Subscribe to:

Subscribe to :: TheGuruReview.net ::

Will eSports Make It To The 2024 Olympics In Paris

August 17, 2017 by  
Filed under Around The Net

The 2024 Olympic Games in Paris could be the first to host an official esports event if the bid team is successful.

Esports Insider reports that the team is rallying for the International Olympic Committee to consider adding professional gaming competitions to the program.

The site reports that the Paris 2024 team has been openly discussing this for some time, believing esports will help get more young people interested in the Olympics, although the IOC will make the final decision.

Paris is expected to be confirmed as the host of the 2024 Games in September, while Los Angeles is expected to be announced as the host of the 2028 game.

The IOC’s decision could be influenced by how successfully esports are integrated into similar competitions further east. Earlier this year, the Olympic Council of Asia confirmed esports will be recognised as a medal event at the 2022 Asian Games in China.

Esports will also be part of the program at the 2018 Asian Games in Indonesia, although not as a medal sport. Nevertheless, with the Paris program due to take shape in 2019 and be finalized in 2020, the success of esports in Indonesia could prove to be highly influential in getting competitive gaming included in the main Olympic Games.

While there was no esports competition at the Rio 2016 Olympic Games, the International eGames Committee ran a “two-day pop-up” competition alongside the event, pitting teams from the UK, US, Brazil, Canada and more against each other.

Meanwhile, elsewhere in the world of esports, Business Insider reports that Finland is the latest country to officially recognise professional players as athletes. The decision was confirmed by the Finnish Central Tax Board, which will have an effect on what esports players can earn (or, rather, how much of their earnings will be taxed).

Courtesy-GI.biz

Can Rocket League Grow eSports

August 15, 2017 by  
Filed under Gaming

The stories about esports going to the Olympics, or airing on mainstream TV, are exciting.

In itself, these moments are not that important to the future of competitive gaming. This is a modern sport, there’s no need for BBC broadcasts when millions are watching on Twitch. And as cool as it may be to see gamers at official sporting championships, these competitions are not suited to the complex nature of esports with all those different games.

Yet what these stories highlight is esports’ potential within the mainstream. The dream of seeing esports on the back pages of newspapers, taking prime time slots on Sky Sports and drawing in families around the world rooting for their favorite teams. Millions more watch football than play it – wouldn’t it be great if that was also true of Call of Duty?

Unfortunately, esports is not mainstream. The games are complicated, or violent, or both. Some are hard to follow, while the ones that are easier to grasp are often based on existing sports (such as FIFA or NBA 2K), and the nagging question there is why watch the virtual versions when you can see the real thing?

Last year I attended an event about esports targeted at mainstream media and Government. The organizers wanted to demonstrate esports on stage, but were unsure over which game to use – violent shooters or densely packed MOBAs were just not suitable.

When UK retailer GAME launched its Belong range of stores (effectively local esports areas within a shop) it was faced with a similar challenge. Most of the popular esports games are simply not appropriate to show in the middle of the day in a retail setting.

Both eventually hit upon the same answer: Rocket League.

The car football game is the perfect title for mainstream sports. It’s easy to follow as it is just soccer with cars, but also crazy enough that it can only be done in a video game.

“Rocket League launched in July 2015 and immediately community groups latched onto the game and started to create tournaments,” says Josh Watson, head of esports at developer Psyonix.

“So Rocket League esports was very much born from the community. It is that grass roots support that has made for a passionate community of tournament organizers and fans. Today we have several dozen community groups who are doing hundreds of online tournaments and events annually, so it has really ballooned up from the grassroots.”

VP of publishing Jeremy Dunham adds: “The conversations we’ve had directly with players… they want more opportunities for Rocket League to become a bigger esport. That is something we are focusing on a lot.

“One of the biggest mistakes people make in esports is that they only focus on the smallest possible audience, the 50 to 100 people who are good enough to make a living out of it. We want esports to feel more like little league or football, where people are playing at all levels, from childhood to the pros. That way there is always an opportunity to play Rocket League and be a part of something. That requires a massive plan and a lot of infrastructure, but we’re spending a good amount of time putting that in place.”

That plan is accelerating rapidly. Last year, Psyonix ran competitions in three regions (Europe, North America and Oceania), with $600,000 in prize money. It did well, with 6,000 teams taking part, 1m unique viewers and 10m channel views on Twitch.

Now Psyonix is trying to grow that rapidly, with a $2.5m investment in developing Rocket League as an esport.

The company has since added new in-game functionality, like an esports live button (so people can watch in-game). They’ve added new tournaments, expanded to new regions, offered in-game items to viewers, appeared at more major festivals and has signed deals with NBC, ESL, Gfinity, Dreamhack and a whole lot more.

It has developed the RLCS (Rocket League Championship Series) Overtime show, which airs every week. And its last esports finals became the most watched esport of that week, with 2.8m hours of viewership – 1m more than League of Legends.

“Some of the numbers we saw included 2.29m unique viewers, 208,000 concurrent viewers across seven broadcasted languages… so some pretty big numbers,” says Watson. “To put that in perspective, between Season 2 and 3 we had a 640% increase in video watched, 340% in peak concurrent viewers, 251% increase in social media impressions, and 208% increase in unique viewers. It is incredibly promising for the RLCS moving forward.”

The firm is even attracting non-gaming sponsors, with Old Spice, 7Eleven, Transformers: The Last Knight and Mobil1 all signing up to support their tournaments.

It all sounds good, but then esports figures always do. Millions of concurrent viewer numbers and outlandish prize pools have almost become white noise. It’s all good marketing for Rocket League, but is this actually a profit-generating endeavor?

“One of our focuses is on giving our community a place to play competitively,” Watson acknowledges. “It’s really about servicing this community. They’re hungry for this high level competition.”

Yet big flashy tournaments don’t really service the community. It gives fans something to watch, but ultimately it’s still prohibitive for anyone outside of the most elite gamers. Dunham and Watson keep using the term ‘grass roots’, so how are they looking to support that?

