Asus has dropped a bomb ahead of the Computex 2016 by teasing Nvidia’s upcoming mobile Geforce GPU which is actually faster than desktop GTX Titan X.
Teased at its Republic of Gamers website, Asus did not reveal a lot of information but it did show a screenshot of the 3DMark 11 where the new mystery GPU scores above GTX Titan X.
While it is obviously based on Nvidia’s new Pascal GPU architecture, there are few information regarding the new mystery GPU, but rumors suggest that this might be the GTX 1080m.
Nvidia might have gone the same way it did with the GTX 980 for notebooks and has released a fully-enabled GP104 GPU with 2560 CUDA cores as the score is pretty much identical to the desktop GTX 1080. The GTX 1080m could end up with a GDDR5 memory and not the GDDR5X as the desktop GTX 1080, which should make it more similar to the upcoming GTX 1070.
According to the results, the new mobile GPU scores P20811 in 3DMark 11, which is significantly higher than the GTX 980 Ti and even a higher score than GTX Titan X.
We will certainly keep an eye on this mystery GPU and hopefully Asus will reveal a bit more information before Computex 2016 show where the official announcement is expected.
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.
It looks like that Qualcomm wants to make drones smarter and the company plans to use the Snapdragon developer board to do so. We had a chance to see the proof of concept drones that are capable of knowing and mapping environment.
Hugo Swart, Sr Director, Head IoE-consumer electronics at Qualcomm, has explained that the general direction in smart drone market at this time is the consumer electronic. Swart confirmed that the first drones powered by Qualcomm Snapdragon Flight drone platform technology should be commercially available very soon.
The company see drones as flying cameras, as most of sold drones have being used for video or aerial photography purpose. The drone we saw demonstrated at Qualcomm San Diego campus were powered by Snapdragon 410c developer board and this is one light device. The drone weights just bel 250 grams and it is made from composite materials. It packs a few cameras, four rotors and a Snapdragon 410 based developer board that makes the drone smart.
The actual weight is an important detail, as drones that are less than 250 grams do not have to be registered by the aviation authorities in the US. The demo showed a drone that used multiple camera to map the world around it, and it is aware of its surroundings.
The operator would use the tablet to fly the drone and the software had some nice features, like the use of the GPS to mark the position, and when necessary, the operator would just press the button and drone would find its way back to the marked position.
Since the drone would be using multiple cameras to map the world around it, it would be able to find a new path and avoid possible obstacles on its fly path. The demonstration we saw was done in a controlled environment with a huge rock in the middle of the environment, and the drone was avoiding the rock just as you would expect it.
The drone was able to detect a wall, and it would not let you fly in it and damage it. Drone would simply stop and would not crash and break no matter how hard you would try. The other nice feature was that the drone would be able to find its own way to the position market by GPS. It would not have to fly the path that you already flown, it would be able to find a shorter part to the mark position too.
Adding Snapdragon SoC on the drone would definitely make the flights safer and help you avoid damaging the drones or stuff around you. If you fly big drones for example with big cameras, you do not actually want to crash it and potentially destroy hundreds of dollars worth equipment.
Swart does believe that drones using Snapdragon Fly technology will first find its way in “flying camera drones” while later there might be a commercial applications with the Snapdragon Fly drones. Yes, at some point in the future, drones powered with this technology should be able to deliver packages. That is one of potential areas.
The only downside of this super lightweight drone was the fact that it had a small battery that would let it fly for six to eight minutes. Of course, if you make a larger drone with a larger battery, you would be able to fly it longer, but as we said this is a proof of concept designed to show the capabilities of this flying cameras. Qualcomm will have customers who will make the actual devices, the drone we saw in the demo room, was just to show the capabilities of the platform.
Partners will design its own drones and use the developer board (or integrated Snapdragon platform in an actual drone). The important part is the software who makes the synergy of the flying hardware and the visual compute in one Smart flying drone. If you are into drones, that this will definitely improve the overall experience.
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.
Nintendo Co Ltd is holding discussions with several global production companies about expanding its video content business, including making movies, said Tatsumi Kimishima, president of the Japanese videogame maker.
The move is aimed at strengthening Nintendo’s character business and expanding the global gaming population, he told the Asahi newspaper in an interview published Monday.
