanced Warfare reviews, but several key outlets will be lagging behind the others.
As is tradition by now, Activision chose to restrict press access to a fleet of new generation consoles set up in hotel rooms around the world. This has happened with pretty much every major Call of Duty release since Modern Warfare 2, but it’s only in the last year or two that disclaimers have become a common feature of the subsequent reviews. Polygon went to a review event, for example, but it paid for its writer’s accommodation. Kotaku makes no mention of any event despite having played through the entire campaign (presumably in an Xbox One bedecked hotel room), but it is nevertheless holding off publishing a scored review until it has the opportunity to play the game’s multiplayer in a live setting – “the way it was intended.”
Eurogamer took a third route, attending the review event on Activision’s dime but relaxing its critical trigger-finger until Advanced Warfare was released to the public and its true online mettle could be tested. Which is the right approach? Should a review prioritise accuracy or punctuality? No one person can provide a sensible answer to that question, but it seems that the task of the video game critic becomes thornier and more thankless with every AAA release.
One thing is roundly agreed upon, though: Call of Duty: Advanced Warfare is definitely better than Call of Duty: Ghosts, and most outlets believe that it’s an improvement on Black Ops II. Indeed, even though Eurogamer’s full review won’t be published until later this week, it was enthusiastic enough to publish a score-free recommendation of what it did have a chance to play in the meantime.
Advanced Warfare, the first full COD title from Sledgehammer Games, is, “the biggest shift for the series since the original Modern Warfare, and…easily the best entry since Modern Warfare’s ceasefire.” Here, Eurogamer argues, the series shrugs off the weighty, pained influence of films like Black Hawk Down and turns instead to science fiction romps like Star Wars and Halo, all exotic cityscapes, flying vehicles and elaborate weaponry – “Advanced Warfare impresses you with just how much fun war can be.”
Polygon is with Eurogamer in spirit, but it’s appraisal – based on a private playthrough of the campaign and closed multiplayer sessions hosted by Activision – has a 9.0 waiting at the end. This is exactly the sort of score that Activision and Sledgehammer have been working towards, and Polygon leaves little room for doubt that, this time out, Call of Duty has really earned whatever accolades it receives.
Key to it all are various “Exosuits,” which imbue the player with a range of abilities that the (more or less) contemporary and (in a manner of speaking) historical settings of previous Call of Duty games didn’t allow. For the most part, that means double-jump and boost mechanics, though there are different contextual uses for the suits throughout the game’s campaign.
“All of this makes moment-to-moment navigation much more interesting in Advanced Warfare than previous entries in the series or its imitators have managed,” Polygon’s review states. “The exo conceit also allows Sledgehammer to vary up the single-player campaign’s format and ideas in some exciting new ways.
“In fact, speaking strictly from level and encounter design and mission variety, Advanced Warfare is the best campaign the series has seen since Infinity Ward re-imagined the franchise with Modern Warfare in 2007. There’s no muddy objectives to get stuck on, and at least on my playthrough on the “hardened” difficulty setting, there were very few cheap-feeling death loops to get stuck in. It balances fairness with enough challenge and sophistication to make success feel worth it, and I never felt like any one part overstayed its welcome.”
Joystiq – which has yet another distinct mix of review conditions to consider – is similarly impressed with the way Advanced Warfare enlivens the core mechanics of the Call of Duty series with its new bag of tricks, awarding the game a commendable four-stars. However, there is also the lingering sense that Sledgehammer didn’t go far enough, assembling a clutch of innovative and empowering ideas but leaving most of them to bit-parts, cameos and walk-ons.
“On the one hand, you have the multi-function tactical grenade, which can either down drones with an EMP blast, stun enemies in a burst of light or paint targets through walls,” Joystiq states. “Selecting the right option is a rewarding decision, and not always easy to do quickly under fire. It’s a meaningful part of your arsenal.
“Less dependable are abilities like cloaking or a sonic pulse that disorients nearby enemies, which only appear for some missions. More exotic still are things like the grappling hook, a thrilling device that is first used in an awkward stealth mission. There’s a brilliant urban level later where these futuristic devices open the game up: You grapple between terraces and a central train track, yank enemies out of their power suits and launch yourself into massive, emplaced turrets to tear things up. It’s exciting, dynamic and as bombastic as any Call of Duty.
