If Hideo Kojima really is on the outs at Konami, he’s at least going out with a bang. The embargo for Metal Gear Solid V: The Phantom Pain coverage hit last night, and the first batch of reviews are glowing.
IGN’s Vince Ingenito gave the game a 10 out of 10, lavishing praise on the way it adapted the series’ stealth-action formula to an open-world environment.
“Right from the moment you’re told to get on your horse and explore the Afghan countryside, Phantom Pain feels intimidating, almost overwhelming in terms of the freedom its open world affords and the number of concepts it expects you to grasp,” Ingenito said. “It’s almost too much, especially given the relative linearity of previous Metal Gears. But what initially appeared to be an overly dense tangle of features to fiddle with instead unraveled into a well-integrated set of meaningful gameplay systems that provided me with a wealth of interesting decisions to make.”
Whether players choose to sneak their way to victory or go in guns blazing, The Phantom Pain affords them a number of avenues to do so. The game’s day/night cycle and changing weather systems can make certain strategies viable (or not) at any given time. At the same time, a private army management meta-game lets players raid battlefields for resources and new recruits, which can then be put to use researching new technologies or using their skills to open up a variety of other strategic alternatives.
However, a perfect score doesn’t mean a perfect game, and Ingenito does identify at least one weak point in the game.
It’s a somewhat surprising criticism of the game, given Metal Gear Solid 4′s penchant for frequent and extended cutscenes larding the action with exposition and plot twists. While The Phantom Pain shows flashes of that approach (Ingenito noted the “spectacular” opening sequence), it ultimately produces a narrative he found “rushed and unsatisfying.”
Obviously, that failing was not enough to tarnish an otherwise fantastic game in Ingenito’s eyes.
“There have certainly been sandbox action games that have given me a bigger world to roam, or more little icons to chase on my minimap, but none have pushed me to plan, adapt, and improvise the way this one does,” he said. “Metal Gear Solid 5: The Phantom Pain doesn’t just respect my intelligence as a player, it expects it of me, putting it in a league that few others occupy.”
GameSpot’s Peter Brown likewise gave the game a 10 and praised its adaptable approach to missions, but enjoyed the story considerably more than his counterpart at IGN.
“After dozens of hours sneaking in the dirt, choking out enemies in silence, and bantering with madmen who wish to cleanse the world, The Phantom Pain delivers an impactful finale befitting the journey that preceded it,” Brown said. “It punches you in the gut and tears open your heart. The high-caliber cutscenes, filled with breathtaking shots and rousing speeches, tease you along the way. Your fight in the vast, beautiful, and dangerous open world gives you a sense of purpose. The story is dished out in morsels, so you’ll have to work for the full meal, but it’s hard to call it ‘work’ when controlling Big Boss feels so good, with so many possibilities at your fingertips.”
Brown said prior knowledge of the series isn’t a prerequisite to enjoying The Phantom Pain, but added that “Fans of the series will find their diligence rewarded in ways that newcomers can’t begin to imagine.” They’ll also, in his estimation, be enjoying the pinnacle of the franchise.
“There has never been a game in the series with such depth to its gameplay, or so much volume in content,” Brown said. “The best elements from the past games are here, and the new open-world gameplay adds more to love on top. When it comes to storytelling, there has never been a Metal Gear game that’s so consistent in tone, daring in subject matter, and so captivating in presentation. The Phantom Pain may be a contender for one of the best action games ever made, but is undoubtedly the best Metal Gear game there is.”
Eurogamer hasn’t published its full review yet, but Matt Wales weighed in with his impressions to date. Like Brown and Ingenito, Wales underscored the narrative approach as a major departure for the series.
“Beyond an outlandish, action-packed opening sequence… The Phantom Pain is a remarkably economical affair, telling its tale of ’80s cold war subterfuge through snatches of radio dialogue (courtesy of Ocelot), and the occasional return to Mother Base between missions,” Wales said. “It’s fascinating to see such restraint from Kojima, a man well known for his self-indulgence and excess, especially considering that The Phantom Pain is likely his Metal Gear swan song.”
On the gameplay side, Wales said The Phantom Pain “isn’t exactly a radical reinvention of the stealth genre,” but acknowledged the increased freedom players are given to accomplish the familiar assortment of objectives.
“Metal Gear Solid 5′s open world might not be vast, varied or stuffed full of things to do, but it’s a place of constant movement,” Wales said. “Night falls, day breaks, sandstorms sweep in, patrols come and go – and this organic sense of life means that missions are never predictable (no matter how often you play them) with tactical possibilities arising all the time. It’s a game of planning and reacting in a world that refuses to stand still, making every minute matter and every success feel earned.”
“The gameplay, storytelling, and protagonists in Metal Gear may shift with each new installment, but Kojima’s ability to surprise and enthrall gamers remains unchanged.”
He also applauded the way The Phantom Pain managed to adopt an open-world design without the genre’s standard glut of padding.
“[E]verything you do feels meaningful and consequential,” Wales said. “Guard posts and roaming patrols aren’t simply there for colour as you traverse the world: one careless move into hostile territory and every single enemy on the map will know you’re coming, with more search parties and increased security radically altering the way a mission unfolds. And while other games tout choice and consequence as a headline feature, the Phantom Pain just gets on with it. Even the smallest action can have unexpected consequences – some significant and others barely perceptible.”