“We’re talking with various partners. I think we’ll be able to decide something in the not-too-distant future,” Kimishima told the Japanese daily.
Kimishima declined to say when any projects would be announced but said it would not be as far off as five years. He would not say which of Nintendo’s popular characters were being considered for use.
A Nintendo spokesman told Reuters that Kimishima’s comments referred to “video content” but did not deny the possibility of making movies.
Nintendo is diversifying its operations to counter a shrinking console business. It has entered the fast-growing mobile game segment and reached a deal with NBCUniversal to develop theme-park attractions.
In fact, Nintendo already allows film companies to use its characters through licensing agreements, such as for the “Pokemon” franchise. There was also a Hollywood live-action movie based on “Super Mario” in 1993 but it was a box office and critical bomb.
But Kimishima told the Asahi that this time, Nintendo would like to do things itself as much as possible, rather than just licensing out its content, and said it was unlikely to be live-action.
In 2014, “Super Mario” creator Shigeru Miyamoto screened a 3D short-animation film based on Nintendo’s Pikmin characters at the Tokyo International Film Festival, and in an interview with Reuters left the door open to future film projects.
EA is telling the world that it wants into the third-person action market with an open world game, but it does not appear to be happening any time soon.
EA Studios VP Patrick Söderlund told us in 2015 that EA wanted to expand its portfolio into gigantic action games like Assassin’s Creed or Batman or GTA and CFO Blake Jorgensen said something similar.
“We feel like there’s a huge opportunity for us to continue to invest in new areas of the business like the action genre where we haven’t competed historically. There’s a very ripe opportunity for us to invest in and we’ve been able to bring great talent in to build out that part of the business.”
But according to Game Radar it is not going to happen any time soon. Blake is quoted as saying that the outfit was building an action genre product that’s probably will appear in three or four years.
We can expect something new from EA next year which has not been announced, Blake said. But this will not be anything like the big games which have captured popular attention.
Steam saved PC gaming. As retailers aggressively reduced the shelf space afforded to PC titles – blaming piracy, but equally motivated, no doubt, by the proliferation of MMO and other online titles which had little or no resale value – Valve took matters into its own hands and delivered on the long-empty promises of digital distribution. It was a bumpy ride at first, but the service Valve created ushered in a new and exciting era for games on the PC. Freed from the shackles of traditional publishing and retail, it’s become a thriving platform that teems with creativity and experimentation. Steam still isn’t all things to all people, but it saved PC gaming.
Sometimes, though, you look at Steam and wonder if PC gaming was worth saving. All too often, browsing through Steam to look for interesting things to try out leaves you feeling not so much that you want to close the application in disgust, but that you’d like to set the whole damned thing on fire. The reason isn’t usability, or bugginess, or anything like that – Steam has its issues, but by and large it’s a solid piece of technology – but rather the “community” that Valve has allowed to thrive on its platform. On a platform that aims to expose and promote great games from newcomers and relatively unknown indies, community feedback, reviews and recommendations are vital components, but a legacy of poor and deeply misguided decision making from Valve has meant that engaging with those aspects of Steam can all too often feel like swimming through hot sewerage.
The problem is this; Steam is almost entirely unmoderated, and Valve makes pretty much zero effort to reign in any behaviour on its platform that isn’t outright illegal. As a consequence, it’s open season for the worst behaviours and tactics of the Internet’s reactionary malcontents – the weapon of choice being brigading, whereby huge numbers of users from one of the Internet’s cesspits are sent to downvote, post terrible reviews or simply fill content pages with bile. Targets are chosen for daring to include content that doesn’t please the reactionary hordes, or for being made by a developer who once said a vaguely liberal thing on Twitter, or – of course – for being made by a woman, or for whatever other thing simply doesn’t please the trolls on any given day. The reviews on almost any game on Steam will often contain some pretty choice language and viewpoints, but hitting upon a game that’s been targeted for brigading is like running headlong into a wall of pure, frothing hatred.
Of course, Steam’s not the worst of it in most regards; the places that spawn these brigades in the first place, places like Reddit and 4chan, are far, far worse, and concoct many other malicious ways to hurt and harass their targets. That Steam permits this behaviour on an ongoing basis is, however, a huge problem – not least because Steam is a commercial platform, and provides harassers and trolls with an opportunity to directly damage the income of the developers they target.