“It’s a shame these mechanisms come across as guest stars, because their use feels so fitting with Advanced Warfare’s unabashed science fiction shooting gallery… It just doesn’t have the power to break through the expectations of the brand, often coming across as an expertly played round of Call of Duty Mad Libs.”
This speaks to the concerns voiced by US Gamer, Advanced Warfare’s harshest critic at present with a score of 7 out of 10. There are inventive touches here, the sort that Call of Duty’s last few iterations have lacked, but this is innovation only in context. Advanced Warfare feels original in comparison to the series’ previous entries, but Sledgehammer is only reinventing the bubble in which these games exist. US Gamer acknowledges the delight that will bring to, “those who view gaming through the prism of Call of Duty and little else,” but the creative compromises made in the name of protecting the brand are all too clear.
“In a setting rife with possibilities, Advanced Warfare proves surprisingly short on imagination… In terms of design, there’s little to separate Advanced Warfare’s campaign from previous games in the series; and indeed, it frequently recycles tropes from previous games.
“After all these years of playing Call of Duty, the tweaks in Advanced Warfare just don’t do enough to mix up the formula, which is quietly becoming stale … There was a time not so long ago when ‘No Russian’ was on everyone’s lips, and Call of Duty was lauded for its daring and ambition in bringing RPG elements to multiplayer-a controversial choice back in 2007, when conventional wisdom ruled that XP would dramatically unbalance the action in favour of experienced players.
“There is a danger, however, in striving only to keep your core fans happy. Too often, it is easy for development teams to get lost in the echo chamber created by their game’s most vocal fans, which has the effect of encouraging them to prioritise balance changes over more ambitious endeavours. That is what I feel has happened with Call of Duty: Advanced Warfare, which tries very hard to capture the essence and the flavour of the series, and is ultimately a little too successful.”
To be more specific, that’s a difference of 3 million units, with Advanced Warfare expected to sell around 17 million. Obviously, that’s still a very healthy number, and the sort of success that most publishers rarely experience, but nevertheless it would be ill news for what remains Activision’s most important franchise.
Ghosts was, in itself, markedly less successful than Black Ops II, and a second year of decline will be enough to cause concern within Activision. When pre-orders for Ghosts were lower than expected, Eric Hirshberg attributed it to the transition to a new generation of consoles. With a minimum of 15 million PlayStation 4s and Xbox Ones now in the wild, that explanation would not stand up quite as well with Advanced Warfare.
In a note given to Cinema Blend, Sterne Agee’s Arvind Bhatia gave several reasons for the possibility of ongoing decline, one of which was the number of people who are still waiting to upgrade to new generation hardware, and may not buy any new software until they do. The others were sharply declining sales of Xbox 360 and PS3 software, and the fact that some Call of Duty fans may have been disappointed with Ghosts.
A significant counter to that is the positioning of Battlefield: Hardline, which slipped to March 2015 release and left Activision’s franchise free of its fiercest competitor.
Given its huge investment in Bungie’s Destiny and the relatively cool critical response that greeted the game, Activision will be hoping that Sterne Agee’s research is not an indicator of Call of Duty’s long-term health.
Finally, Ubisoft has a release date for the Wii U version of Watch Dogs. While we don’t know if that many people are waiting for the Wii U version, when it does release it could very well end up being one of the last M rated titles for the Wii U console.
The release date for the Wii U version of Watch Dogs appears to be November 18th in North America and November 21st in Europe. This ends the original release delay that Ubisoft announced for the Wii U version as resources were moved to prepare the other versions of the game for release.
Ubisoft has been one of the strongest supports of software for the Wii U, but recently it announced that it was done producing titles like Assassins Creed and Watch Dogs for the Wii U because the sales of these M rated titles are just not there on the Wii U platform. It did indicate that it would focus on some of its other Wii U titles that continue to be popular on the console.
The news is good that they are getting Watch Dogs, but it looks like we will not see many more games like this on the Wii U.
