Those players all participated in Battlefield 1’s beta across ten days, between August 30 and September 8. EA DICE has confirmed that the 13.2 million people make it “the biggest beta in EA’s history,” topping the previous record holder, Star Wars: Battlefront, which attracted more than 9 million players.
As big as Battlefront’s beta was, though, it was surpassed in popularity by Blizzard Entertainment’s Overwatch, which pulled in 9.7 million in May this year. The question surrounding Battlefield I, then, is whether it’s the most popular beta of this generation. While EA hadn’t laid claim to that at the time of writing, based on other publicly available figures it seems likely: Ubisoft’s The Division had 6.4 million players in its beta, while Activision’s Destiny had 4.6 million.
In any case, these will be glad tidings for EA DICE, and EA’s shareholders. As Niko Partners’ Daniel Ahmad pointed out on Twitter, Destiny, The Division, Battlefront and Overwatch all demonstrate a clear trend.
One trend I’ll note is that each of the full games above sold to more people than played the open beta’s within the 3 months from launch.
— Daniel Ahmad (@ZhugeEX) September 15, 2016
Battlefield 1 launches on October 21.
Halfway through Sony’s announcement event for its new consoles – the redesigned, slimmer PS4 and the new, more powerful PS4 Pro – I found myself thinking about the optics of these events. I’ve seen the announcement events for every console since the PS2, and of them all, this was by far the most muted. The lack of bombast and braggadocio could speak to a quietly understated confidence, or to uncertainty, depending on where you’re standing. I suspect that the truth lies somewhere in the middle – Sony, achieving success it hasn’t seen since the PS2’s halcyon days, is certainly confident, but is also walking out onto uncertain territory with the PS4 Pro. The ground underfoot is no longer familiar.
The slim PS4, of course – perhaps the worst-kept secret in the history of the industry, given the appearance of functioning models on auction websites prior to the announcement – is nothing unexpected. Three years into the PS4’s lifespan, a slimmed down redesign was inevitable; it joins the (arguably rather more attractive) Xbox One S on the shelves as a sleeker model whose launch is somewhat overshadowed by impending obsolescence. Xbox One S, at least, has a year to run before the hugely more powerful Scorpio appears on the market. The new PS4 suffered the ignominy of being quickly announced and forgotten just moments before the unveiling of PS4 Pro, the device destined to replace it.
PS4 Pro, though, is a curious beast. It’ll run you $100 more than the slim PS4, it plays the same games and connects to the same online services. Sony has bent over backwards to avoid fragmenting their playerbase, and in theory, PS4 Pro is really designed only for the small minority of consumers with 4K displays in their living rooms. Yet the company must know the psychology of its consumers; it must know that for a large proportion of them, playing a game on a regular PS4 in the knowledge that an upgrade would make it that little bit sharper, that little bit smoother, is like Chinese water torture. That will only be exacerbated by the “Pro” moniker; so much of the market will feel an involuntary twitch of consumer desire at the very notion of their existing hardware being “amateur” or, god help us all, “noob”.
Ultimately, though, Sony’s cautious approach seems to be pitched just right. Those who will find themselves discombobulated by the notion of a needlessly dropped frame or a disappointingly undetailed hair strand, or quietly fuming at being branded a non-Pro, are precisely the audience expected to upgrade anyway. The benefits of PS4 Pro will be sufficient to keep them satisfied; while for pretty much everyone else, for the enormous audience of more casual consumers that Sony must access in the coming years in order to maintain the PS4’s sales trajectory, the benefits of the Pro seem minor enough not to bother with. The stroke of genius, perhaps, is that every upgrading gamer will release a second-hand PS4 into the market – handed off to a younger sibling or cousin, perhaps, or sold to a late upgrader from the last generation. That ought to do wonders to kick-start the PS4’s demographic expansion.
That’s not an easy balance to strike, and while it feels like it’s been skilfully done, only time and market data will tell. Sony enters Winter 2016 in a position of almost unprecedented strength; Nintendo’s NX won’t launch until next spring (and nobody really knows what it is), while Microsoft’s lovely Xbox One S is overshadowed by the plan to entirely outclass it with Scorpio next year. Both PS4 and PS4 Pro will do great guns this year (while PSVR, about which more in a moment, will undoubtedly be supply constrained). That’s not the real test; the test is how this line-up can fare against 2017’s launches, NX and Scorpio. Sony’s cards are now on the table for the next couple of years of the console war.
The other test, of course, is how this evolves. Much has been made of PS4 Pro representing the end of the console model; a final nail in the coffin of the five, seven or even ten year hardware cycle which has defined game consoles since the 1980s. Incremental updates like the PS4 Pro, maintaining compatibility and continuity while keeping pace with hardware advancements, are the future.
Well, perhaps they’re part of the future. Scorpio, with its dramatic upgrade over the Xbox One – so dramatic that the notion of Xbox One remaining fully capable of playing Scorpio titles seems ridiculous – suggests a somewhat different future. Equally, the muted nature of this week’s launch is suggestive of somewhat different thinking. Sony didn’t want to come out all guns blazing, shouting in triumph about its new hardware, because it cannot afford to alienate the 40 million existing owners of PS4 by implying that their consoles are obsolete. That’s a radical difference from console launches of old precisely because the whole purpose of those launches was to declare everything which came before obsolete. “Here, here is the new thing! All singing, all dancing, making the singing and dancing your existing console is capable of look merely like painful hopping and wheezing! Buy the new thing!” You can’t do that with an incremental upgrade; you can’t alienate your existing market in that way. Even smartphone makers have more freedom in their messaging, knowing that their hardware is expected to run on an 18 to 24 month upgrade cycle; consoles, though, you expect to remain “current” for four years, five years or more.