It’s not that Valve doesn’t care about the quality of its platform. Just this week, it implemented a new feature allowing customers to see scores from recent reviews, rather than overall scores, so you can get a sense of how a game has changed since its original launch. It’s a good, pretty well considered feature. Yet its arrival really just highlights how little Valve seems to care that its storefront is being used as a tool by harassers, and filled up on a regular basis with vicious, abusive reviews and comments that no customer wants to be confronted with when browsing. Sure, traditional retail may have been hanging PC gaming out to dry all those years ago, but at least I’m reasonably sure that most traditional retail stores would have kicked out anyone who ran into their store and started screaming obscenities in the face of the first girl they saw.
“traditional retail may have been hanging PC gaming out to dry all those years ago, but at least I’m reasonably sure that most traditional retail stores would have kicked out anyone who ran into their store and started screaming obscenities in the face of the first girl they saw”
And look – I get that community moderation is hard. It’s really hard. Much harder than throwing in a quick algorithm to compute review scores from recent reviews only, which is why that got tackled first; but harassment and brigading isn’t a new problem on Steam, or on the Internet in general, and there are only so many times that you can claim to simply be picking low-hanging fruit before someone points out that you haven’t even brought a ladder to the orchard. You’re not even trying. You don’t even want to try. I stated earlier on that Steam ended up this way because of bad decision making down the years, and this is what I meant; there has never been a sense that Valve wants to tackle this problem. Rather, they’ve given the impression that they hope they can fix it with some clever engineering tweak, some genius little bit of code that’ll somehow balance the need for community feedback to expose good games against the need to stop harassers and trolls from treating the platform as a 24 hour public toilet.
That’s not how community moderation works. It’s a fundamental, obtuse misunderstanding of how any sort of system designed to manage, build and support a community works – from statecraft right on down to housemate meetings to discuss unwashed dishes. You need people; you need actual people doing actual moderation jobs, granted the training and the authority to step in and put the community back on the rails when it falls off. It’s hard, and it’s actually pretty expensive, and it takes a lot of care and attention – but it’s not impossible. Look at the progress Riot Games has made in turning around the community of League of Legends, which was formerly one of the most grossly toxic communities in gaming. It’s still by no means perfect, but Riot has shown that it cares, and that it’s willing to fight to improve things, and LoL is by far a better, more welcoming and more fun game for it. Some of that was achieved with tweaks to systems and protocols; but in the end, it takes a real, breathing, thinking human to counteract attempts by other humans to be unpleasant to one another, because if there’s one thing our species has demonstrated extraordinary affinity for over the centuries, it’s finding creative ways to skirt around rules in pursuit of being unpleasant to other people.
Riot’s done a good job of this because, I believe, Riot genuinely believes that it’s the right thing to do. Therein lies the rub; I don’t think Valve cares. It should care. It has a damn-near monopoly on PC game distribution through its storefront, and that gives it responsibilities – if it doesn’t like or want those responsibilities, that’s sad in and of itself, but I’m sure a quick dip in the swimming pools they’re filling with money from Steam might take the edge off the pain. It should also care, though, because there’s a hard limit on how much a business can grow if it permits abusive behaviour towards whole classes of customers or clients. Anyone making a game that tackles a tough subject, or aims at a non-traditional audience, or who is themselves a member of a minority group; well, they’d probably love to be on Steam, but they’re thinking twice about whether it’s a good move. That’s not conjecture – it’s something I hear almost every week from developers in that position, developers whose starry-eyed view of Steam from only a few years ago has been replaced with absolute trepidation or even outright rejection of the idea of exposing themselves to the storefront’s warped excuse for a “community”.
Today, that might just mean Steam is losing out on a few bucks here and there from creators and customers who have had enough of the toxic environment it permits; but markets diversify as they grow. Steam took over when retailers failed to serve customers with an appetite for PC games. What, then, will happen to Steam if new waves of customers – younger and more diverse – find that games and creators they like are treated abysmally by the service? Valve shouldn’t need a commercial incentive to fix this problem; they should fix it because it’s the right thing to do, because tacitly enabling and permitting abuse is really little better than engaging in harassment yourself. If that’s not enough, though, there absolutely is a commercial incentive too; Steam may be dominant, but it’s not the only option for either consumers or creators. There are far more sales to be lost from permitting abuse than from telling harassers they’re no longer welcome. Valve should give the latter a try.
