Those players all participated in Battlefield 1’s beta across ten days, between August 30 and September 8. EA DICE has confirmed that the 13.2 million people make it “the biggest beta in EA’s history,” topping the previous record holder, Star Wars: Battlefront, which attracted more than 9 million players.
As big as Battlefront’s beta was, though, it was surpassed in popularity by Blizzard Entertainment’s Overwatch, which pulled in 9.7 million in May this year. The question surrounding Battlefield I, then, is whether it’s the most popular beta of this generation. While EA hadn’t laid claim to that at the time of writing, based on other publicly available figures it seems likely: Ubisoft’s The Division had 6.4 million players in its beta, while Activision’s Destiny had 4.6 million.
In any case, these will be glad tidings for EA DICE, and EA’s shareholders. As Niko Partners’ Daniel Ahmad pointed out on Twitter, Destiny, The Division, Battlefront and Overwatch all demonstrate a clear trend.
One trend I’ll note is that each of the full games above sold to more people than played the open beta’s within the 3 months from launch.
— Daniel Ahmad (@ZhugeEX) September 15, 2016
Battlefield 1 launches on October 21.
Halfway through Sony’s announcement event for its new consoles – the redesigned, slimmer PS4 and the new, more powerful PS4 Pro – I found myself thinking about the optics of these events. I’ve seen the announcement events for every console since the PS2, and of them all, this was by far the most muted. The lack of bombast and braggadocio could speak to a quietly understated confidence, or to uncertainty, depending on where you’re standing. I suspect that the truth lies somewhere in the middle – Sony, achieving success it hasn’t seen since the PS2’s halcyon days, is certainly confident, but is also walking out onto uncertain territory with the PS4 Pro. The ground underfoot is no longer familiar.
The slim PS4, of course – perhaps the worst-kept secret in the history of the industry, given the appearance of functioning models on auction websites prior to the announcement – is nothing unexpected. Three years into the PS4’s lifespan, a slimmed down redesign was inevitable; it joins the (arguably rather more attractive) Xbox One S on the shelves as a sleeker model whose launch is somewhat overshadowed by impending obsolescence. Xbox One S, at least, has a year to run before the hugely more powerful Scorpio appears on the market. The new PS4 suffered the ignominy of being quickly announced and forgotten just moments before the unveiling of PS4 Pro, the device destined to replace it.
PS4 Pro, though, is a curious beast. It’ll run you $100 more than the slim PS4, it plays the same games and connects to the same online services. Sony has bent over backwards to avoid fragmenting their playerbase, and in theory, PS4 Pro is really designed only for the small minority of consumers with 4K displays in their living rooms. Yet the company must know the psychology of its consumers; it must know that for a large proportion of them, playing a game on a regular PS4 in the knowledge that an upgrade would make it that little bit sharper, that little bit smoother, is like Chinese water torture. That will only be exacerbated by the “Pro” moniker; so much of the market will feel an involuntary twitch of consumer desire at the very notion of their existing hardware being “amateur” or, god help us all, “noob”.
Ultimately, though, Sony’s cautious approach seems to be pitched just right. Those who will find themselves discombobulated by the notion of a needlessly dropped frame or a disappointingly undetailed hair strand, or quietly fuming at being branded a non-Pro, are precisely the audience expected to upgrade anyway. The benefits of PS4 Pro will be sufficient to keep them satisfied; while for pretty much everyone else, for the enormous audience of more casual consumers that Sony must access in the coming years in order to maintain the PS4’s sales trajectory, the benefits of the Pro seem minor enough not to bother with. The stroke of genius, perhaps, is that every upgrading gamer will release a second-hand PS4 into the market – handed off to a younger sibling or cousin, perhaps, or sold to a late upgrader from the last generation. That ought to do wonders to kick-start the PS4’s demographic expansion.
That’s not an easy balance to strike, and while it feels like it’s been skilfully done, only time and market data will tell. Sony enters Winter 2016 in a position of almost unprecedented strength; Nintendo’s NX won’t launch until next spring (and nobody really knows what it is), while Microsoft’s lovely Xbox One S is overshadowed by the plan to entirely outclass it with Scorpio next year. Both PS4 and PS4 Pro will do great guns this year (while PSVR, about which more in a moment, will undoubtedly be supply constrained). That’s not the real test; the test is how this line-up can fare against 2017’s launches, NX and Scorpio. Sony’s cards are now on the table for the next couple of years of the console war.
The other test, of course, is how this evolves. Much has been made of PS4 Pro representing the end of the console model; a final nail in the coffin of the five, seven or even ten year hardware cycle which has defined game consoles since the 1980s. Incremental updates like the PS4 Pro, maintaining compatibility and continuity while keeping pace with hardware advancements, are the future.
Well, perhaps they’re part of the future. Scorpio, with its dramatic upgrade over the Xbox One – so dramatic that the notion of Xbox One remaining fully capable of playing Scorpio titles seems ridiculous – suggests a somewhat different future. Equally, the muted nature of this week’s launch is suggestive of somewhat different thinking. Sony didn’t want to come out all guns blazing, shouting in triumph about its new hardware, because it cannot afford to alienate the 40 million existing owners of PS4 by implying that their consoles are obsolete. That’s a radical difference from console launches of old precisely because the whole purpose of those launches was to declare everything which came before obsolete. “Here, here is the new thing! All singing, all dancing, making the singing and dancing your existing console is capable of look merely like painful hopping and wheezing! Buy the new thing!” You can’t do that with an incremental upgrade; you can’t alienate your existing market in that way. Even smartphone makers have more freedom in their messaging, knowing that their hardware is expected to run on an 18 to 24 month upgrade cycle; consoles, though, you expect to remain “current” for four years, five years or more.