“There is this notion in esports about the path to pro,” acknowledges Watson. “We want to create this ecosystem where you are taking good players who might want to play competitively, but they’re really not sure how, to attending tournaments. We are trying to build out this path to pro, where it is clearly defined how you get to that top tier.”

 

“For RLCS season 4, we are shifting our focus to creating a sustainable environment for players and organizations,” Watson explains. “Teams will be incentivized to plan for the long-term, and the goal is to create an environment where players can hone their skills, which will improve the quality of the gameplay and it should also offer players, owners and sponsors the necessary security to invest in Rocket League for the long-term with confidence.

“We are moving to a promotion and relegation system. The RLCS is basically a big open tournament at the moment, and then it funnels down to the top eight teams, and if you make it to the top eight you can play in a group stage, which happens over a long period of time. What that doesn’t allow for is if you don’t perform well on the day of the qualifiers, then you’re out of luck. That is something we are trying to solve with the promotion/relegation system. Each region will now be comprised of 16 teams, with the top eight making it into the RLCS as we know it now… the top division. And the nine through 16 teams will have access to a challenger, second division. We are hoping to provide players the opportunity to compete at the highest level, whilst being able to cultivate talent for tomorrow’s stars. That means we will have 40 teams across three regions competing in the RLCS.”

“It’s in partnership with Tespa, which is a group that runs some notable collegiate experiences like Heroes of the Dorm,” Watson explains. “We launched with the collegiate Rocket League series in early July, and this is our soft launch into collegiate esports. It is where we are allowing players who are enrolled in colleges all over North America, to make teams of three and play in these competitive environments while earning prizes.”

Watson says he is open to expanding that beyond the US, assuming there’s the demand for it.

It’s certainly commendable, and Rocket League does have a certain simplicity about it that could see it go far. It’s now a case of Psyonix keeping that momentum going.

“One of our visions that we try to hold to is to create a premium sports product in the esports world,” Watson concludes. “That is something that drives us. We do think our game is one of the best suited games for esports in general.”

Courtesy-GI.biz

Are Publishers Milking Gamers Being With Video Game Remasters

August 11, 2017 by  
Filed under Gaming

Have you noticed how many remastered video games have been released lately?

Remastering music and film for newer formats has been standard practice in those industries for some time, and the games industry now has enough history behind it to mine older titles and bring them to either nostalgic audiences or players who are experiencing a classic IP afresh.

Given a market in which so many publishers are highly risk averse and costs are typically astronomical, it’s easy to see why the relatively low costs of remastering are so appealing. With consumers hungry for classic content, especially during this nostalgia wave we’re witnessing, it makes perfect sense for publishers to capitalize.

Looking at the UK charts, remasters of Mario Kart, Wipeout, Crash Bandicoot and Final Fantasy XII have all topped the charts in the last two months. And in the US, NPD told us that remastered/ported games have accounted for 11% of total dollar spending life-to-date for physical game sales on PS4 and Xbox One. Nearly 80 remastered/ported games have been released for PS4 or Xbox One (or both) since November 2013, representing about 15% of all titles released at retail for those consoles.

Recently, during Activision Blizzard’s earnings call, Activision Publishing boss Eric Hirshberg gushed over the success of Crash Bandicoot.

“We knew that there was a passionate audience out there for Crash…. but we had no idea – it’s hard to tell whether that’s a vocal minority or whether that’s a real mass audience until you put something out there. And Crash has surpassed all of our expectations by a pretty wide margin,” he said.

“And a couple of stats that underscore that point where it was the number one selling console game in June based on units, even though it was only available for two days during that month. And Sony reported this morning… that Crash is the most downloaded game on the PlayStation Store in July.”

Activision has enjoyed the fruits of remastering before with Modern Warfare Remastered, but you can bet it will look at more easy wins in this category moving forward. In fact, Activision’s counterpart, Blizzard, is planning on releasing a remastered StarCraft in the third fiscal quarter.

“This is a strategy that clearly has our attention… I think you can be confident that there will be more activity like this in the future with more great IP,” Hirshberg added.

As NPD analyst Mat Piscatella noted, publishers are able to offset some of the inherent risk in AAA development by pursuing the remastering trend.

“On average, remasters/ports sell less than games that are new to the platform, unsurprisingly,” he said. “However, given the dramatically lower development costs when compared to new game development, the ability to outsource porting to speciality houses which frees up internal development resources to create new games, and the ability to mitigate risk since a clear demand pattern exists to determine which games should be remastered, the benefits of the practice are readily apparent to publishers.”

Publishers we queried wouldn’t state exact costs, but it’s clearly something that can vary on a case-by-case basis. A much older title would likely need new artwork, whereas something closer to the current generation may only need a touch up with textures or polygons.

THQ Nordic, which has remastered properties like Darksiders, De Blob, Baja: Edge of Control and others, weighed in. “Age plays an important role here and if all the data is complete and accessible,” said director of production, Reinhard Pollice. “Also some projects are already set up in a way that they are perfectly fit for more advanced platforms than they were originally targeting. In general remastering pays off if you do it the right way.”

Sega, too, has had its share of remastering, especially for the PC with titles like Bayonetta and Vanquish. Rowan Tafler, head of brand for Sega Searchlight, the internal team at Sega Europe that oversees PC conversions, commented, “It’s not always a simple process, especially bringing classic titles to PC. With console development, you have reasonably fixed hardware standards – on PC, we need to ensure that the game runs well on a wide range of specifications and that can be a difficult process. Hardware moves on, so a lot depends on how the original assets are archived and whether they can be brought up to date.

“Of course, we need to make sure that development is profitable – that gives us the opportunity to keep doing what we’re doing – but the satisfaction really comes from doing right by our community and our catalogue.”

Satisfying the community is certainly a key goal in remastering, and listening to players’ desires is a helpful way to identify which games should get a modern makeover.