Researchers at Oxford University think that virtual reality could soon be being used to treat psychological disorders such as paranoia.
In the British Journal of Psychiatry, which we get for the horoscope, the researchers explained who they stuck paranoid people into virtual social situations. Through interacting with the VR experience, subjects were able to safely experience situations that might otherwise have made them anxious. We would have thought that paranoid people would not even have put on the glasses, but apparently they did.
By the end of the day more than half of the 30 participants no longer suffered from severe paranoia. This positive impact carried through into real world situations, such as visiting a local shop.
Paranoia causes acute anxiety in social situations – after all they believe that everyone is out to get them. About two percent of the population suffer from paranoia which is sometimes connected to schizophrenia.
Treatment methods for anxiety often involve slowly introducing the source of anxiety in a way that allows the patient to learn that this event is safe rather than dangerous. The VR experiment, used a train ride and a lift scene taught subjects to relearn that they were really safe.
The VR simulation did not use very photo-realistic graphics, which raises another question about if realism is important to have a positive impact.
Epic Games co-founder Tim Sweeney reiterated his concerns about Microsoft’s Universal Windows Platform at the GamesBeat Summit yesterday, using his time on stage to warn of the dangers of the company’s approach.
“Nobody is adopting UWP except the small group of developers Microsoft is paying to do so,” he pointed out.
Microsoft tried to address some of his very public concerns at Build last month, but Sweeney dismissed those comments as “propaganda” during his talk.
“On stage Phil Spencer said that Xbox is an open platform, which surprises me because you have to get your game concept approved before you can start developing it and then you have to get every update approved and Microsoft has absolute control. And guess what? You don’t know who your customers are. They sell it through their store and it’s not your platform. I think they’re just in propaganda mode at that point.”
He said developers needed to defend their businesses and that direct relationship with customers. He said many developers don’t want to speak out and take on Microsoft and for others used the analogy of slowly boiling an amphibian.
“If you throw a frog in boiling water, he’ll just hop out. But if you put him in warm water and you slowly ramp up the temperature, he will not notice and he’ll be boiled. But a lot of frogs in the industry have already been boiled. Look at Facebook: Every company moved their brand presence to Facebook, sending out messages for their customers to receive. Now, you have to pay to send out your messages to people who chose to follow you. A boiling frog,” he declared.
“Microsoft has given itself the ability to force dash updates without your authorization. It will just update itself and you can’t do anything about it. They can change the rules of the game at any time.”
Global semiconductor sales saw a slight increase in March for the first time in five months.
According to the Semiconductor Industry Association (SIA) trade group March chip sales totaled $26.1 billion on a three-month average basis, up 0.3% compared with February.
Total first quarter chip sales totaled just $78.3 billion, down 5.5 per cent compared to the fourth quarter of 2015 and down 5.8 per cent compared to the first quarter of 2015.
John Neuffer, SIA president and CEO, in a statement that while global semiconductor sales increased in March for the first time in five months, soft demand, market cyclicality, and macroeconomic conditions continue to impede more robust growth.
First quarter sales declined sequentially in nearly all regions, with the Americas showing the sharpest decline.
March sales improved over February by 4.8 per cent in Japan, 2.3 per cent in the Asia-Pacific region and 0.1 per cent in Europe. Sales declined by 1.1 per cent sequentially in China and 2.8 per cent in the Americas.
Sales for March increased in Japan and compared to March 2015, but decreased significantly in Europe, the Americas and the Asia-Pacific region, the SIA said. Sales in the Americas were down nearly 16 per cent compared to March 2015.
Recently, Sony Computer Entertainment filed a patent with the USPTO to integrate a camera into a wearer’s contact lens, complete with the imaging sensor as well as data storage and a wireless communication module. The technology, powered wirelessly and controlled by blinking, also offers the possibility of auto-focus, zooming and image stabilization.
Sony is the second to file a patent for integrating a wearable camera into a contact lens, after it was discovered that Samsung filed a patent in South Korea for a similar concept on April 5th. Sony’s patent is filed under the name “Contact Lens and Storage Medium” and is slated to become a full-fledged camera device, complete with a lens, main CPU, imaging sensor, storage area, and a wireless communication module. The camera unit also includes support for autofocus, zooming, and image stabilization.
