The group had published a list of emails and passwords for PSN, Windows Live Mail and 2K Games accounts online, and claimed to be prepared to release more, but Sony says that they’ve come from other sources than hacking.
“We have investigated the claims that our network was breached and have found no evidence that there was any intrusion into our network,” the company wrote in a declaration to Joystiq. “Unfortunately, Internet fraud including phishing and password matching are realities that consumers and online networks face on a regular basis. We take these reports very seriously and will continue to monitor our network closely.”
Blizzard is happy and why shouldn’t they be as World of Warcraft subscriptions are up. The reason for the increase can be traced to the release of the latest expansion pack which was recently released. The latest WOW expansion pack is called Warlords of Draeno and its release has driven subscriptions to 10 million.
Selling over 3.3 million copies of the Warlords of Draenor on the first day alone, growth has been seen in all major territories since release. The numbers do include those players that are using the 1 month free subscription that comes with the expansion pack. WoW subscriptions had climbed to 7.4 million last quarter after being down.
Of course the release of Warlords of Draenor has not been without its problems. Still Blizzard says that they are working around the clock to address them. Owners have been offered free play time as compensation.
Microsoft has seen a number of Xbox One exclusive titles already be ported to the PC. Both Dead Rising 3 and Ryse have already made it to the PC, but we are now again hearing that Sunset Overdrive again is heading to the PC and Forza Horizon 2 maybe following as well.
This is not the first time we have heard rumors of Sunset Overdrive coming to the PC. An ad that suggested as much was down played at the time by Insomiac as a mistake. Now Sunset Overdrive and Forza Horizon 2 showed up on Amazon France as coming for the PC.
While Phil Spencer has suggested that Microsoft will have more to say about the PC in 2015 and that it would be a good thing for PC gamers. The reality is that Microsoft has not pushed PC game development in a longtime as it chose to focus on titles for the Xbox and Xbox 360. With the Xbox One being closer in design to the PC, porting a title to the PC is easier and Microsoft of course wants to be a player in this space.
We will have to wait and see what actually happens, but should Sunset Overdrive and Forza Horizon 2 make their way to the PC, it will be a good thing for PC gamers. Then again it could just be nothing more than a mistake.
Ubisoft is claiming that the reason that its latest Assassin’s Creed game was so bad was because of AMD and Nvidia configurations. Last week the Ubisoft was panned for releasing a game which was clearly not ready and Ubisoft originally blamed AMD for its faulty game. Now Ubisoft has amended an original forum post to include and acknowledge problems on Nvidia hardware as well.
Originally the post read “We are aware that the graphics performance of Assassin’s Creed Unity on PC may be adversely affected by certain AMD CPU and GPU configurations. This should not affect the vast majority of PC players, but rest assured that AMD and Ubisoft are continuing to work together closely to resolve the issue, and will provide more information as soon as it is available.”
However there is no equivalent Nvidia-centric post on the main forum, and no mention of the fact that if you own any Nvidia card which is not a GTX 970 or 980. What is amazing is that with the problems so widespread, Ubisoft did not see them in its own testing before sending it out to the shops. Unless they only played the game on an Nvidia GTX 970 and did not bother to test it on a console, it is inconceivable that they could not have seen it.
One of the inherent risks of a story-heavy IP is that if you bugger up one of the instalments, your audience skips it, falling out of touch with the series’ story arc and disconnecting from its universe. Such was the fear for Dragon Age, a world which impressed in its opening act, but fell away sharply with what felt like a rushed and uncertain part 2. In acknowledging the shortcomings of the second game, Bioware went some way towards reassuring the faithful, but it was undeniable that nothing less than a resounding crescendo could re-establish the land of Tevinter as an RPG setting of the same calibre as the Tamriel of the Elder Scrolls or The Witcher’s Temeria.
There aren’t many teams you’d rather leave such a task in the hands of than Bioware’s and, judging from review scores, that trust would be well-placed. With a metacritic ranging from 84 for Xbox One, 88 on PC and 89 for PS4, EA and Bioware seem to have established the Dragon Age series as the new gen’s first top-class RPG – stealing a march on 2015′s Witcher 3 and whatever Bethesda may be working on as a follow up to Skyrim.
One of the best-scoring reviews comes from Polygon’s Philip Kollar, who focuses on the game’s scope, characters and sheer wealth of content in his 9.5/10 review. Kollar argues that this is the game where the universe really finds its feet, finally fulfilling the promise it had teased in Origins and its sequel by immersing the player in a sequence of events which incorporates a story far bigger than the perspective you’ll have of it. Nonetheless, says Kollar, it’s still in the details that Bioware’s talents shine brightest – weaving engaging and worthwhile characters as threads in a vast tapestry.
For all its narrative nuance and political intrigue, Dragon Age: Inquisition isn’t afraid of a good old slimy monster, either.
