EA is considering developing games for wearables. The company already has two teams on the job, looking for ways to make wearable games. Their efforts are focused on the Apple Watch for now.
EA told CNET that the company has quite a relationship with Apple and Frank Gibeau, head of EA’s mobile gaming arm, said he is impressed with the new Apple A8 SoC. Gibeau added that Apple’s decision to include 128GB storage in flagship models is more good news for gamers, as it raises the bar for developers and gives them more room to play around with.
Gibeau said EA’s mobile division is “intrigued” by the prospect of gaming on wearables. He said wearables are eventually going to offer more performance and capability, thus enabling new gaming experiences. However, he cautioned that “it’s very early days” for wearable gaming.
“In fact, we have two teams prototyping wearable experiences that are not only standalone, but also some ideas where you can actually use the fitness component in the watch that can unlock capabilities in the game that might be on your iPhone. Or you could do crafting or some other auction trading on your watch that goes back into your tablet game that you might check out later when you get home,” he told CNET.
Finally, Ubisoft has a release date for the Wii U version of Watch Dogs. While we don’t know if that many people are waiting for the Wii U version, when it does release it could very well end up being one of the last M rated titles for the Wii U console.
The release date for the Wii U version of Watch Dogs appears to be November 18th in North America and November 21st in Europe. This ends the original release delay that Ubisoft announced for the Wii U version as resources were moved to prepare the other versions of the game for release.
Ubisoft has been one of the strongest supports of software for the Wii U, but recently it announced that it was done producing titles like Assassins Creed and Watch Dogs for the Wii U because the sales of these M rated titles are just not there on the Wii U platform. It did indicate that it would focus on some of its other Wii U titles that continue to be popular on the console.
The news is good that they are getting Watch Dogs, but it looks like we will not see many more games like this on the Wii U.
You can’t accuse eSports League CEO Ralf Reichert of always telling people what they want to hear. At last month’s FanExpo Canada in Toronto, Ontario, just a few blocks away from the Hockey Hall of Fame, Reichert told GamesIndustry.biz that he saw competitive gaming overtaking the local pastime.
“Our honest belief is it’s going to be a top 5 sport in the world,” Reichert said. “If you compare it to the NHL, to ice hockey, that’s not a first row sport, but a very good second-row sport. [eSports] should be ahead of that… It’s already huge, it’s already comparable to these traditional sports. Not the Super Bowl, but the NHL [Stanley Cup Finals].”
Each game of this year’s Stanley Cup Finals averaged 5 million viewers on NBC and the NBC Sports Network. The finals of the ESL Intel Extreme Masters’ eighth season, held in March in Katowice, Poland, drew 1 million peak concurrent viewers, and 10 million unique viewers over the course of the weekend. That’s comparing the US audience for hockey to a global audience for the IEM series, but Reichert said the events are getting larger all the time.
As for how eSports have grown in recent years, the executive characterized it as a mostly organic process, and one that sometimes happens in spite of the major players. One mistake he’s seen eSports promoters make time and again is trying to be too far ahead of the curve.
“There have been numerous attempts to do celebrity leagues as a way to grow eSports, to make it more accessible,” Reichert said. “And rather than focusing on the core of eSports, the Starcrafts and League of Legends of the world, people tried to use easy games, put celebrities on it, and make a classic TV format out of it.”
One such effort, DirecTV’s Championship Gaming Series, held an “inaugural draft” at the Playboy Mansion in Beverly Hills and featured traditional eSports staples like Counter-Strike: Source alongside arguably more accessible fare like Dead or Alive 4, FIFA 07, and Project Gotham Racing 3.
“They put in tens of millions of dollars in trying to build up a simplified eSports league, and it was just doomed because they tried to simplify it rather than embrace the beauty of the apparent complexity.”
Complexity is what gives established sports their longevity, Reichert said. And while he dismisses the idea that eSports are any more complex than American football or baseball, he also acknowledged there is a learning curve involved, and it’s steep enough that ESL isn’t worrying about bringing new people on board.
“It’s tough for generations who didn’t grow up with gaming to get what Starcraft is,” Reichert said. “They need to spend 2-10 hours with it, in terms of watching it, getting it explained, and getting educated around it, or else they still might have that opinion. Our focus is more to have the generations who grew up with it as true fans, rather than trying to educate people who are outside of this conglomerate… There have been numerous attempts to make European soccer easier to approach, or American football, or baseball, but they all kill the soul of the actual sport. Every attempt to do that is just doomed.”
Authenticity is what keeps the core of the audience engaged, Reichert said. And even though there will always be purists who fuss over every change–Reichert said changing competitive maps in Starcraft could spark a debate like instant replay in baseball–being true to the core of the original sport has been key for snowboarding, mixed martial arts, and every other successful upstart sport of the last 15 years.