Incremental upgrades, then, lock us to a much more muted kind of message about new hardware. Does anyone really believe, though, that there’s no PS5 in the works? No grand, sweeping upgrade, that will be unveiled with bombast, and fireworks, and promises of walking on water and improbable feats of catering involving bread and fish? Of course that’s in the works. If PS4 Pro points us at something, it’s at the possibility of compatibility across generations in the very broad sense – perhaps, at last, we have entered a generation of consoles whose games will remain playable pretty much forever, or at least for as long as the capricious DRM gods smile upon us. The reverse, however, cannot remain true forever. Console generations will continue to roll past; it’s just that now, perhaps, there will be more mezzanines and landings between the floors.
Notably absent from Sony’s quiet little event was PlayStation VR. Oh, there was a logo, and there were a few words said, but you’d hardly imagine that this was a massive product launch that’s happening in just a few months’ time. Perhaps that’s because the aspect of PS4 Pro Sony is most anxious about is what impact it’s going to have on PSVR, and vice versa. Ever since the first leaks about PS4 Neo, as then was, hit the wild, there’s been a widespread assumption that part of the raison d’être for the new hardware was to drive PSVR headsets – with the existing PS4 simply being underpowered as a VR device.
If that’s not the case, Sony could have done a better job of pointing it out. Throwaway comments about the PS4 Pro yielding better frame rates for VR software sit uncomfortably with the company’s earlier pronouncements about 120Hz rendering for PSVR. Everything we’ve seen and learned about VR thus far suggests that this tech is all about framerate; if you can’t hit a consistent, high frame rate, users start to get severe motion sickness. If it’s the case that PS4 can hit those frame rates consistently, but PS4 Pro allows more visual finesse at the same frame rate, that’s great. If, on the other hand, PS4 is struggling with frame rate and PS4 Pro smoothes things out, that’s a big problem. PSVR cannot afford to be a poor experience on the existing PS4 installed base; if it is to be a success, it needs to work superbly on the 40 million PS4s already in the wild, not just on the fraction of the installed base which will be PS4 Pro.
Perhaps it does. Certainly, the demos of PSVR to date – all presumably running on PS4 standard hardware – have been fine, for the most part. Again, though, the optics are problematic; if you’re launching a VR headset within weeks of launching more powerful hardware, people are going to assume, not unreasonably, that they’re meant to complement each other. If that translates into users of the headset on stock PS4s getting physically ill where users on PS4 Pro do not, that’s a very big problem – and if that’s absolutely not the case, and there are procedures in place to prevent it, Sony needs to be discussing those things candidly and openly. (If it is the case, they might have been best served by doing something radical like only taking PSVR pre-orders alongside PS4 Pro pre-orders; let VR be the USP of PS4 Pro, and avoid the possibility of backlash from underpowered VR entirely.)
With the cards on the table, now we see how the hand plays. PS4 Pro is undoubtedly a shake-up to how the console business works. It’s one step closer to a world where console hardware is essentially a fixed-spec PC in a nice box that’s updated every few years – but we’re not in that world yet, and whether we ever arrive there will be determined by how Sony and its rivals fare in the coming 18 months.
MediaTek has some decent network products and Asus and Xiaomi have a few midrange routers based on its SoC (system on a chip). Now it looks likely that Microsoft’s One S will use two MediaTek SoCs for wireless connectivity.
It has been a while since IFIXIT tore apart the Xbox One S but no one really noticed that the wireless component of the console came from MediaTek.
The Xbox One S looks like a nice console, worth the investment and was a good design win for AMD as it has an AMD APU inside. There are two chips from MediaTek, inside – firstly, the MT7632TUN, which is probably a variation of the MT7632 wireless chip supporting 2×2 802.11n + Bluetooth 4.0 Module. It is interesting that Xbox uses a 2×2 MIMO approach as this will make the 801.11n wireless much faster than before.
The second chip is MediaTek’s MT7612UN which is likely a variant of 802.11ac 2×2 MIMO that will again make things much faster in the 5GHz band and getting closer to 1Gbps speeds with the ac.
MediaTek won some business with Amazon tablets last year, and adding Microsoft to its portfolio definitely means a lot for the company and boosts its wireless image.
Xbox One S should be available in the western part of Europe within the next three weeks and Amazon Germany claims to start shipping on the September 22. US customers can get one today and it starts at $269.99 for 500 GB + Halo bundle and it jumps to $349.99 Xbox One S 1TB Console – Madden NFL 17 Bundle or $359.99 for Xbox One S 2TB Console – Launch Edition.
Number crunchers working for Jon Peddie Research (JPR), the industry’s research and consulting firm for graphics and multimedia have noted that during the second quarter AMD gained market share in the add-in board (AIB) market.
But while AMD fans might be cheering, and while Nvidia fanboys work out ways they can beat them up after school, JPR says that over all the AIB market decreased.
For those who came in late, AIBs using discrete GPUs are found in desktop PCs, workstations, servers, and other devices such as scientific instruments. They are sold directly to customers as aftermarket products, or are factory installed by OEMs.
AIBs are the higher end of the graphics industry with their discrete chips and private, often large, high-speed memory, as compared to the integrated GPUs in CPUs that share slower system memory.
The PC add-in board (AIB) market now has just three chip (GPU) suppliers which also build and sell AIBs. The primary suppliers of GPUs are AMD and Nvidia. There are 48 AIB suppliers, the AIBOEM customers of the GPU suppliers, which they call “partners”.
JPR has been tracking AIB shipments quarterly since 1987-the volume of those boards peaked in 1999, reaching 114 million units, in 2015, 44 million shipped.
The news for the quarter was encouraging and seasonally understandable, quarter-to-quarter, the AIB market decreased -20.8 percent (compared to the desktop PC market, which increased 2.5%), the report said.
AIB shipments during the quarter decreased from the last quarter -20.8 percent, which is below the ten year average of -9.7 percent.On a year-to-year basis, it found that total AIB shipments during the quarter rose 0.8 percent, which is greater than desktop PCs, which fell -0.2 percent, JPR added.
