The PlayStation business has had another phenomenal quarter in the first four months of 2015, selling three million PS4 units and turning in an operating income of $160 million from revenues of $2.365 billion. There are now 25.3 million PlayStation 4 units in the hands of players worldwide – a number achieved in less than two full years.
The console continues to be the company’s fastest seller – outpacing the PS2, which took two years and eight months to reach the 20 million mark. Furthermore, thanks to dropping production costs for PS4 hardware, a 12 per cent increase in sales from the same quarter last year translated to a massive 350 per cent rise in operating income.
A strengthening dollar again hurt Sony’s bottom line, having an estimated impact of 15.6 billion Yen on the revenue total of 288.6 billion Yen, but this was massively outweighed by the increase in sales and the efficiency gains of Sony’s operation. On the strength of the results, Sony has added another 20 billion Yen in operating income to the sector’s full year forecast.
The sales rate of PS4 shows a healthily steady growth in player base, returning to a gradual upswing after a huge blip in Q3, 2014. Sony has upgraded it full year forecast from 16 million units to 16.5 as a result – a figure which would show a substantial increase on 2014′s 14.8 million total. By Sony’s own reckoning, the end of Q1 2016 will see nigh on 40 million of the consoles in homes. Vita sales once again went unmentioned in the report, whilst the gradual decline of PS3 continued.
Hardware wasn’t the only success story. Network, (“Network includes network services relating to game, video, and music content provided by Sony Network Entertainment Inc.”) mad almost as much in revenues, netting around 105.8 billion Yen compared to Hardware’s 129.5 billion. The Other category (Other includes packaged software and peripheral devices) brought in 30.6 billion.
Overall, the corporation turned a healthy profit, banking $676 million in net from sales of nearly $15 billion. Whilst the PlayStation business is very healthy indeed, it’s far from Sony’s only, or even biggest, success story: Devices, Imaging, Financial Services and Music all continue to return a higher operating income.
Last week it was reported how Geeknet Inc. was in the process of being bought out by retailer Hot Topic for $16 a share or $37 million in cash.
However we have just discovered that deal was squashed because Thinkgeek got a better deal from Gamestop.
GameStop offered $20 per share and Hot Topic wanted away. GameStop’s $20 per share deal also includes $37 million in cash and comes out to a total valuation of $140 million.
Geeknet must pay Hot Topic a three percent “break-up fee,” which GameStop has agreed to reimburse.
What this will mean is that ThinkGeek customers can pick up ThinkGeek merchandise in GameStop stores.
The press release also mentions the potential of offering GameStop PowerUp Rewards members “exclusive, unique and cutting edge merchandise related to their favorite entertainment.”
The deal should be concluded by the end of GameStop’s second financial quarter of 2015, which will happen in August.
At Sony’s 2015 Investor Relations Day today, Sony Computer Entertainment president and global CEO Andrew House detailed the company’s strategy for the coming year, including how it will address some shortcomings.
House began his presentation on a positive note, talking up PlayStation 4 as “the fastest selling hardware platform in our history,” showing better-than expected growth and pushing PlayStation Plus subscriptions to twice what they were in fiscal year 2013. He said the company has a competitive advantage for the moment, and laid out three ways it hopes to maintain that. In addition to next year’s launch of the Project Morpheus virtual reality headset and continued cost reduction efforts, House said the company needs quality software.
“We are working very hard to continue very strong support from third-party pubs and devs,” House said. “Our first-party lineup is a little sparse this year, so I think this places even greater emphasis on getting good third-party support.”
That doesn’t necessarily mean exclusive third-party support. To date, House said Sony has been primarily trying to get multiplatform developers to simply take advantage of features the PS4 has over the competition, like SharePlay, or maybe include extra content in the PS4 version or give players early access to add-on content. Third-party exclusives are still an option, just not a frequently used one.
“I will admit that these are, in the current publishing landscape, few and far between, but we were able to announce a full exclusive around a franchise like Street Fighter so that Street Fighter 5 is a complete exclusive for PlayStation 4,” House said, adding, “Although given publishing dynamics and development costs, those are increasingly difficult to secure.”