“But in true BioWare fashion, that broader story often takes a back seat to smaller character conflicts,” he writes. “The Inquisitor pulls together a huge group of followers, including nine playable party members, and each has reams of dialogue conveying a fully developed personality.”
As well as offering chatter and the opportunity for romance, the player’s extended party brings both questing opportunities and advice on dealing with obstacles, says Kollar, making them more than just talking weapons. In fact, he says, that guidance comes in extremely useful in coping with a game which offers gameplay hours well into triple figures.
“Dragon Age: Inquisition is made up of numerous zones that I could teleport in between at will. However, each of those zones is gigantic in and of itself. In the 80 hours I spent playing Inquisition, I only fully completed two zones, and each of them took me around 20 hours of exploration, questing and monster-bashing.”
“In the 80 hours I spent playing Inquisition, I only fully completed two zones, and each of them took me around 20 hours of exploration, questing and monster-bashing”
Philip Kollar, Polygon
In addition, Bioware has added the simplest of tools as an aide to exploring this vast landscape: the jump button. By doing so, says Kollar, the team has made the world feel more whole and believeable, introducing vertical as well as horizontal scale and a much more convincing sense of exploration. Tie that into the sense of being part of such a huge chain of events that new additions such as the ambassador-lead ‘war table’ missions, says Kollar, and you have a classic perfect for the winter evenings.
In broad agreement is Richard Cobbett at Eurogamer, who awards an 8 to Bioware’s efforts. Whilst full of praise for the lush surroundings of Tevinter and the clear improvements made over the last game, Cobbett finds some concerns over the influence which Inquisition seems to have felt from its contemporaries.
“The role-playing too, pretty as it is, didn’t feel like BioWare. There are straight up MMO style quests, like collecting 10 bits of meat, which at least make sense in context – that you’re helping refugees and refugees need food. Others, however, are thrown in with no finesse whatsoever. You find a letter that says, in about as many words, “Girls really dig people who can kill bears!” and then ping, your Quest Journal suddenly thinks you’re interested in bear-hunting. The first hour of a game is a bad, bad time for it to be resorting to this crap.
“The reason for the sack of activities where normally there’d be more involved quests is that Inquisition takes as many cues from the likes of Assassin’s Creed as other RPGs, with its maps a sack of quests, collectibles, secret bits and general things to do.”
That sense of piecemeal progress and scrappy world building disappears around a fifth of the way into the plot, says Cobbett, allowing the more convincing mechanisms of the plot to take hold. “The stakes become meaningful and dramatic,” he writes. “The mysteries become interesting.” Not as convinced as Kollar by the tasks which can be assigned to your plenipotentiaries, nor the combat which is arguably the game’s key activity, Cobbett finds Inquisition’s approach to less bloodthirsty matters of state a refreshing change from the sword and sorcery.
Bioware’s continued commitment to diversity is apparent, with plenty of deviations from the usual path of straight white male.
“While that side provides most of the raw action,” he says of dragon killing and rift-closing, “it’s the adventure and political parts of the game that make Inquisition work – its understanding that a party in Orlais, where the Great Game is played for the highest stakes, should be just as dangerous as anything that happens in a dungeon. After two games of controlling a ragtag bunch of misfits, it’s also interesting to be in a position of genuine power for once.”
Destructoid’s Chris Carter and Joystiq’s Alexander Sliwinski are similarly impressed, offering scores of 8.8/10 and 5/5, respectively.
Carter praises the RPG tree development of the characters as well as their dialogues, noting that “nothing feels tacked on” in a system which offers some of Origins’ depth, tempered by the streamlining in evidence in the sequel. Overall, he says, the experience is “less nuanced than Origins,” but offers a similar perspective on a living world, the fate of which increasingly lies in your hands.
Political intrigue and the raw sense of exploration garner praise from Carter, too, who also has good things to report about the game’s multiplayer mode – a section of the game which sees you take control of an entirely separate character.
“Multiplayer is the cherry on top, because nothing in the campaign feels like it was compromised for its addition”
Chris Carter, Destructoid.
“Multiplayer is the cherry on top, because nothing in the campaign feels like it was compromised for its addition. In essence, it’s a modified horde mode that operates similar to Uncharted 3′s co-op sections. Four players will be able to select from a host of classes, each with their own skills and abilities, and play through a miniature dungeon together.
“It has that horde feel in terms of fighting wave after wave of enemies, but each stage is an adventure complete with multiple paths, loot to gather, and special doors that can only be opened by certain classes. In that sense, it’s not your typical boring ‘kill kill kill’ mode.”
Sliwinski’s assessment also acknowledges the scope and detail achieved here, as well as the palatable way in which the development team is able to introduce such vast levels of information to the player.
“Inquisition’s immensely helpful in-game codex can introduce or refresh players to some of the characters and socio-political rules of the world,” he writes. “With very few exceptions, long-standing characters are properly reintroduced. There isn’t a ‘previously on Dragon Age…’ within the game, though curious players can cover those gaps with the helpful interactive recap at DragonAgeKeep.com.”