In spite of the overall PC churn, which is mostly because of tablets and embedded graphics, the PC gaming momentum continues to build and is the bright spot in the AIB market.
The overall GPU shipments (integrated and discrete) is greater than desktop PC shipments due double-attach-the adding of a second (or third) AIB to a system with integrated processor graphics.
Another reason is the increase in dual AIBs in performance desktop machines using either AMD’s Crossfire or Nvidia’s SLI technology Improved attach rate. The attach rate of AIBs to desktop PCs has declined from a high of 63 percent in Q1 2008 to 34 percent this quarter, a decrease of -22.7 percent from last quarter which was negative. Compared to this quarter last year it increased a single miserable percentage point.
This research said that the global GPU market demand in Q2’16 decreased from last quarter, and decreased from last year, to 83.32 million units.
“In recent years, as the gaming ecosystem is shaping up, software and hardware developers, information service providers, and even governments have been attempting to unearth market opportunities coming from this new arena. However, global PC shipment volume is forecast to fall further,” the report said.
Last week, Remedy tapped Tero Virtala to be its new CEO and said he would guide the Quantum Break studio’s move to developing multiple projects simultaneously. Virtala recently spoke with GamesIndustry.biz to flesh that idea out a little more and provide other details about his vision for the company’s future.
To start with, Virtala acknowledged that Remedy had intended to make a move into multiproject development for a while.
“This idea has lived for such a long time, but naturally, Quantum Break being such an ambitious and big project, it took most of the resources, people, the energy, most of the money the studio has been using for a long time,” Virtala said. “Now Quantum Break has been made and there is a new phase clearly starting for the company. As this strategic path has been discussed, it’s a commonly shared view that going for multiple projects is the way the people at the company want to go. And it also makes a lot of sense.”
Even though Remedy managed to put out the digital release Alan Wake’s American Nightmare and free-to-play mobile game Agents of Storm while Quantum Break was in the works, it’s clear much of the studio’s focus was on its Xbox One title. As Virtala explained, Quantum Break was an immense task for the studio: a new IP on a new platform with new gameplay mechanics and new tech, all paired with a new transmedia approach that would see a four-episode live-action serial created alongside the game.
“You take so many new things at one time and it made sense to focus on just one big project at a time,” Virtala said. “Now when we fast-forward to this moment, there’s so much more experience and skills, competencies that we can use with what we’ve learned. Also, the technology and tools we’ve developed are much further along and much more reusable than they used to be. So that built a base we can utilize, and then you take what else is needed for two projects.”
The studio’s old method of focusing on one big game for as long as five years at a time just isn’t sustainable in the long run, particularly when Remedy prides itself on cutting edge technology and envelope-pushing creativity.
“The industry’s developing so fast,” Virtala said. “On the one hand, there are so many great games out there, so when you’re bringing your game out, it has to stand out. It has to be unique. It has to be [high] quality. And if our studio is focusing on one project only, we’re putting all our people there. It usually means the length of the project grows, and if you take four or five years to develop a game, it’s a very risky game. You start the project with certain assumptions of the market, and in four or five years’ time in this type of creative, technology-driven industry, it changes so fast.”
That approach was also limiting the partners Remedy could work with. Virtala had nothing but great things to say about long-time partner Microsoft, but a relationship like that with a single-project studio would necessarily keep the company from collaborating with other publishers. And of course, Remedy fans would probably like more than one new game every five years or so.
Virtala wants Remedy to make more games, and he wants a shorter development cycle for those games. At the same time, he stressed, “We stay loyal to the strengths we have in this industry,” which he interprets as excellent games with a distinctive quality, visually impressive and immersive worlds populated with compelling characters.
As for how Remedy can deliver content to the same quality on a much shorter time scale, Virtala didn’t give many specifics. The company has a headcount of 125 people with another 15 open positions, but Virtala declined to say if there were plans to dramatically expand the staff size. As for doing more with the same amount of people, he did note that the technology and tools that have been developed for Quantum Break over the past five years can be used in future games, so “we are definitely able to provide AAA quality in a shorter time than we have before.”
He was similarly careful when talking about whether the shorter development cycle would be achieved by changing the types of games Remedy makes. The company is exploring “new game mechanics” that
While we were hoping to see it bundled with some recently launched Polaris-based graphics cards, it appears that AMD wants to give some love to those that decide to buy AMD’s FX-series CPUs.
To be available in most popular retail/e-tail stores, the bundle will include a copy of the new Deus Ex: Mankind Divided game with a purchase of a 6- or 8-core AMD FX CPU. According to details provided by AMD, the promotion will run from August 23rd to November 14th or until the supply lasts.
Currently, some of the hot AMD FX-series CPUs like the 6-core FX-6300 or 8-core FX-8320 are selling for as low as US $100 and US $130, so bundling a US $60 game sounds like a really good deal.
Hopefully, AMD will decide to bundle the game with some of its Polaris-based graphics cards after Deus Ex: Mankind Divided gets its DirectX 12 patch later in early September.
Electronic Arts has one of the deepest back catalogs in the industry, but to date it has steered clear of mining it for new revenue through remastered and HD editions. That’s likely to change soon, according to a Game Informer interview with EA Studios executive VP Patrick Soderlund from last week at Gamescom. When asked if anything in EA’s stance on remasters had evolved in the last year, Soderlund tipped the publisher’s hand.
“What’s changed is that there is proof in the market that people want it, maybe more than there was when we spoke [previously],” Soderlund said. “There were some that did it before, but I think there is even more clear evidence that this is something that people really want. The honest answer is that we are absolutely actively looking at it. I can’t announce anything today, but you can expect us most likely to follow our fellow partners in Activision and other companies that have done this successfully.”