“Like with every new sport, the biggest obstacle has been people not believing in it,” Reichert said. “And it goes across media, sponsorships, game developers, press, everyone. The acceptance of eSports was a hard fought battle over a long, long time, and there’s a tipping point where it goes beyond people looking at it like ‘what the hell is this?’ And to reach that point was the big battle for eSports… The thing is, once we started to fill these stadiums, everyone looking at the space instantly gets it. Games, stadiums, this is a sport. It’s such a simple messaging that no one denies it anymore who knows about the facts.”
That’s not to say everybody is convinced. ESPN president John Skipper recently dismissed eSports as “not a sport,” even though his network streamed coverage of Valve’s signature Dota 2 tournament earlier this year. Reichert admitted that mainstream institutions seem to be lagging behind when it comes to acceptance, particularly with sponsors. While companies within the game industry are sold on eSports, non-endemic advertisers are only beginning to get it.
“The very, let’s say progressive ones, like Red Bull, are already involved,” Reichert said. “But to get it into the T-Mobiles and other companies as a strategy piece, that will still take some time. The market in terms of the size and quality of events is still ahead of the sponsorship, but that’s very typical.”
Toronto was the second stop for ESL’s IEM Season 9 after launching in Shenzhen July 16. The league is placing an international emphasis on this year’s competition, with additional stops planned in the US, Europe, and Southeast Asia.
In July, Gamasutra’s annual developer salary survey reported that the best compensated job for hands-on game creators wasn’t programmer or producer, but audio professional. That didn’t sound right to the organizers of audio conference GameSoundCon, so they conducted their own survey aimed squarely at audio specialists in the gaming industry, the results of which they released today.
Gamasutra acknowledged its own numbers on audio professionals were likely skewed by a few factors. They only had 33 respondents, they only counted full-time professionals even though audio work is frequently done on a freelance basis, and their survey base of Game Developer Conference attendees was likely skewed to more senior people, as developers might not invest in sending fresh recruits to the show. GameSoundCon’s survey drew 514 responses, and as might be expected, painted a less lucrative picture of the field.
“Most game audio jobs, whether they are composers or sound designers, are freelance,” said GameSoundCon executive director Brian Schmidt. “Game audio is increasingly an outsourced industry.”
According to the survey, the average salaried audio professional position in the game industry pays $70,532. However, only 37 percent of those who took the survey were salaried employees. About 12 percent of respondents said they were paid by the hour, day, or week.
For freelance work, the average project fee was $28,091. However, that number was skewed significantly by big-budget games, where per-project fees could come in greater than $250,000. For indie or casual games, the average project fee dropped to just $9,830. For projects where the audio contractor retained rights to their work, the average fee dipped still lower, to $4,481, with as many projects paying $1,500 or less as there were paying more.
“There does seem to be a good ‘career path’ in game audio,” Schmidt added. “You can start out as a composer for indie games, and end up with a 6-figure salary as an audio director. Being able to get technical definitely gives you a leg up; more than 60 percent of responders say they provided audio content as well as technical services for implementation of the audio.”
The survey also underscored some rarities in the field. Gender diversity is lacking among audio professionals, as 96 percent of respondents were male. Royalties are also rare, with only 2 percent of composers per-unit payments for big-budget titles. Royalties were somewhat more common among indie and casual projects, with 17 percent reporting per-unit payments.
Soundtrack sales also didn’t do much to pad composers’ pockets, as 5 percent of large-budget games included a clause paying out for soundtrack sales. However, that number increased to 18 percent for indie or casual titles.
Working with Fujitsu and NEC, the Japanese telecommunications giant verified the digital coherent optical transmission technology for distances of several thousand kilometers to 10,000 km. With it, a single wavelength of light can carry 400 Gbps, four times the capacity of previous systems. Each fiber can carry multiple wavelengths, and many fibers can be bundled into one cable.
The approach could more than double existing capacity to meet ever-increasing bandwidth demand, especially by heavy data users.
The technology could be used in the next generation of backbone links, which aggregate calls and data streams and send them over the high-capacity links that go across oceans and continents. The fiber in the network would stay the same, and only the equipment at either end would need to change.
While the current capacity on such links is up to 8Tbps (terabits per second) per fiber, the new technology would make a capacity of 24Tbps per fiber possible, according to NTT.
“As an example of the data size, 24 Tbps corresponds to sending information contained in 600 DVDs (4.7 GB per DVD) within a second,” an NTT spokesman wrote in an email. “The verification was done using algorithms which are ready to be implemented in CMOS circuits to show that these technologies are practically feasible.”
To compensate for distortions along the optical fiber, researchers from the consortium developed digital backward propagation signal processing with an optimized algorithm. The result of this and other research is that the amount of equipment required for transmissions over long distances can be reduced, meaning the network could consume less electricity.