Game Informer’s Joe Juba gave the game a 9.25, currently one of the lowest scores the game has received on Metacritic (where it has a 95 average based on 15 critic reviews). Like some of the above reviewers, Juba was a bit disappointed at The Phantom Pain’s approach to storytelling, but noted that having the narrative take a step in to the background puts the focus on the game’s strongest point, its open-ended gameplay.
“A series can’t survive this long without evolving, and The Phantom Pain is a testament to the importance of taking risks,” Juba said. “An open world, a customizable base, a variable mission structure – these are not traditional aspects of Metal Gear, but they are what makes The Phantom Pain such an exceptional game. The gameplay, storytelling, and protagonists in Metal Gear may shift with each new installment, but Kojima’s ability to surprise and enthrall gamers remains unchanged.”
The validity of framing the console market as a ‘race’ or a ‘war’ is open to question, but there’s no doubt that it’s a lot more fun when you do. The notion that there is a hard, immovable line between winning and losing simply doesn’t make much sense from a business perspective, but it makes for lively debate and – from an entirely selfish perspective – good copy.
For the first six months of this console generation that was certainly the case: the Xbox One tripping, stumbling and backtracking, with the PlayStation 4 marketing department lying in wait, pointed comments at the ready. Microsoft is dealing with the fallout from that disastrous period even now, its own reluctance to disclose hardware sales figures compounded by Sony’s eagerness to provide an update at every opportunity. At the last count, in July, the PlayStation 4 had sold more than 25 million units. The Xbox One, on the other hand, has sold…. well, we haven’t been given an official worldwide figure in 2015 so far.
In terms of sales, then, it’s very clear which console is ‘winning’ the generation, and it has been from the very first day. In terms of content, though, the debate is more nuanced, the outcome far less certain. Sony’s development resources have long been regarded as a unique strength when compared to Microsoft, effectively guaranteeing a superior crop of exclusive games regardless of how well the PlayStation hardware is selling. Whether that’s still true in terms of first-party studios is almost besides the point, because in terms of available, exclusive games there’s a strong argument that the Xbox has been a more attractive platform since the launch of Titanfall more than a year ago. By the end of this year, that point may well be beyond debate.
“I wouldn’t even say the gap has closed,” says Kudo Tsunoda, one of the leading executives in the Xbox games business. “We’ve got a lot more exclusive games than any other platform.”
Tsunoda and the various studios he oversees are celebrating the second Xbox showcase in less than two months. The first, at E3, is generally regarded as a key battleground within the console war, and a significant proportion of those who watched this year believed that Microsoft emerged victorious despite an impressive showing from Sony. The second, at Gamescom, was an Xbox victory by default, with Sony electing to steer clear of the event for the first time in years. Even so, Microsoft presided over 90 minutes of new games, not all of which were exclusive to the Xbox One, but none of which were on show at E3. Whether those exclusives came from first-party studios (Halo and Gears of War) or via chequebook-and-pen (Tomb Raider and Quantum Break) is largely irrelevant. For perhaps the first time in this console generation Xbox owners have an undeniable right to feel smug.
“There’s a reason we’re able to put on two shows of content together,” Tsunoda continues. “We’ve got seven exclusives coming this holiday, and then everything coming in 2016. Not just the blockbusters, but the ID@Xbox games, the indie games. We’re giving people a lot more.”
Microsoft’s early mistakes have been formative for the Xbox One, its underlying strategy switching from closed and controlled to open and inclusive. Sony recorded several huge PR victories by simply responding to those initial bad choices, but Microsoft has since proved more committed to the stance that Sony initially claimed as its own. An early indicator was Sony’s refusal to allow EA Access onto the PlayStation Network due to stated concerns that it didn’t offer “good value” to the consumer, but just as likely down to competition with its own planned streaming service, PlayStation Now. Microsoft allowed its customers to make that choice for themselves. Had you been asked to guess the stance each company would adopt even a few months before, it’s likely those roles would have been reversed.
Tsunoda repeats the idea that MIcrosoft is ‘listening to the fans’ throughout our interview, making it quite clear that it’s a message the company wants us to hear. However, while it would be naive to believe that any multinational corporation is motivated principally by altruism, the strategy for Xbox One is increasingly guided by consumer demand.
Two incoming services perfectly illustrate the degree to which Microsoft has pivoted since the days of mandatory online checks and a prohibition on used games. Xbox Preview is a more tightly controlled version of Steam Early Access, and just the sort of concept that walled gardens were formed to exclude. Backwards compatibility, meanwhile, demands little in the way of explanation. Equally, its importance cannot be overstated, to the consumers who spend so much on games every console generation, and to those who believe that companies like Microsoft should be treating their creative heritage with more respect.
“With backwards compatibility, it isn’t something that we just think gamers might want,” Tsunoda says. “We know. We’re looking for and soliciting that feedback. It was the number one most requested feature for Xbox One by far.”
Sony has no plans to match Microsoft in this respect, and the possibility of monetising those games through PlayStation Now makes it very unlikely that it ever will. For Microsoft, it’s part of a broader view of gaming with Windows 10 at its core, which should, in theory, unite the previously disparate tendrils of Microsoft’s sprawling organisation. PC and console, past and present, existing in harmony, each interacting with and complementing the other. Cross-Buy, Cross-Play, console to PC streaming; one might say that Microsoft should have been doing this for years already. According to Tsunoda, this is a first step.
