Sony Corp Chief Executive Kazuo Hirai said he does not expect the November cyber attack on the company’s film studio to have a significant financial impact, two weeks after the studio finally released the movie that spurred the attack.
The studio, Sony Pictures Entertainment, said separately that the film, “The Interview,” has generated revenue of $36 million.
Hirai told reporters at the Consumer Electronics Show in Las Vegas that he had signed off on all major decisions by the company in response to the attack, which the U.S. government has blamed on North Korea.
Sony’s network was crippled by hackers as the company prepared to release “The Interview,” a comedy about a fictional plot to assassinate North Korean leader Kim Jong Un. The attack was followed by online leaks of unreleased movies and emails that caused embarrassment to executives.
“We are still reviewing the effects of the cyber attack,” Hirai told reporters. “However, I do not see it as something that will cause a material upheaval on Sony Pictures business operations, basically, in terms of results for the current fiscal year.”
Sony Pictures said “The Interview,” which cost $44 million to make, has brought in $31 million in online, cable and satellite sales and was downloaded 4.3 million times between Dec. 24 and Jan. 4.
It has earned another $5 million at 580 independent theaters showing the movie in North America.
It is still unclear if Sony Pictures will recoup the costs of the film, starring Seth Rogen and James Franco, including an estimated $30 million to $40 million marketing bill.
On Monday, Hirai praised employees and partners of the Hollywood movie studio for standing up to “extortionist efforts” of hackers, his first public comments on the attack launched on Nov 21.
While the Sony PlayStation 4 has been selling very well, it seems that Christmas was not really its season.
Sony said that the PlayStation 4 has sold more than 18.5 million units since the new generation of consoles launched. While that is good and makes the PS4 the fastest selling PlayStation to date, there was no peaking at Christmas.
You would think that the PS4 would sell well at Christmas as parents were forced to do grevious bodily harm to their credit cards to shut their spoilt spawn up during the school holidays. But apparently not.
Apparently, the weapon of choice against precious snowflakes being bored was an Xbox One which saw a Christmas spike in sales.
Sony said that its new numbers are pretty much on target, it sold the expected 2 million sales per month rate.
Redmond will be happy with that result even if it still has a long way to go before it matches the PlayStation 4 on sales.
While we can’t get a real handle on when Microsoft might reveal the VR headset that they have had in development, we have learned from our sources that it is well into development and some selected developers already have developmental prototypes.
It is hard to say when Microsoft might actually reveal the new VR headset and technology, but it would seem that GDC or E3 would be the likely events to see it introduced. We do know that Microsoft is targeting 2015 to move the VR headset into mass production and it is thought that we will see versions for both the Xbox One and PC. Though we expect the PC version to come a little after the Xbox One version.
Rumor has it that the same development team that worked on the Surface tablet are the team that has taken on this project as well.
Sony Computer Entertainment America will offer 10% off PlayStation Store purchases including games, TV shows and movies as a gesture of thanks for users’ patience following an outage of several days caused by denial-of-service (DDoS) attacks.
In addition, PlayStation Plus members who had an active membership or free trial on Dec. 25 will receive a membership extension of five days, Eric Lempel of Sony Network Entertainment wrote in a blog post.
Judging from the comments to the post, many PlayStation Network (PSN) users were happy about the offer, but not all of them.
“What I would like, more than anything else, is an explanation from Sony about how and why this will never happen again,” wrote one user. “Use the money to strengthen and diversify the network infrastructure so these types of attacks become harder to make and easier to recover from.”
In another blog post, Sony had attributed the outages to an attack creating “artificially high levels of traffic designed to disrupt connectivity and online gameplay.”
The DDoS attacks, which also took down Microsoft’s Xbox Live game network, were apparently launched by hacker group Lizard Squad, which later took aim at anonymous network Tor.
Lizard Squad, which claimed responsibility for the outage, on Friday tweeted, “To clarify, we are no longer attacking PSN or Xbox. We are testing our new Tor 0day.”