House also talked about the decline in Sony’s other platforms. As much as the PS4′s growth has exceeded expectations, so too has the PlayStation 3′s decline. House said the system’s price simply isn’t as competitive in the market as the PlayStation 2 and PSone were after their successors launched, and added that the shift toward more connected console experiences has also made less capable offerings less attractive.
House also cast a dim view of the company’s handheld business. While he noted that the Vita platform remains “strong and vibrant” in Asia and Japan, his outlook for the current fiscal year included declines in the US and Europe. Additionally, he referred to the PlayStation Vita and its microconsole counterpart the PlayStation TV as “legacy platforms” when discussing a write-off of hardware components for the two.
“I would characterize 2015 as the beginning of a harvest period for the PlayStation 4 platform,” House said. “The beginning of a harvest period. That being said, we are also undertaking to invest in the future, and 2015 will also be a year of investment.”
That investment will be focused on a few areas. There’s the Morpheus, of course, as well as continued spend on original PlayStation entertainment content like the TV show Powers (which was recently greenlit for a second season). On top of that, House said Sony would be investing in the expansion of its PlayStation Vue television streaming platform and a continued re-architecture of its PlayStation Network with an eye toward increasing stability and reducing maintenance downtime.
Hackers from Brazil have managed to discover a new exploit for the PS4 which enables them to bypass the DRM on any software and games.
A couple of weeks ago, a number of electronic stores in Brazil had been advertising the means to copy and run a series of ripped retail games on the console.
At the time little was known about the hack back then, but information gradually began to trickle out from customers and make its way around the web. Please see below for commentary from Lancope.
Gavin Reid, VP of threat intelligence, Lancope said that Sony was playing an arms race against groups that benefit from the abilities to copy and share games.
The hack originates from a Russian website and has been pushed into the public by Brasilian retailers. The hack isn’t necessarily a jailbreak for the PS4, nor is it really a homebrew technique.
What they did was use a retail PS4, with several games installed on it, with it’s entire game database and operating system (including NAN/BIOS). This was then dumped onto a hacked PS4 via Raspberry Pi.
The entire process costs about $100 to $150 to install 10 games and $15 per additional game.
“Open source groups like Homebrew with more altruistic motivations of extending the functionality of the console alongside groups selling modified consoles specifically to play copied games and of course the resell of the games themselves at fraction of the actuals costs. This has happened historically with all of the major consoles. It would be highly unlikely not to continue with the PS4,” he said.
The deal that helped Crytek recover from its recent financial difficulties was Amazon, according to a report from Kotaku.
The online retail giant signed a licensing deal for CryEngine, Crytek’s proprietary game engine. Sources within the company put the deal’s value at between $50 million and $70 million, and suggested that Amazon may be using it as the bedrock for a proprietary engine of its own.
However Amazon uses the technology, though, the importance of the deal for Crytek cannot be overstated. Last year, during the summer, it became apparent that all was not well at the German developer. Employees hadn’t been fully paid in months, leading to an alleged staff walkout in its UK office, where a sequel to Homefront was in development. Koch Media acquired the Homefront IP and its team shortly after.
When the company’s management eventually addressed the rumors, it had already secured the financing necessary to take the company forward. No details of the deal were offered, but it’s very likely that Crytek got the money it needed from Amazon.
We have contacted Crytek to confirm the details, but it certainly fits with the perception that Amazon could emerge as a major creator of game content. It has snapped up some elite talent to do just that, it acquired Twitch for a huge sum of money, and it has been very open about where it plans to fit into the overall market.
Over the last few years, the industry has seen budget polarization on an enormous scale. The cost of AAA development has ballooned, and continues to do so, pricing out all but the biggest warchests, while the indie and mobile explosions are rapidly approaching the point of inevitable over-saturation and consequential contraction. Stories about the plight of mid-tier studios are ten-a-penny, with the gravestones of some notable players lining the way.
For a company like Ninja Theory, in many ways the archetypal mid-tier developer, survival has been a paramount concern. Pumping out great games (Ninja Theory has a collective Metacritic average of 75) isn’t always enough. Revitalizing a popular IP like DMC isn’t always enough. Working on lucrative and successful external IP like Disney Infinity isn’t always enough. When the fence between indie and blockbuster gets thinner and thinner, it becomes ever harder to balance upon.
