While some publishers establish their own eSports divisions and appoint chief competition officers, Take-Two is approaching the competitive gaming trend with a bit more caution. Speaking with GamesIndustry.biz in advance of the company’s financial earnings report today, CEO and chairman Strauss Zelnick said the field was promising, but still unproven.
“eSports we find very interesting,” Zelnick said. “It is, however, still more a promotional tool than anything else. And most people see eSports as an opportunity to increase consumer engagement in their titles, and depending on the title, to increase consumer spending within the title.”
To date, Take-Two’s biggest eSports endeavor has been an NBA 2K tournament with 92,000 teams competing for a $250,000 prize. The final 16 teams are set to compete in a single-elimination tournament this weekend, with the finals taking place during the NBA Finals next month.
“It’s just the beginning for us,” Zelnick said of the tournament. “It’s very gratifying so far, but we have yet to see it as a stand-alone profitable business. We see it more as an adjunct to consumer engagement in our titles.”
Zelnick also addressed the company’s digital revenues, which for the first time made up more than half of its revenues for the year. While the industry has shifted heavily toward digital in recent years, Zelnick doesn’t see this as some sort of tipping point or a harbinger that physical goods are in for declines from here on out.
“This year was a little different because we had a very significant portion of this year’s revenue through digital distribution,” Zelnick said. “And that’s a reflection of the power of titles like Grand Theft Auto Online as well as PC titles, 90 percent of which are digitally delivered. With frontline console releases, your numbers are more like 20 percent from digital distribution. So physical distribution remains the lion’s share of our revenue.”
While Zelnick acknowledged the growth of digital distribution is a good thing for Take-Two, he specified that it wasn’t a strategy for the company because it’s ultimately out of his hands.
“We want to be where the consumer is, and we’re not really the ones who vote,” Zelnick said.
Orcs Must Die! Studio Robot Entertainment is a rare breed nowadays – in an age where you’re either indie or AAA, the Plano, Texas-based company (one of several Texas developers that rose from the ashes of Age of Empires studio Ensemble) has managed to succeed as a mid-sized outfit. When Robot was formed in 2009, the company operated on a small scale, but things really changed when it landed a major investment from Chinese media giant Tencent in 2014. That enabled Robot to scale up and to benefit from Tencent’s knowledge at the same time.
“We made the first Orcs Must Die! as a semi-indie studio. We were about 40-45 people. We’re about twice that size now. And we were able to do Orcs Must Die! and Orcs Must Die! 2 with that. We kind of kept following the franchise and following what the fans were asking for in that game and we knew the next version was going to be bigger. We had to make a strategic decision – were we going to stay small and try to do another small version of that game or did we want to be ambitious and try to do something a little bit bigger? And that was going to necessitate a different type of arrangement for us to find financing. Because, you know, just selling a $15 or $20 game on Steam over and over is tough to support a studio to make a bigger game,” Robot CEO Patrick Hudson told GamesIndustry.biz.
“We also did some licensing deals for this game. As an online game, we didn’t necessarily have an ambition of setting up a European publishing office or an Asian publishing office. So we went to Europe and we partnered up with GameForge and licensed the rights for them to publish the game for us. And that comes with some advances and license fees, which help us make the game. We did the same thing with Tencent in China and that led to an investment. So we are in that mid-space. I think you’re right that there are fewer people in that space right now. It would probably be harder for us to stay in that space if we didn’t have really strong partnerships with folks like GameForge and Tencent.”
Investments and partnerships can clearly make a difference to any game company, but it’s also easy to mismanage a studio’s growth. Before you know it, one department doesn’t know what the other is doing, and things spiral out of control.
“It’s all in how you manage it. You’re either afraid of that growth or you embrace it, put a process and structure in place to allow for that. There’s no question we have to run our studio differently at 90 people than we did at 45. There’s more structure in place, there are more layers of leadership to help the project along. We’ve done a decent job of managing the growth… We went through the same kind of growth curve at Ensemble and we actually spent a lot of time talking about what went well, what didn’t go well, ‘What did we learn from that experience that we could have managed the growth better, how do we apply that to Robot?’ So we try to be a little bit smarter about that. Talking to other friendly studios [helps also] – ‘Hey, what did you guys do through this kind of growth? What pains did you experience? What did you learn?’ So we’ll grow as much as it takes to support Orcs Must Die! or as little to support it,” Hudson continued.
While everyone was devastated when Microsoft seemingly shut down a successful Ensemble Studios for no good reason, Hudson takes it as a learning experience.
In Ensemble’s case, Hudson discovered that scale ultimately held back some of its better talent. “Age of Empires attracted a lot of really good game talent to the studio, either people who were starting fresh in the games industry and learned how to make great games inside of Ensemble or we recruited really talented people to Dallas to work on the Empires franchise and, ultimately, Halo Wars. So we had just a tremendous amount of pent up talent in what was not a huge studio. At its peak it was 120 people. So it was very densely populated with talent. When you’re a studio that size, you have a lead structure within each department, but not everybody gets a chance to take those leadership positions and do their own games. Once Ensemble went away, you saw all these talented people go off in different places and show what they were capable of,” he remarked.