Incremental upgrades, then, lock us to a much more muted kind of message about new hardware. Does anyone really believe, though, that there’s no PS5 in the works? No grand, sweeping upgrade, that will be unveiled with bombast, and fireworks, and promises of walking on water and improbable feats of catering involving bread and fish? Of course that’s in the works. If PS4 Pro points us at something, it’s at the possibility of compatibility across generations in the very broad sense – perhaps, at last, we have entered a generation of consoles whose games will remain playable pretty much forever, or at least for as long as the capricious DRM gods smile upon us. The reverse, however, cannot remain true forever. Console generations will continue to roll past; it’s just that now, perhaps, there will be more mezzanines and landings between the floors.
Notably absent from Sony’s quiet little event was PlayStation VR. Oh, there was a logo, and there were a few words said, but you’d hardly imagine that this was a massive product launch that’s happening in just a few months’ time. Perhaps that’s because the aspect of PS4 Pro Sony is most anxious about is what impact it’s going to have on PSVR, and vice versa. Ever since the first leaks about PS4 Neo, as then was, hit the wild, there’s been a widespread assumption that part of the raison d’être for the new hardware was to drive PSVR headsets – with the existing PS4 simply being underpowered as a VR device.
If that’s not the case, Sony could have done a better job of pointing it out. Throwaway comments about the PS4 Pro yielding better frame rates for VR software sit uncomfortably with the company’s earlier pronouncements about 120Hz rendering for PSVR. Everything we’ve seen and learned about VR thus far suggests that this tech is all about framerate; if you can’t hit a consistent, high frame rate, users start to get severe motion sickness. If it’s the case that PS4 can hit those frame rates consistently, but PS4 Pro allows more visual finesse at the same frame rate, that’s great. If, on the other hand, PS4 is struggling with frame rate and PS4 Pro smoothes things out, that’s a big problem. PSVR cannot afford to be a poor experience on the existing PS4 installed base; if it is to be a success, it needs to work superbly on the 40 million PS4s already in the wild, not just on the fraction of the installed base which will be PS4 Pro.
Perhaps it does. Certainly, the demos of PSVR to date – all presumably running on PS4 standard hardware – have been fine, for the most part. Again, though, the optics are problematic; if you’re launching a VR headset within weeks of launching more powerful hardware, people are going to assume, not unreasonably, that they’re meant to complement each other. If that translates into users of the headset on stock PS4s getting physically ill where users on PS4 Pro do not, that’s a very big problem – and if that’s absolutely not the case, and there are procedures in place to prevent it, Sony needs to be discussing those things candidly and openly. (If it is the case, they might have been best served by doing something radical like only taking PSVR pre-orders alongside PS4 Pro pre-orders; let VR be the USP of PS4 Pro, and avoid the possibility of backlash from underpowered VR entirely.)
With the cards on the table, now we see how the hand plays. PS4 Pro is undoubtedly a shake-up to how the console business works. It’s one step closer to a world where console hardware is essentially a fixed-spec PC in a nice box that’s updated every few years – but we’re not in that world yet, and whether we ever arrive there will be determined by how Sony and its rivals fare in the coming 18 months.
MediaTek has some decent network products and Asus and Xiaomi have a few midrange routers based on its SoC (system on a chip). Now it looks likely that Microsoft’s One S will use two MediaTek SoCs for wireless connectivity.
It has been a while since IFIXIT tore apart the Xbox One S but no one really noticed that the wireless component of the console came from MediaTek.
The Xbox One S looks like a nice console, worth the investment and was a good design win for AMD as it has an AMD APU inside. There are two chips from MediaTek, inside – firstly, the MT7632TUN, which is probably a variation of the MT7632 wireless chip supporting 2×2 802.11n + Bluetooth 4.0 Module. It is interesting that Xbox uses a 2×2 MIMO approach as this will make the 801.11n wireless much faster than before.
The second chip is MediaTek’s MT7612UN which is likely a variant of 802.11ac 2×2 MIMO that will again make things much faster in the 5GHz band and getting closer to 1Gbps speeds with the ac.
MediaTek won some business with Amazon tablets last year, and adding Microsoft to its portfolio definitely means a lot for the company and boosts its wireless image.
Xbox One S should be available in the western part of Europe within the next three weeks and Amazon Germany claims to start shipping on the September 22. US customers can get one today and it starts at $269.99 for 500 GB + Halo bundle and it jumps to $349.99 Xbox One S 1TB Console – Madden NFL 17 Bundle or $359.99 for Xbox One S 2TB Console – Launch Edition.
From the advent of what we might consider modern game consoles in the 1980s through to the point when standard budgets for individual games topped $10 million took around 25 years. Budgets spiked significantly when the PlayStation shifted the industry from 2D to 3D, but that merely drove them from six to seven figures; it wasn’t until the last generation, with Xbox 360 and PS3, that $10 million became the baseline for developing a AAA game.