Last year, Ninja Theory took one more shot at the upper echelons. For months the studio had worked on a big budget concept which would sit comfortably alongside the top-level, cross-platform releases of the age: a massive, multiplayer sci-fi title that would take thousands of combined, collaborative hours to exhaust. Procedurally generated missions and an extensive DLC structure would ensure longevity and engagement. Concept art and pre-vis trailers in place, the team went looking for funding. Razor was on its way.
Except the game never quite made it. Funding failed to materialize, and no publisher would take the project on. It didn’t help that the search for a publishing deal arrived almost simultaneously with the public announcement of Destiny. Facing an impossible task, the team abandoned the project and moved on with other ideas. Razor joined a surprisingly large pile of games that never make it past the concept stage.
Sadly, it’s not a new story. In fact, at the time, it wasn’t even a news story. But this time Ninja Theory’s reaction was different. This was a learning experience, and learning experiences should be shared. Team lead and co-founder Tameem Antoniades turned the disappointment not just into a lesson, but a new company ethos: involve your audience at an early stage, retain control, fund yourself, aim high, and don’t compromise. The concept of the Independent AAA Proposition, enshrined in a GDC presentation give by Antoniades, was born.
Now the team has a new flagship prospect, cemented in this fresh foundation. In keeping with the theme of open development and transparency, Hellblade is being created with the doors to its development held wide open, with community and industry alike invited to bear witness to the minutiae of the process. Hellblade will be a cross-platform game with all of the ambition for which Ninja Theory is known, and yet it is coming from an entirely independent standpoint. Self-published and self-governed, Hellblade is the blueprint for Ninja Theory’s future.
“We found ourselves as being one of those studios that’s in the ‘squeezed middle’,” project lead Dominic Matthews says. “We’re about 100 people, so we kind of fall into that space where we could try to really diversify and work on loads of smaller projects, but indie studios really have an advantage over us, because they can do things with far lower overheads. We have been faced with this choice of, do we go really, really big with our games and become the studio that is 300 people or even higher than that, and try to tick all of these boxes that the blockbuster AAA games need now.
“We don’t really want to do that. We tried to do that. When we pitched Razor, which we pitched to big studios, that ultimately didn’t go anywhere. That was going to be a huge game; a huge game with a service that would go on for years and would be a huge, multiplayer experience. Although I’m sure it would have been really cool to make that, it kind of showed to us that we’re not right to try to make those kinds of games. Games like Enslaved – trying to get a game like that signed now would be impossible. The way that it was signed, there would be too much pressure for it to be…to have the whole feature set that justifies a $60 price-tag.
“That $60 price-tag means games have to add multiplayer, and 40 hours of gameplay minimum, and a set of characters that appeal to as many people as they possibly can. There’s nothing wrong with games that do that. There’s some fantastic games that do, AAA games. Though we do think that there’s another space that sits in-between. I think a lot of indie games are super, super creative, but they can be heavily stylised. They work within the context of the resources that people have.
“We want to create a game that’s like Enslaved, or like DMC, or like Heavenly Sword. That kind of third-person, really high quality action game, but make it work in an independent model.”
Cutting out the middle-man is a key part of the strategy. But if dealing with the multinational machinery of ‘big pubs’ is what drove Ninja Theory to make such widespread changes, there must surly have been some particularly heinous deals that pushed it over the edge?
“I think it’s just a reality of the way that those publisher/developer deals work,” Matthews says. “In order for a publisher to take a gamble on your game and on your idea, you have to give up a lot. That includes the IP rights. It’s just the realities of how things work in that space. For us, I think any developer would say the same thing, being able to retain your IP is a really important thing. So far, we haven’t been out to do that.
“With Hellblade, it’s really nice that we can be comfortable in the fact that we’re not trying to appeal to everyone. We’re not trying to hit unrealistic forecasts. Ultimately, I think a lot of games have unrealistic forecasts. Everyone knows that they’re unrealistic, but they have to have these unrealistic forecasts to justify the investment that’s going into development.