In the Far Cry games, fire is a wonderful tool. It spreads dynamically, opening up a wealth of creative and strategic possibilities for players to achieve their goals. However, it also gets out of control in a hurry, potentially coming back to hurt the player in sometimes unpredictable ways.
It’s an appropriate metaphor for the series’ approach to controversial subject matter. Last week, Ubisoft announced the development of Far Cry 4, showing off some key art in the process. The picture depicts a blonde light-skinned man in a shiny pink suit against the backdrop of the Himalayas, smirking as he uses a defaced statue as a throne. His right hand rests on the head of a darker skinned man who is kneeling before him, clutching a grenade with the pin pulled. Though we know very little about the characters depicted, their backgrounds, or their motivations, the art got people talking (and tweeting). Some were concerned about racism. Others were worried about homophobia. Many saw neither. At the same time, details about the game are so scant that it’s entirely possible the problematic elements here are properly addressed within the context of the game itself.
But at the moment, we don’t have that context. It’s promotional art, so to a certain extent, it’s designed to exist out of context, to catch the eye of someone on a store shelf, even if they’ve never heard of the series before. And while we lack the context the actual game would provide, there’s no such thing as “without context.” Here, the context we have is that this is a Far Cry game, the latest entry in a series that has been earning a reputation for boldly storming into narrative territory where other games fear to tread (often with good reason).
Like the fire propagation mechanic, this narrative ambition was introduced to the series with Far Cry 2. What had previously been just another shooter (albeit one in a tropical setting more attractive than most) became a series that embedded its stories within thorny issues. Far Cry 2 cast players as a mercenary in a fictitious African country’s prolonged civil unrest, using blood diamonds, malaria, and Western imperialism as texture in a story emphasizing the moral vacuum of war. Far Cry 3 took things a step further, with players controlling a spoiled rich white kid on a tropical island vacation who suddenly must deal with nefariously swarthy pirates and intentionally stereotypical natives. And just in case that didn’t stir up any controversy, the story also weaves in rape, sex, drugs, and torture. In both cases, some critics and players felt the games offensively trivialized important or tragic subjects.
Given this history, it’s not surprising that Far Cry 4 would not universally receive the benefit of the doubt. Much more surprising (to me, at least) is that Ubisoft is continuing down this path with the franchise. Far Cry 3 sold a staggering 9 million units, putting it in the same class of blockbuster as Assassin’s Creed (last year’s version of which sold 11 million units). However, the publisher’s narrative approach to the two games could not be more different.
Assassin’s Creed is a fascinating case study for dealing with touchy subjects in AAA video games. It wasn’t long after the US invaded Afghanistan and Iraq that work on the first Assassin’s Creed started. You know, the one set in the middle of a holy war between Christians and Muslims. Assassin’s Creed II had players attempt to assassinate the pope. Assassin’s Creed III put players in control of a Native American protagonist during the Revolutionary War. Assassin’s Creed IV: Freedom Cry saw the gamification of emancipation.
The Assassin’s Creed franchise draws some criticism from time to time for its handling of these subjects, but the series has rarely found itself at the flashpoint of controversy. Part of the reason for that is the Assassin’s Creed developers research their subjects thoroughly. They understand what the concerns surrounding the sensitive topics are, and by virtue of the games’ historical settings, they can point to factual evidence of certain people’s actions, or common situations of each era.
When it comes to dealing with controversy, Assassin’s Creed is much like its stealthy protagonists are imagined to be: quiet, cautious, and efficient. Far Cry, on the other hand, deals with these topics more like the way Assassin’s Creed protagonists behave when I play them: recklessly uncoordinated and endlessly destructive. Even when it’s clear Far Cry’s developers have put plenty of thought into what they’re saying, it’s not always clear they’ve put much thought into what people will hear them saying through their games.
It speaks volumes about how Ubisoft perceives the long-term value of the two series. Assassin’s Creed is the company’s biggest and most adaptable blockbuster, an annual gaming event based on a premise that can be mined and iterated on endlessly in almost any medium, a recurring revenue stream to be nurtured over time. Far Cry, this key art release suggests, is just another first-person shooter, a brand defined primarily by how hard it works to shock people, perhaps because the company doesn’t have faith that it can sell on its other merits. One of them is the kind of project you make a Michael Fassbender film around. The other might be more of an Uwe Boll joint.