“We are extremely excited to show this groundbreaking performance surpassing 100 Gbps coherent optical transmission systems,” Masahito Tomizawa, executive manager of consortium leader NTT Network Innovation Labs, wrote in an email. “This new technology maintains the stability and reliability of our current 100 Gbps solutions while at the same time dramatically improving performance.”
The consortium said it is taking steps toward commercialization of the technology on a global scale but would not say when that might happen.
While we would not call Alan Wake from developer Remedy Entertainment a disappointment, we would say that it took a long time to make, cost a lot of money, and didn’t quite live up to what everyone though it would be in the end.
The one thing about Alan Wake has been however, that over time it has perhaps gained a bit of a following. Creative director Sam Lake from Remedy has been quoted as saying that, “while the sequel for Alan Wake didn’t work out at this point, but we are definitely are looking for opportunities to do more with Alan Wake when the time is right.”
As for when the time might be right, that is really hard to say. We know right now that the studio is hard at work on Quantum Break which is on track for a 2015 release, so we don’t think we are going to see a squeal anytime soon. The good news for fans is that it does seem that there is at least interest in a squeal.
Crytek will be self-publishing the PC version of Ryse: Son of Rome that will be released on Steam starting on October 10th. Crytek promises a benchmark for PC gaming graphics with support for 4K resolution.
The PC version promises a number of graphics enhancements over the Xbox One release and Crytek claims that they have given the developers the chance to really show what the Crytek engine can do without compromising quality thanks to the hardware available today.
To run the PC version of Ryse, Crytek is requiring a dual core processor 2.8Ghz Intel/3.2GHz AMD, 4GB of RAM, 64bit Windows 7/8, DirectX 11 compatible graphics card with at least 1GB of video ram and 26GB of hard drive space. For the best experience Crytek recommends Quad Core Intel processor/Octo-Core AMD processor, 8GB of RAM, 64bit Windows 7/8, DirectX 11 graphics card with 4GB of video RAM, and 26GB hard disk space.
The PC release of Ryse is said to include all of the DLC content. While it sure was a graphics show piece for the Xbox One, reviews of the game were kind of mixed. Still the PC release could be just what the doctor ordered for Ryse to gain some new players. In addition to the Steam release, we still are hearing that a boxed release is coming as well, but we don’t have any specifics on that just yet.
You’re sitting at home, watching one of the major E3 presentations. A brand-new AAA video game has just been revealed and the teaser trailer actually makes it look pretty hot. You’re halfway through watching the trailer, interest piqued, and now you’re wondering, “When’s this coming out?” Now you see it; it’s slated for the holiday season… of the following year. You’re going to be waiting a solid 18 months, and that’s assuming the project doesn’t encounter delays.
Such is the way of the modern AAA console and PC business, but it wasn’t always like this. While the industry never really saw Apple-like announcements when you could practically buy the product immediately after, recent history shows that game announcements used to happen more regularly around six months prior to shipping.
“Back in the PS2 days…if it was shipping in the fall, you usually would see it for the first time at E3. That’s if everything went according to plan. The running joke was if you saw it for two E3s, development was a problem,” noted industry veteran and consultant Christian Svensson.
So what happened? With the success of the PS2 and the continued boom in the industry, retail became increasingly more important, and pre-orders started driving everything. And naturally, more time before release meant more time for marketing and more time to drive pre-sales.
“Around the time that Xbox 360 and PS3 came to market, the investments and risks were so high you had to do everything you can to build awareness earlier,” Svensson said. “You had to build in more beats for your PR earlier, you had more shows to attend to drive hands-on and media exposure, and all of that was ultimately in the name of driving up your pre-order numbers… everyone was trying to lock down the day one consumer. That drove all of that mania where you had to announce 18 months to two years out.”
While pre-orders were a primary factor in the ever-lengthening lead time to a launch, there were other factors as well. Svensson pointed out that companies have always worried about early leaks twisting their messaging. “If we announced it first, at least we controlled the message. Announcing it early lets you prep all of your partners earlier without fear that there are leaks out there,” he said.
Beyond that, development cycles on big budget titles just grew longer and longer. Announcing earlier enabled teams to adequately judge and react to feedback.
Warren Spector (Deus Ex, Epic Mickey), Director of the Denius-Sams Gaming Academy at the University of Texas at Austin, remarked, “Talking about a game early is a double-edged sword, no doubt about it. On the one hand, it can lead to unrealistic expectations about ‘promised’ features that ultimately fail to make the shipping game (as inevitably happens). And there’s no doubt, public clamor can amp up the pressure on a team On the flip side, seeing public excitement about what you’re doing can get a team ’psyched and cranking’ as we used to say. It’s nice when people express enthusiasm for what you’re doing. Also, early reveals can help you gauge public opinion, which can be useful in weeding out undesirable features as well as ones you might want to focus on more. Early reveals cut both ways.”