“Ultimately, a lot of games, on paper, fail because they don’t hit those forecasts. Then the studios and the people that made those games, they don’t get the chance to make any more. It’s an incredibly tough market. Yes, we’ve enjoyed working with our publishers, but that’s not to say that the agreements that developed are all ideal, because they’re not. The catalyst to us now being able to do this is really difficult distribution. We can break away from that retail $60 model, where every single game has to be priced that way, regardless of what it is.
Driven into funding only games that will comfortably shift five or six million units, Matthews believes that publishers have no choice but to stick to the safe bets, a path that eventually winnows down diversity to the point of stagnation, where only a few successful genres ever end up getting made: FPS, sports, RPG, maybe racing. Those genres become less and less distinct, while simultaneously shoe-horning in mechanics that prove popular elsewhere and shunning true innovation.
While perhaps briefly sustainable, Matthews sees that as a creative cul-de-sac. Customers, he feels, are too smart to put up with it.
“Consumers are going to get a bit wary of games that have hundreds of millions of dollars spent on them”
“I think consumers are going to get a bit wary. Get a bit wary of games that have hundreds of millions of dollars spent on them. I think gamers are going to start saying, ‘For what?’
“The pressures are for games to appeal to more and more people. It used to be if you sold a million units, then that was OK. Then it was three million units. Now it’s five million units. Five million units is crazy. We’ve never sold five million units.”
It’s not just consumers who are getting wise, though. Matthews acknowledges that the publishers also see the dead-end approaching.
“I think something has to be said for the platform holders now. Along with digital distribution, the fact that the platform holders are really opening their doors and encouraging self-publishing and helping independent developers to take on some of those publishing responsibilities, has changed things for us. I think it will change things for a lot of other developers. “Hellblade was announced at the GamesCom Playstation 4 press conference. My perception of that press conference was that the real big hitters in that were all independent titles. It’s great that the platform holders have recognised that. There’s a real appetite from their players for innovative, creative games.
“It’s a great opportunity for us to try to do things differently. Like on Hellblade, we’re questioning everything that we do. Not just on development, but also how we do things from a business perspective as well. Normally you would say, ‘Well, you involve these types of agencies, get these people involved in this, and a website will take this long to create.’ The next thing that we’re doing is, we’re saying, ‘Well, is that true? Can we try and do these things a different way,’ because you can.
“There’s definitely pressure for us to fill all those gaps left by a publisher, but it’s a great challenge for us to step up to. Ultimately, we have to transition into a publisher. That’s going to happen at some point, if we want to publish our own games.”
While the Sony PlayStation 4 has been selling very well, it seems that Christmas was not really its season.
Sony said that the PlayStation 4 has sold more than 18.5 million units since the new generation of consoles launched. While that is good and makes the PS4 the fastest selling PlayStation to date, there was no peaking at Christmas.
You would think that the PS4 would sell well at Christmas as parents were forced to do grevious bodily harm to their credit cards to shut their spoilt spawn up during the school holidays. But apparently not.
Apparently, the weapon of choice against precious snowflakes being bored was an Xbox One which saw a Christmas spike in sales.
Sony said that its new numbers are pretty much on target, it sold the expected 2 million sales per month rate.
Redmond will be happy with that result even if it still has a long way to go before it matches the PlayStation 4 on sales.
For independent developers, the last decade has been an endless procession of migratory possibilities. The physical world was defined by compromise, dependence and strategically closed doors, but the rise of digital afforded freedom and flexibility in every direction. New platforms, new business models, new methods of distribution and communication; so many fresh options appeared in such a brief window of time that knowing where and when to place your bet was almost as important as having the best product. For a few years, right around 2008, there was promise almost everywhere you looked.
That has changed. No matter how pregnant with potential they once seemed, virtually every marketplace has proved unable to support the spiralling number of new releases. If the digital world is one with infinite shelf-space for games, it has offered no easy solutions on how to make them visible. Facebook, Android, iOS, Xbox Live Arcade, the PlayStation Network; all have proved to be less democratic than they first appeared, their inevitable flaws exposed as the weight of choice became heavier and heavier. As Spil Games’ Eric Goossens explained to me at the very start of 2014: “It just doesn’t pay the bills any more.”