“I think that remastering comes from perpetual and existing interest in a property or brand,” said Tafler. “We’re not going to be able to reignite interest in something if the quality isn’t there in the first place. That wouldn’t be a good business decision.

“Does it increase interest and give players who potentially haven’t experienced the titles before an opportunity to play a title in its optimum form? Yes, absolutely. But we don’t perform a best practice conversion with the intent of piling all the profit into making a new game in the series or using the IP. That sort of decision would be made completely separately.”

THQ Nordic doesn’t always look at popularity, however. “Sometimes we believe also in titles that weren’t that popular in the first place, but we feel they deserve a chance,” Pollice noted.

He added that oftentimes there’s a belief that an old property that didn’t make a big splash can have a new lease of life as a remaster, or that a classic can gain legions of new fans who were just too young to have experienced it years ago. In a sense, by remastering a game, you’ve got built-in marketing for that franchise, which may one day lead to new entries for a series.

“That’s actually our very original thought about remastering a title,” Pollice continued. “We want to make first-hand experiences with the audience and a game’s fan base and understand their wishes and demands. We are fans ourselves of our own franchises but it’s always good to stay in touch with the community and listen.”

Remastering might seem like a cakewalk, but with 4K gaming starting to take hold on consoles, and with PC gamers already accustomed to extra high fidelity visuals, there are more challenges involved in revamping a particular title than you might guess.

“Sometimes it’s a technical challenge to make it look and feel like a recent game,” Pollice acknowledged. “Within these two fields there are tons of tiny challenges. For example, on Darksiders Warmastered Edition the biggest challenge was to remaster the cutscene. In Darksiders 1 the cutscenes were pre-rendered – even the original developers thought we are crazy to go into that.

“First of all, the data to render the cutscenes weren’t complete. So we had to re-create some pieces and puzzle them together as good as possible (actually there are a few tiny differences that are not really a big deal but they are there). Then the cutscenes used a very specific rendering set-up, sometimes custom-made for a given scene or even shot so that it looks cool. In the end it was a huge time-sink but we got those re-mastered – even in 4k on some platforms.”

Sega has gone through similar experiences with its projects. Tafler commented, “Our recent challenges have revolved around porting popular console games from the last 10 years – Valkyria Chronicles, Vanquish and Bayonetta for example – to PC. The format change and the expectation from PC gamers for these titles to be properly optimised for PCs presents our biggest challenge. Can we make run it with unlocked framerates? Can we implement fully optimised PC controls? Can we make it run at 4K? Can we deliver the best experience on a wide range of hardware?

“If the answer to all these questions is yes, then the project has potential. Ultimately, we want the communities playing these games to be able to have the best possible experience playing them.”

The benefits clearly outweigh any difficulties encountered for most companies. Remastering is here to stay. “As technology continues to evolve, I believe remasters and ports will only become more prevalent for the short to mid-term,” said NPD’s Piscatella. “First, we have creators making stories and characters that will continue to resonate. Allowing these characters to come to life through technological improvements is something that will continue to find an audience.

“Second, development of new game content is only going to get more expensive due to the higher fidelity technologies like 4K. Mitigating risk of new game development via releasing remasters/ports at low cost will continue to be attractive to publishers.

“Finally, franchises are more important than ever. Remasters/ports allow publishers to reintroduce characters and storylines before the release of a new game in a series, or allow new people to experience the full backstory without being forced to go to old console tech.”

He added, “In the long-term, the only risk to this remaster-friendly future is the advent of the Games as a Service model. I’m not sure what a remastered version of a live service game would look like, or if it would even be the least bit palatable to consumers.

“I believe we’ll get more of these games, that more dev houses will focus on this type of work as a speciality, and that consumers will continue to show a willingness to support quality remasters/ports.”

Courtesy-GI.biz

Can Service Based Video Games Growing The Industry

July 31, 2017 by  
Filed under Gaming

Long-tail console and PC titles designed to keep players engaged for years will grow the overall games market, rather than make it more difficult, according to Ubisoft CEO Yves Guillemot.

The chief exec was speaking to a group of journalists today in the publisher’s Singapore studio, the team behind the upcoming pirate multiplayer title Skull & Bones. The game ties in with Singapore’s core focus, which is on both “HD content games” such as the Assassin’s Creed titles, and service-based titles such as its previous hit Ghost Recon Phantoms.

However, the market has become increasingly crowded with games designed to retain players over a longer period of time – whether it’s with the online persistent world of Destiny or the high replayability of Overwatch. Ubisoft itself has plenty of titles that fall into this category, such as Tom Clancy outings Rainbow Six Siege and The Division.

GamesIndustry.biz posited to Guillemot that not only will the publisher have to compel consumers to buy and engage with Skull & Bones, it also has to convince them to stop playing other titles and hope that no rival publisher releases a product that will draw people away from the pirate battler. How is the publisher approaching this challenge?

“It’s a good question,” he said. “There’s a good diversity in what people want to play. It’s not one game against the other. More and more people are playing games and they want different types of experiences. So, for sure, we’ll have to take people from other games, but after five years on one game they might want to try something else.

“Those types of games, we think we’ll be able to increase the number of people playing those type of experiences. The market is also going to grow quite a lot: more countries, more people in each country – because the cost to play those games per hour is less than we used to have. If you look at a 15-hour game that costs $60, that’s $4 per hour. Now you can play games for 200 hours, a thousand hours and still for $60, plus some investment in the game. It’s more like 20 to 40 cents per hour. So you can [justify] playing many of those games if you have time.”

The studio visit is part of a larger push from Ubisoft to highlight the advantages of developing games in South East Asia. Various presentations today cited the strengths specific to Singapore, such as its recognition of English as an official language, it’s high-quality internet, and the amount of tech-savvy recruits in the region.

We asked how Ubisoft expects the games landscape in Singapore to change in the next five years and what role the publisher hopes to play in that.

“It’s difficult to say [what will happen] in five years, but what we see in the short term is that we are here, Bandai Namco is here, and there is now more and more talent appearing around games companies [in Singapore],” said Guillemot.

