Late last year, Frank Gibeau switched roles at Electronic Arts, moving from president of the PC and console-focused EA Labels to be the executive vice president of EA Mobile. Speaking with GamesIndustry International at E3 last month, Gibeau said he was enticed by the vast opportunity for growth in the mobile world, and the chance to shape the publisher’s efforts in the space.
“One of the things I enjoy doing is building new groups, new teams and taking on cool missions,” Gibeau said. “The idea was that EA is known as a console company, and for our PC business. We’re not particularly well known for our mobile efforts, and I thought it would be an awesome challenge to go in and marshal all the talent and assets of EA and, frankly, build a mobile game company.”
It might sound a little odd to hear Gibeau speaking of building a mobile game company at EA. After all, he described EA as “the king of the premium business model” in the mobile world not too long ago, when the company was topping charts with $7 apps like The Sims 3 or raking it in with paid offerings like Tetris, Monopoly, or Scrabble.
“Two years ago, we were number one on feature phones with the premium business model,” Gibeau said. “Smart devices come in, freemium comes in, and we’re rebuilding our business. I think we’ve successfully gotten back into position and we see a lot of opportunity to grow the business going forward, but if you had talked to me about two years ago and tried to speculate there would be a company called Supercell with that much share and that many games, we wouldn’t even have come close.”
Gibeau expects that pace of upheaval to continue in the mobile market, but some things seem set in stone. For example, Gibeau is so convinced that the days of premium apps are done, he has EA Mobile working exclusively on freemium these days.
“If you look at how Asia operates, premium just doesn’t exist as a business model for interactive games, whether it’s on PC or mobile devices. If you look at the opportunity set, if you’re thinking globally, you want to go freemium so you can capture the widest possible audience in Japan, Korea, China, and so on… With premium games, you just don’t get the downloads you do with a free game. It’s better to get as many people into your experience and trying it. If they connect with it, that’s great, then you can carry them for very long periods of time. With premium, given that there are so many free offerings out there, it’s very difficult to break through.”
Unfortunately for EA, its prior expertise is only so relevant in the new mobile marketplace. Its decades of work on PCs and consoles translated well to premium apps that didn’t require constant updating, but Gibeau said running live services is a very different task – one EA needs to get better at.
“Our challenge frankly is just mastering the freemium live service component of what’s happening in mobile,” Gibeau said. “That’s where we’re spending a lot of our time right now. We think we have the right IP. We have the right talent. We’ve got great production values. Our scores from users are pretty high. It’s really about being able to be as good as Supercell, King, Gungho, or some of these other companies at sustained live services for long periods of time. We have a couple games that are doing really well on that front, like The Simpsons, Sims Freeplay, and Real Racing, but in general I think that’s where we need to spend most of our time.”
As Gibeau mentioned, EA has already had some successes on that front, but its record isn’t exactly unblemished. The company launched a freemium reboot of Dungeon Keeper earlier this year and the game was heavily criticized for its aggressive monetization approach. In May, EA shuttered original developer Mythic.
“Dungeon Keeper suffered from a few things,” Gibeau said. “I don’t think we did a particularly good job marketing it or talking to fans about their expectations for what Dungeon Keeper was going to be or ultimately should be. Brands ultimately have a certain amount of permission that you can make changes to, and I think we might have innovated too much or tried some different things that people just weren’t ready for. Or, frankly, were not in tune with what the brand would have allowed us to do. We like the idea that you can bring back a brand at EA and express it in a new way. We’ve had some successes on that front, but in the case of Dungeon Keeper, that just didn’t connect with an audience for a variety of reasons.”
The Dungeon Keeper reboot wasn’t successful, but EA continues to keep the game up and running, having passed the live service responsibilities to another studio. It’s not because the company is hoping for a turnaround story so much as it’s just one more adaptation to running games with a live service model.