I’m not saying that Far Cry should avoid these subjects. I actually love to see games of all sizes attempting to tackle topics and themes often ignored by the industry. But the right to explore those subjects should come with a responsibility to do so with care. These are legitimately painful subjects for many people. If developers want to force players to confront them, they should have a good reason for it that goes beyond pushing people’s buttons, exploiting tragedy for shock value and an early preorder campaign. In video games, we don’t push buttons for the sake of pushing buttons. We push them to do things.
Ubisoft announced that Watch Dogs is setting pre-order records for the publisher. The company said that it’s the most pre-ordered new IP in Ubisoft’s history, the second-highest pre-ordered Ubisoft game ever, and the most pre-ordered new IP in the industry this year. Moreover, retailer GameStop confirmed that Watch Dogs is the most pre-ordered next-gen game to date.
All that said, Ubisoft actually did not disclose how many units were pre-ordered. GamesIndustry International pinged Ubisoft to ask for a pre-sales figure and we’ll be sure to let you know if we get one.
[Update: On the company's earnings conference call, executives said that they fully expect Watch Dogs to perform better than the first Assassin's Creed, meaning it should exceed 6.3 million in lifetime sales. "We expect it to become a major heavyweight of the industry," said CEO Yves Guillemot.]
“These strong pre-orders are a clear indication of players’ anticipation and excitement for Watch Dogs,” said Geoffroy Sardin, Senior VP Sales and Marketing at Ubisoft. “The teams have worked tirelessly to ensure that players will enjoy a top quality game with enormous scope, and we can’t wait to get the game into their hands.”
“We are seeing tremendous excitement for the new Watch Dogs game… It is on track to be one of the top selling video games across all consoles in 2014,” added Michael van den Berg, vice president of Merchandising at GameStop International.
Watch Dogs development is being led by Ubisoft Montreal, but similar to other massive AAA projects in the industry it’s been a collaborative effort with assistance from teams at Ubisoft Bucharest, Ubisoft Paris, Ubisoft Quebec and Reflections. The game will release on May 27 for current-gen and next-gen consoles, PC and it’s coming to Wii U “at a later date.”
AMD revealed Mantle to the world at its Hawaii launch event and at the time it promised support for the new API would come to Battlefield 4 sometime in December. In December, AMD said the API would show up in January.
Now though, it appears that the delay may be somewhat longer. Late yesterday Extremetech reported BF4 support would finally land in February. AMD’s Robert Hallock denied the patch is coming in February, but he didn’t say it is coming in January, either. If it is, it’s coming by Thursday. If it is not, that’s very bad news for AMD given the scale of its PR onslaught.
Back at CES the company talked up Mantle in an elaborate demonstration, featuring Oxide Games and DICE products. AMD claimed Mantle would deliver a significant performance boost over DirectX, up to 45 percent in certain scenarios. Since Mantle is not available yet, it is impossible to put these very optimistic claims to the test.
Mantle won’t be a game changer, but if it is embraced by major developers, it could give AMD a competitive edge both in discrete and integrated graphics. Intel has been making headway in the graphics department and it is closing the gap with AMD APUs with its latest Iris series GPUs.
Mantle could be AMD’s trump card, a cheap way of making its APUs more competitive without wasting silicon, but for this to happen Mantle needs to be embraced by developers. It is very promising, but at this point there are quite a few “ifs” associated with Mantle.
The holiday season may have started with a lump of coal in the stockings of EA and Ubisoft. Wedbush analyst Michael Pachter sent a note to investors in advance of this week’s November NPD US retail sales announcements, saying that software sales for the month would be down 13 percent due to “far weaker-than-expected debuts” for the heavily hyped Battlefield 4 and Assassin’s Creed IV.