While at least one site that maps the Tor network showed numerous routers with the name “LizardNSA,” the extent of any attack was unclear.
Tor directs user traffic through thousands of relays to ensure anonymity. In a Dec. 19 blog post, Tor managers warned of a possible attack, saying, “There may be an attempt to incapacitate our network in the next few days through the seizure of specialized servers in the network called directory authorities.”
Sony engineers, meanwhile, continued to struggle to get PSN back online Friday following the suspected denial-of-service (DDoS) attacks on Thursday.
Sony’s Twitter account for PSN asked frustrated gamers to be patient as staff worked to get the service back up and running, saying it did not know when PSN would be back online.
“We are aware that some users are experiencing difficulty logging into the PSN,” Sony said on its PlayStation support page, where the network was listed as offline.
In a Twitter post showing a chat with the alleged hackers, MegaUpload founder Kim Dotcom suggested he had convinced Lizard Squad to stop the attacks in return for lifetime memberships on his file-transfer site Mega.
Lizard Squad had taken credit for an apparent attack against PSN earlier this month, as well as an attack in August. The incident came at the same time that a U.S. flight carrying Sony Online Entertainment President John Smedley was diverted for security reasons.
For independent developers, the last decade has been an endless procession of migratory possibilities. The physical world was defined by compromise, dependence and strategically closed doors, but the rise of digital afforded freedom and flexibility in every direction. New platforms, new business models, new methods of distribution and communication; so many fresh options appeared in such a brief window of time that knowing where and when to place your bet was almost as important as having the best product. For a few years, right around 2008, there was promise almost everywhere you looked.
That has changed. No matter how pregnant with potential they once seemed, virtually every marketplace has proved unable to support the spiralling number of new releases. If the digital world is one with infinite shelf-space for games, it has offered no easy solutions on how to make them visible. Facebook, Android, iOS, Xbox Live Arcade, the PlayStation Network; all have proved to be less democratic than they first appeared, their inevitable flaws exposed as the weight of choice became heavier and heavier. As Spil Games’ Eric Goossens explained to me at the very start of 2014: “It just doesn’t pay the bills any more.”
Of course, Goossens was talking specifically about indie development of casual games. And at that point, with 2013 only just receding from view, I would probably have named one exception to the trend, one place where the balance between volume and visibility gave indies the chance to do unique and personal work and still make a decent living. That place would have been Steam, and if I was correct in my assessment for even one second, it wasn’t too long before the harsher reality became clear.
After less than five months of 2014 had passed, Valve’s platform had already added more new games than in the whole of the previous year. Initiatives like Greenlight and Early Access were designed to make Steam a more open and accessible platform, but they were so effective that some of what made it such a positive force for indies was lost in the process. Steam’s culture of deep-discounting has become more pervasive and intense in the face of this chronic overcrowding, stirring up impassioned debate over what some believe will be profound long-term effects for the perceived value of PC games. Every discussion needs balance, but in this case the back-and-forth seemed purely academic: for a lot of developers steep discounts are simply a matter of survival, and precious few could even entertain the notion of focusing on the greater good instead.
And the indie pinch was felt beyond Steam’s deliberately weakened walls. Kickstarter may be a relatively new phenomenon – even for the hyper-evolving landscape of the games industry – but it faced similar problems in 2014, blighted by the twin spectres of too much content and not enough money to go around. Anecdotally, the notion that something had changed was lurking in the back ground at the very start of the year, with several notable figures struggling to find enough backers within the crowd. The latter months of 2014 threw up a few more examples, but they also brought something close to hard evidence that ‘peak Kickstarter’ may already be behind us – fewer successful projects, lower funding targets, and less money flowing through the system in general. None of which was helped by a handful of disappointing failures, each one a blow for the public’s already flagging interest in crowdfunding. Yet another promising road for indies had become more treacherous and uncertain.