Of course, Goossens was talking specifically about indie development of casual games. And at that point, with 2013 only just receding from view, I would probably have named one exception to the trend, one place where the balance between volume and visibility gave indies the chance to do unique and personal work and still make a decent living. That place would have been Steam, and if I was correct in my assessment for even one second, it wasn’t too long before the harsher reality became clear.
After less than five months of 2014 had passed, Valve’s platform had already added more new games than in the whole of the previous year. Initiatives like Greenlight and Early Access were designed to make Steam a more open and accessible platform, but they were so effective that some of what made it such a positive force for indies was lost in the process. Steam’s culture of deep-discounting has become more pervasive and intense in the face of this chronic overcrowding, stirring up impassioned debate over what some believe will be profound long-term effects for the perceived value of PC games. Every discussion needs balance, but in this case the back-and-forth seemed purely academic: for a lot of developers steep discounts are simply a matter of survival, and precious few could even entertain the notion of focusing on the greater good instead.
And the indie pinch was felt beyond Steam’s deliberately weakened walls. Kickstarter may be a relatively new phenomenon – even for the hyper-evolving landscape of the games industry – but it faced similar problems in 2014, blighted by the twin spectres of too much content and not enough money to go around. Anecdotally, the notion that something had changed was lurking in the back ground at the very start of the year, with several notable figures struggling to find enough backers within the crowd. The latter months of 2014 threw up a few more examples, but they also brought something close to hard evidence that ‘peak Kickstarter’ may already be behind us – fewer successful projects, lower funding targets, and less money flowing through the system in general. None of which was helped by a handful of disappointing failures, each one a blow for the public’s already flagging interest in crowdfunding. Yet another promising road for indies had become more treacherous and uncertain.
So are indies heading towards a “mass extinction event”? Overcrowding is certainly a key aspect of the overall picture, but the act of making and releasing a game is only getting easier, and the allure of development as a career choice seems to grow with each passing month. It stands to reason that there will continue to be a huge number of games jostling for position on every single platform – more than even a growing market can sustain – but there’s only so much to be gained from griping about the few remaining gatekeepers. If the days when simply being on Steam or Kickstarter made a commercial difference are gone, and if existing discovery tools still lack the nuance to deal with all of that choice, then it just shifts the focus back to where it really belongs: talent, originality, and a product worth an investment of time and money.
At GDC Europe this summer, I was involved in a private meeting with a group of Dutch independent game developers, all sharing knowledge and perspective on how to find success. We finished that hour agreeing on much the same thing. There are few guarantees in this or any other business, but the conditions have also never been more appropriate for personality and individuality to be the smartest commercial strategy. The world has a preponderance of puzzle-platformers, but there’s only one Monument Valley. We’re drowning in games about combat, but This War of Mine took a small step to the left and was greeted with every kind of success. Hell, Lucas Pope made an entire game about working as a border control officer and walked away with not just a hit, but a mantelpiece teeming with the highest honours.
No matter how crowded the market has become, strong ideas executed with care are still able to rise above the clamour, no huge marketing spend required. As long as that’s still possible, indies have all of the control they need.
Sony Pictures Entertainment has hired FireEye’s Mandiant forensics unit to clean up a cyber attack that knocked out the studio’s computer network nearly a week ago, and resulted in three movies ending up online.
The FBI is also investigating the incident. Sony went down last Monday after displaying a red skull and the phrase “Hacked By #GOP,” which reportedly stands for Guardians of Peace. Emails to Sony have been bouncing back with messages asking senders to call employees because the system was “experiencing a disruption.”
Mandiant is an incident response firm that helps victims of breaches identify the extent of attacks, clean up networks and restore systems. The firm has handled some of the largest breaches uncovered to date, including the 2013 holiday attack on Target. Sony is investigating to determine whether hackers working on behalf of North Korea have launched the attack in retribution for the studio’s backing of the film “The Interview” which is to be released on Dec. 25 in the United States and Canada.
The movie is a comedy about a CIA attempt to assassinate North Korean leader Kim Jong Un, who is such a funny guy. The Pyongyang government denounced the film as “undisguised sponsoring of terrorism, as well as an act of war” in a letter to UN. Secretary-General Ban Ki-moon.