“If you watch some of the things we’ve been doing over the last eight or nine months, we’ve made a commitment to players,” Gibeau said. “We’re sincere and committed to that. So when you bring in a group of people to Dungeon Keeper and you serve them, create a live service, a relationship and a connection, you just can’t pull the rug out from under them. That’s just not fair. We can sustain the Dungeon Keeper business at its level for a very long time. We have a committed group of people who are playing the game and enjoying it. So our view is going to be that we’ll keep Dungeon Keeper going as long as there’s a committed and connected audience to that game. Are we going to sequel it? Probably not. [Laughs] But we don’t want to just shut stuff off and walk away. You can’t do that in a live service environment.”
Much like EA’s institutional experience, there’s only so much of Gibeau’s past in the console and PC core gaming world that is directly relevant to today’s mobile space. But as the segment grows out of what he calls the “two guys in a garage” stage, EA’s organizational expertise will be increasingly beneficial.
“These teams are starting to become fairly sizeable,” Gibeau said, “and the teams and investment going into these games is starting to become much greater. Now they’re much, much less than you see on the console side, but there’s a certain rigor and discipline in approach from a technology and talent standpoint that’s very applicable… If you look at these devices, they will refresh their hardware and their computing power multiple times before you see a PlayStation 5. And as you see that hardware get increasing power and capability on GPU and CPU levels, our technology that we set up for gen 4 will be very applicable there. We’re going to be building technologies like Frostbite that operate on mobile devices so we can create richer, more immersive experiences on mobile.”
Even if mobile blockbusters like Candy Crush Saga aren’t exactly pushing the hardware, Gibeau said there’s still a need for all that extra horsepower. With the increased capabilities of multitasking on phones, he sees plenty of room for improvement before the industry runs up against diminishing returns on the CPU and GPU front. He likens today’s mobile titles to late-generation PS2 games, with PS3 and Xbox 360-level games just around the corner.
“As it relates to games, this is like black and white movies with no sound at this point, in terms of the type of games we’ve created,” Gibeau said. “We’re just starting to break through on the really big ideas is my personal view. If you look at games like Clash of Clans, Real Racing, even Candy Crush, they’re breaking through in new ways and spawning all types of new products that are opening up creativity and opportunities here. So I think computing power is just something we’ll continue to leverage.”
The best part for Gibeau is that the hard work of convincing people to buy these more powerful devices isn’t falling solely on the shoulders of game developers.
“The beauty of it is it’s not a single-use device,” Gibeau said, “so people will be upgrading them for a better camera, better video capability, different form factor, different user inputs, as a wearable… I think there’s so much pressure from an innovation standpoint between Samsung, Apple, Google, and Windows coming in, that they’ll continue to one up each other and there will be a very vibrant refresh cycle for a very long period of time. The screens get better, the computing power gets better, and I don’t have to worry about just games doing it like we were in the console business. Those were pretty much just games consoles; these are multi-use devices. And the beauty of it is there will be lots of different types of applications coming in and pushing that upgrade path.”
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.”
In a keynote conversation with Entertainment Software Association boss Mike Gallagher at the Digital Entertainment World conference, Electronic Arts COO Peter Moore talked about industry lessons learned as the business transitions more to digital games.
For now, games remain a hybrid of physical and digital, and the quick sales of the new consoles are enabling the industry to coalesce around two great platforms that offer a tremendous competitive environment, which ultimately benefits the market. While he believes the console sector’s in great shape, Moore does see mobile gaming thriving, and digital revenues should surpass that of physical game sales in just two years, he said.
Looking back at the music industry’s transition to digital (which it still hasn’t recovered from), Moore said that the games industry must embrace “creative destruction” – there’s nothing an industry can do to stop a shift in consumer tastes and habits. The most important thing for EA – and much of the industry is headed this way with the digital transition – is that games are becoming live operations. That means they require a massive infrastructure with customer service and global billing. Moore noted that it’s a completely different industry now, with a global network running live ops, and gamers deserve their games to be always up and available, and it’s EA’s job to provide this access. Moore acknowledged that EA is still learning a lot about what that takes.
The online environment has been incredibly valuable to EA in building a direct customer relationship. Moore said that EA’s customers used to be the retailers, but now they’re the gamers. In fact, EA has tripled its customer facing support staff resources in the last five years. It’s changing how the publisher interacts with, and markets to, gamers. He eschews “marketing” and prefers “engaging”. Social media has become crucial to success, and Moore noted that on Twitter a gamer will get a response from EA within 30 minutes to resolve a problem.
