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Can The Call Of Duty Franchise Make A Comeback?

October 3, 2014 by Michael  
Filed under Gaming

Industry analyst Sterne Agee has predicted another year of declining sales for Call of Duty, with Advanced Warfare expected to sell 15 per cent fewer copies than Ghosts.

To be more specific, that’s a difference of 3 million units, with Advanced Warfare expected to sell around 17 million. Obviously, that’s still a very healthy number, and the sort of success that most publishers rarely experience, but nevertheless it would be ill news for what remains Activision’s most important franchise.

Ghosts was, in itself, markedly less successful than Black Ops II, and a second year of decline will be enough to cause concern within Activision. When pre-orders for Ghosts were lower than expected, Eric Hirshberg attributed it to the transition to a new generation of consoles. With a minimum of 15 million PlayStation 4s and Xbox Ones now in the wild, that explanation would not stand up quite as well with Advanced Warfare.

In a note given to Cinema Blend, Sterne Agee’s Arvind Bhatia gave several reasons for the possibility of ongoing decline, one of which was the number of people who are still waiting to upgrade to new generation hardware, and may not buy any new software until they do. The others were sharply declining sales of Xbox 360 and PS3 software, and the fact that some Call of Duty fans may have been disappointed with Ghosts.

A significant counter to that is the positioning of Battlefield: Hardline, which slipped to March 2015 release and left Activision’s franchise free of its fiercest competitor.

Given its huge investment in Bungie’s Destiny and the relatively cool critical response that greeted the game, Activision will be hoping that Sterne Agee’s research is not an indicator of Call of Duty’s long-term health.

Courtesy-GI.biz

 

Was Titan A 50M Dollar Loss For Blizzard?

September 26, 2014 by Michael  
Filed under Gaming

When Titan first came to light in 2007, most people assumed it would be Blizzard’s next big thing, ultimately taking the place of World of Warcraft which was likely to see further declines in the years ahead. Fast forward seven years, WoW clearly has been fading (down to 6.8 million subs as of June 30) but Blizzard has no MMO lined up to replace it, and that fact was really hammered home today with the surprise cancellation of Titan. In fact, the developer stressed that it didn’t want to be known as an MMO company and one may not be in its future. Cancelling the project this late in the game may have cost Blizzard several tens of millions of dollars, analysts told GamesIndustry.biz.

“Development costs for Titan may have amounted to tens of millions, perhaps $50 million or more. This is not an unusual event, however. Blizzard has cancelled several games in various stages of development in the past. Costs for unreleased games can be significant, but launching substandard games can harm the reputation of a successful publisher such as Blizzard. Expenses for development can be considered R&D, and benefits can include invaluable training, IP and technology that can be applied to other games,” explained independent analyst Billy Pidgeon.

Wedbush Securities’ Michael Pachter estimated an even higher amount lost: “My guess is 100 – 200 people at $100,000 per year, so $70 – 140 million sunk cost. It’s pretty sad that it took so long to figure out how bad the game was. I expect them to go back to the drawing board.”

Indeed, the market has changed considerably in the last seven years, and while MMOs like EA’s Star Wars: The Old Republic struggle to find a large audience, free-to-play games and tablet games like Blizzard’s own Hearthstone are finding success. Blizzard has no doubt been keenly aware of the market realities too.

“As far back as 2013, they had already stated Titan was not likely to be a subscription-based MMORPG. This is consistent with a market that is increasingly dominated by multiplayer games that are either free to play or are an expected feature included with triple-A games such as Call of Duty. Titanfall and Destiny sold as standalone games supplemented by paid downloadable add-ons. Blizzard maintains very high standards of quality, so expectations will be steep for new franchises as well as for sequels,” Pidgeon continued.

DFC Intelligence’s David Cole agreed, noting that after seven years of development in an industry where trends and technologies change at a rapid pace, Blizzard simply had to pull the plug on Titan.

“They realized that unless a big MMO is out-of-this-world unbelievable it won’t work in today’s market where it competes against a bunch of low cost options. If they felt that it just wasn’t getting to that point it makes sense to cut your losses,” he noted. “Also, you see games like League of Legends and their own Hearthstone which are doing very well on a much lower budget.”

