Red Hat has acquired Feedhenry, a designer of mobile apps for the enterprise market.
The company sees the acquisition as a key driver to offer cross-platform support for its existing software products, including Red Hat Enterprise Linux Openstack 7, which it released earlier this year.
Feedhenry uses Node.js architecture to create mobile apps supporting both the client and server, running natively across Android, iOS, Windows Phone and Blackberry, as well as offering web apps in HTML5. It combines a wide range of toolkits and APIs offering integration with existing systems and most popular software applications from enterprise vendors like Salesforce, SAP and Oracle.
The purchase price is said to be approximately $82 million in cash (just over $8m) and is expected to close in quarter three fiscal year 2015.
Craig Muzilla, SVP of the Application Platform Business group at Red Hat said, “The mobile application platform is one of the fastest growing segments of the enterprise software market. As mobile devices have penetrated into every aspect of enterprise computing, enterprise software customers are looking for easier and more efficient ways for their developers to build mobile applications that extend and enhance traditional enterprise applications.”
“Feedhenry will help us enable customers to take advantage of the capabilities of mobile with the security, scalability, and reliability of Red Hat enterprise software.”
Red Hat said that it will continue to sell and support Feedhenry is products and work with its existing customer base. Feedhenry products will continue to offer a wide variety of cloud deployments, but under the ownership of Red Hat is likely to see particular emphasis on Openshift and Openstack. At the end of last month, Red Hat’s long-serving CTO Brian Stevens left the firm, according to a brief press announcement.
IBM has launched a beta of Watson Analytics, an interactive Q&A service designed to answer questions and highlight trends within sets of enterprise data.
The service “is about putting powerful analytics in the hands of every business user,” said Eric Sall, IBM vice president of marketing for business analytics.
Traditional business intelligence tools remain too difficult to use for business managers, Sall said. “It is hard to get the data. It is hard to analyze the data if you’re not a specialist, and it is hard to use the tools,” he said. Watson Analytics attempts to streamline the process.
Natural language systems are becoming increasingly prevalent as a form of human-computer interface. Apple’s Siri, Google’s GoogleNow and Microsoft’s Cortana all act as virtualized personal assistants, able to answer a range of simple questions on behalf of their users.
Watson Analytics operates in a similar manner, in that it can offer responses to questions posed by the user in their chosen language, rather than forcing the user to develop a SQL query, master a complex statistical package or write data-parsing code to better understand some large set of data.
The effort is the latest move in IBM’s $1 billion initiative to commercialize Watson technologies.
IBM Research developed Watson to compete with human contestants on the “Jeopardy” game show in 2011, using natural language processing and analytics, as well as many sources of structured and unstructured data, to formulate responses to the show’s questions.
In the years since, the company has been working to commercialize the Watson technology by identifying industries that could benefit from this form of cognitive computing, such as health care, law enforcement and finance.
Earlier this year, IBM launched the Watson Discovery Advisor, which is customized for scientific researchers who need to deeply probe one specific body of scientific knowledge, such as chemistry or cellular biology.
Another service, the company’s Watson Engagement Advisor, uses the artificial intelligence technology to aid in customer support.
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.
Intel has announced that it is sampling its Xeon D 14nm processor family, a system on chip (SoC) optimized to deliver Intel Xeon processor performance for hyperscale workloads.
Announcing the news on stage during a keynote at IDF in San Francisco, Intel SVP and GM of the Data Centre Group, Diane Bryant, said that the Intel Xeon processor D, which initially was announced in June, will be based on 14nm process technology and be aimed at mid-range communications.
“We’re pleased to announce that we’re sampling the third generation of the high density [data center system on a chip] product line, but this one is actually based on the Xeon processor, called Xeon D,” Bryant announced. “It’s 14nm and the power levels go down to as low as 15 Watts, so very high density and high performance.”
Intel believes that its Xeon D will serve the needs of high density, optimized servers as that market develops, and for networking it will serve mid-range routers as well as other network appliances, while it will also serve entry and mid-range storage. So, Intel claimed, you will get all of the benefits of Xeon-class reliability and performance, but you will also get a very small footprint and high integration of SoC capability.
This first generation Xeon D chip will also showcase high levels of I/O integrations, including 10Gb Ethernet, and will scale Intel Xeon processor performance, features and reliability to lower power design points, according to Intel.