The group had published a list of emails and passwords for PSN, Windows Live Mail and 2K Games accounts online, and claimed to be prepared to release more, but Sony says that they’ve come from other sources than hacking.
“We have investigated the claims that our network was breached and have found no evidence that there was any intrusion into our network,” the company wrote in a declaration to Joystiq. “Unfortunately, Internet fraud including phishing and password matching are realities that consumers and online networks face on a regular basis. We take these reports very seriously and will continue to monitor our network closely.”
Microsoft has seen a number of Xbox One exclusive titles already be ported to the PC. Both Dead Rising 3 and Ryse have already made it to the PC, but we are now again hearing that Sunset Overdrive again is heading to the PC and Forza Horizon 2 maybe following as well.
This is not the first time we have heard rumors of Sunset Overdrive coming to the PC. An ad that suggested as much was down played at the time by Insomiac as a mistake. Now Sunset Overdrive and Forza Horizon 2 showed up on Amazon France as coming for the PC.
While Phil Spencer has suggested that Microsoft will have more to say about the PC in 2015 and that it would be a good thing for PC gamers. The reality is that Microsoft has not pushed PC game development in a longtime as it chose to focus on titles for the Xbox and Xbox 360. With the Xbox One being closer in design to the PC, porting a title to the PC is easier and Microsoft of course wants to be a player in this space.
We will have to wait and see what actually happens, but should Sunset Overdrive and Forza Horizon 2 make their way to the PC, it will be a good thing for PC gamers. Then again it could just be nothing more than a mistake.
One of the inherent risks of a story-heavy IP is that if you bugger up one of the instalments, your audience skips it, falling out of touch with the series’ story arc and disconnecting from its universe. Such was the fear for Dragon Age, a world which impressed in its opening act, but fell away sharply with what felt like a rushed and uncertain part 2. In acknowledging the shortcomings of the second game, Bioware went some way towards reassuring the faithful, but it was undeniable that nothing less than a resounding crescendo could re-establish the land of Tevinter as an RPG setting of the same calibre as the Tamriel of the Elder Scrolls or The Witcher’s Temeria.
There aren’t many teams you’d rather leave such a task in the hands of than Bioware’s and, judging from review scores, that trust would be well-placed. With a metacritic ranging from 84 for Xbox One, 88 on PC and 89 for PS4, EA and Bioware seem to have established the Dragon Age series as the new gen’s first top-class RPG – stealing a march on 2015′s Witcher 3 and whatever Bethesda may be working on as a follow up to Skyrim.
One of the best-scoring reviews comes from Polygon’s Philip Kollar, who focuses on the game’s scope, characters and sheer wealth of content in his 9.5/10 review. Kollar argues that this is the game where the universe really finds its feet, finally fulfilling the promise it had teased in Origins and its sequel by immersing the player in a sequence of events which incorporates a story far bigger than the perspective you’ll have of it. Nonetheless, says Kollar, it’s still in the details that Bioware’s talents shine brightest – weaving engaging and worthwhile characters as threads in a vast tapestry.
For all its narrative nuance and political intrigue, Dragon Age: Inquisition isn’t afraid of a good old slimy monster, either.
“But in true BioWare fashion, that broader story often takes a back seat to smaller character conflicts,” he writes. “The Inquisitor pulls together a huge group of followers, including nine playable party members, and each has reams of dialogue conveying a fully developed personality.”
As well as offering chatter and the opportunity for romance, the player’s extended party brings both questing opportunities and advice on dealing with obstacles, says Kollar, making them more than just talking weapons. In fact, he says, that guidance comes in extremely useful in coping with a game which offers gameplay hours well into triple figures.
“Dragon Age: Inquisition is made up of numerous zones that I could teleport in between at will. However, each of those zones is gigantic in and of itself. In the 80 hours I spent playing Inquisition, I only fully completed two zones, and each of them took me around 20 hours of exploration, questing and monster-bashing.”