“For Blizzard, I am expecting to see them continue to focus on high quality products but also focus on products with shorter development cycles and less cost. The market is just not in a place where you can have games with 7+ year development. It is changing too fast.”

For most developers, junking a seven-year long project would instantly spell turmoil, but thankfully for Blizzard, it’s part of the Activision Blizzard behemoth, which has a market cap of over $15 billion and, as of June 30, cash and cash equivalents of over $4 billion on hand. It’s a nice luxury to have.

Courtesy-GI.biz

Will EA Make Games For Wearables?

September 16, 2014 by Michael  
Filed under Computing

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.

Courtesy-Fud

Watch Dogs For Wii U Coming In November

September 15, 2014 by Michael  
Filed under Gaming

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.

Courtesy-Fud

Will eSports Overtake the NHL?

September 11, 2014 by Michael  
Filed under Gaming

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.

Courtesy-GI.biz

Are Video Games Revealed Too Early?

September 8, 2014 by Michael  
Filed under Gaming

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.”

Courtesy-GI.biz

 

Will Activision Buy Take-Two?

September 4, 2014 by Michael  
Filed under Gaming

Take-Two’s share price rose nearly five per cent to 23.66 last week as rumours circulated that the publisher may be the target of a potential takeover by Activision.

Mike Hickey, an equity researcher for the Benchmark Company, penned a note which fuelled the trading, claiming that the two companies were engaged on an “emerging romance”.

“For Activision, acquiring Take-Two Interactive would be a no-brainer, in our view, circling some of the strongest development talent and owned IP in the world, within a company that has nearly $1 billion in cash and trades at a comparably lower multiple,” Hickey’s report reads. “With the acquisition of Take-Two Interactive, Activision would have arguably the three strongest development studios in the world with Rockstar Games, Bungie and Blizzard.”

By acquiring Take Two’s portfolio, Hickey believes that Activision could offer a rolling catalogue of massively high-profile AAA console titles, capitalising massively on the tremendous performance of the current generation of new machines.

Mike Hickey, Equity Researcher, The Benchmark Company LLC

“While Activision has historically managed their performance profile around franchises they can annualize, their $500 million investment in Bungie seems to be a departure from that philosophy, as we suspect the venture will prove difficult to annualize. The opportunity for Activision to intelligently layer future releases from Rockstar, Bungie and Blizzard, could in-part enable Activision to annualize future performance from what today is arguably a less linear performance profile.

“We would also note that Activision’s mega performance foundation with World of Warcraft is trapped within a life cycle decline, their Skylanders franchise will face considerable pressure from Disney and Call of Duty is vulnerable to franchise fatigue from consistent annual iterations. Therefore, acquiring GTA, Red Dead, Borderlands, NBA 2K, BioShock… etc. Along with the potential performance opportunity from a new MMO and movie adoption of GTA from Rockstar Games… Acquiring Take-Two Interactive would seem like a very smart move for Activision.”

Hickey doesn’t see the potential deal being motivated entirely by a desire for direct growth, however. He points to shared cinematic ambitions as the key factor in any merger. Activision has close ties to Hollywood, and its attention, as evinced by the recruitment of superstar Kevin Spacey for the latest Call of Duty title. Take Two is rumoured, not for the first time, to be shopping around for a potential film adaptation of Grand Theft Auto, something which Activision’s capital and connections could make a great deal easier.

Piers Harding-Rolls, Director, Head of Games, IHS

“We suspect that Activision’s strategic alignment into the movie business, could in-part be related to an emerging romance wrinkle between the two companies and the Houser’s, leading toward a possible Take-Two acquisition,” Hickey continues.

Some other analysts are more cautious, however. Piers Harding-Rolls, head of games at major analyst IHS, doesn’t necessarily see the move making sense for the larger company.