“For a long time we’ve had PC gamers and console gamers who weren’t really able to play together,” Tsunoda says. “That’s why Cross-Play is still such a powerful idea. You should be able to play what you love, and play together, regardless of what device you’re playing on. It’s about connecting people.
“With backwards compatibility, it isn’t something that we just think gamers might want. We know”
“It’s a really unique value that only we can offer. You still need very gamer-focused values, but there are lots of things you can do with our technology. We’ve really got a lot more going on [than our competitors]. We’re doing things that can’t be done on any other console.
If Microsoft is pushing towards a more holistic approach to its games business, then a few reminders of its clumsier past still remain. One is perched just below the television directly to our left: Kinect, a device once positioned as an integral part of the future of Xbox, a future that Tsunoda was instrumental in selling to the press and public. These days, though, it feels additive, and that’s being kind. In more than 150 minutes of press conferences across E3 and Gamescom Kinect barely merited a single mention, while a new announcement, the Chatpad, offered a core-friendly alternative to the search and chat functions that represent a huge chunk of why anyone might still use it.
“I don’t think it’s an alternative [to Kinect]. It’s just about giving people a choice in how they can do things,” Tsunoda replies. “There’s still a lot of great voice capabilities that you can use with Kinect, but there’s also a lot of great possibilities for communication with the Chatpad. You can also customise a lot, with specific buttons for specific functions. With everything we do, we’re trying to give people the choice.”
In terms of games, though, Tsunoda offers only Just Dance 2016 as a specific example – which is developed and published by Ubisoft – accompanied by the vague promise that, “There’s still Kinect games coming as well.” This may be what ‘choice’ starts to look like when Microsoft loses faith in one of its possible futures. It should be noted that Kinect is now listed under the “More” section on the Xbox One Accessories page, beneath “Controllers,” beneath “Headsets and Communication,” grouped in the same vague category as the Xbox One Digital TV Tuner and the Xbox One Media Remote.
The fear of obsolescence created by the doldrum in which Kinect now resides also haunts the HoloLens, another promising device that Microsoft has just finished thrusting into the public eye. It stole the show at E3 with an immaculately orchestrated Minecraft demo, only for its limited field-of-view to be scrutinised by the press, and its early utility as gaming hardware to be questioned by none other than the CEO of Microsoft, Satya Nadella.
For Tsunoda, who is also closely involved with the development of HoloLens, the difference between watching a demonstration and actually experiencing it first-hand is more pronounced than any product he’s ever worked on – including Kinect. However, there is more common ground between the two devices than one might think.
“You should think about it in the same way that you would a phone or your computer. It does a lot of things,” Tsunoda says. “Obviously, gaming is a big part of what you do on those machines as well. But that’s what it is: an untethered holographic computer. You can do a lot in the gaming and entertainment space, but it has a lot of other functionality as well.
“Microsoft is a leader in depth-sensing technology: with Kinect, but also the stuff we’re doing with HoloLens as well. A big part of what we’re doing there is an environmental understanding that comes from having pushed our knowledge in depth-sensing. That’s what you’ll see us do as a company. [Kinect] is still a part of the platform, and there’s still Kinect games coming of course, but then also we’re pushing that depth-sensing technology forward with what we’re doing with HoloLens.”
It’s all a part of Microsoft’s future of gaming, whatever that turns out to be. Right now, though, Xbox might finally have emerged from PlayStation’s shadow.
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.
It is possible that one day we will report on which companies made it through the night without being hacked or without exposing their users.
For now, though, the opposite is the norm and today we are reporting about a problem with gaming system Steam that, you guessed it, has dangled the personal details of punters within the reach of ne’er-do-wells.
The news is not coming out of Steam, or parent Valve, directly, but it is running rampant across social networks and the gaming community. The problem, according to reports and videos, was a bad one and made the overtaking of user accounts rather a simple job.
No badass end-of-level boss to beat here, just a stage in the authentication process. A video posted online demonstrates the efforts required, while some reports – with access to Steam’s PR hot air machine – say that the problem is fixed.
A statement released to gaming almanac Kotaku finds the firm in apologetic clean-up mode.
Steam told the paper that some users would have their passwords reset, those being the ones who might have seen their log-in changed under suspicious circumstances, and that in general users should already be protected from the risks at hand.
“To protect users, we are resetting passwords on accounts with suspicious password changes during that period or may have otherwise been affected,” the firm said.
“Relevant users will receive an email with a new password. Once that email is received, it is recommended that users log-in to their account via the Steam client and set a new password.
“Please note that, while an account password was potentially modified during this period, the password itself was not revealed. Also, if Steam Guard was enabled, the account was protected from unauthorized log-ins even if the password was modified.”
The firm added its apologies to the community.
The last of the console makers is ready to sign up to AMD chips, according to the latest rumor
Some details are now coming to light on Nintendo’s upcoming NX console. The console will be in the shops in a year’s time, but we might know who’s building the NX’s chips.
AMD will manufacture the CPU + GPU combo, giving the outfit total control of the console market. It was pretty much a no brainer. AMD created the APUs found inside the Xbox One and PlayStation 4. Although it is getting increasingly difficult to tell the consoles apart.
AMD’s CEO, Lisa Su, confirmed that the company had a new chip contract. Su said the deal could generate billions, but she did not identify the customer .
It now seems she was referring to the Nintendo deal, which means she is more optimistic about the products’ success than us.
The NX will be based around the Android operating system and should released some time next year. Nintendo is saying nothing about the deal at the moment.