So are indies heading towards a “mass extinction event”? Overcrowding is certainly a key aspect of the overall picture, but the act of making and releasing a game is only getting easier, and the allure of development as a career choice seems to grow with each passing month. It stands to reason that there will continue to be a huge number of games jostling for position on every single platform – more than even a growing market can sustain – but there’s only so much to be gained from griping about the few remaining gatekeepers. If the days when simply being on Steam or Kickstarter made a commercial difference are gone, and if existing discovery tools still lack the nuance to deal with all of that choice, then it just shifts the focus back to where it really belongs: talent, originality, and a product worth an investment of time and money.
At GDC Europe this summer, I was involved in a private meeting with a group of Dutch independent game developers, all sharing knowledge and perspective on how to find success. We finished that hour agreeing on much the same thing. There are few guarantees in this or any other business, but the conditions have also never been more appropriate for personality and individuality to be the smartest commercial strategy. The world has a preponderance of puzzle-platformers, but there’s only one Monument Valley. We’re drowning in games about combat, but This War of Mine took a small step to the left and was greeted with every kind of success. Hell, Lucas Pope made an entire game about working as a border control officer and walked away with not just a hit, but a mantelpiece teeming with the highest honours.
No matter how crowded the market has become, strong ideas executed with care are still able to rise above the clamour, no huge marketing spend required. As long as that’s still possible, indies have all of the control they need.
Detractors of free-to-play have been having a good few weeks, on the surface at least. There’s been a steady drip-feed of articles and statements implying that premium-priced games are gaining ground on mobile and tablet devices, with parents in particular increasingly wary of F2P game mechanics; a suggestion from SuperData CEO Joost van Dreunen that the F2P audience has reached its limits; and, to top it off, a move by Apple to replace the word “Free” with a button labelled “Get” in the App Store, a response to EU criticism of the word Free being applied to games with in-app purchases.
Taken individually, each of these things may well be true. Premium-priced games may indeed be doing better on mobile devices than before; parents may indeed be demonstrating a more advanced understanding of the costs of “free” games, and reacting negatively to them. Van Dreunen’s assertion that the audience for F2P has plateaued may well be correct, in some sense; and of course, the EU’s action and Apple’s reaction is unquestionable. Yet to collect these together, as some have attempted, and present them as evidence of a turning tide in the “battle” between premium and free games, is little more than twisting the facts to suit a narrative in which you desperately want to believe.
Here’s another much-reported incident which upsets the apple cart; the launch of an add-on level pack for ustwo’s beautiful, critically acclaimed and much-loved mobile game Monument Valley. The game is a premium title, and its level pack, which added almost as much content as the original game again, cost $2. This charge unleashed a tide of furious one-star reviews slamming the developers for their greed and hubris in daring to charge $2 for a pack of painstakingly crafted levels.
This is a timely and sobering reminder of just how deeply ingrained the “content is free” ethos has become on mobile and tablet and platforms. To remind you; Monument Valley was a premium game. The furious consumers who viewed charging for additional content as a heinous act of money-grubbing were people who had already paid money for the game, and thus belong to the minority of mobile app customers willing to pay for stuff up front; yet even within this group the scope of their willingness to countenance paying for content is extremely limited (and their ire at being forced to do so is extraordinary).
Is this right? Are these consumers desperately wrong? It doesn’t matter, to be honest; it’s reality, and every amateur philosopher who fancies himself the Internet’s Immanuel Kant can talk about their theories of “right” pricing and value in comment threads all day long without making a whit of difference to the reality. Mobile consumers (and increasingly, consumers on other platforms) are used to the idea that they get content for free, through fair means or foul. We could argue the piece about whether this is an economic inevitability in an era of almost-zero reproduction and distribution costs, as some commentators believe, but the ultimate outcome is no longer in question. Consumers, the majority of them at least, expect content to be free.
F2P, for all that its practitioners have misjudged and overstepped on many occasions, is a fumbling attempt to answer an absolutely essential question that arises from that reality; if consumers expect content to be free, what will they pay for? The answer, it transpires, is quite a lot of things. Among the customers who wouldn’t pay $2 for a level pack are probably a small but significant number who wouldn’t have blinked an eye at dropping $100 on in-game currency to speed up their ability to access and complete much the same levels, and a much more significant percentage who would certainly have spent roughly that $2 or more on various in-game purchases which didn’t unlock content, per se, but rather smoothed a progression curve that allowed access to that content. Still others might have paid for customisation or for merchandise, digital or physical, confirming their status as a fan of the game.