“I would file this rumour under unlikely at this point,” he told GamesIndustry.biz in an exclusive statement. “Activision’s MO is relatively anti-risk and it has a calculated long-term growth strategy based on establishing and developing billion dollar franchises that unlock large amounts of value for the company. Activision is well placed to deliver that once again following the Skylanders success with Destiny and I don’t believe acquiring Take Two and its stable of IP fits with this strategy.

“Having said that, Activision is likely to be looking for further growth opportunities – it has yet to build a substantial games apps business and a number of its franchises are longer in the tooth or more competitively challenged than before. As such, I think we can expect Activision to be more rigorously examining adjacent markets – the movie opportunity makes sense in this context – as well as planning for the development of new franchises within its portfolio.”

True or not, the note was enough to light a fire under the imaginations of traders. Take Two’s stock actually reached a six year high on July 28, at 23.67, but dropped soon after. Friday’s news pushed it up 4.67 per cent, with Activision’s stock also rising 0.81 per cent to 23.54.

Were Kotick and Hirshberg to take the plunge, they’d have to put a more convincing offer on the table than EA managed in 2008, the last time a public offer was made for Take Two. Then, a deal worth $2 billion wasn’t enough to convince Take Two shareholders, who felt that the company was being undervalued, rejecting the offer.

Courtesy-GI.biz

 

Should Nintendo Hit The Reset Button?

September 3, 2014 by Michael  
Filed under Gaming

Nintendo’s Shigeru Miyamoto doesn’t want to make games for “passive” people; the attitude that games ought to be to be a roller-coaster ride, to entertain without challenge, is, to his mind, “pathetic”. That was the message from the legendary game designer in an E3 interview with Edge magazine, published in this month’s edition; it’s been presented by other news outlets as a sign of a Nintendo U-turn, moving away from the casual market it sought with the Wii and the DS in favour of re-engaging core gamers.

That’s exactly the sort of message that most of the games media wants to hear, of course. The media, after all, speaks exclusively to core gamers; casual players generally don’t bother with specialist media. “Nintendo has seen the error of its ways and realised that the only people worth making games for are you, my dear brethren!” is a crowd-pleaser of a message; but it’s also a pretty big leap to make from the comments Miyamoto actually made.

First, the context. Edge had just challenged Miyamoto over the fact that his prototype games at E3 were all somewhat difficult to play. They used the Wii U GamePad in new ways which it took a while to get accustomed to; the question implied in the text of Edge’s interview isn’t about casual games at all, but about the difficulty level of the prototypes. Miyamoto’s response does make clear a mental distinction between different types of game consumer and a preference for those who enjoy some challenge in their entertainment, but to extrapolate that into a U-turn in Nintendo’s development priorities is an overreach.

In fact, Miyamoto’s comments – equating passivity with “the sort of people who, for example, might want to watch a movie. They might want to go to Disneyland. Their attitude is ‘OK, I am the customer; you are supposed to entertain me’” – are punching in a number of directions at once. Certainly, he’s frustrated by people who play games without ever really engaging with them as a challenge; I doubt he’s a fan of free-to-play systems that allow you to pay money to bypass challenges. Equally, though, those comments are an attack on some approaches to AAA game design; barren technological wonders which serve as little more than on-rails galleries for artwork and pale narrative. Miyamoto isn’t saying “casuals have ruined the market”; far from it. He’s saying that there are consumers who demand spoon-fed entertainment at all points of the spectrum from core to casual, and that he doesn’t want to make games for any of them. (It’s also worth noting that he’s not really blowing his top over this; “pathetic” doesn’t carry the same kind of stinging indictment in Japanese that it does in translation.)

Later in the Edge interview, Miyamoto veers back to similar territory when he talks about the proliferation of mainstream game-capable platforms like iOS and Android devices. While adamant that Nintendo needs to continue to make hardware as well as software, he’s delighted that these new platforms exist, because they provide an “on-ramp” for consumers who haven’t engaged with games before. Nintendo previously saw itself holding a responsibility to try to open up new demographics for the games industry; now it seems that we’ve reached a tipping point, technologically and culturally, where that’s happening by itself.