On the marketing end, Moore said that EA’s TV spend is down 20 percent while the company has actually doubled its digital spend and engagement. Social media and community management are changing the rules. Don’t spend tens of millions on TV to see if it lifts sales, Moore said; instead game companies can more effectively use digital channels and focus on performance-based marketing.
“TV ads today are chum in the water. It attracts customers, then reel them in with digital media so you can engage instead of pushing a message out,” he remarked.
Nobody seems to be terribly happy about the new Dungeon Keeper game. That’s a sentence I hoped I’d never write, given how much I loved the original Bullfrog games – but that fact alone places me firmly within the least happy demographic of all: the original fans of the franchise. The rest of the unhappy parties can form an orderly queue behind us; that means you, game critics who think the game is terrible, mobile gamers who think it’s not nearly as good as its most obvious inspiration, Clash of Clans, F2P advocates who could do without another awful example being used to unfairly crucify the entire business model, and, well, EA themselves, I expect.
Lots has been written about Dungeon Keeper in the week since it launched, almost all of it deeply critical and a good deal of it entirely fair. Dungeon Keeper is a nicely presented but mediocre game in the mobile/F2P genre it inhabits. Within the franchise it inhabits, however, it’s a disastrous, idiotic travesty of a thing, a game whose design process wouldn’t be out of place in the imaginative dungeons of the original titles – involving, as it did, the snapping of limbs and crunching of bones in order to stuff the screaming body of a much-loved core gamer title into a box that is distinctly too small and painfully the wrong shape. It’s enough to make a Dark Mistress’ eyes water.
I like the free to play business model, in principle. More than that – I think the free to play business model, still in its infancy and thus still making countless mistakes, is actually an inevitable step for the games industry. It’s not going to replace other business models, which will continue to be a better fit for certain types of game and certain types of audience, but it’ll probably be the most important and profitable business model in future (some would argue, convincingly enough, that it already is). From the moment it became possible to distribute games for free, it was certain that someone would do that, and devise a system for making money later, once an audience had been built up. Under the circumstances, carefully considered and ethically implemented F2P is probably the best, and fairest, system possible.
So I reject the notion that Dungeon Keeper is an illustration of F2P’s intrinsic evils. It’s not, any more than any number of terrible boxed games were an illustration of intrinsic evils of the retail game business model. F2P isn’t intrinsically evil or bad, but it’s open to abuse – just like the old boxed game model was plenty open to abuse, as you’ll know if you’ve ever preordered an expensive game only to find that reviews were withheld until after launch, previews had been based on glimpses of unrepresentative sections of the game, screenshots and trailers were a cocktail of lies and the whole thing is actually a massive stinker. F2P trips up more often because it’s new and many developers are still feeling out the parameters of the business model – and moreover, because it requires developers whose core skill is designing games to also design a business model in tandem with their game, which is a new skill that doesn’t necessarily come naturally.
That means that if we’re being reasonable, rather than just howling pointlessly into the wind because it makes us feel better, we need to consider Dungeon Keeper not as an omen of doom but as a learning exercise. It’s obviously a mess. It’s disappointed lots of people and made a core group of those people – people who ought to have been its most rapt advocates – very very angry indeed. But why is it a mess? What does Dungeon Keeper actually do wrong?
You could say “microtransactions”, and you’d be right in one sense – it does microtransactions wrong, but not because microtransactions themselves are intrinsically wrong. Plenty of games handle them rather nicely and fairly. Supercell’s games are pretty good examples – Hay Day is, I think, the only F2P game I’ve bought premium currency in, and I’m perfectly happy with the few quid I spent there, as I knew perfectly well what my money was buying and what the alternative was to acquire the things I wanted in-game. I mentioned last week my Japanese friend who has spent the equivalent of $500 in Puzzle & Dragons, and doesn’t regret it in the slightest – from my own experience, P&D, the biggest-grossing F2P game in the world, is also scrupulously fair and up-front about its micro-transactions, and generous to a fault at handing out premium currency for free, thus allowing you to save up for things you want instead of feeling forced to fork out.