This isn’t the first time we’ve seen wireless sensor technology integrated into a contact lens. In January 2014, Google announced its ambitions to create a glucose-level monitoring contact lens for the diagnosis and monitoring of blood sugar levels for diabetic patients. Google’s project integrates several miniscule sensors loaded with tens of thousands of transistors that measure glucose levels from a wearer’s tear drops, along with a low-power wireless transmitter to send results to other wearable devices along with smartphones and PCs.
More recently on April 7, it was discovered that Samsung could be working on mass-marketing a CMOS imaging sensor into a contact lens thanks to a new patent discovered by SamMobile and GalaxyClub.nl. The patent application, filed in South Korea, includes a display that projects images directly into a wearer’s field of view and includes a camera, an antenna, and several sensors for detecting movement and eye blinks.
Sony’s contact lens patent could be successor to its HMZ 3D displays
Rather than placing focus solely as a healthcare solution, Sony’s patent appears to become a more biologically integrated implementation of the company’s early head-mounted displays (HMDs) with wireless video streaming. The big difference this time, however, will be the inclusion of a camera lens and near-undetectable appearance, depending on how well Sony manages to camoflauge any chips and modules into its first-generation contact lens units.
In November 2011, Sony introduced its first-generation HMZ-T1 head mounted 3D display, complete with dual 1280x720p OLED displays, support for 5.1 channel surround via earbuds and signal input from an HDMI 1.4a cable. This model weighed 420g / 0.93lbs with a launch price of $799.
In October 2012, Sony introduced the second-generation HMZ-T2 follow up in Japan. This model reduced weight by nearly 20 percent (330g / 0.73lbs) and replaced earbuds with a dedicated 3.5mm headphone jack, complete with near-latency free wireless HD viewing (dual 1280x720p displays), 24p cinema picture support, and signal input via HDMI 1.4a cable.
In November 2013, Sony introduced the HMZ-T3W, the third-generation of its head mounted 3D viewer with near-latency free, wireless HD viewing (dual 1280x720p displays) with a 32-bit DAC delivering 7.1 channel audio (5Hz – 24KHz), and signal input via MHL cable and HDMI 1.4a. This device was not available in the United States and launched in Europe for a stunning £1,300 ($2,035) and is alternatively available as an import from Japan for $1090.
Will not come cheap
Based on the initial launch prices of Sony’s previous HMZ headsets ($799 and above) and the Google Glass launch price of $1499, and depending on the company’s target market, we might expect Sony’s first-generation contact lenses to be somewhere in between these two price points when they begin mass-production within the next couple years.
Vevo might be the new MTV for millennials, who might not know MTV that played music a few decades ago. Vevo CEO Erik Huggers had an interview at a Hunter Walk blog talking about YouTube, subscription base and the future.
Vevo CEO, ex Intel and ex BBC executive Erik Huggers mentioned that the Vevo will get a subscription based service but for the time being the company will stay with add supported content. Huggers first worked first on the iBBC player and later at Intel OnCue, then Verizon before getting the Vevo CEO.
The company has announced a new Apple TV, iOS and Android applications for people who like to watch the content on the TV console or their tablets and phones. Huggers mentioned that Vevo was getting 17 billion unique views per month. He said that if you are musician you will prefer Spotify for audio streaming and Vevo to YouTube, and here is why.
Peter Mensch, the manager of bands including Metallica, Red Hot Chili Peppers and Muse told a BBC Radio 4 documentary on the music business:
“YouTube, they’re the devil. We don’t get paid at all.”
The BBC quoted him saying that YouTube was killing the record industry.
There is now way you can say it better than this, Mensch obviously knows what he is talking about. When we dug a bit deeper into the issue, bands have issues with complete albums being uploaded to YouTube. The big bands don’t get paid at all, at least according to Peter Mensch.
Vevo might turn its back to YouTube, despite its current business model where the company uses YouTube to distribute its videos. We see a big change coming. Artists are obviously not happy as people are ripping their stuff and not paying.