Edge speculates that this means Miyamoto (and hence Nintendo) believes that the window has shut on making games for entry-level gamers. Titles like Brain Training, which opened up the DS to a huge audience of people who had rarely if ever played games before, may now be pointless; the consumers they ought to target are all playing games on their phones and tablets, so there isn’t an addressable market remaining there for dedicated hardware and more expensive (non-F2P) games. This is fair analysis, and indeed, it probably features in Nintendo’s thinking; let iOS serve as the entry level for new gamers and then hope that those who enjoy the experience will ultimately upgrade to the superior offerings available on a dedicated console.

At the same time, though, Nintendo itself has a conception of “casual” and “core” that probably isn’t shared by the majority of sites reporting Miyamoto’s comments. Miyamoto talks not about themes but about enjoyment of challenge as the distinction between the two groups. To him, a supposedly “adult” game full of blood and ripe language could be utterly casual if it spoon-feeds players with dull, linear gameplay. Meanwhile, a brightly coloured Mushroom Kingdom epic could qualify as “core” if it challenges players in the right way. Consequently, Nintendo’s family-friendly IP and the broad appeal of its themes is entirely compatible with a focus on “core games”, to Miyamoto’s mind. What he’s talking about changing is something at the root of design, not the thematic wallpaper of the company’s games; he wants to challenge people, not to force Nintendo’s artists to remove all the primary colours from their Photoshop palettes.

Viewed in this light, Miyamoto’s comments are an earnest and down-to-earth appraisal of Nintendo’s present situation; still recovering from the heady days of the Wii and figuring out how much of that flash-in-the-pan market is really sustainable, but knuckling down to the challenge of entertaining and delighting (and of course, selling to) those within the audience who really enjoyed games rather than latching onto the platform as a fad. Contrary to the more excitable reportage on his comments, Miyamoto is promising no major changes to Nintendo’s approach; rather, he’s re-committing himself and the company to the same course of action which delivered games like Mario Kart 8, a title firmly within the family-friendly Nintendo tradition and absolutely celebratory of challenge and good design.

“Core gamer” is a phrase that’s picked up a strong whiff of soi-disant elitism and exclusion over the past few years; the phrase “as a core gamer…” in a forum post or comment thread is this odd little corner of society’s equivalent of “I’m not a racist, but…”, indicating a post that’s probably going to brim with self-important awfulness. The bête noire of the core gamer is the “casual”, and just as any move by a game creator or publisher to cater to “casuals” is despised and derided, any prodigal son who declares their abandonment of the casual market and return to the core is greeted with an I-told-you-so roar of delight. This is a thin sliver of the market overall, of course, but a noisy one; as such, it’s worth reiterating that what Miyamoto absolutely did not say is that Nintendo is resetting its course to please these people. Nintendo, for many years to come, will still be a company defined by games that are broadly appealing, generally family-friendly and enormously accessible. Under Miyamoto’s watchful eye, they’ll also be challenging and engaging; but anyone taking his comments on “passivity” as near-confirmation that we’ll see Grand Theft Mario down the line is utterly misreading the situation.

Courtesy-GI.biz

 

Unity Starts Pushing Open Source Plan

August 25, 2014 by Michael  
Filed under Computing

Unity Technologies has stepped up its commitment to democratising game development by making key components of its ubiquitous engine open source.

At present, that applies to the Unity Test Tools and the engine’s new graphical user interface system, which was demonstrated in the opening keynote of Unite 2014. The features will be available under the MIT/X11 license, giving users the freedom to “control, customise and extend” their functionality.

The source code for the components will be hosted on BitBucket, and Unity has prepared a guide for any interested open source contributors. The source for the Unity Test Tools is already available, with the GUI to follow.

“Beyond that, we don’t have a concrete plan, but we have a lot of things in the pipeline,” the company said in a statement. “These components will all be isolated from Unity in such a way that you can modify them and use your own modified version with the official public Unity release.

“Although Unity Technologies has been active in the open-source community for quite some time, this is the first time we’ll be opening the source to components of Unity itself.

“We’re excited to see what you do with it.”