“There is also a number of indies here, so we’re seeing a pool of talent growing. We think it will continue to grow quite a lot in the next few years, so for us while the talent is here it’s one of the best places for us to create high-quality games.”

Ubisoft Singapore MD Olivier De Rotalier added: “This year is very important for us with Skull & Bones and Assassin’s Creed Origins. We’re really showing that you can deliver very strong games and very promising titles from Singapore. That’s our role: to show that people can see strong success from here. So this year’s key for us.”

Guillemot observed that the evolution of Singapore as a games hub will also make it easier for the studio to recruit. But is Ubisoft not concerned that, as the city state becomes more appealing to international firms, it will find itself competing with Singapore branches for rivals like Electronic Arts?

De Rotalier said the studio is “not really worried because they’re not here”, while Guillemot predicted that “more competition will come from Chinese and Japanese companies.”

GamesIndustry.biz will have more from Guillemot in the next few weeks.

 

Courtesy-GI.biz

Do Video Games Help Critical Thinking

July 24, 2017 by  
Filed under Gaming

At the Develop conference in Brighton this week, the team behind a new charitable foundation called The Near Future Society asked developers to embrace games as a tool for critical thinking; an antidote to a cultural landscape in which “fake news, bias and extremism” are increasingly powerful forces.

The Near Future Society was initially conceived by Oliver Lewis, a former diplomat and the current VP of corporate development at Improbable. Lewis was joined onstage by Nick Button-Brown, the COO of Sensible Object and one of Improbable advisers, who became intrigued by The Near Future Society’s belief in the positive influence games could have on society.

“We wondered whether games can develop critical thinking, and help us understand how to think about moral reasoning,” Lewis said. “We started having this conversation, and we decided that it’s much more complicated than ‘can they?’, and that perhaps they already do.”

“People are becoming more extreme. The center ground is disappearing. It has now become okay to ignore opposing viewpoints, it has now become okay to shout them down”

The Near Future Society’s first meeting took place before GDC this year, on the Warner Bros. lot in Los Angeles. “The idea was to get together government, technology, education and entertainment people to talk about how to address the problems of the world,” Button-Brown said. “When we met the government people, the thing they were most worried about was fake news, and the impact fake news has on people’s opinions.

“People are not questioning. We see it, and we see it in our own lives as well. People are becoming more extreme. The centre ground is disappearing. It has now become okay to ignore opposing viewpoints, it has now become okay to shout them down.”

One of the distinctive qualities of games as a medium is the ability to empower players to make choices, and to show the consequences of those choices. Lewis and Button-Brown cited some well known examples of this technique: the admittedly “simplistic” moral split in a game like Knights of the Old Republic, the “Would you kindly?” reveal in Bioshock, and the creeping realization of The Brotherhood of Steel’s true nature in Fallout 4.

“Having spent a lot of time with the UK and the US military, I have an affinity for this group,” Lewis said, referring to his experiences embedded with the military in Afghanistan. “[The Brotherhood of Steel] have some really cool kit. But the more you interact with this group it starts to get a little uneasy, then you start to realize that they’re a little bit fascist.”

Games afford players the freedom to arrive at such realisations, encouraging a degree of critical thinking absent in linear media. This power, Lewis argued, gives developers a responsibility to carefully consider how they present difficult subject matter to the world. Call of Duty, for example, depicts “a type of warfare that’s unrecognizable to the modern Western soldier,” one where the Geneva Convention and “the reality of the law of armed conflict” are not strictly observed.

“If you go into a mission and your objective is to kill the enemy, you are murdering wounded and potentially surrendering soldiers. That is illegal,” he said. “You are potentially using a flamethrower as a weapon. That is illegal. You are told to destroy civilian property and religious buildings. That is illegal. To some extent you’re also committing war crimes.

“A lot of game depictions of war are not accurate emotionally, are not accurate operationally, even if they’re accurate visually. And as we get towards ever more immersive experiences we have a responsibility to represent that moral reasoning.”

“A lot of game depictions of war are not accurate emotionally, are not accurate operationally, even if they’re accurate visually”

However, while there are examples of games that don’t take that responsibility seriously, The Near Future Society was mainly inspired by the games that already do.

“There are just so many games where, fundamentally, we teach players to think analytically,” Button-Brown said. “We teach them to question their environment, and to expect that the people that are talking to them are not necessarily telling the truth all the time. That’s what we do in our stories. We’re already doing it, and we’re actually quite good at it.”

“In the earlier part [of the talk], we deliberately held up some of the areas where we could do better,” Lewis added. “But only as foreground to say that the games industry writ large is already doing so much good in terms of encouraging critical thinking, and encouraging moral reasoning.”

Button-Brown discussed State of Decay and EVE Online as examples of games that use persistence to encourage players to think about the consequences of their decisions. In the case of the former, when one of your companions dies there is no option to restart or bring them back. “I then had to start making decisions about which of my companions I could sacrifice,” he said. “That’s uncomfortable, even in a virtual world.”

Lucas Pope’s Papers Please, which puts the player in the role of a border guard in a fictional country, was also singled out for praise. “It teaches people that there’s a grey area,” Button-Brown said. “Good decisions in Papers Please can end up with bad outcomes. You’re teaching moral action, and also connecting that to the consequences.”

Lewis discussed 11 bit Studios’ This War of Mine as a kind of counterpoint to games like Call of Duty, in the way that it depicts the experience of the people who suffer the most as a result of conflict. “It induces empathy with the displaced person, the people left behind after war,” he said. “Ordinary, normal people who have to try and eke out an existence; to survive and protect the people that we fought for.”

“There’s a decent chance we’re going to have much more influence as an industry over people’s morals”

Lewis and Button-Brown aren’t the only people to have noticed the potential for games to explore difficult subject matter. Last year, 11 bit Studios launched a publishing division with a stated aim of drawing attention to “meaningful games” like This War of Mine and Papers Please. “There are a lot of players who want those experiences,” publishing director Pawel Feldman told GamesIndustry.biz. “We know how to talk about these games. All we need are talented developers.”