Working at Ensemble instilled a certain level of dedication to quality in all the developers who worked there too. “We held ourselves to a really high standard of making games that everyone took with them to their next places. I would say, in addition to that… all of us worked for another six years for Microsoft post-acquisition, so we got to learn the industry as both indie developers and inside a publisher. We got to learn the entire space, how the whole ecosystem is close to the publishing side. So that was a very valuable experience that maybe a lot of other devs don’t get,” Hudson said.
There’s no animosity or regret about Ensemble either, as far as Hudson is concerned: “Six years is a long time to be with a company post-acquisition. It was actually, for the most part, six good years. Microsoft treated us well. I think we worked well with the people we worked with at Microsoft. You do see some [studios] that get acquired and they’re gone within a year or two. We didn’t have that experience. I kind of view six years as a nice success.”
Perhaps the greatest lesson that Hudson and Robot have learned, even before the rise of Kickstarter and Steam Early Access, is that listening and responding to a vibrant community is critical. Discoverability has become a nuisance to deal with, and you need the fans behind you in order to succeed. If you have expectations that a platform holder will feature you, your marketing strategy needs an overhaul.
“As some of those previous PC developers that came into mobile are now migrating back to PC, discoverability on PC has become not quite as bad as mobile, but it’s not easy. There’s a lot of content on Steam now. There’s no easy space. Games is more competitive and a harder business than it’s probably ever been. There’s just a lot of great developers out there making a lot of great content and there’s just no barriers to putting your content out there to players, and players move quickly from game to game. They’re going to seek the best content,” Hudson noted.
He continued, “When I talk to the Valve or Apple or Google folks, they know the problem. They see it. But it’s an almost impossible problem to solve… Everyone wants to be featured, right? It’s funny, when you talk to a new mobile developer and be like, ‘Hey, we’re gonna make this great game. We’re gonna be featured.’ Probably not. You’re probably not going to be featured. Unless you’re doing something really cool and innovative and very different that really shows off the platform.
“They all have different programs to try and help you get noticed but you can’t make that the core of your strategy. It’s really up to you to make a great game. If you don’t have a marketing budget to cultivate a community, start with a small community, really cultivate it and listen to them and speak to them and let them organically grow. It’s not the platform holder’s job to make it successful.”
Beyond building a robust community, selecting the right business model for your game is crucial. While free-to-play is almost the default option in today’s market, Hudson said that premium games are coming back too.
“We really do think of it as a case-by-case. There are interesting trends in the market where you’re seeing paid games come back in certain areas – even in China where we’re seeing an uptick in paid games, customers in China buying paid games. [That's] never happened before. So it’s really going to depend on the game, the needs of the game,” he commented.
For Orcs Must Die! Unchained, which just entered an open beta about a month ago, free-to-play just made sense for Robot, as it’s a big multiplayer MOBA-style tower defense game; Robot wants as many people online for matchmaking as possible. Hudson and Robot have tried free-to-play before with Hero Academy in 2012, but he fully admitted, “We made a ton of mistakes, we didn’t really know what we were doing. It was a very successful game critically. It probably should’ve been a little more successful for us commercially, but we learned those lessons and hopefully we’re applying some of those.
“[Unchained] will be our first big free-to-play PC title. And we get a lot out of our partners too. GameForge has been operating free-to-play titles forever. Tencent has been operating free-to-play titles forever and we really lean on their expertise and we ask them to be involved with us as we design the game. The nice thing about both of those partners is… monetization follows. They start with making a great game, get the players around, keep the players around, [and then] hopefully they’ll pay you down the road. But don’t solve for money up front. So we’ll see. This will be our first foray into it. We’ll make a few more mistakes I’m sure but hopefully we learn quickly.”
Right now Robot remains 100 percent committed to Orcs Must Die! and the studio is bringing the game to PS4 later this year, but that doesn’t mean it expects to be pigeonholed with that one franchise. Hudson said that Robot continues to brainstorm new IP ideas, but nothing has made it too far along in development to warrant a release. “We’ll definitely do a new IP again. We started a couple of prototypes in the past few years that haven’t panned out. It happens all the time, right?” he said, adding that the company also remains interested in mobile but is “very cautious.”
“I think what’s interesting about mobile over the last couple of years is how non-dynamic the market is as far as the top games. The games that have lived in the top charts have been there now for 2 or 3 years. They get there and they stay there and they’re really good at staying there and it’s hard to break in and become the new thing. There are some good case studies for that. Certainly not nearly as many as there are on PC,” he said.
Hudson on VR
Likewise, virtual reality, although enticing, is just too risky for a studio like Robot, Hudson noted.
“It comes back to a company our size and where we sit. For us to overinvest in a market where it’s hard to know what the growth curve is going to be would be pretty risky at our size. We can’t afford to be wrong on something this new and this different… We love the options it provides for new and compelling experiences in games. We’ve brainstormed plenty of ideas for Orcs Must Die! in VR and we’ve got some pretty good ones, but it’ll be a while before we seriously invest in it,” he said.
Hudson joked that Robot is “living vicariously” though a couple of ex-Ensemble studios in Dallas that are working on VR now.
A conservative and cautious approach is probably one of the reasons Robot has managed to survive in an increasingly challenging environment. Even for eSports – an area of the industry that Orcs Must Die! clearly could excel in – Hudson isn’t jumping in headfirst.