Courtesy-GI.biz

Will Activision Launch An Entertainment Group?

August 25, 2014 by Michael  
Filed under Gaming

Sources are suggesting that Activision is planning to launch an entertainment division that would be responsible for creating movies and TV shows based on Activision intellectual properties. The move might leave many scratching their heads if true since so many others have failed at trying to turn video game IP into gold.

Word is that CEO Bobby Kotick is taking to folks in an effort to secure the right talent to make this happen. Kotick has to be aware that this has not gone well for its competitors, but he apparently thinks that Activision IP is different and they will have no problem giving the people want they want.

Our take on this is that we will wait and see what happens, but it will not be easy to be successful, regardless of the IP that you have in your stable. The bigger question might be is it really worth the money and effort to try and make it work?

Courtesy-Fud

Are Physical Games On The Way Out?

August 21, 2014 by Michael  
Filed under Gaming

Numbers added up by research firm DFC Intelligence, show that few physical games are being bought and that digital sales are where all the money is.

According to DFC, 92 per cent of PC game sales in 2013 were digital and it thinks this trend will continue and rise in 2014.

Gamers are starting to favour digital downloads over physical copies of the game, which is not really surprising given that who actually wants to own boxes and DVDs and manuals when all you really need is the game.

DFC Intelligence goes on to add that PC games outsold console games in terms of revenue so it means that channel is not the way gamers are playing. But then again the specs of consoles are well below PCs.

Courtesy-Fud

 

Is EA Finally Listening To Gamers?

August 20, 2014 by Michael  
Filed under Gaming

By his own admission, Andrew Wilson still “geeks out” at EA’s press conferences, despite his position as the company’s CEO demanding that he take centre stage. When we meet after the Gamescom media briefing, he enthuses in great detail and at considerable length about a FIFA 15 video demonstrating the capabilities of the new game’s goalkeepers. What that team has accomplished since he ascended to executive level, Wilson says, never fails to make him smile.

And Wilson has spent his first year in charge identifying the ways to spread that enthusiasm to EA’s customers. That hasn’t always resulted in success, of course: with Battlefield 4 the company stumbled once again on the unpredictable landscape of online gaming, and with EA Access it met with resistance from Sony on the grounds of value. In this interview, Wilson discusses both of these issues, and outlines EA’s renewed dedication to listening to its customers and following wherever that might lead.

Q: The last time we spoke you were still with EA Sports, and you’ve had a promotion since then – quite a big one, in fact. You’re coming up on a year as CEO now. Have we started to see evidence of the mark you wanted to make on the company?

AW: I think…no, I know that I didn’t approach this role thinking about making a mark or leaving a legacy. It wasn’t personal in nature. I took on the role because of how I feel about the company. This company has been very good to me and my family over the years, I loved the people I worked with inside the company and I loved the games we made together.

“Financial return is an outcome, but it shouldn’t be the objective. We’ve made a lot of decisions based on that over the last 12 months”

As I worked in the company in a variety of different roles, it became apparent to me that in some areas we’d lost our way a little bit. When I came in [as CEO] I really wanted to bring to the forefront the things that I thought made the company great, things that had delivered for us over the years. That really meant building this foundation of ‘player first’. I get that there are things we have to think about: we’re a big company, we’re a public company, we have shareholders, we have 8,000 people working for us. But all of that is for nothing unless you deliver for your number one constituency: the players. Without that, it’s for nothing.

Q: So the idea that the CEO is stuck trying to serve two masters, the shareholder and the customer, that isn’t how you see it, then?

AW: Financial return is an outcome, but it shouldn’t be the objective. Financial return is what happens when you achieve the right objectives. We’ve made a lot of decisions based on that over the last 12 months. We are engaging with our player-base more regularly, through more platforms to ensure that we’re doing what they want, and to make sure that we’re listening to them when we’re doing something that they don’t want. It’s as much about eliminating what doesn’t inspire or entertain as it is about the stuff that does.

Q: Is that how we should think about the problems that Battlefield 4 faced? You’ve publicly addressed the complaints already, but was that just a consequence of trying to deliver on an ambitious objective?