Dominic Matthews, product development manager for Ninja Theory, added, “The risk with announcing too early is that you make a first impression that is very, very hard to change. You can say as many times as you like that the game is very early in development, or this isn’t finished or is work in progress, but players understandably don’t hear it. They just see what you’re showing and take it as representative of the finished game. Personally, I would have kept all of the games I worked on under wraps for longer.”
That said, Matthews acknowledges that most developers are very excited to be able to discuss their projects usually. “It’s actually a really positive thing for a developer to be able to share their work outside of the studio. The announcement of the game allows everyone in the team to be able to share what they are doing with friends, family and industry peers. It can be frustrating having to say ‘I’m working on something really cool, but I just can’t talk about it yet’,” he said.
There’s also the very tangible benefit that by announcing earlier, teams should have an easier time adding talent to make a project go more smoothly.
Gearbox Software boss Randy Pitchford commented, “It’s not merely about attracting future customers, but communicating about the effort to the industry itself. When your in-development project is known, some activities including recruiting or attracting business partners or other activities becomes much easier than when you’re silent under the radar.”
Svensson agreed: “[If] you’ve created some assets, you think you know what you’re going to build, but you still need some very key roles to be filled and/or just body count to do the work, when it’s known that a particular studio is working on that franchise then recruitment becomes an easier task than, ‘hey we’d like to call you in but we can’t tell you what we’re working on’.”
Of course, there’s another benefit to announcing early that some developers would be very keen on: once a project is revealed there’s a better chance it won’t be canceled. “One of the things people forget is that not every game put in development always ships. A reason a lot of teams would want to announce earlier is that it’s harder to kill a product that’s been announced because it’s very public and for it to not come out after it’s been announced is a difficult thing for a company to suffer. It raises questions about if the company knows what it’s doing,” pointed out Svensson.
Once the announcement gets out there, the pressure definitely ramps up on a development team. But that’s not necessarily a terrible thing. After all, it takes an intense amount of pressure to create a diamond.
“Sometimes pressure is a good thing on the development process,” said Pitchford. “The best amongst us game makers exist to try to entertain people and whenever we have a deadline we work crazy hard to do the best job we can as we know that once the deadline is up, there’s no more time to do any better.”
“In my experience a lot of that magic that just sort of works out is the result of trying to adapt to some kind pressure on the situation. It often turns out that the pressure forces some of these things to happen that ultimately make games not only better, but shippable. The point is that while pressure always feels stressful, there are often a lot of positive aspects to pressure from a development point of view.”
Pitchford also noted that some of that pressure should be alleviated by a good publisher: “I think the only really negative consequence is about expectation management and that’s where the best publishers are really worth their value. The best publishers have a knack for managing customer expectations positively while projects unfold during the development and marketing phases of a project and that’s where you get the best feelings and results from a project.”
So if you’re planning a big budget game right now, when’s the right time to announce? How much lead time do you really need?
“I think it varies from product to product as far as what’s appropriate. An enormous AAA game that is new IP aimed at a monster retail release, a longer lead time, certainly north of a year, is still warranted,” advised Svensson. “When you start to get into north of 18 months, you get diminishing returns, even on something like that… When people have short attention spans, it’s hard to stay on people’s radar at a high level. I think the industry went too far for a period of time on that front and I think the economics of it are changing.”
Pitchford agrees that if you’re looking to sell something new, having that extra lead time is beneficial. “I’ve worked on games that have gone a long time in silence before being announced and I’ve worked on games that have had public announcements that were way too early. I think both approaches can be made to work, but both also bring their own set of challenges. My preference on which way to go depends on the game. The more inventive the game is and the more education required to communicate what is being promised, the more time is useful to master that communication before going wide,” he said.
It’s a fluid process, however, and the marketing teams have to be ready to adapt. Pitchford continued, “Part of the value of the early marketing campaign is to actually learn how to market the title to a wider audience. You’ll notice if you look at campaigns from start to finish that everything from logo designs to key messaging points to front-of-box and key art content evolves and iterates over the course of a project. This is a very tangible manifestation of the marketing team actually learning how to sell the thing they are selling through a careful process of testing and iterating.”
While early reveals can certainly be beneficial for both the marketing side and development side, it’s clear that the digital revolution is having an impact, noted Ninja Theory’s Matthews.
“I think the transition into digital gaming will shorten the window between announcement and release. There won’t be such pressure to drive pre-orders as there is in the retail space,” he said.
Another wrinkle in the digital space is the rise of self-publishing. Under that scenario, announcing earlier remains quite valuable.