That being said, Hudson is definitely optimistic about eSports as a sector. “I think it’s going to become an increasingly large aspect of the industry. And there will be the games that work and the games that don’t work for it. There will be a lot of companies chasing it and probably crash on the rocks trying to get there, but it’s going to continue to grow. I think you’ll see it across platforms too. I think you’ll continue to see eSports be popular in mobile. It’ll continue to grow there. You think of it as a PC thing now but it’s not. I think it’s going to encompass all aspects of games,” he said.
EA is telling the world that it wants into the third-person action market with an open world game, but it does not appear to be happening any time soon.
EA Studios VP Patrick Söderlund told us in 2015 that EA wanted to expand its portfolio into gigantic action games like Assassin’s Creed or Batman or GTA and CFO Blake Jorgensen said something similar.
“We feel like there’s a huge opportunity for us to continue to invest in new areas of the business like the action genre where we haven’t competed historically. There’s a very ripe opportunity for us to invest in and we’ve been able to bring great talent in to build out that part of the business.”
But according to Game Radar it is not going to happen any time soon. Blake is quoted as saying that the outfit was building an action genre product that’s probably will appear in three or four years.
We can expect something new from EA next year which has not been announced, Blake said. But this will not be anything like the big games which have captured popular attention.
Steam saved PC gaming. As retailers aggressively reduced the shelf space afforded to PC titles – blaming piracy, but equally motivated, no doubt, by the proliferation of MMO and other online titles which had little or no resale value – Valve took matters into its own hands and delivered on the long-empty promises of digital distribution. It was a bumpy ride at first, but the service Valve created ushered in a new and exciting era for games on the PC. Freed from the shackles of traditional publishing and retail, it’s become a thriving platform that teems with creativity and experimentation. Steam still isn’t all things to all people, but it saved PC gaming.
Sometimes, though, you look at Steam and wonder if PC gaming was worth saving. All too often, browsing through Steam to look for interesting things to try out leaves you feeling not so much that you want to close the application in disgust, but that you’d like to set the whole damned thing on fire. The reason isn’t usability, or bugginess, or anything like that – Steam has its issues, but by and large it’s a solid piece of technology – but rather the “community” that Valve has allowed to thrive on its platform. On a platform that aims to expose and promote great games from newcomers and relatively unknown indies, community feedback, reviews and recommendations are vital components, but a legacy of poor and deeply misguided decision making from Valve has meant that engaging with those aspects of Steam can all too often feel like swimming through hot sewerage.
The problem is this; Steam is almost entirely unmoderated, and Valve makes pretty much zero effort to reign in any behaviour on its platform that isn’t outright illegal. As a consequence, it’s open season for the worst behaviours and tactics of the Internet’s reactionary malcontents – the weapon of choice being brigading, whereby huge numbers of users from one of the Internet’s cesspits are sent to downvote, post terrible reviews or simply fill content pages with bile. Targets are chosen for daring to include content that doesn’t please the reactionary hordes, or for being made by a developer who once said a vaguely liberal thing on Twitter, or – of course – for being made by a woman, or for whatever other thing simply doesn’t please the trolls on any given day. The reviews on almost any game on Steam will often contain some pretty choice language and viewpoints, but hitting upon a game that’s been targeted for brigading is like running headlong into a wall of pure, frothing hatred.
Of course, Steam’s not the worst of it in most regards; the places that spawn these brigades in the first place, places like Reddit and 4chan, are far, far worse, and concoct many other malicious ways to hurt and harass their targets. That Steam permits this behaviour on an ongoing basis is, however, a huge problem – not least because Steam is a commercial platform, and provides harassers and trolls with an opportunity to directly damage the income of the developers they target.
It’s not that Valve doesn’t care about the quality of its platform. Just this week, it implemented a new feature allowing customers to see scores from recent reviews, rather than overall scores, so you can get a sense of how a game has changed since its original launch. It’s a good, pretty well considered feature. Yet its arrival really just highlights how little Valve seems to care that its storefront is being used as a tool by harassers, and filled up on a regular basis with vicious, abusive reviews and comments that no customer wants to be confronted with when browsing. Sure, traditional retail may have been hanging PC gaming out to dry all those years ago, but at least I’m reasonably sure that most traditional retail stores would have kicked out anyone who ran into their store and started screaming obscenities in the face of the first girl they saw.
“traditional retail may have been hanging PC gaming out to dry all those years ago, but at least I’m reasonably sure that most traditional retail stores would have kicked out anyone who ran into their store and started screaming obscenities in the face of the first girl they saw”
And look – I get that community moderation is hard. It’s really hard. Much harder than throwing in a quick algorithm to compute review scores from recent reviews only, which is why that got tackled first; but harassment and brigading isn’t a new problem on Steam, or on the Internet in general, and there are only so many times that you can claim to simply be picking low-hanging fruit before someone points out that you haven’t even brought a ladder to the orchard. You’re not even trying. You don’t even want to try. I stated earlier on that Steam ended up this way because of bad decision making down the years, and this is what I meant; there has never been a sense that Valve wants to tackle this problem. Rather, they’ve given the impression that they hope they can fix it with some clever engineering tweak, some genius little bit of code that’ll somehow balance the need for community feedback to expose good games against the need to stop harassers and trolls from treating the platform as a 24 hour public toilet.