AMD is needs more deals like this if it is going to turn around its dependence on the ever-shrinking PC market. There are only so many consoles that made every year and AMD appears to be inside them all.
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.
For a while now, people had been wondering what the next Wii would be called, with smart money being on the Number 2. However it seems that the new console dubbed the Nintendo NX has a few surprises under the bonnet.
According to Nikkei Nintendo is planning an Android console so that game developers would be able to port their games over with relative ease.
This could also indicate that games developed for the Nintendo NX could extend to other Android-powered devices like smartphones and tablets, play nice with the console.
Games developers have been ignoring the Wii U in droves so this might actually help Nintendo get back into the race.
Android-powered consoles have appeared before but they died horribly in the market place.
There’s something genuinely surreal about sitting down to write an article about region locking in 2015. It feels archaic and almost nostalgic; I might as well be writing something about blowing into cartridge ports to get games to work, or bemoaning the long load times for cassettes. Yet here we are. Years into the era of digital distribution, long after we reached the point where it became technically harder to prevent customers from accessing games from anywhere in the world than it is to permit the same, region locking is back in the news. Thanks, Nintendo.
The focus of this week’s headlines is the Humble Bundle promotion which Nintendo is running for a number of indie titles on 3DS and Wii U. It’s a great deal for some excellent games and is raising money for a solid cause; plus it’s wonderful to see console platform holders engaging with the Humble Bundle approach, which has been so successful at bringing indie games (and other creative works) to wider audiences on the PC. It ought to be a win, win, win for Nintendo, gamers and indie developers alike.
Unfortunately, though, the bundle only works in the Americas; North America and some bits of Central and South America. Customers elsewhere are entirely locked out, a matter which has been a source of deep frustration not only to those customers, but also seemingly to Nintendo’s own staff working on the project. The result is that what ought to have been a straightforward PR win for the company has turned bittersweet; there has been more widespread news coverage of the region locking debacle in the past few days than there has been for the bundle itself.
Although this is a terrible shame for the developers involved – and I sincerely hope that Nintendo can pull its thumb out of its backside and launch an international version of the bundle in short order – no sympathy is due to Nintendo in this situation. It’s a problem entirely of the company’s own making; the firm made a deliberate and conscious decision to embrace region locking even as the internationalisation of digital distribution made that look increasingly ridiculous, and until that stubbornly backwards piece of decision making is reversed, it’s going to continue causing PR problems for the firm, not to mention genuine problems for its most devoted customers.
Remember, after all, that the rest of the gaming world has ditched region locking en masse – Sony gave it up with the PS3, even making it painless to use digital content from different regions by creating multiple accounts on the same console, while Microsoft made region locking optional on Xbox 360 (making a bit of a mess where some publishers enforced it and others didn’t) before ditching it entirely on the Xbox One. At the same time Nintendo, ever the merry contrarians, went the opposite direction, not only maintaining region locking on the Wii and Wii U, but even extending it to the 3DS – in contrast to the company’s prior handheld consoles, which had been region free.
The idiocy of a region locked handheld is staggering; these are systems which are quite simply at their best when you’re traveling, yet lo and behold, Nintendo don’t want you to buy any games if you go on holiday or on a business trip. The excuses trotted out were mealy-mouthed corporate dishonesty from start to finish; it was all about protecting customers, honest, and respecting local customs and laws. Utter tosh. Had those things been a genuine issue, they would have been an issue in the previous decades when Nintendo managed to sell handheld consoles without region locking; they would also have been an issue for Sony and Microsoft when they removed region locking from their systems.
In truth, there’s only one reason for region locking in this day and age – price control – and Nintendo’s calculation must have been that they had more to lose from the possibility, real or imagined, of people buying cheaper 3DS games from countries overseas, than they had to lose from annoying a chunk of their customer base, be they keen gamers who wanted to try out titles unlikely to be released in their regions, expats who want to play games brought from their home countries or parents who find that a game bought in the airport on the way home from holiday results not in a pacified, happy child on the flight but in an angry, upset child with a game that won’t work.
In Nintendo’s defence, Satoru Iwata has recently been musing publicly about dropping region locking from the Nintendo NX, whenever that turns up. That the company is clearly planning to move down that path does rather confirm that it’s been fibbing about its motivations for region locking all along, of course, which might be why Iwata is being cautious in his statements; it’s a shame if such face-saving is the reason for Nintendo failing to keep up with industry moves in this regard, because the company is going to keep being periodically beaten with this stick until the problem is fixed.
Admittedly, there would be problems with removing region locking from its existing consoles – not least that Nintendo’s agreements with publishers probably guarantee the region locking system, so even if it could be patched out of the 3DS and Wii U with a software update, that can’t happen legally due to the contracts it would breach. What Nintendo could and should do, however, is to offer gamers a gesture of good faith on the matter by dropping region locking from all its first-party software from now on – and perhaps emulating Xbox 360 era Microsoft by making it optional for third-party publishers as well. I can envisage no legal barrier to that approach; it would earn the company enormous kudos for responding to its audience and dealing with the problem, and would cost them precisely nothing. There aren’t that many easy PR wins floating around the industry right now; Nintendo should leap on this chance to show itself to be on the customers’ side.