“Ordinarily I would say that you should wait to announce as long as you can to make sure you have the best possible assets to make a first impression with: An amazing trailer or a rock-solid gameplay demo. Having said that, we’ve just announced our new game Hellblade at the very beginning of development – in other words incredibly early. We’ve done this because we’re self-publishing and actually want to build a community behind the game by sharing the development process,” Matthews continued. “By announcing now, we can share development right from the start. If we waited, we’d be retrospectively looking back at development which would feel less real, less here and now. This type of approach, or funding a game through crowdfunding, or Steam Greenlight might result in more games actually being announced even earlier.”
“The digital share of sales is climbing up and the need for that pre-order drive is slipping a little bit in the sense that you don’t have to have this crescendo to launch to necessarily find success with the right product, especially when you have live teams creating content post-launch; it’s not the put everything in the box and ship it mentality anymore,” he explained. “It is the, ‘hey we’re going to create a minimum viable product (MVP) and we’re going to bring it to market and support it’ … In some cases you might not even really ramp the marketing until you feel you’ve got a good product to promote.
“To some degree, I think the pressure to announce early across the industry as a whole is being reduced because of the proliferation of digital, the adoption of games as service, and quite frankly, the other part of it is it’s really fucking expensive to have an 18-month or two-year marketing cycle for a game. It’s really hard to do, and not every game has the right kind of content to support that longevity. You can’t go dark, otherwise you lose people’s attention, you have to have a consistent set of beats all the way through from announcement to launch, otherwise why announce early? You’ve lost that benefit. It’s hard on production teams because they have to create assets to support these beats, it’s hard on marketing teams because it’s a long, hard slog.”
And with the rise of indies and smaller games published on platforms like Xbox Live and PlayStation Network, huge lead times make even less sense. For smaller digital projects, three months might be more than enough time to spread the word.
“One of the things we’ve learned doing digital products, announcing more than three months out to build awareness just really doesn’t make a lot of sense. A lot of those titles are smaller, they don’t necessarily have a lot of features to drive a six-month or nine-month campaign… They’re focused. The level of touch is very high in a short period, and I’d love to see the business get back to a lot more of that,” Svensson said.
“What I do think we’re going to see is a lot of normalization again for the average product probably around six to nine months again, kind of where we were in ’99 and 2000. And I don’t think that’s bad.”
The tablet, which runs on Google’s Android 4.4 OS, has Intel’s quad-core Atom chip, code-named Bay Trail. The chip is capable of running PC-class applications and rendering high-definition video.
The 8-inch S8 offers 1920 x 1200-pixel resolution, which is also on Google’s 7-inch Nexus 7. The S8 is priced lower than the Nexus 7, which sells for $229.
The Tab S8 is 7.87 millimeters thick, weighs 294 grams, and runs for seven hours on a single battery charge. It has a 1.6-megapixel front camera and 8-megapixel back camera. Other features include 16GB of storage, Wi-Fi and Bluetooth. LTE is optional.
The Tab S8 will ship in multiple countries. Most of Lenovo’s tablets worldwide with screen sizes under 10 inches run on Android.
Lenovo also announced its largest gaming laptop. The Y70 Touch has a 17.3-inch touchscreen, and can be configured with Intel’s Core i7 processors and Nvidia’s GTX-860M graphics card. It is 25.9 millimeters thick and is priced starting at $1,299. It will begin shipping next month.
The company also announced Erazer X315 gaming desktop with Advanced Micro Devices processors code-named Kaveri. It can be configured with up to 32GB of DDR3 DRAM and 4TB of hard drive storage or 2TB of hybrid solid-state/hard drive storage. It will ship in November in the U.S. with prices starting at $599.
The products were announced ahead of the IFA trade show in Berlin. Lenovo is holding a press conference at IFA where it is expected to announce more products.
Mike Hickey, an equity researcher for the Benchmark Company, penned a note which fuelled the trading, claiming that the two companies were engaged on an “emerging romance”.
“For Activision, acquiring Take-Two Interactive would be a no-brainer, in our view, circling some of the strongest development talent and owned IP in the world, within a company that has nearly $1 billion in cash and trades at a comparably lower multiple,” Hickey’s report reads. “With the acquisition of Take-Two Interactive, Activision would have arguably the three strongest development studios in the world with Rockstar Games, Bungie and Blizzard.”
By acquiring Take Two’s portfolio, Hickey believes that Activision could offer a rolling catalogue of massively high-profile AAA console titles, capitalising massively on the tremendous performance of the current generation of new machines.
Mike Hickey, Equity Researcher, The Benchmark Company LLC
“While Activision has historically managed their performance profile around franchises they can annualize, their $500 million investment in Bungie seems to be a departure from that philosophy, as we suspect the venture will prove difficult to annualize. The opportunity for Activision to intelligently layer future releases from Rockstar, Bungie and Blizzard, could in-part enable Activision to annualize future performance from what today is arguably a less linear performance profile.