AW: If I promised you that nothing would ever go wrong [on future projects], that would be very disingenuous of me. The reality is that we come to work every day and challenge ourselves and our teams to do creative and innovative things. What I can say, however, is that living up to that commitment to engagement and action I mentioned before means that we will make tough decisions in service of the player.

Titanfall for Xbox 360 was coming in hot, it needed a few more weeks, and we moved it out of the fiscal year to get a great game. I don’t think we would have done that before. Need for Speed is a franchise we’ve released every year for 17 years – it’s as sure a thing as FIFA. But the team said that they couldn’t do what we challenged them to do in a year. It wasn’t possible, so for the first time in 17 years we decided not to launch a Need For Speed.

More recently, Battlefield: Hardline, moving out of the holiday quarter would traditionally be seen as catastrophic in this industry.

Q: Particularly that franchise. Battlefield 3 and 4 were both holiday releases.

AW: Yes, but it was the feedback. We brought gamers in earlier, we let them play the beta earlier. And the beta was very stable, so we’d solved a bunch of the problems that existed in Battlefield 4. But what people said to us was, ‘This is pretty cool, but we think you should go deeper. We want more out of this.’ So we’ve given the team more time. That’s a tough decision to make, and it has a financial impact in the near-term, but long-term, for the player and the franchise, that’s the right decision.

Q: Do you see EA Access in the same way? You’re the first publisher to pull the trigger on something like this on console. I remember a talk you gave at the Develop conference a few years back, where you held up services like Netflix as a model for the games industry to emulate. Was this idea in your mind all the way back then?

AW: It’s not completely the same, but yes. But, again, I wouldn’t take credit for that programme in its entirety. I’ve been involved in that programme, but we’ve got a great team that’s been looking at challenging the standard by which certain people access products. It’s early days – we launched it yesterday – but for what it’s worth all the positive intent is there. It will evolve, but what we’ve come to understand – and what I believed back then – is that this concept of, ‘I want to give you an amount of money each month that makes sense, and for that I want a bunch of cool stuff’, we want to live up to that.

Does that mean people will stop paying $60 for games? No, but there’s a big part of the population for whom that [EA Access] is the right context, that’s the right way for them to engage with games.

“There’s a big part of the population for whom EA Access is the right context, that’s the right way for them to engage with games”

Q: And potentially it’s a way for people who wouldn’t ordinarily play, say, Madden to get acquainted with the franchise. For a lot of people, FIFA and Battlefield would be enough to justify for the annual fee, and anything else is a bonus.

AW: Yes, but there will be many different types of players. For some people that will be how they want to play all content, for others it will form some part of it. There’ll be others who might use it just to trial games. Again, the price point is low enough that it’s pretty cool as a trial mechanism. We want to build a service that players can use in a way that makes sense to them.

Q: It gives the catalogue longevity, too, which is something that the games industry hasn’t been particularly good at.

AW: EA makes great games. Stuff that we made ten years ago is still good, and so in ten years time the games we’re making now will still be good.

Q: It’s early days, as you point out, but even in the near term are you planning to grow the selection on EA Access, to be additive?

AW: Absolutely. We wanted to launch it at a point where we could put things into the catalogue, into The Vault, and it would have value. We thought that four [games] was the minimum for the price-point, but we want to get to a place where you could play any number of games for that price-point. Over time, the value will just get better and better and better, in much the same way that Netflix does. When I started subscribing to Netflix, there was no House Of Cards, there was no Orange Is The New Black – there is now.

Q: I have been surprised at my preference for buying games digitally in the generation so far. I thought it would take a bit more time.

AW: Convenience is a wonderful thing.

Q: Is that sort of behaviour behind the decision to get EA Access out there now, this year? Is that transition happening faster than you expected?