The Intel Xeon processor D product family will also include data centre processor features such as error correcting code (ECC).
“With high levels of I/O integration and energy efficiency, we expect the Intel Xeon processor D product family to deliver very competitive TCO to our customers,” Bryant said. “The Intel Xeon processor D product family will also be targeted toward hyperscale storage for cloud and mid-range communications market.”
Bryant said that the product is not yet available, but it is being sampled, and the firm will release more details later this year.
This announcement comes just days after Intel launched its Xeon E5 v2 processor family for servers and workstations.
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.
As the company tries to revive MSN, the focus this time is also on top content from the Web instead of offering original content. For the relaunch, the company has signed up with over 1,300 publishers worldwide including The New York Times, The Wall Street Journal, Yomiuri, CNN and The Guardian.
A “Services Stripe” at the top of the MSN homepage gives users easy access to personal services including Outlook.com email, OneDrive, Office 365 and Skype, as well as popular third-party sites like Twitter and Facebook, according to an online preview launched by Microsoft on Sunday.
The new MSN also provides “actionable information” and content and personal productivity tools such as shopping lists, a savings calculator, a symptom checker, and a 3D body explorer. Readers will have access to content from 11 sections including sports, news, health and fitness, money, travel and video, wrote Frank Holland, corporate vice president of Microsoft Advertising, in a blog post.
The company said it has rebuilt MSN from the ground up for a mobile-first, cloud-first world. The new MSN helps people complete their key digital tasks across all of their devices, wrote Brian MacDonald, Microsoft’s corporate vice president for information and content experiences, in a blog post.
“Information and personalized settings are roamed through the cloud to keep users in the know wherever they are,” MacDonald added. Users worldwide can try out the new MSN preview.
In the coming months, Microsoft plans to release MSN apps across iOS and Android to complement its corresponding Windows and Windows Phone apps. “You only need to set your favorites once, and your preferences will be connected across MSN, Cortana, Bing and other Microsoft experiences,” MacDonald wrote.
Microsoft claims an audience of more than 437 million people across 50 countries for MSN.
MSN.com ranks number 26 among the top sites in the U.S., behind Microsoft’s own Bing site, Google’s search site, YouTube, Facebook and Yahoo’s portal, according to traffic estimates by Alexa.
IBM and Intel have announced that SoftLayer will be the first cloud platform to offer customers bare metal service that provides monitoring and security down to the microchip level. The move will tighten up security on cloud based systems just as Apple’s iCloud appeared to be hacked.
The IBM system works with Intel’s Trusted Execution Technology (TXT) which identifies if traffic is coming from a known location using trusted hardware. Intel TXT verifies components of a computing system from its operating system to its boot firmware and hardware and can then permit or deny a workload from running on that select server system. The increased security is also activated during boot up, meaning that it doesn’t add any performance overhead to applications.
It will also will help organizations improve governance, compliance, audit, application security, privacy, identity and access management and incident response.
Mark Jones, chief technology officer for SoftLayer, said that perceived security flaws were the biggest barrier to cloud adoption.
SoftLayer is the only bare-metal cloud platform offering Intel TXT, leading the industry in enabling customers to build hybrid and cloud environments that can be trusted from end-to-end,” he added.
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.
The chips will be in five to seven detachable tablets and hybrids by year end, and the number of devices could balloon to 20 next year, said Andy Cummins, mobile platform marketing manager at Intel.
Core M chips, announced at the IFA trade show in Berlin on Friday, are the first based on the new Broadwell architecture. The processors will pave the way for a new class of thin, large-screen tablets with long battery life, and also crank up performance to run full PC applications, Intel executives said in interviews.
“It’s about getting PC-type performance in this small design,” Cummins said. “[Core M] is much more optimized for thin, fanless systems.”
Tablets with Core M could be priced as low as US$699, but the initial batch of detachable tablets introduced at IFA are priced much higher. Lenovo’s 11.6-inch ThinkPad Helix 2 starts at $999, Dell’s 13.3-inch Latitude 13 7000 starts at $1,199, and Hewlett-Packard’s 13.3-inch Envy X2 starts at $1,049.99. The products are expected to ship in September or October.
Core M was also shown in paper-thin prototype tablets running Windows and Android at the Computex trade show in June. PC makers have not expressed interest in building Android tablets with Core M, but the OS can be adapted for the chips, Cummins said.