The Near Future Society has a similar goal, albeit as a charitable organisation rather than a commercial one. Lewis expressed his belief that “social and political taboos” are ideally suited to games as a medium because, through play, “people are much more likely to engage with them.” An open brainstorming session at the end of the talk proved that developers are eager to explore this new territory; the Near Future Society will attempt to serve as a conduit between interested studios and bodies that might fund and support their work.

“One of the partners that we’re going for is the Roddenberry Foundation,” Lewis said, referring to the organization established by the son of Gene Roddenberry, the creator of Star Trek. “We want many of the early projects that we do support to be deliberately utopian. If you want a living wage and [universal basic income], then let’s use popular culture to explore that, rather than just having a declaration from Mark Zuckerberg.”

Both Lewis and Button-Brown acknowledged that the games industry has a “left-wing bias”, and they were very clear that the goal of the Near Future Society is not to tell people how to think. “In the forum in Los Angeles, one of the greatest concerns of the US and UK government that came along…was that this would be propaganda,” Lewis said. “What we had to make very clear is that any projects that we do, we’ll be very open on who the collaborators are, and indeed what any overt political message is going to be.

“You could say that, within this broad idea of making games more political, you have to state what the politics are rather than hide it with subterfuge.”

Button-Brown added that simply reflecting the bias of any given side of an issue would could be “dangerous”, and it would also ignore the unique strength that games have to allow the player to explore ideas from multiple angles, and make their own choices. “That’s why we ended up at teaching critical thinking,” he said, “rather than ‘Get Trump out’.”

“Games are already the most accessible, arguably the most effective, and the largest provider of moral reasoning and critical thinking education in the world,” Lewis said. “Almost without realizing it, that’s one of the things that you’re providing to the global community.”

Understanding and embracing that idea will only become more important over time, Button-Brown said. “There’s a decent chance we’re going to have much more influence as an industry over people’s morals. We’re going to have much more influence over the way that they think. As people become more immersed in these worlds, it’s going to matter more.”

Courtesy-GI.biz

Is Video Game Development Going Truly Global?

July 18, 2017 by  
Filed under Gaming

The international video games industry owes a considerable amount to the efforts of immigrants from countries like Syria.

Companies like AdMob – founded by Syrian Entrepreneur Omar Hamoui, and later acquired by Google for $750 million – have helped reshape the conventions of game publishing as we know it. Steve Jobs’ own biological father was a Syrian emigrant to the states. On taking that journey, Abdulfattah ‘John’ Jandali unknowingly set events in motion that would lead to Apple’s reinvention of how we play, make and distribute games.

Beyond games there are numerous other examples of Syrian people who have helped better the world through technology, empowered to do so through freedom of travel. People like Sirin Hamsho, a Hama-born engineer who today resides in the United States, and has helped revolutionise renewable energy through her work with wind turbines.

Technology is, of course, progressed by collaboration, and cooperation happens most readily when people can get together. It’s the reason travelling to other countries – be it for a single meeting or a new life – is so often the catalyst for technological change. That’s why most in the games industry go to conferences all over the world; it’s a chance to understand distinct approaches, secure contacts, form alliances and spark collaboration.

When Trump’s long-promised travel ban became a rather chaotic reality, numerous games makers suddenly found their potential severely jeopardised. Suddenly, every US games conference was off the radar of hundreds of developers. No GDC, no E3, no nothing. Studios needing to take a couple of days to attend a meeting with a US publisher had the rug pulled from beneath their feet. Chances to meet new staff and find new partners were thrown into disarray.

That inspired Unity Technologies to conceive the ‘Unity Without Borders’ initiative, which sought to bring 50 developers to the Unite Europe conference in Amsterdam last month. After a selection process, Unity would handle and cover travel, accommodation, visas and anything else needed to afford games makers limited by Trump’s ban to engage with the free exchange of ideas that is the founding spirit of almost any game convention.

Meeting the developers brought to Unite as part of Without Borders, it is clear they greatly appreciate the opportunity. That, perhaps, should be obvious, but there is a sense on the show floor that the effort is about more than one middleware-specific company conference.

Ziad MollaMahmud is a man with many skills. By day he is a .NET developer for web applications, while also doing 3D modelling work in the architectural space. A Syrian based in Turkey, he has in recent years embraced game development, acquiring a taste for AR, which he has explored through modest projects of his own conception.

“This is a very, very good opportunity for me,” MollaMahmud says of his success in visiting Unite Europe as part of Without Borders. “It’s a breaking point in my life, where I can move to a better position and change my way of thinking about the future. I believe coming here will have a very good effect over me and my future.”

That’s not to say MollaMahmud is new to being overseas for his career. He estimates that he has visited some 13 countries during his 20-year career, but with the outbreak of Syria’s civil war – and long before the impact of Trump’s presidency – the ambitious developer started to realise global politics would limit his professional potential.

“It’s not only Trump. There’s a lot of restrictions on Syrian’s travelling and doing other things, and that makes it very hard”

“After the Syrian war started a lot of Middle Eastern countries placed travel bans on Syrians, just because of their nationality,” he says. “I was travelling before – without any visa – but after the war they all started to do these travel bans, and I couldn’t travel to the Middle East. It’s not only Trump. There’s a lot of restrictions on Syrian’s travelling and doing other things, and that makes it very hard.”

Those restrictions – whatever their source or motivation – continue today, and in many other ways that also prevent developers from collaborating. Many Iranian and Syrian studios keen to apply for Without Borders were faced with limitations on web access that impeded their submissions for the initiative. There’s a logic to the internet making face-to-face meetings less relevant today, but when the web you can access is restricted presence at real-world events is all the more important. And that was, Unity says, what inspired the Without Borders initiative.