“In the 80 hours I spent playing Inquisition, I only fully completed two zones, and each of them took me around 20 hours of exploration, questing and monster-bashing”
Philip Kollar, Polygon
In addition, Bioware has added the simplest of tools as an aide to exploring this vast landscape: the jump button. By doing so, says Kollar, the team has made the world feel more whole and believeable, introducing vertical as well as horizontal scale and a much more convincing sense of exploration. Tie that into the sense of being part of such a huge chain of events that new additions such as the ambassador-lead ‘war table’ missions, says Kollar, and you have a classic perfect for the winter evenings.
In broad agreement is Richard Cobbett at Eurogamer, who awards an 8 to Bioware’s efforts. Whilst full of praise for the lush surroundings of Tevinter and the clear improvements made over the last game, Cobbett finds some concerns over the influence which Inquisition seems to have felt from its contemporaries.
“The role-playing too, pretty as it is, didn’t feel like BioWare. There are straight up MMO style quests, like collecting 10 bits of meat, which at least make sense in context – that you’re helping refugees and refugees need food. Others, however, are thrown in with no finesse whatsoever. You find a letter that says, in about as many words, “Girls really dig people who can kill bears!” and then ping, your Quest Journal suddenly thinks you’re interested in bear-hunting. The first hour of a game is a bad, bad time for it to be resorting to this crap.
“The reason for the sack of activities where normally there’d be more involved quests is that Inquisition takes as many cues from the likes of Assassin’s Creed as other RPGs, with its maps a sack of quests, collectibles, secret bits and general things to do.”
That sense of piecemeal progress and scrappy world building disappears around a fifth of the way into the plot, says Cobbett, allowing the more convincing mechanisms of the plot to take hold. “The stakes become meaningful and dramatic,” he writes. “The mysteries become interesting.” Not as convinced as Kollar by the tasks which can be assigned to your plenipotentiaries, nor the combat which is arguably the game’s key activity, Cobbett finds Inquisition’s approach to less bloodthirsty matters of state a refreshing change from the sword and sorcery.
Bioware’s continued commitment to diversity is apparent, with plenty of deviations from the usual path of straight white male.
“While that side provides most of the raw action,” he says of dragon killing and rift-closing, “it’s the adventure and political parts of the game that make Inquisition work – its understanding that a party in Orlais, where the Great Game is played for the highest stakes, should be just as dangerous as anything that happens in a dungeon. After two games of controlling a ragtag bunch of misfits, it’s also interesting to be in a position of genuine power for once.”
Destructoid’s Chris Carter and Joystiq’s Alexander Sliwinski are similarly impressed, offering scores of 8.8/10 and 5/5, respectively.
Carter praises the RPG tree development of the characters as well as their dialogues, noting that “nothing feels tacked on” in a system which offers some of Origins’ depth, tempered by the streamlining in evidence in the sequel. Overall, he says, the experience is “less nuanced than Origins,” but offers a similar perspective on a living world, the fate of which increasingly lies in your hands.
Political intrigue and the raw sense of exploration garner praise from Carter, too, who also has good things to report about the game’s multiplayer mode – a section of the game which sees you take control of an entirely separate character.
“Multiplayer is the cherry on top, because nothing in the campaign feels like it was compromised for its addition”
Chris Carter, Destructoid.
“Multiplayer is the cherry on top, because nothing in the campaign feels like it was compromised for its addition. In essence, it’s a modified horde mode that operates similar to Uncharted 3′s co-op sections. Four players will be able to select from a host of classes, each with their own skills and abilities, and play through a miniature dungeon together.
“It has that horde feel in terms of fighting wave after wave of enemies, but each stage is an adventure complete with multiple paths, loot to gather, and special doors that can only be opened by certain classes. In that sense, it’s not your typical boring ‘kill kill kill’ mode.”
Sliwinski’s assessment also acknowledges the scope and detail achieved here, as well as the palatable way in which the development team is able to introduce such vast levels of information to the player.
“Inquisition’s immensely helpful in-game codex can introduce or refresh players to some of the characters and socio-political rules of the world,” he writes. “With very few exceptions, long-standing characters are properly reintroduced. There isn’t a ‘previously on Dragon Age…’ within the game, though curious players can cover those gaps with the helpful interactive recap at DragonAgeKeep.com.”