Those games – and Clash of Clans, the Supercell game to which Dungeon Keeper owes much of its genre heritage – get F2P microtransactions right. Even Candy Crush Saga, a game which I personally dislike quite intently (I think that describing yourself as a puzzle game and then confronting the player with randomly generated levels which are actually impossible to solve is a miserable failure of fundamental game design), is far from being abusive in its approach to microtransactions; a solid majority of players who complete all its levels do so without ever spending any money. I played Clash of Clans for months without spending, and I’m coming up on a year in Puzzle & Dragons without spending – both of which I still find fun, and both of which, I think it’s fair to say, are genuinely living up to the promise inherent in the words “free to play”. I’m quite convinced, incidentally, that they’re among the world’s most profitable games precisely because they allow most players to continue enjoying them for free, rather than in spite of that seemingly foolish generosity.
Dungeon Keeper isn’t a generous game. It’s a grasping, unpleasant game – which is a shame, because with a more likeable, generous approach to its players, it wouldn’t be a terrible game. It’s certainly among the better of the Clash of Clans clones, a multitude of which fill the App Store with game mechanics and art styles shamelessly copied from Supercell’s hit and absolutely zero effort at innovation. Dungeon Keeper – though I say it through gritted teeth, since the franchise abuse still rankles – has the guts of a decent mobile game that builds worthwhile variation onto the Clash of Clans formula. The problem is, you advance through that experience at a snail’s pace, halted every few seconds by a glowing gem icon that invites you to spend expensive premium currency to speed up your progress. That premium currency itself arrives in an absolutely miserable trickle, rendering the notion of saving up to buy things into a sad joke.
Slowing down progress to encourage players who are really engaged with the game to spend a bit of money to advance is a core tenet of F2P design. Some people hate that, which I perfectly understand, but it’s not necessarily the end of all things – it’s worth pointing out that lots of non-F2P games also stretch out tasks artificially for a variety of commercial and gameplay reasons (I’d point to World of Warcraft in the first instance and Animal Crossing in the second as good examples of this). The point is that in doing this, designers need to make sure they’re not compromising the fun of the game, and err on the side of generosity rather than grasping. Dungeon Keeper fails these tests. It starts asking for money almost straight away, long before any player has a chance to become really engaged or engrossed in the game, and continues to wheedle at players to pay up on an ongoing basis, ramping up within a couple of days to the point where it’s taking 24 hours to complete simple tasks like digging out a square of rock, and literally weeks to finish a tunnel or room unaided by a dip in your wallet. Good F2P design is about making people really love your game and then giving them opportunities to spend money on it. Dungeon Keeper is a grubby chancer who tries to steal your wallet before the main course has even arrived on your first – and last – date.
There’s an even more fundamental problem at work here, though. Making a bad, greedy F2P game with the beloved Dungeon Keeper license is inexcusable – but to be honest, making any kind of F2P game with this license was a terrible idea. Dungeon Keeper is an old franchise, one which never came to consoles – making it much loved by a significant group of gamers who are older and significantly more “core” than the primary market for mobile F2P games. If you weren’t a PC gamer in the 1990s, Dungeon Keeper has almost certainly passed you by entirely. On the other hand, if you were a PC gamer in the 1990s, I think it’s fair to generalise and say you’re probably firmly in the camp that by and large dislikes microtransactions and considers F2P in general with suspicion – suspicion which you’ll consider to be all but confirmed by Dungeon Keeper’s many transgressions.
So why did EA do this? What on earth did they believe they stood to gain from resurrecting a franchise like this in a form which would be utterly despised by the only people who recognise it, while the potential audience it might reach successfully – gamers who like mobile F2P and are looking for something different in flavour and approach to Clash of Clans – will have zero brand recognition with Dungeon Keeper, but may be dissuaded by the outpouring of one-star scores on the App Store with which gamers are registering their dislike. Note too that while it’s conventionally and reasonably held that the specialist games media has no impact on mobile game performance, the hatred for Dungeon Keeper has spilled over into the mainstream press – and while “no publicity is bad publicity”, newspaper articles accusing your game of greedy monetisation tactics aren’t the ideal way to introduce it to the public at large, while Google results populated with fiery critique and all manner of accusations don’t help much either.