Joystiq’s reviewer also appreciates the switch of pace afforded by the inclusion of Orlais as a destination, a place where court politics partially replace the hew and bellow of the battlefield.
“With the inclusion of The Orlesian Empire, Inquisition delves deep into ‘the game,’ which is how those born into or educated in Orlais refer to the machinations of social politics. Orlais had previously been referenced in the Dragon Age series, but now we get to see this twist on 18th century French court intrigue in all its grandeur. Inquisition explores Thedas’ class and racial politics through a variety of missions and interactions with the game’s companions, who have rich ideological diversity.”
In summarising, Sliwinski makes the key point that so many Bioware fans have been waiting to hear since the Drs Zeschuk and Muzyka departed the company they founded: has Bioware maintained its aims, its ambitions and its quality?
“Dragon Age: Inquisition is BioWare’s reaffirmation of what it’s capable of delivering,” reassures Sliwinski. “It’s a gorgeous game on an epic scale. Rich in character and story, it creates a fantasy world with plausible social rules you can get lost in. It makes you feel that you aren’t just exploring a new world, but helping shape it at various levels of society. Inquisition sets the bar for what a blockbuster RPG should be.”
Sources are telling us that we should expect new skateboarding titles from both Electronic Arts and Activision in 2015. Word is that Activision is preparing a new Tony Hawk title and Electronic Arts will be bring out a new Skate title as well.
While Activision and Electronic Arts have not made the announcements yet, our sources tell us that we should expect both titles to be announced in the near future for a likely late 2015 release. It is unknown who might be handling the development on both titles, but word is that both titles are already deep in development.
With the release of a new Tony Hawk and Skate titles, it will revive the Skateboarding segment that has been dormant for quite some time. EA has not produced a new title in the Skate franchise since Skate 3 and the late couple of Tony Hawk titles didn’t do so well, but the re-issue of original Pro Skater for the Xbox 360 and PlayStation 3 with DLC made up of levels from 2 & 3 have shown that interest does still exist for this segment.
Our hope is that it will be less like what we saw with the SSX revival that EA tried and then realized that it was not really want the people wanted and more like a new next-generation skateboarding title that puts the fun back into skating. We will have to wait and see.
While Grand Theft Auto may remain the industry’s true juggernaut, pretty much the only single franchise whose launch is capable of spiking software sales figures for an entire year and pushing all rivals out of the field in the process, Call of Duty has become the industry’s banner carrier in a different way. GTA’s extraordinary launches are such enormous events precisely because Rockstar wisely chose to avoid the annual update treadmill with the game; Call of Duty, meanwhile, has managed to continue a steady streak of enormous launches despite the punishing requirements of such a schedule.
It’s hard to overstate just how important this difference in approach is to a game franchise. GTA’s main instalments are all developed by the same studio, Rockstar North, meaning that each subsequent game begins its lengthy gestation after the launch of the previous title. The result is that the ball is rarely if ever dropped in terms of quality; no untested team gets to mess things up in an “off-year”. Each new GTA game follows a clear evolutionary path from the previous game, as the studio learns and develops its approach; a major advantage over the “three steps forward, two steps back” games that result from an annual update cycle with different teams working on different schedules. Finally, GTA’s spaced out launches give each one the sense of being a genuinely enormous event, and the games continue to sell at a solid price point for many months after launch, a feat which is otherwise only achieved in this industry by Nintendo’s key titles.
“The sheer scale of GTA’s success has made it into an unbalancing factor in the publisher’s figures”
Again, this contrasts with the annual update cycle for games like Call of Duty; on a couple of occasions, new CoD games have arguably truncated the sales of their predecessors when they launched. All of these benefits, however, are outweighed by the big problem with such an irregular launch cycle, namely that it plays merry hell with Take Two’s financial performance. The sheer scale of GTA’s success has made it into an unbalancing factor in the publisher’s figures; it means that from the perspective of the markets, everything else Take Two does is relegated to being a “snack between GTAs”. The “snack” quarters in the company’s financials are by no means bad, but they end up being compared, desperately unfairly, to the GTA quarters, and analysts fret endlessly over whether the company is a one-trick pony and how far down the tubes it will go if GTA ever falters. Of course, annual updates also make more money – in the short term, arguably; GTA may be genuinely evergreen due to its slow update cycle, where annually updated games, apart from sports titles, tend inevitably to lose steam). But even if they didn’t, it’s hard to imagine a company like Activision risking a “spiky” set of financial results. Huge companies don’t just want to make more money; they want to make more money in a predictable way, with a nice growth curve and no nasty dips that make shareholders lose confidence.