“We would also note that Activision’s mega performance foundation with World of Warcraft is trapped within a life cycle decline, their Skylanders franchise will face considerable pressure from Disney and Call of Duty is vulnerable to franchise fatigue from consistent annual iterations. Therefore, acquiring GTA, Red Dead, Borderlands, NBA 2K, BioShock… etc. Along with the potential performance opportunity from a new MMO and movie adoption of GTA from Rockstar Games… Acquiring Take-Two Interactive would seem like a very smart move for Activision.”
Hickey doesn’t see the potential deal being motivated entirely by a desire for direct growth, however. He points to shared cinematic ambitions as the key factor in any merger. Activision has close ties to Hollywood, and its attention, as evinced by the recruitment of superstar Kevin Spacey for the latest Call of Duty title. Take Two is rumoured, not for the first time, to be shopping around for a potential film adaptation of Grand Theft Auto, something which Activision’s capital and connections could make a great deal easier.
Piers Harding-Rolls, Director, Head of Games, IHS
“We suspect that Activision’s strategic alignment into the movie business, could in-part be related to an emerging romance wrinkle between the two companies and the Houser’s, leading toward a possible Take-Two acquisition,” Hickey continues.
Some other analysts are more cautious, however. Piers Harding-Rolls, head of games at major analyst IHS, doesn’t necessarily see the move making sense for the larger company.
“I would file this rumour under unlikely at this point,” he told GamesIndustry.biz in an exclusive statement. “Activision’s MO is relatively anti-risk and it has a calculated long-term growth strategy based on establishing and developing billion dollar franchises that unlock large amounts of value for the company. Activision is well placed to deliver that once again following the Skylanders success with Destiny and I don’t believe acquiring Take Two and its stable of IP fits with this strategy.
“Having said that, Activision is likely to be looking for further growth opportunities – it has yet to build a substantial games apps business and a number of its franchises are longer in the tooth or more competitively challenged than before. As such, I think we can expect Activision to be more rigorously examining adjacent markets – the movie opportunity makes sense in this context – as well as planning for the development of new franchises within its portfolio.”
True or not, the note was enough to light a fire under the imaginations of traders. Take Two’s stock actually reached a six year high on July 28, at 23.67, but dropped soon after. Friday’s news pushed it up 4.67 per cent, with Activision’s stock also rising 0.81 per cent to 23.54.
Were Kotick and Hirshberg to take the plunge, they’d have to put a more convincing offer on the table than EA managed in 2008, the last time a public offer was made for Take Two. Then, a deal worth $2 billion wasn’t enough to convince Take Two shareholders, who felt that the company was being undervalued, rejecting the offer.
Nintendo’s Shigeru Miyamoto doesn’t want to make games for “passive” people; the attitude that games ought to be to be a roller-coaster ride, to entertain without challenge, is, to his mind, “pathetic”. That was the message from the legendary game designer in an E3 interview with Edge magazine, published in this month’s edition; it’s been presented by other news outlets as a sign of a Nintendo U-turn, moving away from the casual market it sought with the Wii and the DS in favour of re-engaging core gamers.
That’s exactly the sort of message that most of the games media wants to hear, of course. The media, after all, speaks exclusively to core gamers; casual players generally don’t bother with specialist media. “Nintendo has seen the error of its ways and realised that the only people worth making games for are you, my dear brethren!” is a crowd-pleaser of a message; but it’s also a pretty big leap to make from the comments Miyamoto actually made.
First, the context. Edge had just challenged Miyamoto over the fact that his prototype games at E3 were all somewhat difficult to play. They used the Wii U GamePad in new ways which it took a while to get accustomed to; the question implied in the text of Edge’s interview isn’t about casual games at all, but about the difficulty level of the prototypes. Miyamoto’s response does make clear a mental distinction between different types of game consumer and a preference for those who enjoy some challenge in their entertainment, but to extrapolate that into a U-turn in Nintendo’s development priorities is an overreach.
In fact, Miyamoto’s comments – equating passivity with “the sort of people who, for example, might want to watch a movie. They might want to go to Disneyland. Their attitude is ‘OK, I am the customer; you are supposed to entertain me’” – are punching in a number of directions at once. Certainly, he’s frustrated by people who play games without ever really engaging with them as a challenge; I doubt he’s a fan of free-to-play systems that allow you to pay money to bypass challenges. Equally, though, those comments are an attack on some approaches to AAA game design; barren technological wonders which serve as little more than on-rails galleries for artwork and pale narrative. Miyamoto isn’t saying “casuals have ruined the market”; far from it. He’s saying that there are consumers who demand spoon-fed entertainment at all points of the spectrum from core to casual, and that he doesn’t want to make games for any of them. (It’s also worth noting that he’s not really blowing his top over this; “pathetic” doesn’t carry the same kind of stinging indictment in Japanese that it does in translation.)