That’s not how community moderation works. It’s a fundamental, obtuse misunderstanding of how any sort of system designed to manage, build and support a community works – from statecraft right on down to housemate meetings to discuss unwashed dishes. You need people; you need actual people doing actual moderation jobs, granted the training and the authority to step in and put the community back on the rails when it falls off. It’s hard, and it’s actually pretty expensive, and it takes a lot of care and attention – but it’s not impossible. Look at the progress Riot Games has made in turning around the community of League of Legends, which was formerly one of the most grossly toxic communities in gaming. It’s still by no means perfect, but Riot has shown that it cares, and that it’s willing to fight to improve things, and LoL is by far a better, more welcoming and more fun game for it. Some of that was achieved with tweaks to systems and protocols; but in the end, it takes a real, breathing, thinking human to counteract attempts by other humans to be unpleasant to one another, because if there’s one thing our species has demonstrated extraordinary affinity for over the centuries, it’s finding creative ways to skirt around rules in pursuit of being unpleasant to other people.
Riot’s done a good job of this because, I believe, Riot genuinely believes that it’s the right thing to do. Therein lies the rub; I don’t think Valve cares. It should care. It has a damn-near monopoly on PC game distribution through its storefront, and that gives it responsibilities – if it doesn’t like or want those responsibilities, that’s sad in and of itself, but I’m sure a quick dip in the swimming pools they’re filling with money from Steam might take the edge off the pain. It should also care, though, because there’s a hard limit on how much a business can grow if it permits abusive behaviour towards whole classes of customers or clients. Anyone making a game that tackles a tough subject, or aims at a non-traditional audience, or who is themselves a member of a minority group; well, they’d probably love to be on Steam, but they’re thinking twice about whether it’s a good move. That’s not conjecture – it’s something I hear almost every week from developers in that position, developers whose starry-eyed view of Steam from only a few years ago has been replaced with absolute trepidation or even outright rejection of the idea of exposing themselves to the storefront’s warped excuse for a “community”.
Today, that might just mean Steam is losing out on a few bucks here and there from creators and customers who have had enough of the toxic environment it permits; but markets diversify as they grow. Steam took over when retailers failed to serve customers with an appetite for PC games. What, then, will happen to Steam if new waves of customers – younger and more diverse – find that games and creators they like are treated abysmally by the service? Valve shouldn’t need a commercial incentive to fix this problem; they should fix it because it’s the right thing to do, because tacitly enabling and permitting abuse is really little better than engaging in harassment yourself. If that’s not enough, though, there absolutely is a commercial incentive too; Steam may be dominant, but it’s not the only option for either consumers or creators. There are far more sales to be lost from permitting abuse than from telling harassers they’re no longer welcome. Valve should give the latter a try.
The U.S. International Trade Commission has launched an investigation into seven smartphone makers on charges of patent infringement, which could lead to a ban on the sale of certain phones imported and sold by these vendors in the country.
The commission said it is looking into devices from a group of mainly Asian companies, including Lenovo and its Motorola subsidiary, Samsung Electronics, ZTE, Sony, LG Electronics, HTC and BlackBerry.
The complaint was filed against these companies by Creative Technology of Singapore and its U.S. subsidiary Creative Labs of Milpitas, California, on March 24.
Known for its Sound Blaster sound cards for PC audio, Creative has charged these companies with infringing U.S. Patent No. 6,928,433 entitled “Automatic Hierarchical Categorization of Music by Metadata,” which claims various methods for accessing different types of data, such as music or video files, on a portable media player.
Apple is said to be one of the licensees of the patent, and in 2006, Apple paid Creative $100 million for a nonexclusive license, according to Creative’s complaint. Creative had earlier that year asked the ITC to block the sale of Apple’s iPod devices for allegedly infringing the same patent.
Among the alleged infringing products named in the complaint are Samsung’s Galaxy S6 smartphone and other Samsung phones containing either the Google Play Music app (version 5.9.l854R.l904527), or the Samsung Music app (version 6.0.1508051449), which were installed on the phones prior to import.
The products at issue in the investigation are smartphones, “with the capability of playing stored media files selected by a user from a hierarchical display,” the ITC said in a statement Thursday.
If it finds infringement after investigation, the ITC can place a ban on the sale of products by these vendors, under a limited exclusion order requested by the complainant. The ITC cautioned that the launch of an investigation did not imply a decision on the merits of the case. It will set a target date for completion of the investigation within 45 days of its institution.
Vevo might be the new MTV for millennials, who might not know MTV that played music a few decades ago. Vevo CEO Erik Huggers had an interview at a Hunter Walk blog talking about YouTube, subscription base and the future.
Vevo CEO, ex Intel and ex BBC executive Erik Huggers mentioned that the Vevo will get a subscription based service but for the time being the company will stay with add supported content. Huggers first worked first on the iBBC player and later at Intel OnCue, then Verizon before getting the Vevo CEO.
The company has announced a new Apple TV, iOS and Android applications for people who like to watch the content on the TV console or their tablets and phones. Huggers mentioned that Vevo was getting 17 billion unique views per month. He said that if you are musician you will prefer Spotify for audio streaming and Vevo to YouTube, and here is why.
Peter Mensch, the manager of bands including Metallica, Red Hot Chili Peppers and Muse told a BBC Radio 4 documentary on the music business:
“YouTube, they’re the devil. We don’t get paid at all.”