Those games’ troubles are the primary reasons Pachter believes console and handheld sales were down 13 percent to $1.25 billion, but they weren’t the only ones. Call of Duty: Ghosts sales were also lower than expected due to unflattering reviews, Pachter said, and the PlayStation 4 and Xbox One launches may have also put a damper on the software sales figures. Pachter reasoned that consumers either devoted their spending money to next-generation hardware launches, or decided to forgo purchasing current-gen versions of titles until they could find one of the supply constrained next-gen systems.
Speaking of the next-gen consoles, Pachter gave a considerable edge to Sony in the November sales race. He believes the PS4 sold 1.25 million units in the US during November, compared to 750,000 for the Xbox One. The PS4 launched November 15, while the Xbox One debuted November 22. The new arrivals also appear to have put a significant dent in the pre-existing competition, as Pachter predicted Wii U sales would be down 65 percent year-over-year, with Xbox 360 and PS3 sales down 44 percent and 28 percent, respectively.
The NPD Group is expected to announce its November US retail sales data this evening.
That’s according to the publisher, which also highlights the game’s number one ranking on Xbox Live, and the most pre-ordered release at US retailer GameStop.
Activision claims over 15,000 stores opened at midnight on Monday to sell the game across the globe, although it stopped short of revealing unit figures.
“Ghosts is an amazing game which ushers in the next generation of Call of Duty,” commented Eric Hirshberg, CEO of Activision Publishing.
“This is the must have launch title for the next generation of consoles, and we expect Call of Duty: Ghosts to be the most successful launch title for the Xbox One and PS4 by a wide margin. In fact, according to GameStop, Call of Duty: Ghosts is their most pre-reserved next gen title.”
Multiple sources have told us that AMD spent between $5 and $8 million to secure the Battlefield 4 deal.
The part of the deal was to make Battlefield 4 as a part of AMD exclusive bundle, only available to select AMD partners, as well as to make sure that showcases of the game are done on AMD hardware.
This is a big commitment for EA, AMD and Dice, but all sides will benefit from it. AMD will also gave the exclusive right to Dice to play with Mantle, a new AMD API that is set to become a third player in gaming APIs next to OpenGL and DirectX.
Dice has promised to bring a Mantle update to BF4 in December 2013 and we will have to wait and see if this brings any performance increase on the existing game. Mantle is supposed to talk to “metal” directly on the transistor level, potentially making everything faster and delivering some new effects that are outside DirectX 11.2 specification.
The deal that is said to be worth between $5 million and $8 million will give AMD a new “face” in the eyes of gamers and with very good Hawaii R9 and R7 cards to launch just in time for the game, this has a chance to become quite successful PR stunt for AMD.
The question if you can really make that money on the Battlefield 4 deal and justify and a sizable investment remains to be seen, but new way of doing marketing and PR for AMD is a refreshing and brings about some much needed change.
Though just a concept, the idea has been put forward as part of the IC Tomorrow’s Digital Innovation games contest, a program launched by the UK Technology Strategy Board, which is offering five businesses up to £25,000 each to develop innovative digital applications and meet the objectives of five prolific technology companies, including Crytek, Sony and Google.
Crytek’s technical director of research and development Jake Turner spoke at the programmer’s launch event on Thursday, challenging developers to help integrate the free map data with existing games engines such as Crytek’s Cryengine 3 Sandbox.
Turner said, “We had probably spent a year making a city in America of our games and it’s taken a year to before we could actually start to play the game and experience it, involving how big that city should be, how detailed that city should be, so one of the challenges here is ‘how can we do this instantly?’”
“Why do we have to use people to make a city when there’s consistent open source street data out there which is very detailed, it’s got buildings, lights, it’s got streets – material data. Why can’t we just press a button and instantly see that?”
The challenge Crytek is putting forward is for developers to built an app so that we can “instantly drop into any part of the world” and see, in 3D, data being streamed in from the open source street map data.
“One of the ultimate goals, we would like to start an office in the UK and be able to fly at the press of a button all the way to the office in Frankfurt, and drive around Frankfurt, or any place in the world,” Turner added.
“Aimed primarily to purpose-make these virtual worlds based on real world environments, opened instantaneously without processing, we’d be able to see it instantly streamed over the cloud.”