“In some of their communities – especially in countries like Iran and Syria, where they can’t move around as much – they don’t have a lot of access to a lot of game developers or creators,” says Elizabeth Brown, Chief People Officer at Unity, who has been pivotal in implementing Without Borders. “Coming to a conference not only fuels inspiration, but establishes skill sets, sparks ideas and builds networks. They don’t always have access to a local game development community, so they rely on international conferences to feed them and develop their creations and businesses. When they are limited from going to those conferences, they are super limited. That’s as creators, but also as business owners. Some of them are making their living by making games.”

For Brown, this isn’t just a matter of providing those with a passion for games an exciting opportunity; it is about helping developers put food on their tables. Often, that is incredibly limited for a developer restricted to just their home country, market and development community.

“We don’t have anything like this in Iran,” explains Amin Shahidi, as he glances around the main expo hall of Unite Europe, smiling. Shahidi is team lead, animator and game designer at the Tehran-based studio Black Cube Games, and he’s at Unite thanks to Without Borders. “We don’t have these kind of networks,” he continues. “So in Iran, all the movement of developers is very limited, or even blind. So this kind of event – and the moment of being here – is very, very cool and very, very helpful.”

“It shows us that people actually care about us,” adds Ali Boroumand, a game developer at Dutch studio Ferox Games, and a former colleague of Shahidi’s. “We’re all humans, and we’re all pretty much the same people. So it’s very heart warming to think that, even in hard times, people see game developers as game developers. We’re all game developers, and it doesn’t really matter where we come from. We’re all trying to make good games.

“But before this, we had to rule out contributing to any conferences or studios inside the United States. We couldn’t contribute to anything there, and that’s probably a loss on both sides. And beyond the travel ban, there are quite a few other United States restrictions, mostly on money. Selling games outside of Iran is hard for us.”

Boroumand makes a very important point with regard to what Iranian developers have to offer the rest of the global games development community. Restricting developers’ opportunity to travel doesn’t only harm the game industry in their home countries; it equally detracts from the nations they would otherwise be visiting. Collaborating is at least a two-way process, and the learning, inspiration and innovation it engenders rarely passes only in a single direction.

“Syria, like anywhere, has talented people who can bring a lot of things to games development and all technology,” suggests MollaMahmud. “But we need a chance to open the window and say ‘we are here, you can do things for us, and we can do things for you’. We just need a chance to elevate ourselves and do something not just for ourselves, but for all those that make games. We can help your games when we can travel to you freely.”

Equally, there’s an obvious creative opportunity for any studio looking to bring distinct aesthetics and approaches to the global market.

“Iran has quite a long history,” says Boroumand, who is presently based in Sheffield. “The Persian empires have been around for a few thousand years, so Iranian art and Iranian culture is pretty rich in that respect. Games of Iranian art and Iranian influence can bring something to the rest of the world, definitely; something that isn’t often seen.”

There’s an irony to all this, of course. Trump’s travel ban has afforded the Unity Without Borders teams an opportunity to visit a conference they may never have seen had the US President not targeted the various nations blacklisted. For MollaMahmud, however, the irony of opportunity born from limitations runs a little deeper. Buoyed by his experience of attending Unite, he can be remarkably optimistic about a situation that had s dramatic impact on his life.

He believes the horrific Syrian war, which broke out just a couple of years after he returned to live in the country, offers an ultimate example of the potential opportunity hardship can bring game developers.

“After the war is finished – and I hope that is soon – I believe there will be a very good opportunity in Syria for all kinds of business, including game development and software in general,” he considers. “The war will leave a country that will have to start from scratch. Now there are millions of Syrian refugees outside of Syria. It’s really bad to be a refugee, and I believe a lot of refugees are ready to seize the opportunity – having learned many new things – of heading back to Syria.”

Forced displacement is no better than placing mandatory travel restrictions, of course, but in a strange, counter-intuitive way, migration from conflict could represent what freedom to travel can bring in terms of advantages.

“The war, I hope, will finish soon,” MollaMahmud repeats firmly. “Then a lot of people will come back to Syria, and help build our country from scratch. I always say that Germany after the second world war, for example, started from scratch, and they have built a very good, very beautiful, respected country. Then more of us can make successful games.”

MollaMahmud isn’t suggesting that the development of a healthy national games industry justifies a war; not at all. For one, there are more important things than the games industry to consider when a country emerges from conflict. But if Syrians can pool the experience gained through their peoples’ diaspora and establish a game industry to rival Germany’s, it would contribute a great deal to that renewal and rebuilding.

Movement of people can push technology like little else, for the benefit of everyone involved, regardless of their home or country of origin; Apple and AdMob are proof of that. War will likely exist forever, but its horror doesn’t preclude it from being used to inspire positive movements large and small.

Nobody is calling for the forced displacement of people for the benefit of the game industry, of course. But based on the enthusiasm and appetite for learning of every Without Borders developer at Unite Europe, it’s apparent that supporting thoughtful freedom to travel benefits us all.

Courtesy-GI.biz

Will The US Video Game Industry Grow To A 28 Billion Dollar Market

June 16, 2017 by  
Filed under Gaming

According to the 18th PwC Global Entertainment and Media Outlook 2017-2021, which covers a number of major industries (not just games), the total video games revenue in the US is expected to grow at a 6.3% CAGR rate to reach more than $28.5 billion by 2021. The research firm notes that the PC games sector looks a bit rosier than consoles in the next few years in terms of growth. While total PC games revenue in the US is set to grow from $3.7bn in 2016 to $5.0bn in 2021, at a 6.6% CAGR, consoles will only grow at a 2.8% CAGR, hitting $9.4bn in 2021.

Consoles’ slowed growth “can be attributed to the increase in digital full game downloads which is mostly offset by a decline of physical console game sell-through revenue, which is set to drop by a 4.3% CAGR during the forecast period,” PwC noted. At the same time, the PC sector is seeing “healthy growth” in the online/microtransactions department – online PC revenue is expected to climb at a 7.0% CAGR to $4.2bn by 2021. PwC said that much of this can be attributed to the ongoing success of F2P, more subscription services and the rise of eSports. Digital sales on consoles are getting stronger and stronger as well, expected to grow at a 9.8% CAGR to hit $3.7bn by 2021 – but as noted above, the decline in physical is still offsetting much of this growth.