The BBC quoted him saying that YouTube was killing the record industry.
There is now way you can say it better than this, Mensch obviously knows what he is talking about. When we dug a bit deeper into the issue, bands have issues with complete albums being uploaded to YouTube. The big bands don’t get paid at all, at least according to Peter Mensch.
Vevo might turn its back to YouTube, despite its current business model where the company uses YouTube to distribute its videos. We see a big change coming. Artists are obviously not happy as people are ripping their stuff and not paying.
Online publishing was an area where big mistakes were made 20 + years ago. Online magazines usually rely on marketing, same as YouTube, but it seems that YouTube, Facebook and other big social based website make a lot of money and giving YouTubers and artists pennies.
Huggers believes Vevo can offer a tailored experience which is personalised for individuals who love music videos via various channels including Apple TV or mobile applications. Imagine if Vevo starts offering exclusive concert footage of your favourite bands, this would probably be worth of a few bucks a month, wouldn’t it?
Lenovo owned Motorola has been slapped with a $5m class action lawsuit over allegations of shoddy customer service and not honoring warranty policies.
News of the lawsuit comes via Trusted Reviews, which learned this week that the complaint was filed against Motorola on 21 April in Illinois, accusing the company of “unfair, unscrupulous, immoral and oppressive” business practices.
The lawsuit’s main plaintiff, Douglas Lynch, decided to take legal action after a long-drawn out battle over a Moto 360 repair. He contacted Motorola for a replacement after the backplate of his smartwatch cracked, and was informed that a replacement would take four days to reach him.
The replacement failed to arrive, and Lynch was eventually sent a Moto 360 two months later that was a cheaper model than the one he had purchased.
Lynch isn’t alone in having a bad experience with Motorola. Girard Gibbs LLP, one of the law firms handling the case, told Trusted Reviews that Motorola owes “thousands of people” compensation.
This is evident on Reddit, where pissed off Motorola customers have flocked to tell similar stories.
One Redditor said: ”I have had some of the worst support from them on my Moto G 3rd gen I bought last year.
“I tried to buy an extended warranty plan they supposedly offered, but their website was so jankedy that even after a few escalations over a FEW MONTHS to various higher ups in their support department with no resolution to the problem I finally just gave up and decided to never buy a Motorola phone again.”
Another added: “Wish someone would do the same in the UK as they wouldn’t replace my 6 month old 360 and I ended up having to pay about £120 to get it fixed when it was a hardware problem.”
Esfand Nafisi, an attorney at Girard Gibbs LLP, explained that the actual compensation owed is “likely higher” than the $5m referred to in the original filing, adding: “We want these issues to be resolved for all consumers.”
Motorola said in a statement: “Motorola has a long history of providing exceptional products and services to its customers. We are aware of the lawsuit, and are investigating the claims, which we believe to be without merit.”
When was the last time you played as a black character in a game who wasn’t either a) the sidekick to a strapping white dude or b) a stereotypical gang member? We Are Chicago, from Indie studio Culture Shock, offers something different: a realistic representation of the life of a person of color in Chicago’s South Side neighborhoods.
“It was interesting to think about how you make a game about something that’s actually happened, a true story, and still give the player agency,” explains studio founder Michael Block.
“So we were talking about those ideas. We’re from Chicago and at the time we had started doing some volunteer stuff and talking to some people on the South Side, a very racially-segregated section of the city, very poor and has a lot of issues with gangs and violence. We realized it’s a really interesting story and nobody is talking about this stuff.”
This was the moment that led to the game I played a few weeks ago at GDC, which Block calls a documentary game, a game which gives players an insight into the world of high school student Aaron. During the very first scene, Aaron’s family sits down to dinner, only to hear the sound of gunshots. It’s shocking not because I’ve never heard a gunshot in a game before, but because the family carries on with dinner, discussing their situation but accepting the violence as part of the background to their lives.
“We brought on a writer from one of the neighborhoods to write the actual dialogue”
Scenes like this aren’t just based on Culture Shock’s preconceived ideas about the South Side, but on the sort of research that would make any journalist proud.
The growth of narrative games
“Part of it comes to down to places like Telltale, I think what they were able to do which has been super helpful, and they’ve been paving the way for everyone else to do all this stuff, is because they had this tie-in to an IP that people really liked and then they were able to tell a really compelling story with that IP. I think that got people into that genre.
“That has benefited us in unimaginable ways because it allows people to come into it with an open mind and know what they’re getting.”
“At the beginning we did interviews. We actually got really lucky: there was a non-profit group that we were volunteering with that basically blanketed the city with volunteers and they had a survey that could have been written for our game. Things like, what are you seeing in your neighbourhood that could be problematic? What are the things that you’re seeing are really good? Are you seeing any solutions that are working well? What do you wish was there?”
“From that we were doing interviews with people at bus stops on the South Side and we just asked a bunch of people all these questions and then gave that all back to the non-profit. Then we met a whole bunch of people who we were volunteering and people that they knew and put us in touch with and we did more in-depth interviews.”
As well as researching their subject matter, We Are Chicago took their commitment to representing the stories into the studio via recruitment.
“We brought on a writer from one of the neighborhoods to write the actual dialogue. So we had the outline in place, we had the ideas that we wanted to talk about and we went to him and said ‘let’s figure out how to make this into a narrative arc’. Then we brought on environment artists as well from the neighborhoods that we were looking at to work on the content of the game and they’ve also looked over the script and made sure everything makes sense to them as well.”