Soderlund added that if EA were to remaster games, it would “have to be careful in choosing the right brands for the right reasons at the right time.” Part of that would be ensuring the company handles the remasters properly instead of just selling quick and dirty ports.
That attitude is a pretty clear pivot from where the company’s thinking was just a year ago. Last October, Peter Moore said EA wasn’t interested in remakes and remasters because “it feels like pushing stuff out because you’ve run out of ideas,” adding, “I don’t know where we find the time to do remakes. We’re a company that just likes to push forward.”
While EA hasn’t been especially aggressive with remastered games, it has produced HD versions of older games like American McGee’s Alice and Crysis, primarily as preorder incentives for sequels in those series.
AMD and Nvidia fanboys are expected to battle each other to death as AMD readies to launch its new Polaris-based Radeon RX 480 graphics card.
Using the traditional weapons of made-up facts and faulty historical memory, which are targeted with no sense of perspective, the fanboys should occupy their time for at least another year.
Although this is not the goal of the new AMD launch, the fact that Nvidia has decided to start selling its GeForce GTX 1060 products, which were originally set to launch in August to match the card indicates that a war of some sort is afoot. Fanboys are usually sensitive to these things.
AMD’s company vice president Raja Koduri said AMD was ready to release its Radeon RX 480 priced at US$199 on 29 June. The outfit’s FreeSync technology has also seen increased adoption by graphics card players recently who need a cheap sink. This has raised AMD’s share in worldwide PC discrete graphics card market to close to 30 per cent in the first quarter.
It looks like AMD is charging ahead into the mid-range and mainstream sectors. This is probably the reason Nvidia has moved forward the releases of GeForce GTX 1060 products by a month and is likely to reduce their prices to make them more competitive.
Nvidia is hamstrung by the fact that there are still a lot of GeForce GTX 960/950 graphics cards in the channel and Nvidia’s sudden change of plans forced graphics card players to turn to focus on new products instead of clearing inventory.
It is not clear who will be the Ramsay Bolton and who will be the Jon Snow in this particular battle off the bastards. But let the strawmen be unleashed and the biting sarcasm begin.
While Sony wowed gamers at its E3 press conference this year with a barrage of impressive content, some would argue that it was Microsoft that made the biggest splash by choosing its press conference to announce not one, but two distinct console hardware upgrades that would be hitting the market in consecutive years (Xbox One S this year, Scorpio in 2017). Years from now, this may be the grand moment that we all point to as forever changing the evolution of the console business. Sony, too, is preparing a slight upgrade to PS4 with the still-to-be-unveiled Neo, and while it won’t be as powerful as Scorpio, it’s not a stretch to assume that Sony is already working on the next, more powerful PlayStation iteration as well. We can all kiss the five or six-year console cycle goodbye now, but the publishers we spoke to at E3 all believe that this is ultimately great for the console industry and the players.
The most important aspect of all of this is the way in which Sony and Microsoft intend to handle their respective audiences. Both companies have already said that players of the older hardware will not be left behind. The ecosystem will carry on, and that to EA global publishing chief Laura Miele is a very good thing, indeed.
“I perceive it as upgrades to the hardware that will actually extend the cycle,” she told me. “I actually see it more as an incredibly positive evolution of the business strategy for players and for our industry and definitely for EA. The idea that we would potentially not have an end of cycle and a beginning of cycle I think is a positive place for our industry to be and for all of the commercial partners as well as players.
“I have an 11-year-old son who plays a lot of games. We changed consoles and there are games and game communities that he has to leave behind and go to a different one. So he plays on multiple platforms depending on what friends he’s playing with and which game he’s going to play. So the idea that you have a more streamlined thoroughfare transition I think is a big win… things like backwards compatibility and the evolution,” she continued.
“So it’s not my perception that the hardware manufacturers are going to be forcing upgrades. I really see that they’re trying to hold on and bring players along. If players want to upgrade, they can. There will be benefit to that. But it’s not going to be punitive if they hold on to the older hardware… So we’re thrilled with these announcements. We’re thrilled with the evolution. We’re thrilled with what Sony’s doing, what Microsoft’s doing and we think it’s phenomenal. I think that is good for players. It’ll be great for us as a publisher about how they’re treating it.”
Ubisoft’s head of EMEA Alain Corre is a fan of the faster upgrade approach as well. “The beautiful thing is it will not split the communities. And I think it’s important that when you’ve been playing a game for a lot of years and invested a lot of time that you can carry on without having to start over completely again. I think with the evolution of technology it’s better than what we had to do before, doing a game for next-gen and a different game from scratch for the former hardware. Now we can take the best of the next console but still have super good quality for the current console, without breaking the community up. We are quite big fans of this approach,” he said.
Corre also noted that Ubisoft loves to jump on board new technologies early (as it’s done for Wii, Kinect, VR and now Nintendo NX with Just Dance), and its studios enjoy being able to work with the newest tech out there. Not only that, but the new consoles often afford publishers the opportunity to build out new IP like Steep, he said.
“Each time there’s a new machine with more memory then our creators are able to bring something new and fresh and innovate, and that’s exciting for our fans who always want to be surprised. So the fact that Microsoft announced that they want to move forward to push the boundaries of technology again is fantastic news. Our creators want to go to the limit of technology to make the best games they can… so the games will be better in the years to come which is fantastic for this industry. And at Ubisoft, it’s also in our DNA to be [supportive] early on with new technology. We like taking some risks in that respect… We believe in new technology and breaking the frontiers and potentially attracting new fans and gamers into our ecosystem and into our brands,” Corre continued.
Take-Two boss Strauss Zelnick pointed out the continuity in the communities as well. “The ecosystems aren’t shifting as much. We essentially have a common development architecture now that’s essentially a PC architecture,” he said. And if the console market truly is entering an almost smartphone like upgrade curve, “It would be very good for us obviously. To have a landscape…where you put a game out and you don’t worry about it,” he commented, “the same way that when you make a television show you don’t ask yourself ‘what monitor is this going to play on?’ It could play on a 1964 color television or it could play on a brand-new 4K television, but you’re still going to make a good television show.