From the advent of modern smartphones, in mid-2007, less than a decade has passed; so when Kabam CEO Kevin Chou talks about budgets of over $10 million for mobile games, and easily twice that when launch marketing costs are taken into account, it’s a sign of how quickly the world has accelerated.
Only a few years ago, mobile was the platform recommended to anyone starting out in game development; it was a new, exciting and fertile land waiting to be discovered by anyone with a smartphone, a copy of Xcode and a flash of genius. The very lure of mobile was that it was fast, it was cheap and it had no gatekeepers; you could prototype an idea, try it out in the marketplace, and either discard it or iterate upon it in a matter of weeks or months, even with a tiny indie team.
It would be wrong to imply that there’s no room in the mobile space for small teams and indies any more – an inspired game and a bolt of astonishing luck could still create a cultural phenomenon and a smash hit for something developed on a shoestring budget. Short of winning the development lottery in this way, though, it’s pretty clear that the big opportunities for smaller developers on mobile aren’t just shrinking; they’re actually gone entirely.
What Chou is saying merely reiterates what’s been clear to those watching the industry carefully for the past few years. Mobile games have become an enormous business, but most of the activity in the sector is no longer focused on game development, per se; it’s an incredibly marketing led business. The games that dominate mobile in 2016 are, with the notable exception of Pokemon Go, the same games that dominated 2015 and 2014. They’ve been updated somewhat and are constantly tweaking their formulas based on the data fed back from the playerbase, but the real efforts that drive consistent chart-toppers like Clash of Clans or Candy Crush Saga are marketing led – and very, very expensive marketing at that.
Indeed, while Chou’s comments on development budgets may seem intimidating to an indie creator, they’re the part of his message that deserves to be taken with a pinch of salt. Sure, moving to 3D has boosted development costs in mobile, but high quality 3D is not a hard and fast requirement for a successful game – and his claim that mobile games will be running with a graphical quality comparable to today’s home console titles within two years is pure fantasy (and not even desirable, were it possible; any game attempting such graphical quality will crucify its own retention statistics by being an unforgivable battery hog). Mobile development is unquestionably more expensive than it has been in the past and I don’t doubt Kabam’s budget estimations – they’re in line with what I’ve heard from others in the mobile sector recently – but this level of budget is still a nice-to-have, not a must-have.
In two areas, though, budget is non-negotiable. The first is network services. The reality is that even if a small independent developer came along tomorrow with a Pokemon Go beating game (which won’t happen, because Pokemon Go’s primary strength is in its license, but humour me anyway), the game wouldn’t survive a month. Either the game wouldn’t scale to match its audience, and would abruptly fall over and lose all market momentum; or it would scale, but the bills for the cloud services used in the process would reach unsustainable levels before the revenues from players actually started to roll in. Without good financial backing and the ability to sustain some high up-front costs, a runaway hit could be more likely to bankrupt its creator than a mediocre success.
The second area in which budget is non-negotiable, or rapidly becoming that way, is the aforementioned marketing. Chou suggested that Kabam is putting around $10 million in marketing behind its launches, which is a huge figure that’s still dwarfed by the amount big players such as Supercell and King are spending on “player acquisition” (which is just another way of saying marketing, in mobile game parlance) on their behemoth games. The sheer volume of TV, outdoor and online advertising space occupied by mobile games dwarfs the marketing for even the biggest console games, for the simple reason that the equation is different. Mobile game operators know that their existence relies on acquiring lots of players (which costs marketing money), holding on to as many of them as possible for as long as possible, and ultimately making more money out of each player than it cost to acquire them.
As the mobile market has grown, the cost of getting a player to try your game (Cost Per Acquisition, CPA) has risen enormously. That’s a cost that’s right there from day one of a mobile game’s existence; if you don’t have an acquisition strategy, which means expensive, high-profile advertising, you don’t have a mobile game with any chance of commercial success. Far, far more than any boost to development budgets, that’s what’s locking small teams and indies out of the mobile space. There are workarounds to some degree – like getting someone at Apple to love your game and feature it on the App Store frontpage, for example – but they’re a million to one shot.
It is, bluntly, long past time that we called time on the romantic myth of the indie mobile developer. If you’re an indie with good skills and a great idea, you’re far better off peddling that idea elsewhere. PC remains fertile ground for indie developers, of course, but one of the wonderful things that mobile has done for game development is the role it’s played in forcing console platform holders to open up to indies. If you’re talented and creative, getting access to a console development kit has never been easier or cheaper – in some cases, such as Microsoft’s ID@Xbox program, platform holders actually give dev kits away for free to just about anyone who wants one. It’s a far, far cry from the walled gardens of only a few years ago.
At first glance, mobile still looks like a more open platform than console (or even perhaps than PC, where Steam and its dubious Greenlight program act as de facto gatekeepers); everyone has a smartphone, the development tools to make games on them are free and anyone can upload a game to the App Store or the Play Store with ease. In reality, though, the opportunities for a small studio to succeed on mobile have narrowed rapidly to the point of nothingness, while opportunities on PC and on traditionally more “closed” platforms have boomed. Short of finding someone with a genuinely amazing, eye-opening idea for a mobile title, I’d be hard-pressed to recommend mobile development to any indie studio in 2016.