Virtual reality continues to draw lots of attention across the industry, and according to PwC, the segment should grow at an impressive 64% CAGR to reach $5bn by 2021, or roughly 17% of the entire US games business revenue total. The firm estimates that dedicated high-end VR (Rift, Vive, PSVR) should climb to an installed base of 13 million by 2021, while the overall VR headset installed base will reach 68 million. Additionally, “Portable dedicated headsets – a new category of self-contained headset that will emerge from 2017 designed exclusively to render VR experiences – will have an installed base of 5.3mn by 2021 (CAGR of 87.5%) because of their superior capabilities compared to smartphone-based devices, and ease of use,” the firm said.

While games as a technology have been the driver of VR, PwC expects VR content revenues to be driven by non-gaming experiences like VR video, which will “grow at a CAGR of 87.8% to represent 58.3% of overall content spending in 2021. It will surpass interactive experiences and games revenue…in 2019.” PwC remarked that established media like Netflix, HBO and ESPN, would play a big part in driving VR content along with major game publishers; that said, “expect smaller developers like Jaunt to get an increasing share of this content revenue as they act as the technical partners for both the big studios and non-specialist start-ups.”

The other smaller, but quickly growing segment that should boost total industry revenues in the US is, of course, eSports. PwC expects the sector to grow at a 22% CAGR to reach almost $300 million in 2021. Streaming advertising is the lion’s share of that total at $149 million, but sponsorships, voluntary consumer contributions and ticket sales all add to the pie as well.

“The US is the largest market in revenue terms, having overtaken South Korea in 2015, although the latter will stay far ahead in terms of per-capita revenue,” PwC explained. “The development of eSports has grown at a breakneck pace in the US over recent years, receiving perhaps its biggest boost into the mainstream when ESPN began covering major events on both its streaming and regular channels – most notably the August 2015 final of The International, a tournament for Defense of the Ancients 2 (Dota 2). In September 2015 the company even advertised for an eSports general editor, in recognition of the specialist knowledge required to cover the discipline comprehensively.”

Streaming sites are still the dominant medium for eSports viewing, however. Amazon-owned Twitch is said to rank behind Netflix, Google (YouTube) and Apple in terms of peak internet traffic, PwC noted. There’s no doubt that eSports is capturing the attention of major corporations and advertisers. “Companies are moving in swiftly to sponsor both teams and events, with fast-moving consumer goods companies like Coca-Cola, Doritos and Snickers all forging a niche…

“Notably, in September 2016 the NBA’s Philadelphia 76ers bought the long-time franchise Dignitas and Apex, which offers a guaranteed spot in the League of Legends circuit. For the 76ers, the purchase offers an opportunity to diversify into a market that is particularly popular with the protean 18-24-year-old market and get a named presence at eSsports tournaments, while their newly signed-up players can also live-stream and create content under their parent owner’s banner. If the space continues to grow exponentially, sports teams such as the 76ers that become early movers will have the upper hand – as well as a usefully sized stadium for hosting tournaments. Certainly signs are positive here, with the NBA in February 2017 announcing plans to create a new league based around the game NBA 2K.”

Courtesy-GI.biz

Can Washington D.C. Become The Center Of eSports?

March 22, 2017 by  
Filed under Gaming

Washington D.C. intends to become the home of eSports in the United States, with a strategy that includes sponsorship of the NRG Esports team and the construction of a $65 million stadium.

The city’s plans, which were revealed to Mashable, will be executed by Events D.C., the District of Columbia’s convention and sports authority. The deal with NRG Esports is among the first instances of a city sponsoring a pro gaming organisation, and Washington D.C. will now have its logo and branding on NRG teams’ uniforms, livestreams and websites.

NRG, which has teams competing in Overwatch, Counter-Strike: GO, Hearthstone and Rocket League, has roots in the world of traditional sports. It was founded by Andy Miller and Mark Mastrov, the co-owners of the NBA’s Sacramento Kings, and counts the basketball player Shaquille O’Neal and the baseball stars Alex Rodriguez and Jimmy Rollins among its investors.

“This is just another prong in our strategic approach to continue to make D.C. a great place to live and work and play,” Events D.C. chairman Max Brown told Mashable, highlighting the number of students attending the city’s many universities.

“There are lots of younger kids who are here and are coming here every year through our universities, so we think it makes a lot of sense for us as a city to plant a flag [for eSports], and ultimately be the capital of eSports like we’re the capital of the United States.”

There are other “prongs” to the city’s strategy, the most notable being the construction of a new stadium. The arena will be used by the WNBA team the Washington Mystics, as well as other events, but it is being built “with eSports in mind.”

“A $65 million 4,200-seat, state-of-the-art arena,” Brown added. “[It will] come online in late-2018, early-2019. Fully tailored and wired for esports.”

Courtesy-GI.biz

Mass Effect: Andromeda PC Specs Revealed

March 6, 2017 by  
Filed under Gaming

EA and Bioware have released official PC system requirements for its upcoming Mass Effect: Andromeda game that has gone gold and will be launching on March 21st.

According to details provided over at EA’s Origin site, those looking to play the new Mass Effect game will need at least an Intel Core i5-3570 or AMD FX-6350 CPU, 8GB of RAM and Nvidia Geforce GTX 660 2GB or AMD Radeon HD 7850 2GB graphics card.

The recommended system requirements rise up to an Intel Core i7-4790 or AMD FX-8350 CPU, 16GB of RAM and either an Nvidia GTX 1060 3GB or AMD RX 480 4GB graphics card.

Both minimum and recommended system requirements include at least 55GB of storage space as well as a 64-bit version of Windows 7, Windows 8.1 or Windows 10 OS.