Block and his team also plan to continue working with the non-profits of Chicago, taking a build of the game to a couple of schools in Chicago to do play-testing with young kids and to make sure that the game is true to their experiences. He also reveals that he plans to do a revenue share with some of the non-profits, as a way of giving back.
That’s Block’s motivation here, and it’s a noble one. We Are Chicago is a difficult game to make and difficult game to sell, but its importance to its creators goes beyond simple profit and loss.
“I’m working on this project because for all of my career – I’ve worked on Organ Trail and I’ve worked at mid-sized studios before and released other games – I didn’t really feel like they were having the impact I wanted to have. I wanted to do something that was positive for our society and our community and so this feels very important to me personally because it feels like I’m able to achieve that,” says Block.
“We’ve had some really great responses from people. Seeing some people express more racist sentiments and ideas and then after playing the game actually not express those things is really validating and really satisfying, to think that we might actually be able to have that impact. It’s a very strong connection for me because I’m hoping that we can prove that this is possible with games and that we’re doing it.”
We Are Chicago will be released this year on PC, Mac and Linux.
In an age of viral media and ubiquitous social networks, it’s rare to encounter a major AAA release surrounded by so much uncertainty. Quantum Break has likely been in full development since 2012, when Remedy Entertainment launched Alan Wake: American Nightmare, and it has been a shining beacon in the Xbox One’s line-up since Microsoft unveiled the console a year later. Was Microsoft bankrolling an exclusive answer to Uncharted’s slick, story-driven adventure? Was its furtive marriage of live-action TV series and third-person action the result of unrevealed brilliance, or the unfortunate by-product of a now defunct product strategy? Or was it all just a logical evolution of the slick production and metatextual noodling found in all of Remedy’s previous games?
Reading through the myriad reviews that are now setting the record straight, the answer may be that Quantum Break is all of these things. Unfortunately for Remedy and Microsoft, there’s no consensus on just how capably it delivers on any one.
With a score of 8.5 out of 10, Polygon is among Quantum Break’s more ardent admirers, praising Remedy for mostly fulfilling what seemed to be the loftiest of the game’s many promises: a marriage of action game and TV series that both works and satisfies.
“The way Quantum Break handles story is, easily, the most interesting, successful thing about it… Remedy accomplishes something no one has really tried, much less successfully executed on: The studio has integrated the game of Quantum Break with a fully live-action episodic component.
“This is no half-measure: Four out of five of Quantum Break’s in-game acts are followed by half-hour live-action episodes using the same actors cast within the game proper. Other narrative-heavy games that take the reins from the player for minutes or even hours at a time have often jokingly been criticized with the suggestion that their creators should “go make a movie” – I’m looking at you, Mr. Kojima – but Remedy has actually done it.
“Even more surprisingly … it’s pretty good? There’s a question mark there because I’m still surprised to be saying it.”
While the player spends the majority of the game controlling a conventional hero character, Jack Joyce, it also allows them to influence the actions of the antagonist, Paul Serene, in a series of playable bookends. Choices made in these sections influence the content of the story told through both the live-action episodes and the remaining game.
“These present an interesting conceit that I’ve never seen in any choice-driven game,” Polygon notes. “You’re making decisions as a villain, and are given the option to see the direct consequences of your actions – but the events that unfold after that are impossible to know. Some characters may vanish from the story entirely, or take on new roles or sides depending on these choices. They also managed to humanize Paul in a way that the game otherwise doesn’t accomplish, adding a tragic spin to the story.”
And it does this with no shortage of style. Indeed, Eurogamer’s review – which does not find Quantum Break to be good enough for Recommended or Essential, nor bad enough to be Avoided – reserves most of its praise for the game’s splendidly polished surface, particularly the impressive way the game, “shares the look and feel of the TV series.”
“Quantum Break is primarily a shooter with little depth or nuance. What it boasts instead is an impeccable sense of style… An explosion in a university grounds, say, or a cruiser ship crashing noisily into a bridge; at these points there’s a deliciously perverse fetishisation of twisting metal and shattered glass that would have done dear Ballard proud, and a phenomenal visualisation of it all, told in countless particles and streaks of expressive light.
“It’s as a spectacle that Quantum Break really triumphs, a showcase of excellence on Remedy’s behalf as it creates an experience that’s aggressively handsome, delivered with great visual flair. When those firefights break out into noisy showers of sparks, pockets of fractured time and splinters of scenery, Quantum Break shows the magic that can happen when you give a handful of demoscene veterans a Hollywood budget.”
All of which sounds promising, but one cannot simply gloss over Eurogamer’s comment that, “Quantum Break is primarily a shooter with little depth or nuance.” Though other outlets might disagree on the use of the word “primarily” in that context, the criticism that Remedy has prioritised style over substance is relatively common. Indeed, Quantum Break’s staunchest critics seem to be those who lacked enthusiasm for its game/TV hybrid elements, leaving its mechanical weaknesses all the more exposed. Giant Bomb, for example, which will settle somewhere towards the bottom of Quantum Break’s Metacritic page with its two star review.