The wheel may yet turn again. Mobile game audiences, if nothing else, are still very new and very fickle; their tastes and desires may well shift, and more commercially viable niches may grow within the mobile space. As these devices get more powerful and capable, they’ll enable new experiences and consumers may come to demand more diversity from their gaming. For now, though, mobile has gone the way of console games around a decade ago; rising costs and an escalating arms race in marketing have killed, or are killing, the low-cost end of the market entirely. Unless you’ve got millions you don’t mind losing on a risky gamble, consider the mobile space closed to new entrants for the time being.
Number crunchers working for Jon Peddie Research (JPR), the industry’s research and consulting firm for graphics and multimedia have noted that during the second quarter AMD gained market share in the add-in board (AIB) market.
But while AMD fans might be cheering, and while Nvidia fanboys work out ways they can beat them up after school, JPR says that over all the AIB market decreased.
For those who came in late, AIBs using discrete GPUs are found in desktop PCs, workstations, servers, and other devices such as scientific instruments. They are sold directly to customers as aftermarket products, or are factory installed by OEMs.
AIBs are the higher end of the graphics industry with their discrete chips and private, often large, high-speed memory, as compared to the integrated GPUs in CPUs that share slower system memory.
The PC add-in board (AIB) market now has just three chip (GPU) suppliers which also build and sell AIBs. The primary suppliers of GPUs are AMD and Nvidia. There are 48 AIB suppliers, the AIBOEM customers of the GPU suppliers, which they call “partners”.
JPR has been tracking AIB shipments quarterly since 1987-the volume of those boards peaked in 1999, reaching 114 million units, in 2015, 44 million shipped.
The news for the quarter was encouraging and seasonally understandable, quarter-to-quarter, the AIB market decreased -20.8 percent (compared to the desktop PC market, which increased 2.5%), the report said.
AIB shipments during the quarter decreased from the last quarter -20.8 percent, which is below the ten year average of -9.7 percent.On a year-to-year basis, it found that total AIB shipments during the quarter rose 0.8 percent, which is greater than desktop PCs, which fell -0.2 percent, JPR added.
In spite of the overall PC churn, which is mostly because of tablets and embedded graphics, the PC gaming momentum continues to build and is the bright spot in the AIB market.
The overall GPU shipments (integrated and discrete) is greater than desktop PC shipments due double-attach-the adding of a second (or third) AIB to a system with integrated processor graphics.
Another reason is the increase in dual AIBs in performance desktop machines using either AMD’s Crossfire or Nvidia’s SLI technology Improved attach rate. The attach rate of AIBs to desktop PCs has declined from a high of 63 percent in Q1 2008 to 34 percent this quarter, a decrease of -22.7 percent from last quarter which was negative. Compared to this quarter last year it increased a single miserable percentage point.
This research said that the global GPU market demand in Q2’16 decreased from last quarter, and decreased from last year, to 83.32 million units.
“In recent years, as the gaming ecosystem is shaping up, software and hardware developers, information service providers, and even governments have been attempting to unearth market opportunities coming from this new arena. However, global PC shipment volume is forecast to fall further,” the report said.
Last week, Remedy tapped Tero Virtala to be its new CEO and said he would guide the Quantum Break studio’s move to developing multiple projects simultaneously. Virtala recently spoke with GamesIndustry.biz to flesh that idea out a little more and provide other details about his vision for the company’s future.
To start with, Virtala acknowledged that Remedy had intended to make a move into multiproject development for a while.
“This idea has lived for such a long time, but naturally, Quantum Break being such an ambitious and big project, it took most of the resources, people, the energy, most of the money the studio has been using for a long time,” Virtala said. “Now Quantum Break has been made and there is a new phase clearly starting for the company. As this strategic path has been discussed, it’s a commonly shared view that going for multiple projects is the way the people at the company want to go. And it also makes a lot of sense.”
Even though Remedy managed to put out the digital release Alan Wake’s American Nightmare and free-to-play mobile game Agents of Storm while Quantum Break was in the works, it’s clear much of the studio’s focus was on its Xbox One title. As Virtala explained, Quantum Break was an immense task for the studio: a new IP on a new platform with new gameplay mechanics and new tech, all paired with a new transmedia approach that would see a four-episode live-action serial created alongside the game.
“You take so many new things at one time and it made sense to focus on just one big project at a time,” Virtala said. “Now when we fast-forward to this moment, there’s so much more experience and skills, competencies that we can use with what we’ve learned. Also, the technology and tools we’ve developed are much further along and much more reusable than they used to be. So that built a base we can utilize, and then you take what else is needed for two projects.”
The studio’s old method of focusing on one big game for as long as five years at a time just isn’t sustainable in the long run, particularly when Remedy prides itself on cutting edge technology and envelope-pushing creativity.
“The industry’s developing so fast,” Virtala said. “On the one hand, there are so many great games out there, so when you’re bringing your game out, it has to stand out. It has to be unique. It has to be [high] quality. And if our studio is focusing on one project only, we’re putting all our people there. It usually means the length of the project grows, and if you take four or five years to develop a game, it’s a very risky game. You start the project with certain assumptions of the market, and in four or five years’ time in this type of creative, technology-driven industry, it changes so fast.”
That approach was also limiting the partners Remedy could work with. Virtala had nothing but great things to say about long-time partner Microsoft, but a relationship like that with a single-project studio would necessarily keep the company from collaborating with other publishers. And of course, Remedy fans would probably like more than one new game every five years or so.