Turner revealed that if successful, the project could be made part of future games, where users themselves can decide which city in the world they would like to play in, simply jumping from one to another with the scenery being generated instantly for the player.
However, he did add that this is still “a very long way away”.
While much of the attention this holiday season will be the start of the “next-gen console war,” on the software side there may be no bigger showdown than Call of Duty: Ghosts vs. Battlefield 4. During his days as EA CEO, John Riccitiello seemed to be obsessed with dethroning Call of Duty from the shooter market, and even after leaving the company Riccitiello still felt strongly that Battlefield would achieve that goal this year. If you ask Infinity Ward executive producer Mark Rubin, however, that’s really just an executive and marketing perspective.
Rubin said he actually very much enjoys seeing what other high-profile shooters are doing. It’s more about developer camaraderie and elevating games as a medium together than it is a competition.
“It’s less antagonistic, from a developer’s side – sure marketing and stuff is all [about that] but on a developer’s side it’s like, ‘Oh, did you see that stuff they’re doing? That’s so cool!’ We could do something that’s like this and that and we get excited about seeing that kind of stuff. So from a developer’s side, it definitely pushes us [to do better]. But it pushes us in a – I don’t know if other studios feel this way – but I hope in a sort of camaraderie type sense. ‘Oh, those guys are doing awesome stuff. Let’s jack up our game.’ But not like two opposing teams. Rather, like the same team pushing in the same direction,” he explained.
“I think that the intellectual realization is we want everyone to be successful because if gaming is successful then we’re all successful”
“We all want gaming, in general to be awesome, because if gaming isn’t good, then we all lose our jobs in a sense. So for us, I think that the intellectual realization is we want everyone to be successful because if gaming is successful then we’re all successful.”
Interestingly, Infinity Ward plays psychological games with itself, so the studio doesn’t rest on its laurels. When a big franchises repeatedly breaks sales records, it’s easy to become self-assured, but Rubin wants to ensure that doesn’t happen.
“Every year, every time we made a new one it was the same thing [in terms of competition], and I like that. I think that’s the part that keeps us hungry, that keeps us… we don’t want to feel like the top dog, necessarily. We want to feel like it’s a struggle every time. We want to feel that almost ‘Rocky moment’, which is kind of a weird thing to say, but we do want to feel like that. We want to feel like we’ve got a huge challenge in front of us. We can’t just phone this in and ship a game and expect it to sell. We actually really have to do harder work this year than we did last year,” Rubin stressed.
One of the big things EA DICE has been stressing with Battlefield 4 is how next-gen is going to drive emotions and connect players with the in-game characters. Rubin agrees that this is a key element and he said that Ghosts will seek to offer that emotional connection on a couple fronts, with the military dog and the two brothers in the game.
“We actually didn’t make that big of a deal about the dog – it was just in a trailer and all of a sudden the internet blew up and made the dog became this sensation… People are so in love with the dog. They’re already emotionally invested. It’s amazing how many Twitter messages I get saying – in all caps – if you guys kill the dog, I will never play another…and I’m like, ooh, you’re emotionally attached…”
As for the two brothers in the game, Rubin noted, “We’re really trying to push – paying attention to just those two guys the whole story through and their emotional story and have the world have an emotional impact on it.” Rubin emphasized that the storyline has benefited enormously from Hollywood veteran Stephen Gaghan, who’s completely embraced the video game medium.
“He really is looking at this in a way that I’ve never seen a Hollywood writer look at it. He looks at writing for a game as an amazing chance at an artistic challenge as a writer,” Rubin said. “One of the things he described was… he goes, ‘As a writer, this is like art film. Basically, think about it. Your main character, your main star of your movie, is never seen and never talks. And so you have to craft a story that deals with that.’ Think about it. If you took a game, our game, and you put it into a film where the main character never talked, never spoke, you never saw him – it would be like one of those black and white crazy French films. So he really loves the challenge of it and he’s been really engaged with everything.”
“There’s a disconnect between Hollywood and the game industry. They have two different languages. And they haven’t in the past talked very well. And I think that’s changing,” he added.