I’m not saying necessarily that ustwo should have done any of those things; their approach to their game is undoubtedly grounded in an understanding of their market and their customers, and I hope that the expansion was ultimately successful despite all the griping. What I am saying is that this episode shows that the problem F2P seeks to solve is real, and the notion that F2P itself is creating the problem is naive; if games can be distributed for free, of course someone will work out a way to leverage that in order to build audience, and of course consumers will become accustomed to the idea that paying up front is a mugs’ game.
If some audiences are tiring of F2P’s present approach, that doesn’t actually remove the problem; it simply means that we need new solutions, better ways to make money from free games. Talking to developers of applications and games aimed at kids reveals that while there’s a sense that parents are indeed becoming very wary of F2P – both negative media coverage and strong anti-F2P word of mouth among parents seem to be major contributing factors – they have not, as some commentators suggest, responded by wanting to buy premium software. Instead, they want free games without any in-app purchases; they don’t buy premium games and either avoid or complain bitterly about in-app purchases. Is this reasonable? Again, it barely matters; in a business sense, what matters is figuring out how to make money from this audience, not questioning their philosophy of value.
Free has changed everything, yet that’s not to argue with the continued importance of premium software either. I agree with SuperData’s van Dreunen that there’s a growing cleavage between premium and free markets, although I suspect that the audience itself overlaps significantly. I don’t think, however, that purchasers of premium games are buying quite the same thing they once were. Free has changed this as well; the emergence and rapid rise of “free” as the default price point has meant that choosing to pay for software is an action that exists in the context of abundant free alternatives.
On a practical level, those who buy games are paying for content; in reality, though, that’s not why they choose to pay. There are lots of psychological reasons why people buy media (often it’s to do with self-image and self-presentation to peers), and now there’s a new one; by buying a game, I’m consciously choosing to pay for the privilege of not being subjected to free software monetisation techniques. If I pay $5 for a game, a big part of the motivation for that transaction is the knowledge that I’ll get to enjoy it without F2P mechanisms popping up. Thus, even the absence of F2P has changed the market.
This is the paradigm that developers at all levels of the industry need to come to terms with. Charging people for content is an easy model to understand, but it’s a mistaken one; people don’t really buy access to content. People buy all sorts of other things that are wrapped up, psychologically, in a content purchase, but are remarkably resistant to simply buying content itself.
“I think there’s a bright future for charging premium prices for games – even on platforms where Free otherwise dominates, although it will always be niche there”
There’s so much of it out there for free – sure, only some through legitimate means, but again, this barely matters. The act of purchase is a complex net of emotions, from convenience (I could pirate this but buying it is easier) and perceived risk (what if I get caught pirating? What if it’s got a virus?), through to self-identity (I buy this because this is the kind of game people like me play) and broadcast identity (I buy this because I want people to know I play this kind of game), through to peer group membership (I buy this because it’s in my friends’ Steam libraries and I want to fit in) or community loyalty (I buy this because I’m involved with a community around the developer and wish to support it); and yes, avoidance of free-game monetisation strategies is a new arrow in that quiver. Again, actually accessing content is low on the list, if it’s even there at all, because even if that specific content isn’t available for free somewhere (which it probably is), there’s so much other free content out there that anyone could be entertained endlessly without spending a cent.
In this context, I think there’s a bright future for charging premium prices for games – even on platforms where Free otherwise dominates, although it will always be niche there – but to harness this, developers should try to understand what actually motivates people to buy and recognise the disconnect between what the developer sees as value (“this took me ages to make, that’s why it’s got a price tag on it”) and what the consumer actually values – which could be anything from the above list, or a host of other things, but almost certainly won’t be the developer’s sweat and tears.