Virtala wants Remedy to make more games, and he wants a shorter development cycle for those games. At the same time, he stressed, “We stay loyal to the strengths we have in this industry,” which he interprets as excellent games with a distinctive quality, visually impressive and immersive worlds populated with compelling characters.
As for how Remedy can deliver content to the same quality on a much shorter time scale, Virtala didn’t give many specifics. The company has a headcount of 125 people with another 15 open positions, but Virtala declined to say if there were plans to dramatically expand the staff size. As for doing more with the same amount of people, he did note that the technology and tools that have been developed for Quantum Break over the past five years can be used in future games, so “we are definitely able to provide AAA quality in a shorter time than we have before.”
He was similarly careful when talking about whether the shorter development cycle would be achieved by changing the types of games Remedy makes. The company is exploring “new game mechanics” that
While we were hoping to see it bundled with some recently launched Polaris-based graphics cards, it appears that AMD wants to give some love to those that decide to buy AMD’s FX-series CPUs.
To be available in most popular retail/e-tail stores, the bundle will include a copy of the new Deus Ex: Mankind Divided game with a purchase of a 6- or 8-core AMD FX CPU. According to details provided by AMD, the promotion will run from August 23rd to November 14th or until the supply lasts.
Currently, some of the hot AMD FX-series CPUs like the 6-core FX-6300 or 8-core FX-8320 are selling for as low as US $100 and US $130, so bundling a US $60 game sounds like a really good deal.
Hopefully, AMD will decide to bundle the game with some of its Polaris-based graphics cards after Deus Ex: Mankind Divided gets its DirectX 12 patch later in early September.
Electronic Arts has one of the deepest back catalogs in the industry, but to date it has steered clear of mining it for new revenue through remastered and HD editions. That’s likely to change soon, according to a Game Informer interview with EA Studios executive VP Patrick Soderlund from last week at Gamescom. When asked if anything in EA’s stance on remasters had evolved in the last year, Soderlund tipped the publisher’s hand.
“What’s changed is that there is proof in the market that people want it, maybe more than there was when we spoke [previously],” Soderlund said. “There were some that did it before, but I think there is even more clear evidence that this is something that people really want. The honest answer is that we are absolutely actively looking at it. I can’t announce anything today, but you can expect us most likely to follow our fellow partners in Activision and other companies that have done this successfully.”
Soderlund added that if EA were to remaster games, it would “have to be careful in choosing the right brands for the right reasons at the right time.” Part of that would be ensuring the company handles the remasters properly instead of just selling quick and dirty ports.
That attitude is a pretty clear pivot from where the company’s thinking was just a year ago. Last October, Peter Moore said EA wasn’t interested in remakes and remasters because “it feels like pushing stuff out because you’ve run out of ideas,” adding, “I don’t know where we find the time to do remakes. We’re a company that just likes to push forward.”
While EA hasn’t been especially aggressive with remastered games, it has produced HD versions of older games like American McGee’s Alice and Crysis, primarily as preorder incentives for sequels in those series.
The OvRcharge, by 15-year-old AR Designs Canada, combines magnetic induction charging with electromagnetic suspension to levitate your Android or iOS mobile device a few centimeters above a square, wooden platform.
The charger comes in two sizes: the smaller OvRcharge platform is about 5.5 inches square for smartphones, and the larger OvRcharge Ultra,for tablets, is about 6.75 inches square. Both wood platforms are around 1 3/8 inches thick.
The charging stand comes in three colors, Dark, Walnut and Cherry.
Besides the size, the only difference between the two charging models is the output current rate: the OvRcharge uses a ~500mAh charge and the OvRcharge Ultra provide ~700 mAh.
The wireless charger both suspends a mobile device at a fixed height and slowly rotates it for an aesthetic appeal.
The charger works in conjunction with an AR Designs smartphone or tablet case that’s included and can be ordered with either a Lightning or micro-USB connector for an iPhone or Android device. The unit is powerful enough to levitate a device that’s up to 21.1 ounces (600 grams) in weight.
The early bird price for the OvRcharge stand and mobile device case is $239 (the $199 and $209 offers have already sold out); the price for the OvRCharge Ultra is $259. After two weeks on Kickstarter, the campaign has raised more than $25,000 of a $30,000 goal.
The devices are expected to ship to early bird buyers by December.
The iPhone cases can be ordered to fit iPhone 5 or later models. The Android cases fit Samsung, LG, Sony and Huawei devices.
It’s been more than five years since The NPD Group said it would start including digital data in its monthly reports on the US video game business. In those five years, not only has digital grown, but publishers, analysts, press and more have all thrown shade at NPD, questioning the relevancy of a service that only offers physical sales data in an increasingly digital era. Today, NPD is finally taking that first step to offer a more complete picture of the entire games market as it’s unveiled its digital point-of-sale (POS) sourced service, tracking SKU-level sales data on digital games.
“Following several years of beta testing, the Digital Games Tracking Service will allow participating clients to understand the size and growth of the digital market, and analyze attach rates and other important metrics. Combined with physical data available by NPD, these clients can gain a better understanding of the interplay between the physical and digital sales channels,” the firm explained in a press statement.