Wheels turn slowly in Kyoto, though, and it’s probably too much to expect the company to react in a startup-like way to the region locking issue. In some ways it’s Nintendo’s strength that it reacts slowly and thoughtfully rather than jumping on every bandwagon, but in recent years, it’s also been a weakness far too many times – and the thoroughly wonderful software that the company has been turning out in the past few years, perhaps the finest line-up it’s produced in decades, has been regularly undermined by bad decisions in marketing and positioning of its platforms, many of which can be traced to a failure to understand where the market is and where it’s moving.
Region locking isn’t the biggest problem. Fixing it would be cheap and easy but would hardly be a panacea for Nintendo’s issues – but it’s a problem that’s symptomatic, emblematic even, of the broader problems Nintendo has with putting its customers first and applying the same care and attention to its corporate aspects which it always applies to its software development. Fix a problem like this in a proactive, rapid way, and we might all start to believe that the company has what it takes to get back on top.
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.
Nintendo has formed a comprehensive new alliance with DeNA that will make every one of the company’s famous IPs available for mobile development.
The bedrock of the deal is a dual stock purchase, with each company buying ¥22 billion ($181 million) of the other’s treasury shares. That’s equivalent to 10 per cent of DeNA’s stock, and 1.24 per cent of Nintendo. The payments will complete on April 2, 2015.
What this will ultimately mean for the consumer is Nintendo IP on mobile, “extending Nintendo’s reach into the vast market of smart device users worldwide.” There will be no ports of existing Nintendo games, according to information released today, but, “all Nintendo IP will be eligible for development and exploration by the alliance.” That includes the “iconic characters” that the company has guarded for so long.
No details on the business model that these games and apps will be released under were offered, though Nintendo may well be reluctant to adopt free-to-play at first. The information provided to the press emphasised the “premium” experiences Nintendo currently offers on platforms like Wii U and 3DS. Admittedly, that could be interpreted in either direction.
However, Nintendo and DeNA are planning an online membership service that will span Nintendo consoles, PC and smart devices. That will launch in the autumn this year.
This marks a significant change in strategy for Nintendo, which has been the subject of reports about plans to take its famous IPs to mobile for at least a year. Indeed, the company has denied the suggestion on several occasions, even as it indicated that it did have plans to make mobile a part of its core strategy in other ways.
Analysts have been offering their reflections on the deal, with the response from most being largely positive.
“Nintendo’s decision to partner with DeNA is a recognition of the importance of the games app audience to the future of its business,” said IHS head of gaming Piers Harding-Rolls. “Not only is there significant revenue to be made directly from smartphone and tablet consumers for Nintendo, app ecosystems are also very important in reaching new customers to make them aware of the Nintendo brand and to drive a new and broader audience to its dedicated console business. Last year IHS data shows that games apps were worth $26 billion in consumer spending globally, with handheld console games worth only 13 per cent of that total at $3.3 billion.
“The Nintendo-DeNA alliance is a good fit and offers up a number of important synergies for two companies that are no longer leaders in their respective segments.
“DeNA remains one of the leading mobile games company’s in Japan and, we believe, shares cultural similarities with Nintendo, especially across its most popular big-brand content. The alliance gives Nintendo access to a large audience in its home market, which remains very important to its overall financial performance. Japanese consumers spend significantly more per capita on mobile games than in any other country and it remains the biggest market for both smartphone and handheld gaming. While the partnership gives Nintendo immediate potential to grow its domestic revenues through this audience, gaining access to DeNA’s mobile expertise is important too to realise this potential.
“This alliance makes commercial sense on many levels – the main challenge will be knitting together the cultures of both companies and aligning the speed of development and iteration that is needed in the mobile space with Nintendo’s more patient and systematic approach to games content production. How the new games are monetised may also provide a challenge considering the general differences in models used in retail for Nintendo and through in-app purchases for DeNA.”
In a livestreamed press conference regarding the DeNA deal, Nintendo’s Satoru Iwata reassured those in attendance that the company was still committed to “dedicated video game systems” as its core business. To do that, he confirmed that the company was working on a new console, codenamed “NX”.
“As proof that Nintendo maintains strong enthusiasm for the dedicated game system business let me confirm that Nintendo is currently developing a dedicated game platform with a brand new concept under the development codename NX,” he said.
“It is too early to elaborate on the details of this project but we hope to share more information with you next year.”
There’s not a lot to argue with the consensus view that Valve had the biggest and most exciting announcement of GDC this year, in the form of the Vive VR headset it’s producing with hardware partner HTC. It may not be the ultimate “winner” of the battle between VR technologies, but it’s done more than most to push the whole field forwards – and it clearly sparked the imaginations of both developers and media in San Francisco earlier this month. Few of those who attended GDC seem particularly keen to talk about anything other than Vive.
From Valve’s perspective, that might be just as well – the incredibly strong buzz around Vive meant that it eclipsed Valve’s other hardware-related announcement at GDC, the unveiling of new details of the Steam Machines initiative. Ordinarily, it might be an annoying (albeit very high-quality) problem to have one of your announcements completely dampen enthusiasm for the other; in this instance, it’s probably welcome, because what trickled out of GDC regarding Steam Machines is making this look like a very stunted, unloved and disappointing project indeed.
To recap briefly; Steam Machines is Valve’s attempt to create a range of attractive, small-form-factor PC hardware from top manufacturers carrying Valve’s seal of approval (hence being called “Steam Machines” and quite distinctly not “PCs”), running Valve’s own gaming-friendly flavour of the Linux OS, set up to connect to your living room TV and controlled with Valve’s custom joypad device. From a consumer standpoint, they’re Steam consoles; a way to access the enormous library of Steam content (at least the Linux-friendly parts of it) through a device that’s easy to buy, set up and control, and designed from the ground up for the living room.