“So we will for sure get there as an industry. We will get to the point where the hardware becomes a backdrop. And sure, constantly more powerful hardware gives us an opportunity but it would be great to get to a place where we don’t have a sine curve anymore, and I do see the sine curve flattening but I’m not sure I agree it’s going away yet… That doesn’t change any of our activities; we still have to make the very best products in the market and we have to push technology to its absolute limit to do so.”
E3 2016 has officially come to a close, and despite the fact that Activision and EA were absent from the show floor, my experience of the show was that it was actually quite vibrant and filled with plenty of intricate booth displays and compelling new games to play. The same cannot be said for the ESA’s first ever public satellite event, E3 Live, which took place next door at the LA Live complex. The ESA managed to give away 20,000 tickets in the first 24 hours after announcing the show in late May. But as the saying goes, you get what you pay for…
The fact that it was a free event, however, does not excuse just how poor this show really was. Fans were promised by ESA head Mike Gallagher in the show’s initial announcement “the chance to test-drive exciting new games, interact with some of their favorite developers, and be among the first in the world to enjoy groundbreaking game experiences.”
I spent maybe an hour there, and when I first arrived, I genuinely questioned whether I was in the right place. But to my disbelief, the small area (maybe the size of two tennis courts) was just filled with a few tents, barely any games, and a bunch of merchandise (t-shirts and the like) being marketed to attendees. The fans I spoke with felt like they had been duped. At least they didn’t pay for their tickets…
“When we found out it was the first public event, we thought, ‘Cool we can finally go to something E3 related’ because we don’t work for any of the companies and we’re not exhibitors, and I was excited for that but then we got here and we were like ‘Uh oh, is this it?’ So we got worried and we’re a little bit upset,” he continued. Malcolm added that he thought it was going to be in one of the buildings right in the middle of the LA Live complex, rather than a siphoned off section outside with tents.
As I walked around, it was the same story from attendees. Jose, who came with his son, felt similarly to Malcolm. “It’s not that big. I expected a lot of demos, but they only had the Lego Dimensions demo. I expected something bigger where we could play some of the big, upcoming titles. All it is is some demo area with Lego and some VR stuff,” he told me.
When I asked him if he got what he thought would be an E3 experience, he continued, “Not even close, this is really disappointing. It’s really small and it’s just here. I expected more, at least to play some more. And the VR, I’m not even interested in VR. Me and my son have an Xbox One and we wanted to play Battlefield 1 or Titanfall 2 and we didn’t get that opportunity. I was like c’mon man, I didn’t come here to buy stuff. I came here to enjoy games.”
By cobbling together such a poor experience for gamers, while 50,000 people enjoy the real E3 next door, organizers risk turning off the very audience that they should be welcoming into the show with open arms. As the major publishers told me this week, E3 is in a transitional period and needs to put players first. That’s why EA ultimately hosted its own event, EA Play. “We’re hoping the industry will shift towards players. This is where everything begins and ends for all of us,” said EA global publishing chief Laura Miele.
It seems like a no-brainer to start inviting the public, and that’s what we all thought was happening with E3 Live, but in reality they were invited to an atmosphere and an “experience” – one that barely contained games. The good news, as the quickly sold out E3 Live tickets indicated, is that there is a big demand for a public event. And it shouldn’t be very complicated to pull off. If the ESA sells tickets, rather than giving them away, they can generate a rather healthy revenue stream. Give fans an opportunity to check out the games for a couple days and let the real industry conduct its business on a separate 2-3 days. That way, the ESA will be serving both constituents and E3 will get a healthy boost. And beyond that, real professionals won’t have to worry anymore about getting shoved or trampled, which nearly happened to me when a legion of frenzied gamers literally all started running into West Hall as the show floor opened at 10AM. Many of these people are clearly not qualified and yet E3 allows them to register. It’s time to make E3 more public and more professional. It’s your move ESA.
We asked the ESA to provide comment on the reception to E3 Live but have not received a response. We’ll update this story if we get a statement.
At its E3 2016 press conference today, EA said that DICE and Motive were working on a new version of Star Wars: Battlefront for release in 2017. Visceral Games are creating an action-adventure game with an “original narrative set in the Star Wars universe with all-new characters.”
Respawn Entertainment is developing “a different style of gameplay” which takes place in a different timeline we have yet to explore with our EA Star Wars titles.” In other words, almost every EA studio is flat out making something Star Warish.
And while the company didn’t make any mention of it at the news conference, the preview video it showed fans offered a very brief glimpse of a player wearing a PlayStation VR headset, while an X-Wing’s cockpit was shown on screen. That’s likely to stoke anticipation about a reboot of the classic 1997 title “X-Wing vs. TIE Fighter.”
EA and Lucasfilm signed a multiyear licensing deal in 2013. Due, in large part, to the strength of “Star Wars Battlefront,” EA handily beat its earnings estimate in its most recent quarter. Star Trek Bridge, the simulation of the Bridge inside of an Enterprise, a big VR commitment from EA looks like a fun game too.
MKM analyst Ian Ing claims that AMD’s recent gaming refresh was better done than Nvidia’s.
Writing in a research report, Ing said that both GPU suppliers continue to benefit from strong core gaming plus emerging applications for new GPU processing.
However, AMD’s transition to the RX series from the R9 this month is proving smoother than Nvidia’s switch to Pascal architecture from Maxwell.
Nvidia is doing well from new GPU applications such as virtual reality and autonomous driving.
He said that pricing was holding despite a steady availability of SKUs from board manufacturers. Ing wrote that he expected a steeper ramp of RX availability compared to last year’s R9 launch, as the new architecture is lower-risk, given that HBM memory was implemented last year.