“As has been experienced across a wide variety of industries, digital has made a big impact on the overall gaming market, and we’ve risen to meet the demand for a reporting mechanism that tracks those sales in a timely and accurate way,” said Joanne Hageman, President, U.S. Toys & Games, The NPD Group. “With the participation and support of leading publishers – whose cooperation makes this possible – we are excited to launch an industry-first service that addresses a long-standing need.”
The usual report on physical sales data will now be combined with digital sales data and issued on July 21 instead of July 14; it’s expected to follow that cadence (the third data Thursday of the month) moving forward. Initially, NPD has gained the support of major publishers like EA, Activision, Ubisoft, Capcom, Square Enix, Take-Two, Deep Silver and Warner Bros. There are notable exceptions, however, like Bethesda as well as first-party publishers like Microsoft, Sony and Nintendo, but NPD analyst Liam Callahan promised that more publishers would be signing on as the service evolves.
“This has been several years of beta testing and we’ve been doing this in partnership with publishers, shaping the product, encoding the data the way the industry wants to see it. It’s really at the behest of or on the behalf of the publishers that we’re moving forward with this announcement… Really the goal is to bring a new level of transparency never before seen, at least in the US market. This is really the first step. We recognize that there’s still a ways to go, we want more publishers to join, we want to be able to project for people who are not participating. It’s an evolution, it’s something that takes time and our philosophy was really to start – if we waited to have every publisher in the world to sign up it would take forever. We’ll be improving this as time goes on,” he said.
Importantly, NPD will notate next to game titles on the chart that do not include digital data. Callahan wants the service, which is being produced with the assistance of EEDAR, to ultimately be able to project data even for non-participants but NPD isn’t starting with that ability just yet. Instead, it’ll focus on tracking revenue from full-game downloads across Xbox Live, PlayStation Network and Steam. Services like Battle.net and Uplay won’t be included at this point.
“EEDAR is excited to be part of this initiative with NPD and the participating publishers. Tracked digital revenues have seen annual growth of over 100% each year since 2012. In 2016, we’ve already tracked more digital revenue than we saw in 2012 and 2013 combined. This initiative is a great milestone for the industry which will allow publishers to make better business decisions with a broader data set,” added EEDAR CEO Rob Liguori.
Add-on content like DLC and microtransactions will be tracked as well, but that data will only be released to participants, not the media and public. “We’re waiting until that’s a little more fully baked for us to roll that out to the media. We’re doing things in stages,” Callahan said.
It may be frustrating for the media to not have a granular breakdown at the SKU level to see what portion of a game’s sales are digital versus physical, but NPD anticipates more openness as the service evolves.
NPD communications chief David Riley commented, “This is a closed service, the detailed data is only available to participants so if you’re a non-participating publisher you cannot see the data. The fact that we’re allowed to go out with something for the media is a huge step in the right direction. I think as the service matures and as the publishers get used to it and we get more on board, we have more history, we do some benchmarking, we can provide that, but what we wanted to do for multiple reasons, including appeasing the publishers was to combine full-game physical with full-game digital, keep away from the DLC, keep PC games separate because that’s a whole different ball of wax. It’s not comprehensive, but it’s the most comprehensive, we’re the first in the market to track this and we’re sort of very cautious.”
He added, “I expect a good old slamming from the industry press because of the limitations here but what we don’t want to do is open ourselves up by separating it at this time. We’ve just opened the gates right now. Just as you’ve seen a withdrawal [of data] on the physical side – we used to give units – this is sort of going to be the reverse I’m hoping and we can provide more over time.”
Working with the publishers is great, but there are numerous digitally released titles from indies which make up a growing piece of the industry pie. Will the service grow to track those titles too? “Indies are a big part of the industry in terms of their innovation and I think when I talk about our projection methodology and assets at NPD, that is part of how we can track everything, not just for publishers, including indie games and everything that’s outside the panel right now,” Callahan said.
“Some of those smaller games are published through a publisher or first-party so there are ways to get some of those with our publisher-sourced methodology, and otherwise we’re approaching it with developing a robust projection methodology. That’s certainly part of our plan, we’re not going to ignore the indie piece.”
In our previous conversations with NPD, the firm had hinted at possibly working towards the goal of global digital reports. That’s not off the table, but it’s not a focus at the moment. “US is our core competency… our vision is to expand this as much as we can in a way that makes sense for our partners. If that’s global that may be what we pursue. But we also want to do the best job that we can in projecting for the market and recruiting as many publishers as we can,” Callahan concluded.
AMD and Nvidia fanboys are expected to battle each other to death as AMD readies to launch its new Polaris-based Radeon RX 480 graphics card.
Using the traditional weapons of made-up facts and faulty historical memory, which are targeted with no sense of perspective, the fanboys should occupy their time for at least another year.
Although this is not the goal of the new AMD launch, the fact that Nvidia has decided to start selling its GeForce GTX 1060 products, which were originally set to launch in August to match the card indicates that a war of some sort is afoot. Fanboys are usually sensitive to these things.
AMD’s company vice president Raja Koduri said AMD was ready to release its Radeon RX 480 priced at US$199 on 29 June. The outfit’s FreeSync technology has also seen increased adoption by graphics card players recently who need a cheap sink. This has raised AMD’s share in worldwide PC discrete graphics card market to close to 30 per cent in the first quarter.