That’s a really great idea, but one which requires careful execution. Most of all, if it’s going to work, it needs a fairly careful degree of control; Valve isn’t building the machines itself, but since it’s putting its seal of approval on them (allowing them to use the Steam trademark and promoting them through the Steam service), it ought to have the power to enforce various standards related to specification and performance, ensuring that buyers of Steam Machines get a clear, simple, transparent way to understand the calibre of machine they’re purchasing and the gaming performance they can expect as a result.
Since the announcement of the Steam Machines initiative, various ways of implementing this have been imagined; perhaps a numeric score assigned to each Machine allowing buyers to easily understand the price to performance ratio on offer? Perhaps a few distinct “levels” of Steam Machine, with some wiggle room for manufacturers to distinguish themselves, but essentially giving buyers a “Good – Better – Best” set of options that can be followed easily? Any such rating system could be tied in to the Steam store itself, so you could easily cross-reference and find out which system is most appropriate for the kind of games you actually want to play.
In the final analysis, it would appear that Valve’s decision on the myriad possibilities available to it in this regard is the worst possible cop-out, from a consumer standpoint; the company’s decided to do absolutely none of them. The Steam Machines page launched on the Steam website during GDC lists 15 manufacturers building the boxes; many of those manufacturers are offering three models or more at different price and performance levels. There is absolutely no way to compare or even understand performance across the different Steam Machines on offer, short of cross-referencing the graphics cards, processors, memory types and capacities and drive types and capacities used in each one – and if you’ve got the up-to-date technical knowledge to accurately balance those specifications across a few dozen different machines and figure out which one is the best, then you’re quite blatantly going to be the sort of person who saves money by buying the components separately and wouldn’t buy a Steam Machine in a lifetime.
“Valve seems to have copped out entirely from the idea of using its new systems to make the process of buying a gaming PC easier or more welcoming for consumers”
In short, unless there’s a pretty big rabbit that’s going to be pulled out of a hat between now and the launch of the first Steam Machines in the autumn, Valve seems to have copped out entirely from the idea of using its new systems to make the process of buying a gaming PC easier or more welcoming for consumers – and in the process, appears to have removed pretty much the entire raison d’etre of Steam Machines. The opportunity for the PC market to be grown significantly by becoming more “console-like” isn’t to do with shoving PC components into smaller boxes; that’s been happening for years, occasionally with pretty impressive results. Nor is it necessarily about reducing the price, which has also been happening for some years (and which was never going to happen with Steam Machines anyway, as Valve is of no mind to step in and become a loss-leading platform holder).
Rather, it’s about lowering the bar to entry, which remains dizzyingly high for PC gaming – not financially, but in knowledge terms. A combination of relatively high-end technical knowledge and of deliberate and cynical marketing-led obfuscation of technical terminology and product numbering has meant that the actual process of figuring out what you need to buy in order to play the games you want at a degree of quality that’s acceptable is no mean feat for an outsider wanting to engage (or re-engage) with PC games; it’s in this area, the simplicity and confidence of buying a system that you know will play all the games marketed for it, that consoles have an enormous advantage over the daunting task of becoming a PC gamer.
Lacking any guarantee of performance or simple way of understanding what sort of system you’re buying, the Steam Machines as they stand don’t do anything to make that process easier. Personally, I ought to be slap bang in the middle of the market for a Steam Machine; I’m a lapsed PC gamer with a decent disposable income who is really keen to engage with some of the games coming out in the coming year (especially some of the Kickstarted titles which hark back to RPGs I used to absolutely adore), but I’m totally out of touch with what the various specifications and numbers mean. A Steam Machine that I could buy with the confidence that it would play the games I want at decent quality would be a really easy purchase to justify; yet after an hour flicking over and back between the Steam Machines page launched during GDC and various tech websites (most of which assume a baseline of knowledge which, in my case, is a good seven or eight years out of date), I am no closer to understanding which machine I would need or what kind of price point is likely to be right for me. Balls to it; browser window full of tabs looking at tech spec mumbo-jumbo closed, PS4 booted up. Sale lost.
This would be merely a disappointment – a missed opportunity to lower the fence and let a lot more people enjoy PC gaming – were it not for the extra frisson of difficulty posed by none other than Valve’s more successful GDC announcement, the Vive VR headset. You see, one of the things that’s coming across really clearly from all the VR technology arriving on the market is that frame-rate – silky-smooth frame-rate, at least 60FPS and preferably more if the tech can manage it – is utterly vital to the VR experience, making the difference between a nauseating, headache-inducing mess and a Holodeck wet dream. Suddenly, the question of PC specifications has become even more important than before, because PCs incapable of delivering content of sufficient quality simply won’t work for VR. One of the appealing things about a Steam Machine ought to be the guarantee that I’ll be able to plug in a Vive headset and enjoy Valve’s VR, if not this year then at some point down the line; yet lacking any kind of certification that says “yes, this machine is going to be A-OK for VR experiences for now”, the risk of an expensive screw-up in the choice of machine to buy seems greater than ever before.