Thus we end up with the situation now facing the Call of Duty franchise. We’re a long day from the heady days of Infinity Ward’s groundbreaking CoD 4: Modern Warfare. As of this year, there are now three separate studios working on the franchise, with the instalment that launched this week, Call of Duty: Advanced Warfare (“CODAW”, which is fun to say but not remotely as fun as “CODBLOPS” was a few years back) being the first full game in the franchise from Sledgehammer. This is one interesting approach to keeping the quality of the games high in spite of the annual treadmill; the other key approach being employed by Activision is to throw money at the franchise like confetti at a particularly exuberant wedding, with CODAW’s most eye-opening use of cash being the suitcases full of it which were presumably delivered to Kevin Spacey’s door in order to persuade him to dress up in a motion capture gimp suit and deliver a villainous performance that’s at times delightfully Frank Underwood but all too often disappointingly Lex Luthor.
Keeping the quality bar high is an extraordinarily important task for Activision – be it through giving studios the time they need to genuinely polish their franchise instalments, or hiring famous faces to do their best with the games’ B-movie scripts (seriously, CODAW’s singleplayer campaign was apparently written by a 15 year old off his tits on Mountain Dew and Doritos who had just watched Michael Bay’s Transformers movies back-to-back and emerged with the sole complaint that “there weren’t enough explosions”). Last year’s CoD: Ghosts was judged both critically and commercially as a slip for the series, which may be partially responsible for the lower pre-orders for this year’s instalment which have been tracked by many analysts.
This year’s game has had great critical response thus far, so it represents an important test – given that the quality bar has arguably been returned to a solid level (it’s all subjective, of course, but the overall tenor of the coverage is positive), will sales also get back to an even keel? Or was CoD Ghosts’ weak commercial showing the start of a slide for the series which can only be reversed by a truly radical reinvention? Consumer fatigue, after all, is absolutely a real thing. It’s even tougher for games that for movies; the Marvel Cinematic Universe movies could probably continue for many years to come, since they only ask consumers for a couple of hours of time every few months. CoD players invest dozens upon dozens of hours in each game (in some cases, hundreds), which makes it much more likely that they’ll burn out; that at some point, they’ll reach an annual update that’s just a step too far for them. The best defence against this is keeping the franchise fresh, consistently reinvigorated with new ideas, and of course, keeping the quality bar high; but even that may not halt the slow decline
This year could go either way for COD. Pre-orders are definitely down on the previous year, which does not bode well, but that doesn’t take into account digital pre-orders – and it’s worth noting that on the new-gen consoles there appears to be a very strong trend towards digital pre-orders and first week digital purchases. Activision claims that purchase intent is tracking high, although that’s Schrödinger’s Statistic to a large extent – you don’t know for sure if it’s remotely accurate or not until you open the box with the sales figures inside.
Still, all in all there are some reasons to be There are also reasons to be cautiously pessimistic. One of the biggest problems facing COD this year is, oddly, one of Activision’s own successes – Destiny, which has attracted and continues to enthral a very large number of the core FPS fans who might otherwise be expected to devote themselves to CODAW. It seems plausible that the long gap between Destiny’s launch and the appearance of the first content pack, The Dark Below, is at least partially in order to give players a lull in which investing in COD will seem appealing; it will be interesting to see if that actually works.
The single biggest challenge, however, lies within COD itself. It’s a remarkably successful game and will continue to sell well for years to come, but if this year’s numbers can’t match last year’s (even in spite of much more positive critical reception and consumer word-of-mouth), it will be taken as clear evidence that a peak has been passed. Consumer fatigue, high competition and perhaps a lingering sense of being burned by Ghosts are all potentially damaging factors for the franchise this year; should they conspire to push sales down even by a few percentage points year-on-year, tough questions will have to be asked about the future of Activision’s annual cash- Indeed, in that instance, one might ask some tough questions about Activision itself.
It’s odd, perhaps, to question a company’s prospects when it has just announced record financials, but it’s entirely possible that this is a peak for the publisher. World of Warcraft is far from its peak figures, in spite of occasional bumps when expansions are launched, and Blizzard’s putative replacement, Titan, has been cancelled. Destiny has yet to prove itself as a franchise despite an amazing launch, and as I indicated last year, I’m not sure that Activision and the game’s fanbase see eye-to-eye on how it’s going to develop over the coming years. If Call of Duty also shows itself to be coming off the boil, then only Hearthstone will remain as a truly unblemished bright spot in Activision’s line-up. The markets will, no doubt, have noticed this already; Call of Duty Advanced Warfare’s performance is going to be subjected to intense scrutiny over the coming weeks and months, as analysts and investors attempt to divine Activision’s future from this crucial data point.
The internet has just received the first surge of what will be a raging tide of Call of Duty: Advanced Warfare reviews, but several key outlets will be lagging behind the others.