That might be tough to accept; but like the inexorable rise of free games and the continuing development of better ways to monetise them, it’s a commercial reality that defies amateur philosophising. You may not like the audience’s attitude to the value of content and unwillingness to pay for things you consider to be valuable – but between a developer that accepts reality and finds a way to make money from the audience they actually have, and the developer who instead ploughs ahead complaining bitterly about the lack of the ideal, grateful audience they dream of, I know which is going to be able to pay the bills at the end of the month.
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.
Mozilla is continuing its 10th birthday celebrations with the launch of a virtual reality (VR) website.
MozVR will be a portal to sites compatible with the Oculus Rift VR helmet, accessible by a VR-enabled version of the Firefox browser.
The site is designed to act as a sharing platform for VR web experiences as well as a place where developers can get hold of resources to help create their own.
MozVR has been built to be a “native VR” site and navigating around from site to site is completely immersive, described by the developers as like being teleported from place to place.
All the tools to create VR websites are open source, as you would expect from Mozilla, and have been posted to Github, including the full source code, a collection of tools and a range of tutorials.
Mozilla has contributed its own experience to the site in the form of Talk Chat Show Thing, the world’s first VR talk show, presented from the roof of Mozilla’s offices in San Francisco.
MozVR will also render correctly in VR versions of Chromium, the open source version of Google Chrome, giving Mozilla a significant foothold in a burgeoning early-adopter market.
In March of this year, Facebook purchased Oculus Rift maker Oculus VR, which continues to be run as a separate subsidiary.
The move caused animosity between developers and early adopters who felt that Facebook was an inappropriate home for the cutting edge device which had been originally crowdfunded through Kickstarter.
One of the inherent risks of a story-heavy IP is that if you bugger up one of the instalments, your audience skips it, falling out of touch with the series’ story arc and disconnecting from its universe. Such was the fear for Dragon Age, a world which impressed in its opening act, but fell away sharply with what felt like a rushed and uncertain part 2. In acknowledging the shortcomings of the second game, Bioware went some way towards reassuring the faithful, but it was undeniable that nothing less than a resounding crescendo could re-establish the land of Tevinter as an RPG setting of the same calibre as the Tamriel of the Elder Scrolls or The Witcher’s Temeria.
There aren’t many teams you’d rather leave such a task in the hands of than Bioware’s and, judging from review scores, that trust would be well-placed. With a metacritic ranging from 84 for Xbox One, 88 on PC and 89 for PS4, EA and Bioware seem to have established the Dragon Age series as the new gen’s first top-class RPG – stealing a march on 2015′s Witcher 3 and whatever Bethesda may be working on as a follow up to Skyrim.
One of the best-scoring reviews comes from Polygon’s Philip Kollar, who focuses on the game’s scope, characters and sheer wealth of content in his 9.5/10 review. Kollar argues that this is the game where the universe really finds its feet, finally fulfilling the promise it had teased in Origins and its sequel by immersing the player in a sequence of events which incorporates a story far bigger than the perspective you’ll have of it. Nonetheless, says Kollar, it’s still in the details that Bioware’s talents shine brightest – weaving engaging and worthwhile characters as threads in a vast tapestry.
For all its narrative nuance and political intrigue, Dragon Age: Inquisition isn’t afraid of a good old slimy monster, either.
“But in true BioWare fashion, that broader story often takes a back seat to smaller character conflicts,” he writes. “The Inquisitor pulls together a huge group of followers, including nine playable party members, and each has reams of dialogue conveying a fully developed personality.”
As well as offering chatter and the opportunity for romance, the player’s extended party brings both questing opportunities and advice on dealing with obstacles, says Kollar, making them more than just talking weapons. In fact, he says, that guidance comes in extremely useful in coping with a game which offers gameplay hours well into triple figures.
“Dragon Age: Inquisition is made up of numerous zones that I could teleport in between at will. However, each of those zones is gigantic in and of itself. In the 80 hours I spent playing Inquisition, I only fully completed two zones, and each of them took me around 20 hours of exploration, questing and monster-bashing.”