I may be giving Steam Machines a hard time unfairly; it may be that Valve is actually going to slap the manufacturers into line and impose a clear, transparent way of measuring and certifying performance on the devices, giving consumers confidence in their purchases and lowering the bar to entry to PC gaming. I hope so; this is something that only Valve is in a position to accomplish and that is more important than ever with VR on the horizon and approaching fast. The lack of any such system in the details announced thus far is bitterly disappointing, though. Without it, Steam Machines are nothing more than a handful of small form-factor PCs running a slightly off-kilter OS; of no interest to hobbyists, inaccessible to anyone else, and completely lacking a compelling reason to exist.
Valve has developed its own Intel Vulkan GPU graphics driver for Linux that they intend to open-source.
The Vulkan API is still being argued about and will not be finalized until later this year, but Valve has been developing their own Intel GPU reference driver for Vulkan to help early adopter’s boot-strap their code.
During their presentation at GDC2015 Valve announced that its Intel Linux driver will be open-sourced, but they haven’t provided a time-frame for doing so.
Valve also confirmed that the Source 2 Engine supports the alpha Vulkan API today and that Vulkan will be supported across the board on Steam Machines.
Intel graphics hardware might not be the sexiest, but there is a lot of it out there. It is also easy to target for an open-source driver given Intel’s extensive hardware specifications / programming documentation.
A Vulkan Intel Linux graphics driver used by game developers sounds very promising for having good support for this new API and most likely high-performance was a priority in the development of this driver by Valve and likely their partners at LunarG.
Nintendo is heading back to black, with the company’s financial announcements this week revealing that it’s expecting to post a fairly reasonable profit for the full year. For a company that’s largely been mired in red ink since the end of the glory days of the Wii, that looks like pretty fantastic news; but since I was one of the people who repeatedly pointed out in the past when Nintendo’s quarterly losses were driven by currency fluctuations, not sales failures, it’s only fair that I now point out that quite the reverse is true. The Yen has fallen dramatically against the Dollar and the Euro in recent months, making Nintendo’s overseas assets and sales much more valuable in its end-of-year results – and this time, that’s covering over the fact that the company has missed its hardware sales targets for both the 3DS and the Wii U.
In short, all those “Nintendo back in profit” headlines aren’t really worth anything more than the “Nintendo makes shock loss” headlines were back when the Yen was soaring to all-time highs a few years ago. The company is still facing the same tough times this week that it was last week; the Wii U is still struggling to break 10 million units and the 3DS is seeing a major year-on-year decline in its sales, having faltered significantly after hitting the 50 million installed base mark.
In hardware terms, then, Nintendo deserves all the furrowed brows and concerned looks it’s getting right now. Part of the problem is comparisons with past successes, of course; the Wii shipped over a million units and the DS, an absolute monster of a console, managed over 150 million. In reality, while the Wii U is having a seriously hard time in spite of its almost universally acclaimed 2014 software line-up, the 3DS isn’t doing badly at all; but it can’t escape comparison with its record-breaking older sibling, naturally enough.
Plenty of commentators reckon they know the answer to Nintendo’s woes, and they’ve all got the same answer; the company needs to ditch hardware and start selling its games on other platforms. Pokemon on iOS! Smash Bros on PlayStation! Mario Kart on Xbox! Freed from the limited installed base of Nintendo’s own hardware – and presumably, in the case of handheld titles, freed to experiment with new business models like F2P – the company’s games would reach their full potential, the expensive hardware division could be shut down and everyone at Nintendo could spend the rest of their lives blowing their noses on ¥10,000 notes.
I’m being flippant, yes, but there’s honestly not a lot more depth than that to the remedies so often proposed for Nintendo. I can’t help but find myself deeply unconvinced. For a start, let’s think about “Nintendo’s woes”, and what exactly is meant by the doom and gloom narrative that has surrounded the company in recent years. That the Wii U isn’t selling well is absolutely true; it’s doing better than the Dreamcast did, to pick an ominous example, but unless there’s a major change of pace the console is unlikely ever to exceed the installed base of the GameCube. Indeed, if you treat the Wii as a “black swan” in Nintendo’s home console history, a flare of success that the company never quite figured out how to bottle and repeat, then the Wii U starts to look like a continuation of a slow and steady decline that started with the Nintendo 64 (a little over thirty million consoles sold in total) and continued with the GameCube (a little over twenty million). That the 3DS is struggling to match the pace and momentum of the DS is also absolutely true; it’s captured a big, healthy swathe of the core Nintendo market but hasn’t broken out to the mass market in the way that the DS did with games like Brain Training.
Yet here’s a thing; in spite of the doom and gloom around downward-revised forecasts for hardware, Nintendo was still able to pull out a list of this year’s million-plus selling software that would put any other publisher in the industry to shame. The latest Pokemon games on 3DS have done nearly 10 million units; Super Smash Bros has done 6.2 million on 3DS and 3.4 million on the Wii U. Mario Kart 8 has done almost five million units, on a console that’s yet to sell 10 million. Also selling over a million units in the last nine months of 2014 on 3DS we find Tomodachi Life, Mario Kart 7 (which has topped 11 million units, life to date), Pokemon X and Y (nearly 14 million units to date), New Super Mario Bros 2 (over 9 million), Animal Crossing: New Leaf (nearly 9 million) and Kirby: Triple Deluxe. The Wii U, in addition to Mario Kart 8 and Super Smash Bros, had million-plus sellers in Super Mario 3D World and Nintendo Land.