“Actually playing Quantum Break means you’ll engage in a lot of third-person cover shooting and some ill-conceived platforming,” Giant Bomb states, before describing a set of player abilities that are tied to the plot’s time manipulation conceit in name alone. “It feels like the developers just came up with a set of abilities and slapped the word ‘time’ on the front of each one.
“The gun handling in Quantum Break is pretty underwhelming and the powers at your disposal don’t feel as cool as they probably should. In some alternate timeline, this game has abilities that work together and chain off of each other, creating a more satisfying feeling of flow in combat. Instead it’s simple cooldown management as each of your powers is just about as good as every other one at taking down one or two enemies at a time… Remedy has delivered fantastic action games with exciting shooting components in the past, and it’s a real shame that Quantum Break doesn’t follow in those footsteps.
“Overall, the gameplay feels like it needs more variety, which makes the TV show side of things frustrating, since it features a car chase and other things that probably would’ve been more engaging if they were in the video game portion of the product.”
And that leads into the single most divisive aspect of Quantum Break, the apparent reason why its review percentages roam from 40 per cent all the way up to 90: the live-action episodes, and not the concept, but the reality. For Wired, they are “well-acted and tightly paced” enough to save Remedy’s, “radical concept from total disaster… They look and feel exactly like… well, like a mid-season replacement on the USA Network, if we’re being honest. But the action is just intriguing enough that you won’t mind being asked to watch a 20-minute cut scene before beginning the next level.
“[Quantum Break] will be remembered for blending game and live-action in a formula that actually kinda worked, not for its gameplay, which feels unambitious, half-baked.”
Ars Technica, on the other hand, takes a very different view, lambasting the, “excruciatingly average live-action TV show” for interfering with the “many strong elements” elsewhere. Ultimately, that could just be evidence that one person’s Breaking Bad is another’s Brady Bunch, but with a package as lavishly and expensively assembled as Quantum Break, it’s worth contemplating whether it’s a result Remedy and Microsoft will be happy to accept.
“Rather than make room in the live-action show for…character development, that show’s director wastes our time with overlong, poorly shot action sequences,” Ars Technica states. “Microsoft and Remedy’s experiment with live-action TV in a game is a horrible failure of management and execution. It’s as if someone let Xzibit into an Xbox conference room so that he could shout, ‘Yo dawg, I heard you like Netflix on your Xbox’-and totally missed the point of why and how we consume stories within our favorite games. Press Y to skip.”
Digitimes Research claims that BOE , Kunshan Visionox, Guangzhou New Vision Opto-Electronic are developing such panels and Kunshan Visionox should be ready with volume production in first-quarter 2017.
BOE, Kunshan Visionox and Guangzhou New Vision will focus on 9.5, 4.6- and 5.0-inch flexible AMOLED panels for the smartphone market. The three use PI (polyimide) substrates for flexible AMOLED panels. For TFT backplanes Kunshan Visionox uses LTPS while the other two adopt Oxide TFT.
It does not appear a simple move as the makers have experienced developing such panels economically. China-based Tianma Micro-electronics, China Star Optoelectronics Technology and Truly Opto-electronics have been developing non-flexible AMOLED panels so it looks like competition will be tighter for LG and Samsung next year.
The comment by a Toshiba spokesman followed a report by the Sankei newspaper that said the Japanese conglomerate is planning to pull out of PCs as it restructures its business following a massive accounting scandal.
The Sankei said Toshiba, Fujitsu Ltd and VAIO are in talks to merge their PC businesses. Toshiba would consign production of its Dynabook brand to Fujitsu and VAIO factories while it focuses on design and development, helping it cut costs, the paper said.
Software giant Microsoft is planning to get its Xbox business back in gear by making it follow the same sort of business model which worked for it on Microsoft office.
CEO Satya Nadella said that Microsoft has shifted its focus away from trying to strong-arm competitors out of the market, and towards a future of providing apps and services on the iPhones, Android phones, and Macs.
For example Microsoft Office is already on a subscription-based service available via the Internet. With the Office 365 service, customers pay their $10/month (or more if they’re a business) and get access to all the Office apps they can eat.
Redmond recently announced that it had 48 million monthly active users of its Xbox Live gaming service, across both the last-generation (but still popular) Xbox 360 console and the newer Xbox One.
Redmond sells this in two subscription tiers: Silver, which is free, and Gold, which is $60 per year. Silver subscribers can buy games, movies, and TV shows from the Xbox’s digital store they are also expected to swim while wearing pajamas. But subscribing at the Gold level gets you some crucial perks, including the ability to play multiplayer games online and a handful of “free” games every month. Gold subscription will also mean that people start calling you ‘sir’ or ‘madam’ and take their hats off when they talk to you.
What is different is that the new Windows 10 operating system can push Microsoft’s subscription services on you including the Xbox live. It has all been dubbed as “Xbox as a service.”
The latest game from Microsoft “Quantum Break,” was supposed to be an Xbox exclusive. It was announced that there also be a PC version, which buyers of “Quantum Break” for the Xbox One get for free. Most important, you also can sync your saved games across the two via the cloud.
Xbox boss Phil Spencer said that this would be a “platform feature” for the Xbox and Windows 10. Basically it means you buy the game once, get two copies that you can play anywhere.
Sony is behind in this because it does not have Windows 10 as its trump card. It offers “cross-buy support” for some while on select games, letting you buy a game once and play it on your PlayStation 4 or the handheld PlayStation Vita console.