“In the 80 hours I spent playing Inquisition, I only fully completed two zones, and each of them took me around 20 hours of exploration, questing and monster-bashing”
Philip Kollar, Polygon
In addition, Bioware has added the simplest of tools as an aide to exploring this vast landscape: the jump button. By doing so, says Kollar, the team has made the world feel more whole and believeable, introducing vertical as well as horizontal scale and a much more convincing sense of exploration. Tie that into the sense of being part of such a huge chain of events that new additions such as the ambassador-lead ‘war table’ missions, says Kollar, and you have a classic perfect for the winter evenings.
In broad agreement is Richard Cobbett at Eurogamer, who awards an 8 to Bioware’s efforts. Whilst full of praise for the lush surroundings of Tevinter and the clear improvements made over the last game, Cobbett finds some concerns over the influence which Inquisition seems to have felt from its contemporaries.
“The role-playing too, pretty as it is, didn’t feel like BioWare. There are straight up MMO style quests, like collecting 10 bits of meat, which at least make sense in context – that you’re helping refugees and refugees need food. Others, however, are thrown in with no finesse whatsoever. You find a letter that says, in about as many words, “Girls really dig people who can kill bears!” and then ping, your Quest Journal suddenly thinks you’re interested in bear-hunting. The first hour of a game is a bad, bad time for it to be resorting to this crap.
“The reason for the sack of activities where normally there’d be more involved quests is that Inquisition takes as many cues from the likes of Assassin’s Creed as other RPGs, with its maps a sack of quests, collectibles, secret bits and general things to do.”
That sense of piecemeal progress and scrappy world building disappears around a fifth of the way into the plot, says Cobbett, allowing the more convincing mechanisms of the plot to take hold. “The stakes become meaningful and dramatic,” he writes. “The mysteries become interesting.” Not as convinced as Kollar by the tasks which can be assigned to your plenipotentiaries, nor the combat which is arguably the game’s key activity, Cobbett finds Inquisition’s approach to less bloodthirsty matters of state a refreshing change from the sword and sorcery.
Bioware’s continued commitment to diversity is apparent, with plenty of deviations from the usual path of straight white male.
“While that side provides most of the raw action,” he says of dragon killing and rift-closing, “it’s the adventure and political parts of the game that make Inquisition work – its understanding that a party in Orlais, where the Great Game is played for the highest stakes, should be just as dangerous as anything that happens in a dungeon. After two games of controlling a ragtag bunch of misfits, it’s also interesting to be in a position of genuine power for once.”
Destructoid’s Chris Carter and Joystiq’s Alexander Sliwinski are similarly impressed, offering scores of 8.8/10 and 5/5, respectively.
Carter praises the RPG tree development of the characters as well as their dialogues, noting that “nothing feels tacked on” in a system which offers some of Origins’ depth, tempered by the streamlining in evidence in the sequel. Overall, he says, the experience is “less nuanced than Origins,” but offers a similar perspective on a living world, the fate of which increasingly lies in your hands.
Political intrigue and the raw sense of exploration garner praise from Carter, too, who also has good things to report about the game’s multiplayer mode – a section of the game which sees you take control of an entirely separate character.
“Multiplayer is the cherry on top, because nothing in the campaign feels like it was compromised for its addition”
Chris Carter, Destructoid.
“Multiplayer is the cherry on top, because nothing in the campaign feels like it was compromised for its addition. In essence, it’s a modified horde mode that operates similar to Uncharted 3′s co-op sections. Four players will be able to select from a host of classes, each with their own skills and abilities, and play through a miniature dungeon together.
“It has that horde feel in terms of fighting wave after wave of enemies, but each stage is an adventure complete with multiple paths, loot to gather, and special doors that can only be opened by certain classes. In that sense, it’s not your typical boring ‘kill kill kill’ mode.”
Sliwinski’s assessment also acknowledges the scope and detail achieved here, as well as the palatable way in which the development team is able to introduce such vast levels of information to the player.