Ing upped his price target on Advanced Micro Devices stock to 5 from 4, and on Nvidia stock to 52 from 43. On the stock market today, AMD stock rose 0.9 per cent to 4.51. Nvidia climbed 0.2 per cent to 46.33.
Nvidia unveiled its new GeForce GTX 1080, using the Pascal architecture, on 27 May and while Maxwell inventory was running out, Nvidia customers were experiencing Pascal shortages.
“We would grow concerned if the present availability pattern persists in the coming weeks, which would imply supply issues/shortages,” Ing said.
What is the point of E3? I ask not in a snarky tone, but one of genuine curiosity, tinged with concern. I’m simply not sure what exactly the show’s organizers, the ESA, think E3 is for any more. Over the years, what was once by far the largest date in the industry’s annual calendar has stuck out in various new directions as it sought to remain relevant, but it’s always ended up falling back to the path of least resistance – the familiar halls of the Los Angeles Convention Center, the habitual routine of allowing only those who can prove some industry affiliation to attend. For all that the show’s organizers regularly tout minor tweaks to the formula as earth-shattering innovation, E3 today is pretty much exactly the same beast as it was when I first attended 15 years ago – and by that point, the show’s format was already well-established.
There’s one major difference, though; E3 today is smaller. It now struggles to fill the convention center’s halls, and a while back ditched the Kentia Hall – which for years promised the discovery of unknown gems to anyone willing to sift through its morass of terrible ideas. Kentia refugees now fill gaps in the cavernous South Hall’s floor plan, elevated to sit alongside a roster of the industry’s greats that gets more meagre with each passing year. This year, attendees at E3 will find it hard not to notice a number of key absences. The loss of Konami’s once huge booth was inevitable given the company’s U-turn away from console publishing, but the decisions of EA and Activision to pull out of the show this year will be felt far more keenly.
Hence the question; what’s the point? Who, or what, is E3 actually meant to be for? It’s not for consumers, of course – they’re not allowed in, in theory, though the ESA has come up with various pointlessly convoluted ways of letting a handful of them in anyway. It’s for business, yet big players in the industry seem deeply dissatisfied with it. It’s not just EA and Activision, either; even the companies who are actually exhibiting on the show floor seem to have taken to viewing it as an addendum to the actually important part of the week, namely their live-broadcast press conferences. Once the realm only of platform holders, now every major publisher has their own – and if EA and Activision’s decision to go their own way entirely, leaving the E3 show floor, has no major negative consequences for them this year, you can be damned sure others will question the show’s cost-value next year.
The problem is that the world has changed and E3 has not. Once, it was the only truly global event on the calendar; back then, London had ECTS and Tokyo had TGS, but there was no question of them truly challenging E3’s dominance. The world was a very different place back then, though. It was a time before streaming high resolution video, a time before the Internet both made the world a much smaller place, and made the hyper-local all the more relevant. Today, E3 sits in a landscape of events most of which, bluntly, justify their existence far better than the ESA’s effort does. Huge local events in major markets around the world serve their audiences better than a remote event in LA; GamesCom in Germany and TGS in Tokyo remain the biggest of those, but there are also major events in other European, Asian and Latin American countries that balance serving the business community in their regions with putting on a huge show for local consumers.
In the United States, meanwhile, E3 finds itself assailed on two sides. The PAX events have become the region’s go-to consumer shows, and a flotilla of smaller shows cater well to specific business and social niches. GDC, meanwhile, has become the de facto place to do business and for the industry to engage in conversation and debate with itself. The margin in between those two for a “showcase show that’s not actually for consumers but sort-of lets some in and is a place for the industry to do business but also please spend a fortune on a gigantic impressive stand” is an increasingly narrow piece of ground to stand on, and E3 is quite distinctly losing its balance.
A big part of the reason for that is simply that E3 has an identity crisis. It wants to be a global show in the age of the local, in an age where “global” is accomplished by pointing a camera at a stage, not by flying people from around the world to sit in the audience. It wants to be a spectacle, and a place to do business, and ends up being dissatisfying at both; it wants to excite and intrigue consumers, but it doesn’t want to let them in. The half-measures attempted over the years to square these circles have done nothing to convince anyone that E3 knows how to stay relevant; slackening ties to allow more consumers into the show simply annoys people who are there for work, and annoys the huge audience of consumers who remain excluded. The proposed consumer showcase satellite event, too, will simply annoy companies who have to divide their attention, and annoy consumers who still feel like they’re not being let in to the “real thing”. Meanwhile the show itself feels more and more like the hole in the middle of a doughnut – all these huge conferences, showcases and events are arranged around E3’s dates, but people spend less and less time at the show proper, and with EA and Activision go two of the major reasons to do so. (It’s also hard not to note, though I can’t quantify it in figures, that more industry people each year seem to stay home and watch the conferences online rather than travelling to LA.)
The answer to E3’s problems has to be an update to its objectives; it has to be for the ESA to sit down with its membership (including those who have already effectively abandoned the show) and figure out what the point of the show is, and what it’s meant to accomplish. The E3 brand has enormous cachet and appeal among consumers; it’s hard to believe that there’s no demand for a massive showcase event at the LA Convention Center that actually threw its doors open to consumers, it’s simply a question of whether ESA members think that’s something they’d like to participate in. From a business perspective, I think they’d be mad not to; the week of E3, loaded with conferences and announcements, drives the industry’s most devoted fans wild, and getting a few hundred thousand of them to pass through a show floor on that week would be one of the most powerful drivers of early sentiment and word of mouth imaginable.