AW: No. Listen, we – and certainly myself – have matured in the understanding over the years about how people consume content, irrespective of the industry. One of the stats that I hear frequently is that 40 per cent of music is still bought on CD. Now, I haven’t bought a CD in 14 years. I’ve bought vinyl, by the way, a bunch in the last 14 years, so I consume media in different ways through different business models based on what I’m looking for. The way my view has evolved, I’m a bit like you: I haven’t bought a disc for my PS4 or my Xbox One; I click a button and it turns up, and that’s good for me. But that doesn’t mean that everyone wants it the same way. I’ve moved from a belief that there will be one access model to rule them all, to the belief that our objective as a company is to provide access to our entertainment in ways that make sense to the growing population of players.

 

Q: Services like EA Access to make sense in the context of this generation, which seems to largely about choice, whether that’s variety of games, how you want to buy, how you want communicate with other players. The experience is very open now.

AW: One of the things that we’re learning as we make the digital transformation is that we don’t need to guess what players want any more. For the longest time we had to guess, and the first opportunity to find out whether you got it right or not was when you saw the game on the shelf. Now, we’re getting better at listening. We haven’t always been great listeners, but we’re getting better, and what that’s telling us is that people want choice. They want to be able to choose what’s right for them at a given moment in time. There isn’t a one-size-fits-all any longer. We’ve got to build a core platform, game engines and games that facilitate that.

Q: Are you concerned that Access will alter your customer’s perception of value? FIFA 14 is still a game that can be played all year whether the new one is out or not. That $60 has got to feel like a better decision than before, surely.

“We thought that four games was the minimum for the price-point, but we want to get to a place where you could play any number of games for that price-point”

AW: It doesn’t matter whether you spend a $1, $10 or $100,000, as long as you’re getting value from what you’ve spent then you’ll feel good about that. EA Access feels like tremendous value, and whether you continue to feel good about paying whatever it is for a frontline product comes down to our ability to to deliver value.

The commitment that we’re making to those frontline products is that they will be bigger, more engaging, service oriented, with new and dynamic content every time you log in. People are now playing FIFA and Battlefield all year round. When I started a game would get played for four weeks, and then it was on to the next one. The value that we deliver today, we have games that can be the only thing you play for an entire year.

Q: Certain products have started to feel out of time to me. I won’t mention the name, but I bought a game digitally that cost the same amount as, for example, FIFA, and it took me six or seven hours to finish and that was it. I felt cheated in a way that I wouldn’t have with the exact same game at this point in the last generation.

AW: That understanding of value is really, really important, and I’m trying to push that into the organisation – irrespective of business model. Back in the day it was all about delivering $60 of value; now, I want to deliver $1 of value if you want to spend $1, I want to deliver $10 of value if you want to spend $10. I want to deliver value on your investment and on your investment of time. As you get older you realise that time is the most important resource. Part of your issue with that other game is that it took six hours, and you didn’t feel the value returned. We should think about the investment of money, but also the investment of time.

Q: You’ve mentioned the value of EA Access several times, and obviously Sony came out and disagreed on that point. For now, at least, Access won’t be available to PlayStation customers. Was that disappointing, particularly with the reason Sony gave?

AW: What I can say is that we launched it yesterday. We believed when we launched it that it was great value, and gamers, for the most part, have fed back that it’s great value. We’re going to continue to put things into that service that make it even better value. It will evolve and go through lots of permutations over time as we listen and learn from players who engage with it. My hope is that we can deliver that kind of service to many millions of players for years to come.

Courtesy-GI.biz

Will Bioware Announce A New IP At Gamescom?

August 11, 2014 by Michael  
Filed under Gaming

Word is circulating that the new BioWare IP which is rumored to be called Shadow Realms could be on EA’s agenda to finally be revealed at Gamescom. While rumors have been making the rounds for some time, so far EA has been mum about its existence.

We do know that EA’s is planning to provide more details on FIFA 15, Battlefield: Hardline, The Sims 4, Dragon Age Inquisition, and Dawngate at its Gamescom presser which will take place on Wednesday, August 13th at 9am BST.

While EA might reveal Shadow Realms, it is likely that BioWare has it on the release schedule for late 2015 at the soonest, but it is possible that it could even be a 2016 title. Let’s hope EA puts some of these rumors to bed and tells us what Shadow Realms is all about.