As is tradition by now, Activision chose to restrict press access to a fleet of new generation consoles set up in hotel rooms around the world. This has happened with pretty much every major Call of Duty release since Modern Warfare 2, but it’s only in the last year or two that disclaimers have become a common feature of the subsequent reviews. Polygon went to a review event, for example, but it paid for its writer’s accommodation. Kotaku makes no mention of any event despite having played through the entire campaign (presumably in an Xbox One bedecked hotel room), but it is nevertheless holding off publishing a scored review until it has the opportunity to play the game’s multiplayer in a live setting – “the way it was intended.”
Eurogamer took a third route, attending the review event on Activision’s dime but relaxing its critical trigger-finger until Advanced Warfare was released to the public and its true online mettle could be tested. Which is the right approach? Should a review prioritise accuracy or punctuality? No one person can provide a sensible answer to that question, but it seems that the task of the video game critic becomes thornier and more thankless with every AAA release.
One thing is roundly agreed upon, though: Call of Duty: Advanced Warfare is definitely better than Call of Duty: Ghosts, and most outlets believe that it’s an improvement on Black Ops II. Indeed, even though Eurogamer’s full review won’t be published until later this week, it was enthusiastic enough to publish a score-free recommendation of what it did have a chance to play in the meantime.
Advanced Warfare, the first full COD title from Sledgehammer Games, is, “the biggest shift for the series since the original Modern Warfare, and…easily the best entry since Modern Warfare’s ceasefire.” Here, Eurogamer argues, the series shrugs off the weighty, pained influence of films like Black Hawk Down and turns instead to science fiction romps like Star Wars and Halo, all exotic cityscapes, flying vehicles and elaborate weaponry – “Advanced Warfare impresses you with just how much fun war can be.”
Polygon is with Eurogamer in spirit, but it’s appraisal – based on a private playthrough of the campaign and closed multiplayer sessions hosted by Activision – has a 9.0 waiting at the end. This is exactly the sort of score that Activision and Sledgehammer have been working towards, and Polygon leaves little room for doubt that, this time out, Call of Duty has really earned whatever accolades it receives.
Key to it all are various “Exosuits,” which imbue the player with a range of abilities that the (more or less) contemporary and (in a manner of speaking) historical settings of previous Call of Duty games didn’t allow. For the most part, that means double-jump and boost mechanics, though there are different contextual uses for the suits throughout the game’s campaign.
“All of this makes moment-to-moment navigation much more interesting in Advanced Warfare than previous entries in the series or its imitators have managed,” Polygon’s review states. “The exo conceit also allows Sledgehammer to vary up the single-player campaign’s format and ideas in some exciting new ways.
“In fact, speaking strictly from level and encounter design and mission variety, Advanced Warfare is the best campaign the series has seen since Infinity Ward re-imagined the franchise with Modern Warfare in 2007. There’s no muddy objectives to get stuck on, and at least on my playthrough on the “hardened” difficulty setting, there were very few cheap-feeling death loops to get stuck in. It balances fairness with enough challenge and sophistication to make success feel worth it, and I never felt like any one part overstayed its welcome.”
Joystiq – which has yet another distinct mix of review conditions to consider – is similarly impressed with the way Advanced Warfare enlivens the core mechanics of the Call of Duty series with its new bag of tricks, awarding the game a commendable four-stars. However, there is also the lingering sense that Sledgehammer didn’t go far enough, assembling a clutch of innovative and empowering ideas but leaving most of them to bit-parts, cameos and walk-ons.
“On the one hand, you have the multi-function tactical grenade, which can either down drones with an EMP blast, stun enemies in a burst of light or paint targets through walls,” Joystiq states. “Selecting the right option is a rewarding decision, and not always easy to do quickly under fire. It’s a meaningful part of your arsenal.
“Less dependable are abilities like cloaking or a sonic pulse that disorients nearby enemies, which only appear for some missions. More exotic still are things like the grappling hook, a thrilling device that is first used in an awkward stealth mission. There’s a brilliant urban level later where these futuristic devices open the game up: You grapple between terraces and a central train track, yank enemies out of their power suits and launch yourself into massive, emplaced turrets to tear things up. It’s exciting, dynamic and as bombastic as any Call of Duty.
“It’s a shame these mechanisms come across as guest stars, because their use feels so fitting with Advanced Warfare’s unabashed science fiction shooting gallery… It just doesn’t have the power to break through the expectations of the brand, often coming across as an expertly played round of Call of Duty Mad Libs.”
This speaks to the concerns voiced by US Gamer, Advanced Warfare’s harshest critic at present with a score of 7 out of 10. There are inventive touches here, the sort that Call of Duty’s last few iterations have lacked, but this is innovation only in context. Advanced Warfare feels original in comparison to the series’ previous entries, but Sledgehammer is only reinventing the bubble in which these games exist. US Gamer acknowledges the delight that will bring to, “those who view gaming through the prism of Call of Duty and little else,” but the creative compromises made in the name of protecting the brand are all too clear.