That’s 12 software titles from a single publisher managing to sell over a million units in the first three quarters of a financial year – a pretty bloody fantastic result that only gets better if you add in the context that Nintendo is also 2014′s highest-rated publisher in terms of critical acclaim. Plus, Nintendo also gets a nice cut of any third-party software sold on its consoles; granted, that probably doesn’t sum up to much on the Wii U, where third-party games generally seem to have bombed, but on the 3DS it means that the company is enjoying a nice chunk of change from the enormous success of Yokai Watch, various versions of which occupied several slots in the Japanese software top ten for 2014, among other successful 3DS third-party games.
Aha, say the advocates of a third-party publisher approach for Nintendo, that’s exactly our point! The company’s software is amazing! It would do so much better if it weren’t restrained by only being released on consoles that aren’t all that popular! Imagine how Nintendo’s home console games would perform on the vastly faster-selling PS4 (and imagine how great they’d look, intones the occasional graphics-obsessive); imagine how something like Tomodachi Life or Super Smash Bros would do if it was opened up to the countless millions of people with iOS or Android phones!
Let’s take those arguments one at a time, because they’re actually very different. Firstly, home consoles – a sector in which there’s no doubt that Nintendo is struggling. The PS4 has got around twice the installed base of the Wii U after only half the time on the market; it’s clear where the momentum and enthusiasm lies. Still, Super Smash Bros and Mario Kart 8 managed to sell several million copies apiece on Wii U; in the case of Mario Kart 8, around half of Wii U owners bought a copy. Bearing in mind that Nintendo makes way more profit per unit from selling software on its own systems than it would from selling it on third-party consoles (where it would, remember, be paying a licensing fee to Sony or Microsoft), here’s the core question; could it sell more copies of Mario Kart 8 on other people’s consoles than it managed on its own?
If you think the answer to that is “yes”, here’s what you’re essentially claiming; that there’s a large pent-up demand among PlayStation owners for Mario Kart games. Is there really? Can you prove that, through means other than dredging up a handful of Reddit posts from anonymous people saying “I’d play Nintendo games if they were 1080p/60fps on my PS4″? To me, that seems like quite a big claim. It’s an especially big claim when you consider the hyper-competitive environment in which Nintendo would be operating on the PS4 (or Xbox One, or both).
Right now, a big Nintendo game launching on a Nintendo console is a major event for owners of that console. I think Nintendo launches would still be a big event on any console, but there’s no doubt that the company would lose focus as a third-party publisher – sure, the new Smash Bros is out, but competing for attention, pocket money and free time against plenty of other software. It’s not that I don’t think Nintendo games could hold their own in a competitive market, I merely don’t wish to underestimate the focus that Nintendo acquires by having a devoted console all of their own underneath the TVs of millions of consumers – even if its not quite the number of millions they’d like.
How about the other side of the argument, then – the mobile games aspect? Nintendo’s position in handheld consoles may not be what it used to be, but the 3DS has roundly trounced the PlayStation Vita in sales terms. Sure, iPhones and high-end Android devices have much bigger installed bases (Apple shifted around 75 million iPhones in the last quarter, while the lifetime sales of the 3DS are only just over 50 million), but that comparison isn’t necessarily a very useful one. All 50 million 3DS owners bought an expensive device solely to play games, and the lifetime spend on game software of each 3DS owner runs into hundreds of dollars. The “average revenue per user” calculation for Pokemon on the 3DS is easy; everyone paid substantial money for the game up front.
By comparison, lots and lots of iOS and Android users never play games at all, and many of those who play games never pay for them. That’s fine; that’s the very basis of the F2P model, and games using that model effectively can still make plenty of money while continuing to entertain a large number (perhaps even a majority) of players who pay nothing. Still, the claim that moving to smartphones is a “no-brainer” for Nintendo is a pretty huge one, taken in this context. The market for premium, expensive software on smartphones is very limited and deeply undermined by F2P; the move to F2P for Nintendo titles would be creatively difficult for many games, and even for ones that are a relatively natural fit (such as Pokemon), it would be an enormous commercial risk. There’s a chance Nintendo could get it right and end up with a Puzzle & Dragons sized hit on its hands (which is what it would take to exceed the half a billion dollars or so the company makes from each iteration of Pokemon on 3DS); there’s also an enormous risk that the company could get it wrong, attracting criticism and controversy around poor decisions or misjudged sales techniques, and badly damage the precious Pokemon brand itself.
In short, while I’m constantly aware that the market seems to be changing faster than Nintendo is prepared to keep up with, I’m not convinced that any of the company’s critics actually have a better plan right now than Satoru Iwata’s “stay the course” approach. If you believe that PlayStation fans will flock to buy Nintendo software on their console, you may think differently; if you think that the risk and reward profile of the global iOS market is a better bet than the 50-odd million people who have locked themselves in to Nintendo’s 3DS platform and shown a willingness to pay high software prices there, then similarly, you’ll probably think differently. Certainly, there’s some merit to the idea that Nintendo ought to be willing to disrupt its own business in order to avoid being disrupted by others – yet there’s a difference between self-disruption and just hurling yourself headlong into disaster in the name of “not standing still”.
There’s a great deal that needs to be fixed at Nintendo; its marketing and branding remains a bit of a disaster, its relationships with third-party studios and publishers are deeply questionable and its entire approach to online services is incoherent at best. Yet this most fundamental question, “should Nintendo stay in the hardware business”, remains a hell of a lot tougher than the company’s critics seem to believe. For now, beleaguered though he may seem, Iwata still seems to be articulating the most convincing vision for the future of the industry’s most iconic company.