It looks like AMD is charging ahead into the mid-range and mainstream sectors. This is probably the reason Nvidia has moved forward the releases of GeForce GTX 1060 products by a month and is likely to reduce their prices to make them more competitive.
Nvidia is hamstrung by the fact that there are still a lot of GeForce GTX 960/950 graphics cards in the channel and Nvidia’s sudden change of plans forced graphics card players to turn to focus on new products instead of clearing inventory.
It is not clear who will be the Ramsay Bolton and who will be the Jon Snow in this particular battle off the bastards. But let the strawmen be unleashed and the biting sarcasm begin.
While Sony wowed gamers at its E3 press conference this year with a barrage of impressive content, some would argue that it was Microsoft that made the biggest splash by choosing its press conference to announce not one, but two distinct console hardware upgrades that would be hitting the market in consecutive years (Xbox One S this year, Scorpio in 2017). Years from now, this may be the grand moment that we all point to as forever changing the evolution of the console business. Sony, too, is preparing a slight upgrade to PS4 with the still-to-be-unveiled Neo, and while it won’t be as powerful as Scorpio, it’s not a stretch to assume that Sony is already working on the next, more powerful PlayStation iteration as well. We can all kiss the five or six-year console cycle goodbye now, but the publishers we spoke to at E3 all believe that this is ultimately great for the console industry and the players.
The most important aspect of all of this is the way in which Sony and Microsoft intend to handle their respective audiences. Both companies have already said that players of the older hardware will not be left behind. The ecosystem will carry on, and that to EA global publishing chief Laura Miele is a very good thing, indeed.
“I perceive it as upgrades to the hardware that will actually extend the cycle,” she told me. “I actually see it more as an incredibly positive evolution of the business strategy for players and for our industry and definitely for EA. The idea that we would potentially not have an end of cycle and a beginning of cycle I think is a positive place for our industry to be and for all of the commercial partners as well as players.
“I have an 11-year-old son who plays a lot of games. We changed consoles and there are games and game communities that he has to leave behind and go to a different one. So he plays on multiple platforms depending on what friends he’s playing with and which game he’s going to play. So the idea that you have a more streamlined thoroughfare transition I think is a big win… things like backwards compatibility and the evolution,” she continued.
“So it’s not my perception that the hardware manufacturers are going to be forcing upgrades. I really see that they’re trying to hold on and bring players along. If players want to upgrade, they can. There will be benefit to that. But it’s not going to be punitive if they hold on to the older hardware… So we’re thrilled with these announcements. We’re thrilled with the evolution. We’re thrilled with what Sony’s doing, what Microsoft’s doing and we think it’s phenomenal. I think that is good for players. It’ll be great for us as a publisher about how they’re treating it.”
Ubisoft’s head of EMEA Alain Corre is a fan of the faster upgrade approach as well. “The beautiful thing is it will not split the communities. And I think it’s important that when you’ve been playing a game for a lot of years and invested a lot of time that you can carry on without having to start over completely again. I think with the evolution of technology it’s better than what we had to do before, doing a game for next-gen and a different game from scratch for the former hardware. Now we can take the best of the next console but still have super good quality for the current console, without breaking the community up. We are quite big fans of this approach,” he said.
Corre also noted that Ubisoft loves to jump on board new technologies early (as it’s done for Wii, Kinect, VR and now Nintendo NX with Just Dance), and its studios enjoy being able to work with the newest tech out there. Not only that, but the new consoles often afford publishers the opportunity to build out new IP like Steep, he said.
“Each time there’s a new machine with more memory then our creators are able to bring something new and fresh and innovate, and that’s exciting for our fans who always want to be surprised. So the fact that Microsoft announced that they want to move forward to push the boundaries of technology again is fantastic news. Our creators want to go to the limit of technology to make the best games they can… so the games will be better in the years to come which is fantastic for this industry. And at Ubisoft, it’s also in our DNA to be [supportive] early on with new technology. We like taking some risks in that respect… We believe in new technology and breaking the frontiers and potentially attracting new fans and gamers into our ecosystem and into our brands,” Corre continued.
Take-Two boss Strauss Zelnick pointed out the continuity in the communities as well. “The ecosystems aren’t shifting as much. We essentially have a common development architecture now that’s essentially a PC architecture,” he said. And if the console market truly is entering an almost smartphone like upgrade curve, “It would be very good for us obviously. To have a landscape…where you put a game out and you don’t worry about it,” he commented, “the same way that when you make a television show you don’t ask yourself ‘what monitor is this going to play on?’ It could play on a 1964 color television or it could play on a brand-new 4K television, but you’re still going to make a good television show.
“So we will for sure get there as an industry. We will get to the point where the hardware becomes a backdrop. And sure, constantly more powerful hardware gives us an opportunity but it would be great to get to a place where we don’t have a sine curve anymore, and I do see the sine curve flattening but I’m not sure I agree it’s going away yet… That doesn’t change any of our activities; we still have to make the very best products in the market and we have to push technology to its absolute limit to do so.”
Sony Pictures Animation has announced that it will produce an animated movie about “the secret world of our phones and the beloved characters that have become daily necessities in global interpersonal communication.”
“Emojimovie: Express Yourself” is due in August 2017. It will be written by Eric Siegel and Anthony Leondis and directed by Leondis. He previously wrote and directed “Lilo & Stitch 2: Stitch Has a Glitch” and “Igor.”