Later in the Edge interview, Miyamoto veers back to similar territory when he talks about the proliferation of mainstream game-capable platforms like iOS and Android devices. While adamant that Nintendo needs to continue to make hardware as well as software, he’s delighted that these new platforms exist, because they provide an “on-ramp” for consumers who haven’t engaged with games before. Nintendo previously saw itself holding a responsibility to try to open up new demographics for the games industry; now it seems that we’ve reached a tipping point, technologically and culturally, where that’s happening by itself.
Edge speculates that this means Miyamoto (and hence Nintendo) believes that the window has shut on making games for entry-level gamers. Titles like Brain Training, which opened up the DS to a huge audience of people who had rarely if ever played games before, may now be pointless; the consumers they ought to target are all playing games on their phones and tablets, so there isn’t an addressable market remaining there for dedicated hardware and more expensive (non-F2P) games. This is fair analysis, and indeed, it probably features in Nintendo’s thinking; let iOS serve as the entry level for new gamers and then hope that those who enjoy the experience will ultimately upgrade to the superior offerings available on a dedicated console.
At the same time, though, Nintendo itself has a conception of “casual” and “core” that probably isn’t shared by the majority of sites reporting Miyamoto’s comments. Miyamoto talks not about themes but about enjoyment of challenge as the distinction between the two groups. To him, a supposedly “adult” game full of blood and ripe language could be utterly casual if it spoon-feeds players with dull, linear gameplay. Meanwhile, a brightly coloured Mushroom Kingdom epic could qualify as “core” if it challenges players in the right way. Consequently, Nintendo’s family-friendly IP and the broad appeal of its themes is entirely compatible with a focus on “core games”, to Miyamoto’s mind. What he’s talking about changing is something at the root of design, not the thematic wallpaper of the company’s games; he wants to challenge people, not to force Nintendo’s artists to remove all the primary colours from their Photoshop palettes.
Viewed in this light, Miyamoto’s comments are an earnest and down-to-earth appraisal of Nintendo’s present situation; still recovering from the heady days of the Wii and figuring out how much of that flash-in-the-pan market is really sustainable, but knuckling down to the challenge of entertaining and delighting (and of course, selling to) those within the audience who really enjoyed games rather than latching onto the platform as a fad. Contrary to the more excitable reportage on his comments, Miyamoto is promising no major changes to Nintendo’s approach; rather, he’s re-committing himself and the company to the same course of action which delivered games like Mario Kart 8, a title firmly within the family-friendly Nintendo tradition and absolutely celebratory of challenge and good design.
“Core gamer” is a phrase that’s picked up a strong whiff of soi-disant elitism and exclusion over the past few years; the phrase “as a core gamer…” in a forum post or comment thread is this odd little corner of society’s equivalent of “I’m not a racist, but…”, indicating a post that’s probably going to brim with self-important awfulness. The bête noire of the core gamer is the “casual”, and just as any move by a game creator or publisher to cater to “casuals” is despised and derided, any prodigal son who declares their abandonment of the casual market and return to the core is greeted with an I-told-you-so roar of delight. This is a thin sliver of the market overall, of course, but a noisy one; as such, it’s worth reiterating that what Miyamoto absolutely did not say is that Nintendo is resetting its course to please these people. Nintendo, for many years to come, will still be a company defined by games that are broadly appealing, generally family-friendly and enormously accessible. Under Miyamoto’s watchful eye, they’ll also be challenging and engaging; but anyone taking his comments on “passivity” as near-confirmation that we’ll see Grand Theft Mario down the line is utterly misreading the situation.
Sources are saying that it is very possible and maybe even likely that Grand Theft Auto 5 for Xbox One, PlayStation 4, and PC will not make it for release this holiday season. Instead it is very likely that it might slip till first quarter of 2015 instead.
The rumors of it not making release this holiday season started at Gamescom, but the whispering has not stopped. According to those claiming to be in the know, Rockstar did have a new version of GTA 5 for next-gen that it was showing at Gamecom, but only retailers got to see it.
So here we are with the 2014 holiday season fast approaching and already we have had both Battlefield: Hardline and Evolve slip into next year. It would really be a shame to see Grand Theft Auto 5 for next-gen slip to a 2015 release. Rest assured that if it does end up slipping into 2015, neither Microsoft or Sony will be happy about it.
In the meantime Rockstar is still saying Fall of 2014. None of the retailers we have spoken with as well as online retailers all seems to still be saying that it will release before the end of the year.
“Most of the developers behind apps that are found to violate our policies have good intentions and agree to make the necessary changes when notified,” said Todd Brix, general manager for the Windows Store, in a blog post yesterday. “Others have been less receptive, causing us to remove more than 1,500 apps as part of this review so far.”