“In a setting rife with possibilities, Advanced Warfare proves surprisingly short on imagination… In terms of design, there’s little to separate Advanced Warfare’s campaign from previous games in the series; and indeed, it frequently recycles tropes from previous games.
“After all these years of playing Call of Duty, the tweaks in Advanced Warfare just don’t do enough to mix up the formula, which is quietly becoming stale … There was a time not so long ago when ‘No Russian’ was on everyone’s lips, and Call of Duty was lauded for its daring and ambition in bringing RPG elements to multiplayer-a controversial choice back in 2007, when conventional wisdom ruled that XP would dramatically unbalance the action in favour of experienced players.
“There is a danger, however, in striving only to keep your core fans happy. Too often, it is easy for development teams to get lost in the echo chamber created by their game’s most vocal fans, which has the effect of encouraging them to prioritise balance changes over more ambitious endeavours. That is what I feel has happened with Call of Duty: Advanced Warfare, which tries very hard to capture the essence and the flavour of the series, and is ultimately a little too successful.”
By almost any measure you care to apply, Bungie’s Destiny is a phenomenally successful game. It had one of the strongest launches of any game in history, sold many millions of units and many hundreds of thousands of new-gen consoles and, despite a mixed critical reaction, has inspired immense devotion from a huge audience of fans, with millions logging in each day to play the game. Criticisms of Destiny do abound, and many are very reasonable; the game is particularly weak as an MMO, with a paper-thin world and forgettable characters, not to mention a paucity of content at the high end which has led to deep disappointment for some players who expected something more like the holy grail of a marriage between the best aspects of World of Warcraft and the best aspects of Halo. That’s not what we got in the end; but what we did get is hugely compelling and entertaining, at least for many millions of players, myself included.
There’s just one problem. Destiny isn’t just a standalone game, like Halo was; this is a game which is designed from the outset to have a long tail, many months if not years of continuing evolution in its world and continuing progress for players’ characters. In that much, it is structured like an MMO, yet its business model is very different to WoW; there is no monthly subscription to keep the servers switched on and the content teams at work. Activision and Bungie need a different revenue stream to keep Destiny going; for that, they have turned to DLC.
The first DLC pack for Destiny will appear in December, costing $19.99 (or, in a fairly blatant bit of gouging, £19.99 for UK customers; over three times the price hike which would be justified by the UK’s sales taxes). Another is planned for early in the new year, with the same price tag. It’s unclear what’s planned after that, but it seems likely that Bungie will continue to make these DLC expansions until the law of diminishing returns renders them untenable, or the studio has to ramp up on its next full-release title (Destiny 2, or whatever it may be).
“Subscriptions generally get paid automatically every month and the player has to make a decision to terminate them; Destiny’s DLC, by contrast, requires the player to make a decision every two months or so to stay on the treadmill”
In a very basic sense, this pricing isn’t dissimilar to other MMOs. My most recent MMO addiction was Final Fantasy XIV: A Realm Reborn, which costs about $10 a month to play; roughly every two months, the team releases a new content update for the game which generally adds some new dungeons to play through, a few new quest chains to complete and so on. In theory, one could simply say “you’re no longer paying $10 a month for access to the game, instead you’re paying $20 every two months for the content patches”, and nothing ought to change; the same money for the same service.
I suspect that some logic of that description has been applied in pricing discussions at Activision and Bungie. Destiny may fail (somewhat miserably) as an MMO title right now, but it’s been designed from the outset as something along those lines. That’s not a surprise; Activision’s experience with the vast cash-generating prowess of World of Warcraft, along with its annual Call of Duty cash cows, has meant that an FPS game that can deliver WoW-like subscription revenue has been the dream for the publisher for a long time. Attempts to turn Call of Duty into a subscription service collapsed, so Destiny is the next real attempt to make this work; albeit with a business model that looks superficially different.
In truth, though, this is more than a superficial difference. $20 every two months for DLC may look the same in an accountant’s spreadsheet to $10 every month for a subscription, but the difference to a customer is immense. Candidly, if Square Enix turned around to me every two months and said “here’s what’s in the next FFXIV patch, will you pay $20 for it?”, I’d probably say no. The patches are great, with lots of interesting new stuff to do, but forced to consider whether they were worth $20, I would look around at all the other things I could buy for $20 and quickly decide it was better spent elsewhere. By contrast, with the subscription model, I feel like I’m paying for access to the game, and when the patches arrive loaded with content, I actually feel good about the game because there’s a sense (as illogical as it may be!) that the developers have just given us more “free” content.
Contrast that with the backlash Activision and Bungie have received this week in the wake of revealing details of the first Destiny DLC. Xbox One players, who will only be able to play one of the two new Strike dungeons but will have to pay the same amount of money for the DLC, are feeling particularly hard done by, but even PS4 players are finding the value proposition hard to stomach. The new DLC will add one or two more Strikes (short three-man dungeons), a new Raid (a lengthy six-man dungeon, although the requirement for a six-man team of your friends to enter these dungeons means they’re effectively locked away from many more casual players) and some more missions and equipment; it’s not a bad amount of content, but it’s very hard to come up with any acceptable bill of goods with that content above the line and “twenty bucks” written underneath the line.