Courtesy-Fud

Activision Blizzard Depends Heavily On Digital

August 7, 2014 by Michael  
Filed under Gaming

Activision Blizzard reported its financial results for the quarter ended June 30 today, revealing an unprecedented reliance on digital revenues.

The publisher reported revenues of $970 million in sales on a GAAP basis, 49 percent of which came from digital channels. On a non-GAAP basis (excluding the impact of changes in deferred revenues), the digital percentage was actually 73 percent of the company’s $658 million in sales. Activision attributed the digital strength to Blizzard’s lineup of titles (World of Warcraft, Hearthstone, and Diablo III), combined with digital sales for Call of Duty.

However, not all of those digital sales drivers posted strong numbers for the quarter. World of Warcraft in particular lost about 800,000 subscribers over the period, and as of the end of June was down to a paying player base of 6.8 million gamers. However, Activision Blizzard characterized this decline as a “seasonal” dip in advance of the next expansion, Warlords of Draenor, which is set to launch later this year. The publisher likened the downturn to the subscriber losses that happened in 2012 ahead of the Mists of Panderia launch.

On a GAAP basis, Activision Blizzard revenues were down nearly 8 percent, with net income down 37 percent to $204 million. However, the publisher still beat its previous guidance. On a non-GAAP basis, revenues were up about 10 percent to $658 million, while non-GAAP net income was reported at $45 million, down 50 percent year-over-year.

The quarter’s performance gave Activision Blizzard enough confidence to update its previous guidance for the full year. For calendar year 2014, the publisher had previously forecast total GAAP revenues of $4.22 billion, but moved that up to $4.24 billion today. The company also projected earnings per share of $0.91, up from $0.89.

Courtesy-GI.biz

Is The Wii-U Making A Comeback?

July 28, 2014 by Michael  
Filed under Gaming

A new survey commissioned by IHS in partnership with Gamer Network has shown that E3 gave a huge boost to the number of people interested in buying a Wii U, with purchasing intent growing by 50 per cent over the course of the event.

Around one thousand core gamers were surveyed on various purchase intentions before and after the LA show, revealing that, whilst Nintendo’s platform started out with the lowest number of people looking at buying it, it saw the biggest benefit from the show’s exposure. 20 per cent of respondents now intend to buy the machine, equal to those who are looking at an Xbox One, which saw a seven per cent increase in popularity.

Sony’s PS4, a clear leader going in to E3, lost ground to its competitors, sinking below 30 per cent of respondents.

In terms of anticipated games, consumers are champing at the bit for 2015′s third-party releases, with Warner’s Arkham Knight leading the charge with an incredible 60 per cent of those surveyed intending to buy the game for at least one platform. Gamers are slightly less excited for 2014′s titles, but Activision’s Destiny is the narrow leader for this year, edging out AC: Unity and GTA V with just under 50 per cent. Both Battlefield Hardline and CoD: Advanced Warfare are lagging behind slightly.

As might be expected, purchasing intent is higher amongst first-party exclusives for current platform owners. On PS4, Uncharted 4 was the most popular game both before and after E3 with 76 per cent of PS4 owners expected to buy it. On Xbox One, it’s Halo which pays the piper, garnering support from 77 per cent of One owners. Over on the Wii U and amazing 89 per cent of owners expect to buy the new Zelda game when it’s released. None of these platform-exclusive heavy hitters will land until 2015 at the earliest, which IHS predicts will increase pre-Christmas reliance on multi-platform games for Microsoft, Sony and, to a lesser extent, Nintendo.

“Although there are other exclusive titles coming in 2014 or already available,” the report reads, “none hold the influence that these leading titles have in terms of selling console hardware, with the exception of Mario Kart 8 for Wii U. As a result, the success of console sales this holiday shopping season will depend more heavily on the total value and content proposition including exclusive content offered by multi-platform games rather than a single, very influential system-selling exclusive. This factor will impact the marketing strategies of the platform holders as we move into 2014′s main shopping season.”

Courtesy-GI.biz