Ultimately, EA could have avoided this by making essentially the same game (although doing a lot more careful consideration of monetisation tactics and trying not to destroy the game’s hopes of retaining players by being too greedy too early wouldn’t go amiss) without the Dungeon Keeper brand and the vaguely ghoulish overtones of corpse-robbing that go with Dungeon Keeper’s pilfered, ill-matched mechanisms and characters in this game. Alternatively, it could probably have made quite a decent commercial success out of a premium-priced Dungeon Keeper game carefully updating the original and launching on Steam and iPad – a game with a significant built-in audience and a huge store of goodwill, much of which has now been squandered. It could even have included some IAP further down the line for deeply devoted players, although more in the line of cosmetic items and so on than game-changing consumables. Hell, EA could have done both of those things, resuscitating a much-loved franchise and creating a brand new F2P franchise, thus ending up with two successful IPs rather than one battered, bruised and sorely abused one.
This comes back to a point I made earlier – there is an audience for F2P, a huge audience with a significant amount of spending power, but it’s not the only audience (even if it’s the biggest). There are other audiences who crave other genres, other business models, other price points. The notion that the vast expansion in the demographic reach of videogames is going to be attended by an absolute contraction of the possible business models for videogames is a transparent nonsense – F2P is an inevitable and by no means negative consequence of the reduction in distribution costs to (just about) zero, but it’s not the only business model or price point enabled by recent technological change. The first challenge for designers, producers and executives in this new era is to figure out what business model best fits the franchise, the genre and the audience for your project. EA isn’t the first company to fail that challenge, nor is Dungeon Keeper the last game which will do it – but for those of us with fond memories of Bullfrog’s glory days, this is the one that leaves the most bitter taste. The lesson, however, must not be “F2P is bad” – it must be, “Do F2P where appropriate, do it with care, and do it well”.
Gears of War will continue to turn, as Microsoft has acquired the sci-fi shooter franchise from Epic Games. Microsoft Studios head Phil Spencer confirmed, saying the deal covers the intellectual property, all existing games and assets, and the rights to continue the franchise in the future.
As for who will make the Gears of War games with Epic out of the picture, that task has been entrusted to Microsoft’s Vancouver-based Black Tusk Studios, under the leadership of the studio’s general manager Hanno Lemke. Spencer called it “a big vote of confidence” for not just the studio but the Vancouver development scene. (Microsoft closed its nearby Victoria development studio last month.)
Future development on the franchise will be led by Rod Fergusson, who was a producer on the first three Gears of War titles. While Fergusson has a long history with Gears of War, his appointment at Black Tusk has to be considered surprising. Just four months ago, Take-Two announced that Fergusson was launching a new Bay Area studio to work on a new project for the publisher.
“It’s kind of nice he can tie the franchise, the culture, bring it all together, and really help with the talent we already have up at Black Tusk to get the franchise going with a new organization,” Spencer said.
Fergusson released a statement on his new appointment, saying, “I’m extremely excited to be joining Black Tusk Studios to oversee development on the Gears of War franchise. I’ve been privileged to work on a lot of great games with a lot of great teams, but Gears has had the most impact on me professionally and personally, so this really feels like a homecoming. I can’t wait to share more with you all soon.”
“[I]f you look at what we did with 343 and getting them up to speed for Halo 4, you can maybe anticipate some things that are similar to that.”
This isn’t the first time Microsoft has had to find a new studio to take over a blockbuster sci-fi shooter IP. In 2007, Bungie struck a deal to split off from the Xbox maker, leaving the Halo franchise in need of a new developer. Spencer said there were lessons to be learned from the successful transition of the Halo series to 343 Industries, and mentioned Lemke would be speaking with 343′s Bonnie Ross about her experiences.
“We’re not announcing anything right now, but I think if you look at what we did with 343 and getting them up to speed for Halo 4, you can maybe anticipate some things that are similar to that,” Spencer said. “But it does give me confidence knowing that we’ve done this once with 343.”