Moreover, since this is DLC and not a subscription, players are going to have to make this decision every single time a new DLC pack comes out. Subscriptions generally get paid automatically every month and the player has to make a decision to terminate them; Destiny’s DLC, by contrast, requires the player to make a decision every two months or so to stay on the treadmill. “Yes, I still play and love this game enough to fork out again”; there’s a certain honesty to asking your players that question every couple of months, but it’s fairly clear that it will result in a very rapid drop-off in returns from each subsequent DLC pack.
“If Destiny is to have a long enough tail to truly be a new ‘pillar’ for Activision’s business, it may need some serious surgery on its business plan”
I do understand how Activision ended up in this situation. Launching a game with a subscription model is a risky proposition; it can put people off trying out the game in the first place, for one thing. Destiny would never have achieved those opening weekend sales if people were expected to pay a subscription fee. It would also have created very different expectations of the game, whose MMO components, end-game content and storytelling would need to be vastly, vastly more compelling in order to justify a monthly fee. Arguably the only way to really push Destiny as a subscription business would have been to change the game significantly (not the excellent shooting, but the weak metagame) and launch it as a free or damn-near free game, achieving huge initial uptake and hoping to convert as much of those early players as possible into subscribers. It would have been risky.
It might have been a risk worth taking. Keen to avoid that, Activision looked at other business models. Free-to-play was probably the wrong fit for this kind of game (you could make it work, and I wonder if the preponderance of cosmetic items serving no gameplay purpose suggests that F2P was considered at some point in development, but the game’s audience is pretty much as core-gamer as it gets and F2P would have been an extraordinary risk). Thus, the DLC model was arrived at; but I can’t help the feeling that in avoiding the risk of other models, Activision has chosen the worst of all worlds, a business model that practically demands overpriced content packs and guarantees a rapid drop-off in DLC sales due to the doomed strategy of demanding that customers make a proactive choice to pay every few months.
I could be mistaken; perhaps Activision and Bungie never planned to have more than a handful of content updates for Destiny, and won’t be unhappy at all if customer numbers drop off rapidly with each subsequent DLC pack; perhaps there was never any intention to keep releasing DLC packs after the middle of next year, with the intention of ramping up on Destiny 2 at that point instead. I hope that isn’t the case, though, because that would feel very much like a fatal error for the burgeoning franchise. Many players are currently very forgiving of the flaws in Destiny’s weak MMO content, its metagame and its poorly fleshed out storytelling and world-building, simply because they are used to the idea that MMOs are flawed at launch and gradually build themselves into something much more in-depth and interesting.
If it transpires that Activision’s actual plan for Destiny is to launch a handful of new dungeons and missions, filling in few if any of these gaps, and then move on to a brand new game in the franchise, it’s going to do something no new franchise can afford to do; it’s going to deeply disappoint and anger the people who are presently its most enthusiastic evangelists. Yet looking at the business model, I’m not sure I can see this panning out any differently, even if Activision and Bungie presently harbour a more optimistic plan. If Destiny is to have a long enough tail to truly be a new “pillar” for Activision’s business, it may need some serious surgery on its business plan.
After releasing a string of AAA console titles to varying levels of commercial success, the UK-based studio is attempting to establish what it describes as a “third way” of making games – one that falls somewhere between what we have traditionally called AAA and Indie. Smaller scale, lower cost, with no sacrifices made in terms of creative risks and quality of execution.
“We’re taking our work on Hellblade as an opportunity to question the way the games industry has always done things,” said product development manager Dominic Matthews in a recent developer diary. “To see if there’s a better way, a more streamlined way. To create amazing quality on a smaller budget.”
As a result, Hellblade has a core team of 12 people, with a single person working in the majority of discipline areas. Ninja Theory is committed to finding affordable or homebrew alternatives to the high-end processes associated with its previous games – the performance capture used in Enslaved: Odyssey to the West, for example – but its sales target will remain eminently achievable: between 200,000 and 300,000 units.
“[Hellblade] is about what we feel passionate about, what we’re good at, and what we think our fans and supporters want from a game,” said Tameem Antoniades, Ninja Theory’s co-founder. “But it comes at a price. We have to self-fund this game, and we have to work within the restrictions that that means for us.”
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.
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.
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.
Finally, Ubisoft has a release date for the Wii U version of Watch Dogs. While we don’t know if that many people are waiting for the Wii U version, when it does release it could very well end up being one of the last M rated titles for the Wii U console.