Online publishing was an area where big mistakes were made 20 + years ago. Online magazines usually rely on marketing, same as YouTube, but it seems that YouTube, Facebook and other big social based website make a lot of money and giving YouTubers and artists pennies.
Huggers believes Vevo can offer a tailored experience which is personalised for individuals who love music videos via various channels including Apple TV or mobile applications. Imagine if Vevo starts offering exclusive concert footage of your favourite bands, this would probably be worth of a few bucks a month, wouldn’t it?
The Gear 360 will initially be available only in South Korea and Singapore, a company representative said. A U.S. shipping date hasn’t been announced. In Korea, it will cost 399,000 won (US$347).
The camera, a bit larger than a golf ball, is Samsung’s bid to get consumers involved in creating virtual-reality content instead of just consuming it.
“We think 2016 is shaping up to be the year of VR,” said Andrew Dickerson, director of software engineering for Samsung VR, in a keynote presentation at the Samsung Developer Conference in San Francisco.
The camera will have two 180-degree fisheye lenses back to back and will stitch together the video from each for a 360-degree view. With a total of 30 megapixels of resolution, it will provide 4K video quality. Samsung’s Galaxy S7 and S7 Edge smartphones will link directly to the Gear 360 to act as live viewfinders.
VR is a key part of Samsung’s combined hardware, software and services strategy. The Gear 360 will join the Gear VR viewer and the recently announced Milk VR service for authoring and sharing content as part of the company’s plan to expand in this area.
In the next few years, Samsung expects to deliver a “holodeck” experience, said Injong Rhee, executive vice president and head of R&D for software and services. He was referring to the virtual environment used on the TV series “Star Trek: The Next Generation.”
That experience will be truly immersive and allow users to roam around a physical space. It will make use of capabilities like gesture tracking to allow users to feel they are touching virtual objects, he said. To do this, the company is working to overcome problems including poor image quality, insufficient computing power, the heavy weight and restricted mobility of VR headsets, and the dizziness some users experience, Rhee said.
Nintendo has confirmed that its next-gen console, the Nintendo NX, will launch in March 2017.
Causing many to screw up their Christmas lists, the company told shareholders during its earnings call on Tuesday: “For our dedicated video game platform business, Nintendo is currently developing a gaming platform codenamed ‘NX’ with a brand-new concept. NX will be launched in March 2017 globally.”
Probably also causing some to cancel a trip to Los Angeles, Nintendo said that the NX will not be demonstrated at the upcoming E3 video games conference in June, despite speculation that Sony plans to show off its so-called PlayStation 4.5 console.
Nintendo’s keynote at the games show will focus instead on the next Legend of Zelda game, which will launch simultaneously on the Wii U and Nintendo NX in 2017. Rumour has it that Smash Bros 4, Splatoon and Super Mario Maker are all set to receive an NX makeover too.
A launch is now less than a year away, but we still don’t know much about the Nintendo NX, which Nintendo confirmed this week is just a codename for the incoming console. However, rumour claims that it will arrive as a hybrid between a home console and a mobile games console to sit alongside the New Nintendo 3DS.
Nintendo president and CEO Tatsumi Kimishima reiterated in December last year that the company is “not building the next version of Wii or Wii U” and that the device will be something “unique and different”.
News of the Nintendo NX’s launch date no doubt came as the firm looked to play down the fact that its profits fell 61 per cent year over year. Worked, didn’t it?
Acer’s boss Jason Chen says his company will not make its own VR devices and will focus on getting its gaming products to work with the existing VR platforms.
Eyebrows were raised when Acer released its new Predator series products which support virtual reality devices. The thought was that Acer might have a device of its own in the works. However Acer CEO Jason Chen said there were no plans and the goal was to get everythink working with the four current major VR platforms Oculus, HTC’s Vive, OSVR and StarVR.
He said that VR was still at a rather early stage and so far still has not yet had any killer apps or software. Although that never stopped the development of tablet which to this day has not got itself a killer app. But Chen said that its demand for high-performance hardware will be a good opportunity for Acer.
Acer is planning to add support for VR devices into all of its future Predator series products and some of its high-end PC products.
Chen told Digitimes that said Acer was investing in two robot projects, the home-care Jibo and the robot arm Kubi in the US, and the company internally has also been developing robot technologies and should achieve some results within two years. Acer’s robot products will target mainly the enterprise market.