Joystiq’s reviewer also appreciates the switch of pace afforded by the inclusion of Orlais as a destination, a place where court politics partially replace the hew and bellow of the battlefield.
“With the inclusion of The Orlesian Empire, Inquisition delves deep into ‘the game,’ which is how those born into or educated in Orlais refer to the machinations of social politics. Orlais had previously been referenced in the Dragon Age series, but now we get to see this twist on 18th century French court intrigue in all its grandeur. Inquisition explores Thedas’ class and racial politics through a variety of missions and interactions with the game’s companions, who have rich ideological diversity.”
In summarising, Sliwinski makes the key point that so many Bioware fans have been waiting to hear since the Drs Zeschuk and Muzyka departed the company they founded: has Bioware maintained its aims, its ambitions and its quality?
“Dragon Age: Inquisition is BioWare’s reaffirmation of what it’s capable of delivering,” reassures Sliwinski. “It’s a gorgeous game on an epic scale. Rich in character and story, it creates a fantasy world with plausible social rules you can get lost in. It makes you feel that you aren’t just exploring a new world, but helping shape it at various levels of society. Inquisition sets the bar for what a blockbuster RPG should be.”
Sources are telling us that we should expect new skateboarding titles from both Electronic Arts and Activision in 2015. Word is that Activision is preparing a new Tony Hawk title and Electronic Arts will be bring out a new Skate title as well.
While Activision and Electronic Arts have not made the announcements yet, our sources tell us that we should expect both titles to be announced in the near future for a likely late 2015 release. It is unknown who might be handling the development on both titles, but word is that both titles are already deep in development.
With the release of a new Tony Hawk and Skate titles, it will revive the Skateboarding segment that has been dormant for quite some time. EA has not produced a new title in the Skate franchise since Skate 3 and the late couple of Tony Hawk titles didn’t do so well, but the re-issue of original Pro Skater for the Xbox 360 and PlayStation 3 with DLC made up of levels from 2 & 3 have shown that interest does still exist for this segment.
Our hope is that it will be less like what we saw with the SSX revival that EA tried and then realized that it was not really want the people wanted and more like a new next-generation skateboarding title that puts the fun back into skating. We will have to wait and see.
After releasing a string of AAA console titles to varying levels of commercial success, the UK-based studio is attempting to establish what it describes as a “third way” of making games – one that falls somewhere between what we have traditionally called AAA and Indie. Smaller scale, lower cost, with no sacrifices made in terms of creative risks and quality of execution.
“We’re taking our work on Hellblade as an opportunity to question the way the games industry has always done things,” said product development manager Dominic Matthews in a recent developer diary. “To see if there’s a better way, a more streamlined way. To create amazing quality on a smaller budget.”
As a result, Hellblade has a core team of 12 people, with a single person working in the majority of discipline areas. Ninja Theory is committed to finding affordable or homebrew alternatives to the high-end processes associated with its previous games – the performance capture used in Enslaved: Odyssey to the West, for example – but its sales target will remain eminently achievable: between 200,000 and 300,000 units.
“[Hellblade] is about what we feel passionate about, what we’re good at, and what we think our fans and supporters want from a game,” said Tameem Antoniades, Ninja Theory’s co-founder. “But it comes at a price. We have to self-fund this game, and we have to work within the restrictions that that means for us.”
In an interview that Xbox head Phil Spencer gave to IGN, he says that a new IP is in development at one of Microsoft’s development studios. It apparently isn’t a new racing or military space marine title.
Spencer says that the Xbox brand needs “new stories and new characters” which provide a “canvas to try new things.” He went on to add that “Sunset Overdrive is a great example of a game that isn’t like anything else in our portfolio, and he thinks that is great. I want to continue to invest in things which push the boundaries.”
Spencer believes that it has to be a commitment from the first-party publisher to try things that are new and unique. While he would not offer a clue as to which studio might be working on this new IP or what the new IP might be, he does seem to imply that there is at least more than one internal/external studio that is working on unannounced games for Microsoft studios.
In the interview he again says that he wants RARE to be more than the Kinect Sports developer and he is in fact heading out to see them soon to look at a new pitch from the studio.