343 cut its teeth on the Halo franchise with Halo: Combat Evolved Anniversary, an Xbox 360 remake of the original Xbox launch title Halo: Combat Evolved.
Whatever else changes with Gears of War, one thing that will likely stay the same is the technology powering the franchise. Spencer declined to say whether the deal requires Microsoft to use the Unreal Engine for future Gears games, but he did say the company was a big fan of the technology.
“We’ve used the Unreal Engine in our development of the Gears franchise and other franchises,” Spencer said. “Unreal is important for us. So I don’t see us moving away from Unreal. I have confidence in the Unreal Engine going forward, and it’s important to the franchise.”
Spencer also noted that a Black Tusk teaser trailer shown at E3 was built using Unreal. And even though that clip–a man rappelling down the side of a present-day skyscraper before swinging in an open window to clobber a gun-toting guard–looked decidedly unlike Gears of War, Spencer called it a concept piece, and not a project that is being shelved as a result of the IP acquisition.
“This obviously isn’t something that started yesterday in terms of our discussions with Epic,” Spencer said. “Hanno’s been involved for quite a while, so he’s known that this is something we could land. And the leadership team there obviously knew as they started to build their road map for what they would be focused on. I wouldn’t say things have been shelved. Obviously, this will become a big focus of the studio and something that will be critical to them driving forward. There’s not really something that was on the road map that all of a sudden goes away.”
When Microsoft opened Black Tusk in 2012, studio representatives said it was not working on an existing franchise, but instead was “looking to build the next Halo” from the ground up.
Financial details of the acquisition were not disclosed.
The Samsung Gamepad is compatible with all Android phones running Android 4.1 Jelly Bean and above, though Samsung said that it is specifically optimized for Android 4.3 Jelly Bean and above. It features an eight-way D-Pad, two analogue sticks, four action buttons, two trigger buttons, a Select button and a Play button.
The Play button is a link to the Samsung App Store selling console optimized games at “reasonable prices”. The Gamepad uses Bluetooth 3.0, but can also pair via NFC and even cast gaming onto the big screen using Samsung Allshare. Although there are a number of Chinese imports available, this is the first time a major player has brought an Android game controller to the table.
Samsung said 35 games are available through the Play button at launch with more to come in 2014. Launch titles include Need for Speed: Most Wanted, Asphalt 8, Modern Combat 4, Virtua Tennis Challenge, and Prince of Persia. These are in addition to existing games from Google Play.
Samsung is keen to tout this new device as an alternative to buying a more expensive console such as an Xbox One or Playstation 4 (PS4), and while we’re not really sure if it can match them, we can certainly see the advantages of a device like this over Android game consoles such as the Ouya or Gamestick.
The device is already available for pre-order at Expansys for $125.99. At present there is no date attached to it, and Samsung is only committing to “the coming weeks” as the time-frame for availability.
As it’s a device with a steel casing, Samsung clearly is not aiming this at the budget market, and if its functionality matches its specifications, it could be one to watch in 2014.
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.
A few days ago AMD announced it would extend the Battlefield 4 bundle deal to all R9-series cards, but right now it’s starting to sound like President Obama telling Americans that none of them will lose their healthcare plans.
In theory all R9 cards could get the bundle, but AMD is saying that it is up to AIB partners to decide whether they will offer the game with all cards or just with some. It basically sounds like AIBs could offer pricier SKUs with the BF4 bundles and also plain cards with a discount. It is unclear how much the bundle would affect the retail price.
This is what AMD said to clarify the situation:
An email sent to press that provided details on AMD’s Battlefield 4 promotion was not clear and has led to some confusion in the marketplace. It suggested that all customers who purchased an AMD Radeon R9 series graphics card on or after November 13, 2013 would receive a complimentary copy of Battlefield 4. While all AMD Radeon R9 series cards are theoretically eligible for the promotion (which is administered by AMD’s channel partners), retailers and add-in-board partners ultimately decide which select AMD Radeon R9 SKUs will include a copy of BF4.
