It’s already been widely reported that Microsoft is working on game-streaming technology, long enough that the company has apparently started over at least once. According to a new ZDNet report, Microsoft halted work on one such project called “Rio,” and has since begun building a new streaming service code-named “Arcadia.”
ZDNet’s Mary Jo Foley cites sources within Microsoft with the news that Arcadia is being worked on by a new team in the company’s Operating Systems Group. A job listing for the team says it will be working “to bring premium and unique experiences to Microsoft’s core platforms.”
Arcadia is said to run on Microsoft’s Azure cloud technology, and will let users stream apps as well as games. While there was talk of having Arcadia stream Android apps and games to Windows devices, Foley reported that particular feature has been tabled for the moment.
Sources are sighting a rating seen on the Australian classifications that seem to point to an upcoming Remastered Edition of Borderlands is coming for Xbox One and PlayStation 4. So far this has remained unconfirmed by publisher 2K and franchise developer Gearbox.
The new remastered version is expected to be simply called “Borderlands Remastered Edition”, but with no confirmation from 2K and Gearbox it is difficult to say what all it might contain or if it is simply a converted and compiled version of the first three games for the Xbox One and PlayStation 4.
Bottom line if it is in fact a complied remastered release of the first three games, the reality is that this could actually be a good thing for those that own the new consoles.
South Korea’s LG Electronics Inc will roll out a new range of high-tech TVs in early 2015, expanding its line-up while it strives to cut costs that make its prized light-emitting diode (OLED) sets too expensive for most consumers.
A spokesman for the world’s No. 2 TV maker after domestic rival Samsung Electronics Co Ltd said on Tuesday LG will start selling products using quantum dot technology early next year. He didn’t disclose details including pricing.
The technology incorporates a film of tiny light-emitting crystals into regular liquid crystal displays (LCD), boosting picture quality. LG will have 55-inch and 65-inch ultra-high definition quantum dot TVs on display at the major CES trade show next month in Las Vegas.
Japan’s Sony Corp is so far the only major TV maker selling quantum dot models.
LG was widely expected to launch quantum dot TVs next year, having declared its intention to use the products in a dual-track strategy as the firm and its affiliate LG Display Co Ltd try to push OLED prices down. Analysts say it may take the LG firms several years to meet that goal.
The OLED TV sets remain expensive: a 65-inch ultra-high definition model launched in Korea earlier this year was priced at 12 million won ($10,993). A comparable Sony quantum dot TV costs about $3,799, according to the Japanese firm’s website.
Samsung Electronics has said quantum dot is one of many technologies it is considering. Analysts expect Samsung Electronics to launch quantum dot TVs next year, and believe it could be more aggressive in pushing the products than LG, which remains committed to OLED.
The LG spokesman said Dow Chemical Co is supplying quantum dot material. Dow Chemical confirmed the supplier relationship in an emailed statement.
Dow is building a quantum dot factory in South Korea using technology from partner Nanoco Group Plc, with production starting in the first half of 2015.
Sony Corp’s movie studio could face tens of millions of dollars in costs from the massive network breach that severely hindered its operations and exposed sensitive data, according to cybersecurity experts who have studied past breaches.
The tab will be less than the $171 million Sony estimated for the breach of its Playstation Network in 2011 because it does not appear to involve customer data, the experts said.
Major costs for the attack by unidentified hackers include the investigation into what happened, computer repair or replacement, and steps to prevent a future attack. Lost productivity while operations were disrupted will add to the price tag.
The attack, believed to be the worst of its type on a company on U.S. soil, also hits Sony’s reputation for a perceived failure to safeguard information, said Jim Lewis, senior fellow at the Center for Strategic and International Studies.
“Usually, people get over it, but it does have a short-term effect,” said Lewis, who estimated costs for Sony could stretch to $100 million.
It typically takes at least six months after a breach to determine the full financial impact, Lewis said.
Sony has declined to estimate costs, saying it was still assessing the impact.
The company has insurance to cover data breaches, a person familiar with the matter said. Cybersecurity insurance typically reimburses only a portion of costs from hacking incidents, experts said.
The message, reported by Variety, warned that “not only you but your family will be in danger.”
Sony’s computer system was attacked in late November and gigabytes of data, including unreleased movies, were stolen and leaked online. Embarrassing hacks have hit other companies in recent years, but threatening employees is highly unusual and will put extra pressure on law enforcement to find those responsible.
The message purports to be from the Guardians of Peace, the group that has claimed responsibility for the Sony hack. It’s written in patchy English and opens with further threats against Sony.
“Removing Sony Pictures on earth is a very tiny work for our group which is a worldwide organization. And what we have done so far is only a small part of our further plan,” the message reads in part, according to Variety, which says it obtained a copy.
It then turns to Sony employees.
“Many things beyond imagination will happen at many places of the world. … Please sign your name to object the false of the company at the email address below if you dont want to suffer damage. If you dont, not only you but your family will be in danger,” the message reads.
It wasn’t immediately possible to confirm the authenticity of the message and Sony Pictures couldn’t be reached.
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.
More than a week after a massive cyber attack on Sony Pictures Entertainment, the Hollywood studio isstill struggling to restore some systems as investigators searched for evidence to identify the culprit.
Some employees at the Sony Corp entertainment unit were given new computers to replace ones that had been attacked with the rare data-wiping virus, which had made their machines unable to operate, according to a person with knowledge of Sony’s operations.