As for business; it’s not like there isn’t a tried, tested and long-standing model for combining business and consumer shows that doesn’t involve a half-baked compromise. Tons of shows around the world, in games and in other fields, open for a couple of trade days before throwing the doors open to consumers over the weekend. Other approaches may also be valid, but the point is that there’s a simple and much more satisfying answer than the daft, weak-kneed reforms the ESA has attempted (“let’s let exhibitors give show passes to a certain number of super-fan consumers” – really? Really?).
E3 week remains a big deal; E3 itself may be faltering and a bit unloved, but the week around it is pretty much the only truly global showcase the industry has created for itself. That week deserves to be served by a better core event, rather than inexorably moving towards being a ton of media events orbiting a show nobody can really be bothered with. The organizers at the ESA need to be brave, bold and aggressive with what they do with E3 in future – because just falling back on the comfortable old format is starting to show diminishing returns at an alarming rate.
While some publishers establish their own eSports divisions and appoint chief competition officers, Take-Two is approaching the competitive gaming trend with a bit more caution. Speaking with GamesIndustry.biz in advance of the company’s financial earnings report today, CEO and chairman Strauss Zelnick said the field was promising, but still unproven.
“eSports we find very interesting,” Zelnick said. “It is, however, still more a promotional tool than anything else. And most people see eSports as an opportunity to increase consumer engagement in their titles, and depending on the title, to increase consumer spending within the title.”
To date, Take-Two’s biggest eSports endeavor has been an NBA 2K tournament with 92,000 teams competing for a $250,000 prize. The final 16 teams are set to compete in a single-elimination tournament this weekend, with the finals taking place during the NBA Finals next month.
“It’s just the beginning for us,” Zelnick said of the tournament. “It’s very gratifying so far, but we have yet to see it as a stand-alone profitable business. We see it more as an adjunct to consumer engagement in our titles.”
Zelnick also addressed the company’s digital revenues, which for the first time made up more than half of its revenues for the year. While the industry has shifted heavily toward digital in recent years, Zelnick doesn’t see this as some sort of tipping point or a harbinger that physical goods are in for declines from here on out.
“This year was a little different because we had a very significant portion of this year’s revenue through digital distribution,” Zelnick said. “And that’s a reflection of the power of titles like Grand Theft Auto Online as well as PC titles, 90 percent of which are digitally delivered. With frontline console releases, your numbers are more like 20 percent from digital distribution. So physical distribution remains the lion’s share of our revenue.”
While Zelnick acknowledged the growth of digital distribution is a good thing for Take-Two, he specified that it wasn’t a strategy for the company because it’s ultimately out of his hands.
“We want to be where the consumer is, and we’re not really the ones who vote,” Zelnick said.
Orcs Must Die! Studio Robot Entertainment is a rare breed nowadays – in an age where you’re either indie or AAA, the Plano, Texas-based company (one of several Texas developers that rose from the ashes of Age of Empires studio Ensemble) has managed to succeed as a mid-sized outfit. When Robot was formed in 2009, the company operated on a small scale, but things really changed when it landed a major investment from Chinese media giant Tencent in 2014. That enabled Robot to scale up and to benefit from Tencent’s knowledge at the same time.
“We made the first Orcs Must Die! as a semi-indie studio. We were about 40-45 people. We’re about twice that size now. And we were able to do Orcs Must Die! and Orcs Must Die! 2 with that. We kind of kept following the franchise and following what the fans were asking for in that game and we knew the next version was going to be bigger. We had to make a strategic decision – were we going to stay small and try to do another small version of that game or did we want to be ambitious and try to do something a little bit bigger? And that was going to necessitate a different type of arrangement for us to find financing. Because, you know, just selling a $15 or $20 game on Steam over and over is tough to support a studio to make a bigger game,” Robot CEO Patrick Hudson told GamesIndustry.biz.
“We also did some licensing deals for this game. As an online game, we didn’t necessarily have an ambition of setting up a European publishing office or an Asian publishing office. So we went to Europe and we partnered up with GameForge and licensed the rights for them to publish the game for us. And that comes with some advances and license fees, which help us make the game. We did the same thing with Tencent in China and that led to an investment. So we are in that mid-space. I think you’re right that there are fewer people in that space right now. It would probably be harder for us to stay in that space if we didn’t have really strong partnerships with folks like GameForge and Tencent.”
Investments and partnerships can clearly make a difference to any game company, but it’s also easy to mismanage a studio’s growth. Before you know it, one department doesn’t know what the other is doing, and things spiral out of control.
“It’s all in how you manage it. You’re either afraid of that growth or you embrace it, put a process and structure in place to allow for that. There’s no question we have to run our studio differently at 90 people than we did at 45. There’s more structure in place, there are more layers of leadership to help the project along. We’ve done a decent job of managing the growth… We went through the same kind of growth curve at Ensemble and we actually spent a lot of time talking about what went well, what didn’t go well, ‘What did we learn from that experience that we could have managed the growth better, how do we apply that to Robot?’ So we try to be a little bit smarter about that. Talking to other friendly studios [helps also] – ‘Hey, what did you guys do through this kind of growth? What pains did you experience? What did you learn?’ So we’ll grow as much as it takes to support Orcs Must Die! or as little to support it,” Hudson continued.
While everyone was devastated when Microsoft seemingly shut down a successful Ensemble Studios for no good reason, Hudson takes it as a learning experience.
In Ensemble’s case, Hudson discovered that scale ultimately held back some of its better talent. “Age of Empires attracted a lot of really good game talent to the studio, either people who were starting fresh in the games industry and learned how to make great games inside of Ensemble or we recruited really talented people to Dallas to work on the Empires franchise and, ultimately, Halo Wars. So we had just a tremendous amount of pent up talent in what was not a huge studio. At its peak it was 120 people. So it was very densely populated with talent. When you’re a studio that size, you have a lead structure within each department, but not everybody gets a chance to take those leadership positions and do their own games. Once Ensemble went away, you saw all these talented people go off in different places and show what they were capable of,” he remarked.