In addition, AMD made it clear that customers who purchased R9 cards before November 13 are not eligible for any retroactive bundle deal due to contractual agreements with EA/DICE. However, as a gesture of goodwill AMD plans to hand out 1,000 BF4 codes on social media, although the full details of the giveaway have not been announced yet.
Basically if you are interested in getting an R9 BF4 bundle, it’s probably best to wait for a few days or weeks and see what AMD channel partners plan to offer.
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.”
Like all major companies, Electronic Arts from time to time has come under fire from pundits and consumers. In fact, earlier this year, the publisher won the Consumerist poll for “Worst Company in America” for the second straight year. Whether or not there’s any merit to that accusation, rather than simply shrug it off, EA says it’s listening and wants to do even better by its consumers.
In a recent interview with Kotaku, newly minted CEO Andrew Wilson and vice president of the Games Label, Patrick Soderlund, talked at length about making consumers more satisfied than they have been with EA in the last few years.
“There are lots of really big public companies that make a lot of money that are loved by their consumers,” Wilson acknowledged. “That’s because the consumers feel like they get value from that company in the investment in their dollars [and] time.”
To that end, Wilson would like his consumers to really feel like they, not EA, are getting the better end of the deal when they purchase any games from the publisher. “Any time we create something, if you’re asking for an investment from the consumer in dollars and time, make sure they feel like they’re stealing from you and that they are getting the best end of that deal and the rest will follow. And that will be our philosophy,” he continued.
Interestingly, Soderlund admitted that the Consumerist distinction really did give EA pause. The executives have been thinking about what it means and what the company can do to change perceptions around EA.
“We started thinking about how we don’t want to be viewed as the worst company in America. I personally don’t think we’ve ever been the worst company in America, but it says something. The consumers out there are telling us something. And we actually took it very seriously. This was before Andrew was the CEO. We and [EA chief operating officer] Peter Moore and a couple of other guys in the executive company got together to try to understand what caused people to say these things. And there were some things out there that…consumers told us they didn’t like. Online pass was one thing.”
It may sound easy, but one of the best things EA can do for its reputation is to make amazing game experiences. If consumers love the games, the rest should follow. Wilson noted that for as much as EA has tried to raise its own bar on quality, it’s still not enough.
“The demand and expectation on us are higher than they ever have been,” Wilson said. “We need a mechanism and a process which we can get to better games more quickly. If we can be faulted for anything, over the years, it’s kind of hanging on to ideas or concepts of games too long, driving too hard against them, spending too much to the point that we couldn’t invest in other opportunities and ideas. And a big part of what Patrick and [fellow top execs] Frank [Gibeau] and Lucy [Bradshaw] and I committed to is let’s drive a culture of innovation inside the company that actually starts a lot more stuff but at the same time kills a bunch more stuff before it gets to market so that we can give ourselves more short-term goals to get to that next innovative product.”
While EA is still trying to convince investors that profits are coming, its management ultimately sees the consumer perception and game quality issues as the most important to tackle. If it handles those problems with aplomb, the bottom line will take care of itself.
“…whether it’s DLC or something else, as long as we take the approach of being player-[d]riven and not driven by a short-term financial decision, players are telling us that Battlefield Premium is a good thing, because they’re buying it, they like it and they look at this and say, ‘Wow this is a great value proposition. I get four or five expansion packs and all these things for $50 that I can play over two years’ time. That’s worth something. Will Electronic Arts make money out of that? Yes, but will the consumers like it and want it? Yes they do. Wholeheartedly. I think that’s an approach where if we come at it from a consumer perspective and we do things that they tell us they want and we do that well, business will follow,” said Soderlund.
The independent gaming scene has been growing by leaps of bounds, so it makes sense that the events designed to celebrate it are keeping step. This weekend’s IndieCade Festival in Culver City, California (on the West side of Los Angeles) is the largest in the event’s seven-year history. IndieCade founder and CEO Stephanie Barish said the event is expecting to draw more than 5,000 people to Culver City, which has a population around 39,000.