In a memo to staff seen by Reuters, studio co-chiefs Michael Lynton and Amy Pascal acknowledged that “a large amount of confidential Sony Pictures Entertainment data has been stolen by the cyber attackers, including personnel information and business documents.”
They are “not yet sure of the full scope of information that the attackers have or might release,” according to the memo first reported by Variety, and encouraged employees to take advantage of identity protection services being offered.
Their concern underscores the severity of the breach, which experts say is the first major attack on a U.S. company to use a highly destructive class of malicious software that is designed to make computer networks unable to operate.
Government investigators led by the FBI are considering multiple suspects in the attack, including North Korea, according to a U.S. national security official with knowledge of the investigation.
The FBI said Tuesday that it is working with its counterparts in Sony’s home country of Japan in the investigation.
That comes after it warned U.S. businesses on Monday about hackers’ use of malicioussoftware and suggested ways to defend themselves. The warning said some of the software used by the hackers had been compiled in Korean, but it did not discuss any possible connection to North Korea.
Sony Pictures Entertainment has hired FireEye’s Mandiant forensics unit to clean up a cyber attack that knocked out the studio’s computer network nearly a week ago, and resulted in three movies ending up online.
The FBI is also investigating the incident. Sony went down last Monday after displaying a red skull and the phrase “Hacked By #GOP,” which reportedly stands for Guardians of Peace. Emails to Sony have been bouncing back with messages asking senders to call employees because the system was “experiencing a disruption.”
Mandiant is an incident response firm that helps victims of breaches identify the extent of attacks, clean up networks and restore systems. The firm has handled some of the largest breaches uncovered to date, including the 2013 holiday attack on Target. Sony is investigating to determine whether hackers working on behalf of North Korea have launched the attack in retribution for the studio’s backing of the film “The Interview” which is to be released on Dec. 25 in the United States and Canada.
The movie is a comedy about a CIA attempt to assassinate North Korean leader Kim Jong Un, who is such a funny guy. The Pyongyang government denounced the film as “undisguised sponsoring of terrorism, as well as an act of war” in a letter to UN. Secretary-General Ban Ki-moon.
Japan’s hemorrhaging technology giant Sony Corp plans to slice its TV and mobile phone product line-ups to cut costs, counting on multi-billion dollar revenue surges for its buoyant PlayStation 4 and image sensor businesses over the next three years.
Having lost ground to nimbler rivals like Apple Inc and Samsung Electronics Co Ltd in consumer electronics, Sony said on Tuesday its goal for TV and smartphones is to turn a profit, even if sales slide as much as 30 percent.
“We’re not aiming for size or market share but better profits,” Hiroki Totoki, Sony’s newly appointed chief of its mobile division told an investors’ conference. A poor showing by its Xperia smartphones has weighed heavily on recent earnings and Sony said more detail on plans for the unit will be unveiled before end-March.
Under its new three-year electronics business plan, Sony said it was aiming to boost sales for its videogame division by a quarter to as much as 1.6 trillion yen ($13.6 billion). It said that will be helped by personalized TV, video and music distribution services that should lift revenue per paying user.
At its devices division, which houses its image sensor business, Sony said sales could increase 70 percent to as much as 1.5 trillion yen. Sony’s sensor sales are already robust, with Apple using them in its iPhones while Chinese handset manufacturers are increasingly adopting them.
In a similar event last week for its entertainment units, the conglomerate said it was aiming to lift its movie and TV programming revenues by a third over the next three years.
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.
Sony Network Entertainment International LLC, a unit of Sony Corp of America, rolled out a new cloud-based TV service, PlayStation Vue, expected to be commercially launched during the first quarter of 2015.
The web-based television service allows users to access live TV and on-demand content without a cable or satellite service, the company said.
The service offers catch-up and on-demand TV. It makes the past three days of popular programming available without the need to schedule recordings, the company said.
During the invite-only beta, PlayStation Vue will initially offer around 75 channels per market from major programmers, such as CBS, Discovery Communications, Fox, NBCUniversal, Scripps Networks Interactive and Viacom.
PlayStation Vue will begin an invite-only beta preview during November for select PlayStation 4 and PlayStation 3 owners, with a phased rollout starting in New York followed by Chicago, Philadelphia and Los Angeles, the company said.
The service will also be available on iPad shortly thereafter, and later on to more Sony and non-Sony devices.
Phil Spencer was on the defense again, this time about the fact that the Xbox One only comes standard with a 500GB hard drive. Spencer in a Twitter exchange says that he does understand the need for bigger hard drives, but he reminded everyone that you can use external USB hard drives to add additional storage. (Depending on which one you buy it might even be faster than the 500GB internal storage in the Xbox One from our own testing!)
In addition Spencer acknowledged the fact that Microsoft shipped the Advanced Warfare console with a 1TB hard drive, so he says they acknowledge the need for bigger hard drives. Still so far the Advanced Warfare console was announced as “Limited Edition” and there has been no word so far on a permeant 1TB Xbox One offering, but we have to think it is coming at some point soon.
With install sizes continuing to grow, it will have to happen, but our sources tell us that other than the Advanced Warfare console, there are no plans to do anything more about it this year. The standard go to answer will be to recommend external USB storage for the time being. It is not a perfect solution, but with the performance in many cases better than the internal drive, it is something that a lot of us are willing to live with.
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.