According to a post by USA Today, the Los Angeles area retailer began selling the Samsung UBDK8500 on February 5th for $397.99. The device is available in-store only, so we are expecting locals to rush in over the weekend and grab the player quickly as retailers are not expected to begin selling them for another few weeks.
In January, we wrote that Samsung’s UBDK8500 would begin arriving early to New York City-based Internet retailer B&H Photo Video as well as Crutchfield.com. Both sites are currently taking preorders for $399 and are expected to have stock on February 15th and February 17th, respectively.
For the initial public launch, 4K Ultra HD Blu-ray players are expected to be in high demand and limited supply as there will only be three options to choose from – the Samsung UBDK8500, the Philips BDP7501, and the Panasonic DMP-UB900.
We have asked Samsung if the company plans to release any 4K Ultra HD BD-ROM drives for PC, as we expect these to be a much better value-per-dollar than the standalone home entertainment players mentioned above. Unfortunately, the company says it cannot comment at this time.
According to Newzoo’s 2016 Global eSports Market Report, this year is expected to be a “pivotal” one for the eSports sector. The firm said that last year’s tally for worldwide eSports revenues came to $325 million, and this year the full eSports economy should grow 43 percent to $463 million; Newzoo said this correlates with an audience of 131 million eSports enthusiasts and another 125 million “occasional viewers who tune in mainly for the big international events.” Overall, Newzoo’s report states that global and local eSports markets should jointly generate $1.1 billion in 2019.
Looking a bit deeper, Newzoo found that investment into and advertising associated with eSports continue to grow at a rapid clip. “This year has been dominated by the amount of investors getting involved in eSports. An increasing amount of traditional media companies have become aware of the value of the eSports sphere and have launched their first eSports initiatives. With these parties getting involved, there will be an increased focus on content and media rights. All major publishers have increased their investment into the space, realizing that convergence of video, live events and the game itself are providing consumers the cross-screen entertainment they desire from their favorite franchises,” Newzoo commented.
Online advertising in particular is the fastest growing revenue segment within eSports, jumping up 99.6 percent on a global scale compared to 2014. North America is expected to lead the charge worldwide.
“In 2016, North America will strengthen its lead in terms of revenues with an anticipated $175 million generated through merchandise, event tickets, sponsorships, online advertising and media rights. A significant part of these revenues flows back to the game publisher, but across all publishers, more money is invested into the eSports economy than is directly recouped by their eSports activities,” said Newzoo’s eSports Analyst, Pieter van den Heuvel.
“China and Korea together will represent 23 percent of global esports revenues, totalling $106 million in 2016. Audience-wise, the situation is different, with Asia contributing 44 percent of global eSports enthusiasts. Growth in this region is, for a large part, fuelled by an explosive uptake in Southeast Asia.”
While eSports is certainly on a good path for growth, game companies would be wise to not get too caught up by the hype. The average annual revenue per eSports enthusiast was $2.83 in 2015 and is expected to grow to $3.53 this year, Newzoo said, but that’s still a factor four lower than a mainstream sport such as basketball, which generates revenues of $15 per fan per year.
Peter Warman, CEO at Newzoo added, “The initial buzz will settle down and the way forward on several key factors, such as regulations, content rights and involvement of traditional media, will become more clear. The collapse of MLG was a reminder that this market still has a long road to maturity and we need to be realistic about the opportunities it provides. In that respect, it is in nobody’s interest that current market estimates differ so strongly. Luckily, when zooming in on the highest market estimates of more than $700 million, the difference is explainable by an in-depth look. This estimate only differs in the revenues generated in Asia (Korea in particular), and by taking betting revenues into account. At Newzoo, we believe betting on eSports should not be mixed into direct eSports revenues as the money does not flow into the eSports economy. Similarly, sports betting is not reported in sports market reports.”
Altair, based in Israel, is a developer of modem chip technology and software relating to the LTE (Long Term Evolution) 4G cellular standard for mobile phones and data terminals. Sony aims to combine Altair’s work with its sensing technologies such as GNSS (Global Navigation Satellite System) and image sensors to develop new cellular-connected, sensing devices.
Sony expects LTE, which is already used in data communication for mobile phones, to play a key role in IoT as more small devices or “things” are expected to be equipped with cellular chipsets and access network services that take advantage of cloud computing.
LTE is increasingly seen as a cellular technology that could be relevant for IoT, and carriers are preparing to offer it. Verizon announced last year the U.S. availability of chipsets for IoT devices that can connect to its LTE network at speeds up to 10Mbps.
Sony said in October it was acquiring Softkinetic Systems, a developer in Brussels of range image sensor technology that uses the time-of-flight (ToF) range method for arriving at the distance of an object. Sony said it would use the technology not only in the field of imaging but for broader sensing-related applications as well.
Altair claims on its website that its chipset already powers millions of LTE-connected devices worldwide. The company’s LTE chipsets provide varying speeds, standby current of microamps to milliamps, and package sizes ranging from small footprint modules to miniature, low-profile SiPs (system in package), the company said.
Sony expects to close the deal early next month. The consumer electronics company has been increasingly focusing on its components business, including a deal announced in December to acquire Toshiba’s CMOS image sensors and memory controller fabrication facility in Oita Prefecture in Japan.