Much like the indie scene it promotes, the show has also been getting increased attention from the mainstream gaming industry of late. Sony has been a primary sponsor of the event for years, but the 2013 show sees Nintendo chip in for the first time, with Microsoft returning to the list after taking 2012 off. Activision is also on the list of sponsors, as well as Epic Games (for the Unreal Engine), Unity, and 20 more companies. Barish said some of the event’s more recent sponsors saw how Sony benefitted from its overtures to independent developers and have been following suit.
“[Sony has] put four or five years of effort now into the indie development sector and it’s really paid off for them,” Barish said. “Developers are really interested in meeting with them. They see there are possibilities, that Sony has proven [indies] can do well and are treated well. More and more the fact that independent games are interesting to a broader public is becoming apparent to the larger publishers. As well, there’s a huge creative energy and force and momentum coming out of the independent sector, and they don’t want to not be part of the future.”
That future is a big part of the attraction for IndieCade. Attendees to this year’s show will be able to try out a handful of games on upcoming hardware like the Oculus Rift and PlayStation 4. In all, IndieCade 2013 features 36 “official selections” for the festival, with dozens more games on show. Barish expects that crop of games to not only produce some of the next big hits, but also draw attention to the next crop of important developers. In the past, she said IndieCade has served as a coming out party for indie hits like Braid and Everyday Shooter, or developers like Telltale Games (who would go on to create the multiple Game of the Year award-winning The Walking Dead series). It’s also been a place to debut games that think outside the set-top box, like Johann Sebastian Joust, a six-player game that uses music and PlayStation Move controllers, but no screen.
“It’s really important for the mainstream to see what’s at the cutting edge, and we just continue to bring things in that are more cutting edge, that are more different than publishers or other mainstream things would even think to look at yet,” Barish said. “We’re really a window into what’s going to happen.”
Among this year’s selections are That Dragon, Cancer (a narrative-driven game set in a children’s hospital over three years), Perfect Woman (a “strategic dancing game” for the Kinect), and [code] (a PC game in which players delve into ersatz programming code to solve puzzles). While some of the IndieCade games will almost certainly prove to be lucrative for their creators, Barish stressed that isn't the only way to measure their success.
"There's definitely a desire for the Cinderella story, but having seen so many of the games, they're really good," Barish said. "So even if they're not commercially successful, they're impacting the way mainstream games are designed, the directions and the trends for those."
The trend for IndieCade looks to be continued growth. This year saw the event spawn an IndieCade East sister show in New York City, a second installment of which is confirmed for February 14-16, 2014 at the Museum of the Moving Image. Beyond that, Barish said there has been talk about expanding the festival even further with a European event.
Thirteen people have been indicted, accused of being members of the Anonymous hacktivist group and allegedly involved in Operation Payback.
Operation Payback was the retaliation against payment firms that Anonymous put in motion following their blocking of Wikileaks donations.
The 13 are accused of taking part in a series of distributed denial of service (DDoS) attacks, and the US Department of Justice filed a federal grand jury indictment in US District Court in Alexandria, Virginia. The indictment charges them with conspiracy to intentionally cause damage to protected computers.
Anonymous is a loosely linked digital rights collective. In its early days it pulled together volunteers from all walks of life.
Operation Payback struck a number of organisations including Mastercard, Visa, Paypal and the Motion Picture Association of America. The attacks lasted between September 2010 and January 2011. As well as retaliating against payment providers, part of Operation Payback was aimed at parties thought to be involved in a campaign against The Pirate Bay.
Agence France Presse (AFP) has seen the indictment and named those indicted in it. They are Dennis Owen Collins, Jeremy Leroy Heller, Chen Zhiwei, Joshua Phy, Ryan Russel Gubele, Robert Audubon Whitfield, Anthony Tadros, Geoffrey Kenneth Commander, Austen Stamm, Timothy Robert McLain, Wade Carl Williams and Thomas Bell.
According to AFP the 13 alleged Anonymous members “planned and executed a coordinated series of cyber-attacks against victim websites by flooding those websites with a huge volume of irrelevant internet traffic with the intent to make the resources on the websites unavailable to customers and users of those websites.”
In short, they are accused of having conducted a digital sit-in protest
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.