Working at Ensemble instilled a certain level of dedication to quality in all the developers who worked there too. “We held ourselves to a really high standard of making games that everyone took with them to their next places. I would say, in addition to that… all of us worked for another six years for Microsoft post-acquisition, so we got to learn the industry as both indie developers and inside a publisher. We got to learn the entire space, how the whole ecosystem is close to the publishing side. So that was a very valuable experience that maybe a lot of other devs don’t get,” Hudson said.
There’s no animosity or regret about Ensemble either, as far as Hudson is concerned: “Six years is a long time to be with a company post-acquisition. It was actually, for the most part, six good years. Microsoft treated us well. I think we worked well with the people we worked with at Microsoft. You do see some [studios] that get acquired and they’re gone within a year or two. We didn’t have that experience. I kind of view six years as a nice success.”
Perhaps the greatest lesson that Hudson and Robot have learned, even before the rise of Kickstarter and Steam Early Access, is that listening and responding to a vibrant community is critical. Discoverability has become a nuisance to deal with, and you need the fans behind you in order to succeed. If you have expectations that a platform holder will feature you, your marketing strategy needs an overhaul.
“As some of those previous PC developers that came into mobile are now migrating back to PC, discoverability on PC has become not quite as bad as mobile, but it’s not easy. There’s a lot of content on Steam now. There’s no easy space. Games is more competitive and a harder business than it’s probably ever been. There’s just a lot of great developers out there making a lot of great content and there’s just no barriers to putting your content out there to players, and players move quickly from game to game. They’re going to seek the best content,” Hudson noted.
He continued, “When I talk to the Valve or Apple or Google folks, they know the problem. They see it. But it’s an almost impossible problem to solve… Everyone wants to be featured, right? It’s funny, when you talk to a new mobile developer and be like, ‘Hey, we’re gonna make this great game. We’re gonna be featured.’ Probably not. You’re probably not going to be featured. Unless you’re doing something really cool and innovative and very different that really shows off the platform.
“They all have different programs to try and help you get noticed but you can’t make that the core of your strategy. It’s really up to you to make a great game. If you don’t have a marketing budget to cultivate a community, start with a small community, really cultivate it and listen to them and speak to them and let them organically grow. It’s not the platform holder’s job to make it successful.”
Beyond building a robust community, selecting the right business model for your game is crucial. While free-to-play is almost the default option in today’s market, Hudson said that premium games are coming back too.
“We really do think of it as a case-by-case. There are interesting trends in the market where you’re seeing paid games come back in certain areas – even in China where we’re seeing an uptick in paid games, customers in China buying paid games. [That’s] never happened before. So it’s really going to depend on the game, the needs of the game,” he commented.
For Orcs Must Die! Unchained, which just entered an open beta about a month ago, free-to-play just made sense for Robot, as it’s a big multiplayer MOBA-style tower defense game; Robot wants as many people online for matchmaking as possible. Hudson and Robot have tried free-to-play before with Hero Academy in 2012, but he fully admitted, “We made a ton of mistakes, we didn’t really know what we were doing. It was a very successful game critically. It probably should’ve been a little more successful for us commercially, but we learned those lessons and hopefully we’re applying some of those.
“[Unchained] will be our first big free-to-play PC title. And we get a lot out of our partners too. GameForge has been operating free-to-play titles forever. Tencent has been operating free-to-play titles forever and we really lean on their expertise and we ask them to be involved with us as we design the game. The nice thing about both of those partners is… monetization follows. They start with making a great game, get the players around, keep the players around, [and then] hopefully they’ll pay you down the road. But don’t solve for money up front. So we’ll see. This will be our first foray into it. We’ll make a few more mistakes I’m sure but hopefully we learn quickly.”
Right now Robot remains 100 percent committed to Orcs Must Die! and the studio is bringing the game to PS4 later this year, but that doesn’t mean it expects to be pigeonholed with that one franchise. Hudson said that Robot continues to brainstorm new IP ideas, but nothing has made it too far along in development to warrant a release. “We’ll definitely do a new IP again. We started a couple of prototypes in the past few years that haven’t panned out. It happens all the time, right?” he said, adding that the company also remains interested in mobile but is “very cautious.”
“I think what’s interesting about mobile over the last couple of years is how non-dynamic the market is as far as the top games. The games that have lived in the top charts have been there now for 2 or 3 years. They get there and they stay there and they’re really good at staying there and it’s hard to break in and become the new thing. There are some good case studies for that. Certainly not nearly as many as there are on PC,” he said.
Hudson on VR
Likewise, virtual reality, although enticing, is just too risky for a studio like Robot, Hudson noted.
“It comes back to a company our size and where we sit. For us to overinvest in a market where it’s hard to know what the growth curve is going to be would be pretty risky at our size. We can’t afford to be wrong on something this new and this different… We love the options it provides for new and compelling experiences in games. We’ve brainstormed plenty of ideas for Orcs Must Die! in VR and we’ve got some pretty good ones, but it’ll be a while before we seriously invest in it,” he said.
Hudson joked that Robot is “living vicariously” though a couple of ex-Ensemble studios in Dallas that are working on VR now.
A conservative and cautious approach is probably one of the reasons Robot has managed to survive in an increasingly challenging environment. Even for eSports – an area of the industry that Orcs Must Die! clearly could excel in – Hudson isn’t jumping in headfirst.
That being said, Hudson is definitely optimistic about eSports as a sector. “I think it’s going to become an increasingly large aspect of the industry. And there will be the games that work and the games that don’t work for it. There will be a lot of companies chasing it and probably crash on the rocks trying to get there, but it’s going to continue to grow. I think you’ll see it across platforms too. I think you’ll continue to see eSports be popular in mobile. It’ll continue to grow there. You think of it as a PC thing now but it’s not. I think it’s going to encompass all aspects of games,” he said.