“Inquisition’s immensely helpful in-game codex can introduce or refresh players to some of the characters and socio-political rules of the world,” he writes. “With very few exceptions, long-standing characters are properly reintroduced. There isn’t a ‘previously on Dragon Age…’ within the game, though curious players can cover those gaps with the helpful interactive recap at DragonAgeKeep.com.”
Joystiq’s reviewer also appreciates the switch of pace afforded by the inclusion of Orlais as a destination, a place where court politics partially replace the hew and bellow of the battlefield.
“With the inclusion of The Orlesian Empire, Inquisition delves deep into ‘the game,’ which is how those born into or educated in Orlais refer to the machinations of social politics. Orlais had previously been referenced in the Dragon Age series, but now we get to see this twist on 18th century French court intrigue in all its grandeur. Inquisition explores Thedas’ class and racial politics through a variety of missions and interactions with the game’s companions, who have rich ideological diversity.”
In summarising, Sliwinski makes the key point that so many Bioware fans have been waiting to hear since the Drs Zeschuk and Muzyka departed the company they founded: has Bioware maintained its aims, its ambitions and its quality?
“Dragon Age: Inquisition is BioWare’s reaffirmation of what it’s capable of delivering,” reassures Sliwinski. “It’s a gorgeous game on an epic scale. Rich in character and story, it creates a fantasy world with plausible social rules you can get lost in. It makes you feel that you aren’t just exploring a new world, but helping shape it at various levels of society. Inquisition sets the bar for what a blockbuster RPG should be.”
Sources are telling us that we should expect new skateboarding titles from both Electronic Arts and Activision in 2015. Word is that Activision is preparing a new Tony Hawk title and Electronic Arts will be bring out a new Skate title as well.
While Activision and Electronic Arts have not made the announcements yet, our sources tell us that we should expect both titles to be announced in the near future for a likely late 2015 release. It is unknown who might be handling the development on both titles, but word is that both titles are already deep in development.
With the release of a new Tony Hawk and Skate titles, it will revive the Skateboarding segment that has been dormant for quite some time. EA has not produced a new title in the Skate franchise since Skate 3 and the late couple of Tony Hawk titles didn’t do so well, but the re-issue of original Pro Skater for the Xbox 360 and PlayStation 3 with DLC made up of levels from 2 & 3 have shown that interest does still exist for this segment.
Our hope is that it will be less like what we saw with the SSX revival that EA tried and then realized that it was not really want the people wanted and more like a new next-generation skateboarding title that puts the fun back into skating. We will have to wait and see.
After releasing a string of AAA console titles to varying levels of commercial success, the UK-based studio is attempting to establish what it describes as a “third way” of making games – one that falls somewhere between what we have traditionally called AAA and Indie. Smaller scale, lower cost, with no sacrifices made in terms of creative risks and quality of execution.
“We’re taking our work on Hellblade as an opportunity to question the way the games industry has always done things,” said product development manager Dominic Matthews in a recent developer diary. “To see if there’s a better way, a more streamlined way. To create amazing quality on a smaller budget.”
As a result, Hellblade has a core team of 12 people, with a single person working in the majority of discipline areas. Ninja Theory is committed to finding affordable or homebrew alternatives to the high-end processes associated with its previous games – the performance capture used in Enslaved: Odyssey to the West, for example – but its sales target will remain eminently achievable: between 200,000 and 300,000 units.
“[Hellblade] is about what we feel passionate about, what we’re good at, and what we think our fans and supporters want from a game,” said Tameem Antoniades, Ninja Theory’s co-founder. “But it comes at a price. We have to self-fund this game, and we have to work within the restrictions that that means for us.”
The game might be inspired by a lot of games, but the basic idea is that you are the leader of a Stone Age tribe and you have guide your tribe through civilization and human history. The ability exists for you to form alliances, trade with friends, and raid your enemies.
Reynolds has not said what is next for the new Big Huge Games, but if DomiNations is successful, it could fund more complex projects for console or PC according to our sources.