The dual-core chips draw as little as 4.5 watts, making it the lowest-power Core processor ever made by Intel. The clock speeds start at 800MHz when running in tablet mode, and scales up to 2.6GHz when running PC applications.
The power and performance characteristics make Core M relevant primarily for tablets. The chips are not designed for use in full-fledged PCs, Cummins said.
“If you are interested in the highest-performing parts, Core M probably isn’t the exact right choice. But if you are interested in that mix of tablet form factor, detachable/superthin form factor, this is where the Core M comes into play,” Cummins said.
For full-fledged laptops, users could opt for the upcoming fifth-generation Core processor, also based on Broadwell, Cummins said. Those chips are faster and will draw 15 watts of power or more, and be in laptops and desktops early next year.
New features in Core M curbed power consumption, and Intel is claiming performance gains compared to chips based on the older Haswell architecture. Tablets could offer around two more hours of battery life with Core M.
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 Iconia Tab 8 W runs Windows on an Intel Atom Z3735G quad-core processor. It offers 8 hours of battery life, weighs 370 grams and is 9.75 millimeters thick. The 8-inch screen has a resolution of 1280 by 800 pixels.
For the $149 price tag, Acer includes a one-year subscription to the Personal version of Office 365, which includes access to Word, Excel, PowerPoint, OneNote and Outlook.
Android fans will prefer the Iconia One 8, running Android 4.4. It has the same Intel processor and screen dimensions as its Windows cousin, but is slightly lighter at 340 grams and only 8.5 millimeters thick.
Buyers can choose between 10 colors, including red, green, blue, purple and pink.
Acer also took the covers off the Iconia 10, an Android-based 10-inch tablet. The device has a quad-core processor from MediaTek. The screen is protected using Gorilla glass and has Full HD resolution. Using Dolby Digital Plus, surround sound is simulated from two-channel stereo audio headphones.
Available in black or white and with a price of $199, the Iconia Tab 10 includes a micro HDMI port and Wireless Display support for showing photos and videos on a bigger TV.
The first of the new tablets to start shipping will be the Iconia 10, available this month in the Americas and Europe, Middle East and Africa (EMEA).
The Iconia Tab 8 W will go on sale in October in EMEA and in November in the Americas.
Intel is cooking up a hot batch of Xeon processors for servers and workstations, and system vendors have already designed systems that are ready and raring to go as soon as the chips become available.
Boston is one of the companies doing just that, and we know this because it gave us an exclusive peek into its labs to show off what these upgraded systems will look like. While we can’t share any details about the new chips involved yet, we can preview the systems they will appear in, which are awaiting shipment as soon as Intel gives the nod.
Based on chassis designs from Supermicro, with which Boston has a close relationship, the systems comprise custom-built solutions for specific user requirements.
On the workstation side, Boston is readying a mid-range and a high-end system with the new Intel Xeon chips, both based on two-socket Xeon E5-2600v3 rather than the single socket E5-1600v3 versions.
There’s also the mid-range Venom 2301-12T, which comes in a mid-tower chassis and ships with an Nvidia Quadro K4000 card for graphics acceleration. It comes with 64GB of memory and a 240GB SSD as a boot device, plus two 1TB Sata drives configured as a Raid array for data storage.
For extra performance, Boston has also prepared the Venom 2401-12T, which will ship with faster Xeon processors, 128GB of memory and an Nvidia Quadro K6000 graphics card. This also has a 240GB SSD as a boot drive, with two 2TB drives configured as a Raid array for data storage.
Interestingly, Intel’s new Xeon E5-2600v3 processors are designed to work with 2133MHz DDR4 memory instead of the more usual DDR3 RAM, and as you can see in the picture below, DDR4 DIMM modules have slightly longer connectors towards the middle.
For servers, Boston has prepared a 1U rack-mount “pizza box” system, the Boston Value 360p. This is a two-socket server with twin 10Gbps Ethernet ports, support for 64GB of memory and 12Gbps SAS Raid. It can also be configured with NVM Express (NVMe) SSDs connected to the PCI Express bus rather than a standard drive interface.
Boston also previewed a multi-node rack server, the Quattro 12128-6, which is made up of four separate two-socket servers inside a 2U chassis. Each node has up to 64GB of memory, with 12Gbps SAS Raid storage plus a pair of 400GB SSDs.