Deadline had earlier reported that Sony beat out two other movie studios bidding for the movie, paying “near seven figures” for the title.
So what emojis might make the cut and appear in the movie? The smiley seems the likely star and is the most-used emoji in every country except France, according to a SwiftKey study published in 2015. In France, the heart emoji is the favorite.
Emojis first appeared on cell phones in 1999 when NTT DoCoMo launched its i-Mode wireless Internet service in Japan. Since then, they have spread worldwide and are available on all modern smartphones, messaging systems and computers.
Emojis’ Japanese roots explain some of the stranger characters, which might mean little to people in the West but related to some important cultural festivals, food or other aspects of Japanese life.
E3 2016 has officially come to a close, and despite the fact that Activision and EA were absent from the show floor, my experience of the show was that it was actually quite vibrant and filled with plenty of intricate booth displays and compelling new games to play. The same cannot be said for the ESA’s first ever public satellite event, E3 Live, which took place next door at the LA Live complex. The ESA managed to give away 20,000 tickets in the first 24 hours after announcing the show in late May. But as the saying goes, you get what you pay for…
The fact that it was a free event, however, does not excuse just how poor this show really was. Fans were promised by ESA head Mike Gallagher in the show’s initial announcement “the chance to test-drive exciting new games, interact with some of their favorite developers, and be among the first in the world to enjoy groundbreaking game experiences.”
I spent maybe an hour there, and when I first arrived, I genuinely questioned whether I was in the right place. But to my disbelief, the small area (maybe the size of two tennis courts) was just filled with a few tents, barely any games, and a bunch of merchandise (t-shirts and the like) being marketed to attendees. The fans I spoke with felt like they had been duped. At least they didn’t pay for their tickets…
“When we found out it was the first public event, we thought, ‘Cool we can finally go to something E3 related’ because we don’t work for any of the companies and we’re not exhibitors, and I was excited for that but then we got here and we were like ‘Uh oh, is this it?’ So we got worried and we’re a little bit upset,” he continued. Malcolm added that he thought it was going to be in one of the buildings right in the middle of the LA Live complex, rather than a siphoned off section outside with tents.
As I walked around, it was the same story from attendees. Jose, who came with his son, felt similarly to Malcolm. “It’s not that big. I expected a lot of demos, but they only had the Lego Dimensions demo. I expected something bigger where we could play some of the big, upcoming titles. All it is is some demo area with Lego and some VR stuff,” he told me.
When I asked him if he got what he thought would be an E3 experience, he continued, “Not even close, this is really disappointing. It’s really small and it’s just here. I expected more, at least to play some more. And the VR, I’m not even interested in VR. Me and my son have an Xbox One and we wanted to play Battlefield 1 or Titanfall 2 and we didn’t get that opportunity. I was like c’mon man, I didn’t come here to buy stuff. I came here to enjoy games.”
By cobbling together such a poor experience for gamers, while 50,000 people enjoy the real E3 next door, organizers risk turning off the very audience that they should be welcoming into the show with open arms. As the major publishers told me this week, E3 is in a transitional period and needs to put players first. That’s why EA ultimately hosted its own event, EA Play. “We’re hoping the industry will shift towards players. This is where everything begins and ends for all of us,” said EA global publishing chief Laura Miele.
It seems like a no-brainer to start inviting the public, and that’s what we all thought was happening with E3 Live, but in reality they were invited to an atmosphere and an “experience” – one that barely contained games. The good news, as the quickly sold out E3 Live tickets indicated, is that there is a big demand for a public event. And it shouldn’t be very complicated to pull off. If the ESA sells tickets, rather than giving them away, they can generate a rather healthy revenue stream. Give fans an opportunity to check out the games for a couple days and let the real industry conduct its business on a separate 2-3 days. That way, the ESA will be serving both constituents and E3 will get a healthy boost. And beyond that, real professionals won’t have to worry anymore about getting shoved or trampled, which nearly happened to me when a legion of frenzied gamers literally all started running into West Hall as the show floor opened at 10AM. Many of these people are clearly not qualified and yet E3 allows them to register. It’s time to make E3 more public and more professional. It’s your move ESA.
We asked the ESA to provide comment on the reception to E3 Live but have not received a response. We’ll update this story if we get a statement.
At its E3 2016 press conference today, EA said that DICE and Motive were working on a new version of Star Wars: Battlefront for release in 2017. Visceral Games are creating an action-adventure game with an “original narrative set in the Star Wars universe with all-new characters.”
Respawn Entertainment is developing “a different style of gameplay” which takes place in a different timeline we have yet to explore with our EA Star Wars titles.” In other words, almost every EA studio is flat out making something Star Warish.
And while the company didn’t make any mention of it at the news conference, the preview video it showed fans offered a very brief glimpse of a player wearing a PlayStation VR headset, while an X-Wing’s cockpit was shown on screen. That’s likely to stoke anticipation about a reboot of the classic 1997 title “X-Wing vs. TIE Fighter.”
EA and Lucasfilm signed a multiyear licensing deal in 2013. Due, in large part, to the strength of “Star Wars Battlefront,” EA handily beat its earnings estimate in its most recent quarter. Star Trek Bridge, the simulation of the Bridge inside of an Enterprise, a big VR commitment from EA looks like a fun game too.