One of the big challenges for Infinity Ward this year is not only to launch another top selling Call of Duty experience, but also to ensure the current-gen versions are just as impressive as the next-gen SKUs. After all, the bulk of sales this holiday will still be for the Xbox 360 and PS3.
“Having an agnostic start, even before next-gen came out, really helped us get into this. We’re not making one platform and then porting. All the platforms are actually made at the same time. When somebody checks some work in, they have to make sure every platform works and that that check doesn’t break on one platform… The other part of it is, the new engine that we created is across all platforms. It’s not just next-gen. So the current-gen is actually getting a lot of benefit out of this new engine,” he said.
“I think we are better future proofed for making Call of Duty going forward. And we may or may not have done this if not for that [tumultuous] event.”
Rubin also described how Infinity Ward made “a semi-dramatic change on our pipeline internally” when it comes to art assets. “What we’ve done with this generation change, especially for the art pipeline, that being the biggest difference, is we’re making our big art assets at cinema quality, not even PC quality, but above next-gen. It’s at this really amazing looking cinema quality asset. What we’re doing, we use that and we create assets for each platform that are the best for the platform. So now every platform, instead of having a sort of average art asset, they’re getting the best asset for that platform,” he said.
A project the size of Call of Duty requires a massive amount of resources, but Infinity Ward likes to keep its size fairly small for a AAA studio. Rubin explained how the difficult past with Vince Zampella and Jason West leaving (followed by around half of the staff) actually forced Infinity Ward to reevaluate its ways and in the end, the entire studio is stronger for it.
“I’ve been at the studio since Call of Duty 2. It was, on a personal level, a pretty rough time. And the cool thing was for those of us who decided to stay, we were looking at having to do a new game with Modern Warfare 3 and to rebuild the studio, so we had to figure out how to do that,” he said. “It could have gone in any number of directions. We could have hired on a bunch of people quickly, just really mass higher and bulk up. We could have grown slowly and hired a bunch of art outsourcing companies and outsource a lot of the work. But these outside companies aren’t personally invested in the game; you give them a list of stuff to do, they do it and send it back. What we decided on – and Activision was great about supporting what we wanted to do – we found a studio in Sledgehammer who could be as passionate about the game as we would be if we did co-development. That actually worked out really well for us.”
“We were able to make Modern Warfare 3, and make it at the level and quality that we would expect, and not have to do the ballooning growth, and instead we were able to hire over time. That hiring process continued throughout Modern Warfare 3 and into Ghosts, and now we’re at the largest we have ever been. We are at 125 people, which is actually a medium to small studio nowadays for the size of the title. If you look at most other studios they are around 300 or 400 people. We feel 125 is the culturally right number to be at.”
Rubin said that the slow rehiring process actually let Infinity Ward tap into some Hollywood CG talent, and it also made the studio realize that for the long-term, working with other studios is ultimately beneficial.
“When we set out to rehire, and we said let’s make sure that bar is really high, it actually opened some interesting new doors for us, and particularly in art, animation and effects. By being in LA, we’ve ended up having to really tap into the Hollywood CG talent, and we’ve actually gotten a number of guys who’ve never done games – they’re all film guys – but they bring just a different level of quality and some new tech ideas. A lot of the tech that you see in the new engine is based on feedback from them with things like Sub-D (subdivision modeling), which is something that Pixar developed years ago and Hollywood’s been using for years but always in a pre-rendered state. For us, having it real-time in engine was a big feat for us and something we’re really happy with,” he said.
“And from an industry standpoint games are getting harder to make and they’re taking bigger and bigger budgets and bigger teams, and so this gave us an opportunity to sort of retool some of the structure internally. I think we are better future proofed for making Call of Duty going forward. And we may or may not have done this if not for that [tumultuous] event. It forced our hand to go down that route, which in the long run turned out to be good for us. I think we are much more capable now of doing these big projects. We are only 125 people and it does take more than that to make these big games, so one of the things we learned from MW3 is how to work with outside studios. That’s something we’ve never done the past. The previous games were all very insular, and that’s not really possible now. Working with outside studios like Sledgehammer was a difficult transition but now we’ve gotten past that learning phase, and so on this game we’re getting a lot of help from other studios, Raven and Neversoft.”