The release date for the Wii U version of Watch Dogs appears to be November 18th in North America and November 21st in Europe. This ends the original release delay that Ubisoft announced for the Wii U version as resources were moved to prepare the other versions of the game for release.
Ubisoft has been one of the strongest supports of software for the Wii U, but recently it announced that it was done producing titles like Assassins Creed and Watch Dogs for the Wii U because the sales of these M rated titles are just not there on the Wii U platform. It did indicate that it would focus on some of its other Wii U titles that continue to be popular on the console.
The news is good that they are getting Watch Dogs, but it looks like we will not see many more games like this on the Wii U.
You can’t accuse eSports League CEO Ralf Reichert of always telling people what they want to hear. At last month’s FanExpo Canada in Toronto, Ontario, just a few blocks away from the Hockey Hall of Fame, Reichert told GamesIndustry.biz that he saw competitive gaming overtaking the local pastime.
“Our honest belief is it’s going to be a top 5 sport in the world,” Reichert said. “If you compare it to the NHL, to ice hockey, that’s not a first row sport, but a very good second-row sport. [eSports] should be ahead of that… It’s already huge, it’s already comparable to these traditional sports. Not the Super Bowl, but the NHL [Stanley Cup Finals].”
Each game of this year’s Stanley Cup Finals averaged 5 million viewers on NBC and the NBC Sports Network. The finals of the ESL Intel Extreme Masters’ eighth season, held in March in Katowice, Poland, drew 1 million peak concurrent viewers, and 10 million unique viewers over the course of the weekend. That’s comparing the US audience for hockey to a global audience for the IEM series, but Reichert said the events are getting larger all the time.
As for how eSports have grown in recent years, the executive characterized it as a mostly organic process, and one that sometimes happens in spite of the major players. One mistake he’s seen eSports promoters make time and again is trying to be too far ahead of the curve.
“There have been numerous attempts to do celebrity leagues as a way to grow eSports, to make it more accessible,” Reichert said. “And rather than focusing on the core of eSports, the Starcrafts and League of Legends of the world, people tried to use easy games, put celebrities on it, and make a classic TV format out of it.”
One such effort, DirecTV’s Championship Gaming Series, held an “inaugural draft” at the Playboy Mansion in Beverly Hills and featured traditional eSports staples like Counter-Strike: Source alongside arguably more accessible fare like Dead or Alive 4, FIFA 07, and Project Gotham Racing 3.
“They put in tens of millions of dollars in trying to build up a simplified eSports league, and it was just doomed because they tried to simplify it rather than embrace the beauty of the apparent complexity.”
Complexity is what gives established sports their longevity, Reichert said. And while he dismisses the idea that eSports are any more complex than American football or baseball, he also acknowledged there is a learning curve involved, and it’s steep enough that ESL isn’t worrying about bringing new people on board.
“It’s tough for generations who didn’t grow up with gaming to get what Starcraft is,” Reichert said. “They need to spend 2-10 hours with it, in terms of watching it, getting it explained, and getting educated around it, or else they still might have that opinion. Our focus is more to have the generations who grew up with it as true fans, rather than trying to educate people who are outside of this conglomerate… There have been numerous attempts to make European soccer easier to approach, or American football, or baseball, but they all kill the soul of the actual sport. Every attempt to do that is just doomed.”
Authenticity is what keeps the core of the audience engaged, Reichert said. And even though there will always be purists who fuss over every change–Reichert said changing competitive maps in Starcraft could spark a debate like instant replay in baseball–being true to the core of the original sport has been key for snowboarding, mixed martial arts, and every other successful upstart sport of the last 15 years.
“Like with every new sport, the biggest obstacle has been people not believing in it,” Reichert said. “And it goes across media, sponsorships, game developers, press, everyone. The acceptance of eSports was a hard fought battle over a long, long time, and there’s a tipping point where it goes beyond people looking at it like ‘what the hell is this?’ And to reach that point was the big battle for eSports… The thing is, once we started to fill these stadiums, everyone looking at the space instantly gets it. Games, stadiums, this is a sport. It’s such a simple messaging that no one denies it anymore who knows about the facts.”
That’s not to say everybody is convinced. ESPN president John Skipper recently dismissed eSports as “not a sport,” even though his network streamed coverage of Valve’s signature Dota 2 tournament earlier this year. Reichert admitted that mainstream institutions seem to be lagging behind when it comes to acceptance, particularly with sponsors. While companies within the game industry are sold on eSports, non-endemic advertisers are only beginning to get it.
“The very, let’s say progressive ones, like Red Bull, are already involved,” Reichert said. “But to get it into the T-Mobiles and other companies as a strategy piece, that will still take some time. The market in terms of the size and quality of events is still ahead of the sponsorship, but that’s very typical.”
Toronto was the second stop for ESL’s IEM Season 9 after launching in Shenzhen July 16. The league is placing an international emphasis on this year’s competition, with additional stops planned in the US, Europe, and Southeast Asia.