The Windows Store is the official source of Windows 8′s (and 8.1′s) “Modern,” née “Metro” apps, the touch-based programs designed for tablets and touch-enabled notebooks.
Earlier this year, Brix’s team changed Windows Store apps’ certification — the process under which apps are admitted to the market — to require newly-submitted programs be clearly named, properly categorized and appropriately identified with an icon. Those modifications were made, said Brix, to “better ensure that apps are named and described in a way that doesn’t misrepresent their purpose.”
The same requirements have now been extended to apps already in the store.
The timing of Brix’s blog and Microsoft’s efforts to cleanse the Windows Store was no coincidence: More than a week ago, How-To Geek described its probe of the store in a piece titled ”The Windows Store is a Cesspool of Scams — Why Doesn’t Microsoft Care?”
In the story, How-To Geek pointed out worthless apps, some as expensive as $8.99, that did little more than point users to links for downloading Apple’s iTunes (free), Mozilla’s Firefox (also free) and VideoLAN’s VLC Player (yes, free). The publication also found fake — and paid — versions of Adobe’s Flash Player, Google’s Picasa, King’s Candy Crush Saga and Mojang’s Minecraft.
How-To Geek blamed Microsoft for the scam-app pollution. “Here’s one of the most shocking parts of this. People from Microsoft are actually examining each of these scammy apps, checking their content, and approving them,” the site said, pointing out pertinent parts of Microsoft’s certification process.
The apps How-To Geek fingered have been removed from the Windows Store, presumably as part the 1,500 Brix claimed had been bounced out.
How-To Geek’s story was widely cited by other websites, blogs and publications last week, reigniting charges that the Windows Store was packed with junk.
A quick look at MetroStore Scanner, which tracks each day’s new and updated apps, showed that Brix and his team have their work cut out for them. On Tuesday, according to MetroStore Scanner, 12 copies of the free KMPlayer, a media player owned by a Korean TV streaming company, were published to the Windows Store. However, the dozen KMPlayer copies — all using the transparently copycat name of “KM* 5.1 Player” but each with a different icon — were priced at either $0.99 or $1.99.
The real KMPlayer is currently at version 3.9.
MetroStore Scanner’s tally of the number of apps in the Windows Store was approximately 172,000 as of late Wednesday, meaning that the apps removed so far represented less than 1% of the total in the e-mart.
First there was the iPad at around 10 inches and then there was the iPad Mini that is closer to 8 inches. Now Apple Inc is gearing up to roll out a larger, 12.9-inch version of its once dominant iPad for 2015, with production set to begin in the first quarter of next year, Bloomberg cited people with knowledge of the matter as saying on Tuesday.
The report comes as Apple struggles with declining sales of its tablets, which are faltering as people replace iPads less frequently than expected and larger smartphones made by Samsung Electronics Co Ltd and other rivals have taken a bite out of its sales.
Apple has been working with its suppliers for over a year on larger touch-screen devices, Bloomberg cited the sources as saying.
It is expected to introduce larger versions of its 4-inch iPhone next month, although the company has not publicized plans for its most important device.
Apple was not immediately available for comment.
Amazon.com Inc has acquired live-streaming gamingnetwork Twitch Interactive for about $970 million in cash, reflecting Chief Executive Officer Jeff Bezos’ vision to transform Amazon into an Internet destination beyond its roots in retail operations.
The deal, jointly announced by the two companies, is the largest deal in Amazon’s 20-year history and will help the U.S. e-commerce company vie with Apple Inc and Google Inc in the fast-growing world of online gaming, which accounts for more than 75 percent of all mobile app sales.
The acquisition involves some retention agreements that push the deal over $1 billion, a source close to the deal told Reuters.
“Twitch will further push Amazon into the gaming community while also helping it with video and advertising,” Macquarie Research analyst Ben Schachter said in a note.
Twitch’s format, which lets viewers message players and each other during live play, is garnering interest as one of the fastest-growing segments of digital video streaming, which in turn is attracting more and more advertising dollars.
The deal, expected to close in the second half of the year, is an unusual step for Amazon, which tends to build from within or make smaller acquisitions. Tech rival Google was earlier in talks to buy Twitch, which launched slightly more than three years ago, one person briefed on the deal said.
Neither Amazon nor Twitch would discuss how the deal came together or comment on Google’s interest.
In an interview, Twitch Chief Executive Officer Emmett Shear said the startup contacted Amazon because its deep pockets and ad sales expertise would allow the startup to pursue its strategic objectives more quickly.
“The reason why we reached out to Amazon, the reason I thought working for Amazon, having Twitch being a part of Amazon, would be a great idea for us (because) they would give us the resources to pursue these things that we honestly already want to pursue and they’d let us do it faster,” Shear said.