The official release for the game is set for March 21st in the US and March 23rd in Europe and it will be coming to PC, Playstation 4 and Xbox One. Those with EA Access and Origin Access should get the game five days earlier.

Courtesy-Fud

Are Publishers Missing The Billion Dollar Opportunity Of eSports?

February 6, 2017 by  
Filed under Gaming

The traditional sports ecosystem is dominated by three models of organisation. The most decentralised sports, like the PGA Tour or NASCAR, consist of largely independently organised competitions, which are sanctioned and governed by an administrative body and are open to any qualifying athlete. From there, we have typical leagues like the NBA or Premiership, which have a set number of recurring teams and players, and are extensively managed by a league front office that’s owned by each team.

eSports are quite different. If you choose to race without NASCAR or play basketball without the NBA, there’s nothing – and no official body – that can prevent you from replicating the experience. No one ‘owns’ racing or basketball, but someone does own Overwatch, and if you want to play you essentially have to go through that company. If you wanted to create your own eSports league, your ability to market or represent it would be entirely dependent on the legal team of the game’s publisher. Furthermore, the core experience is fully controlled by that publisher.

“No one ‘owns’ racing or basketball, but someone does own Overwatch, and if you want to play you essentially have to go through that company”

Leagues that are operated or endorsed by publishers can do unique things – e.g. item drops, exclusive/first-release capabilities, bundled original content – and offer unique monetisation opportunities. Three months before The International, the annual world championship for Dota 2, Valve sells interactive in-game items that directly contribute to the tournament prize pool. This model has been so successful that, in 2016, the prize pool reached $19.17 million.

Most tier-one publishers also handicap the data streams that the public can leverage. Whereas in traditional sports there are multiple providers of a firehose of sports data, game publishers offer barebones APIs that allow access to little more than character information and select match data. Valve offers an open API but, as events this year have demonstrated, it can shut off access and change policy at any time. On the platform side, Twitch is miles ahead of its competitors in terms of creating an external ecosystem thanks to its two year head-start and passionate developer community, but it maintains an ever more precarious balance between build vs. buy.

Because of these walled gardens, the investible opportunities within eSports often end up being features not products, which set them and their investors up for more of an acquihire than a Twitch-esque exit. There’s a strong argument to be made to publishers that working with third-party developers will lead to a stronger overall bottom line, foster innovation and provide defensibility.

Economics 201

It’s no secret that being a top publisher is a lucrative business. Activision reported $1.57 billion in revenue for Q2 of 2016 and EA $1.271 billion. It’s rumoured that Valve’s 2015 revenues reached $3.5 billion in 2015, and Riot Games’ over $1.6 billion. It’s not hard to see why partnerships with third parties and external API infrastructure aren’t a priority with so much money flowing, but that’s shortsighted. As publishers start thinking about how to monetise beyond game licenses and IAP, every moment not spent developing the ecosystem is a wasted one.

This isn’t unparalleled, and we can see examples of where large platforms in other verticals have made the decision to invest in their future, often early on in their company lifecycle. Salesforce, an enterprise software company, has a market cap of $50 billion. A report last year by IDC put the opportunity front and center: the AppExchange currently generates 2.8x the revenue of Salesforce itself and is expected to grow to 3.7x the size of Salesforce.

“As publishers start thinking about how to monetise beyond game licenses and IAP, every moment not spent developing the ecosystem is a wasted one”

Slack, the enterprise collaboration tool darling, also gets it. Even before raising money in April 2016, at a $3.8 billion valuation and boasting over 1.25 million paying users, they announced the Slack fund in December 2015 - an $80 million investment into supporting new integrations. Slack and Salesforce could have gone the closed route and developed these integrations and products internally, but they understood that the immediate revenue trade-off was well worth the ability to focus on creating the best core product possible, in addition to leveraging minimal company resources.

Now to everyone’s favourite eSports comparison : traditional sports. During the height of the daily fantasy sports craze in 2014/15, the NBA entered a multi-year partnership with FanDuel that gave it an ownership stake. The NFL expanded its partnership with Providence Equity in 2013, investing $300 million to participate in, “media and technology deals where it believes the league could help play a strategic role.” And these are just a few examples. Partnering with and investing in new properties allows older, larger establishments to participate in the upside of nascent industries quickly and cheaply.

Publishers are thinking about the shelf-life of games.  The NFL and NBA will both be around in 25 years, but what about League of Legends or Counter-Strike? Opening up the ecosystem not only benefits players and fans by allowing them an outlet to interact with their favorite IPs, but ultimately enhances the core value of those IPs and gives publishers an opportunity for additional exposure through revenue share, API fees and strategic investments.

In addition to commercial benefits, let’s look at network effects. Valve is the publisher of both Counter-Strike: Global Offensive (25 million+ copies sold, 8.2 million+ players in the last two weeks), and Dota 2 (87 million+ times downloaded, 11 million+ active players in the last two weeks.) While the titles have richer histories than virtually any other competitive esport, Valve’s open API, developer tools and hands-off approach has contributed to their sustained success and status as two of the top eSports titles.

ELeague, FaceIt Esports Championship Series and Gfinity, ESL One and IEM. These streams of revenue have contributed to a high demand for professional CS:GO players, leading to lucrative contracts and opportunities.

3: The most lucrative has been the in-game skins economy, which allows players to purchase crates that contain different cosmetic versions of CS:GO weapons or Dota 2 items. During major tournaments, Valve has offered exclusive stickers that generate up to high six-figures for qualified teams. Valve has also allowed free reign on opening up use cases within this skins economy, which led to wagering, gambling and marketplaces (Bloomberg estimated yearly transaction volume to be >$7 billion.) Variations of this model have since been followed very conservatively by multiple franchises, including Call of Duty, Halo, H1Z1 and Overwatch.

On the platform side, Twitch’s dominance in livestreaming can largely be credited to going all-in on eSports first, but Twitch also has numerous native or platform exclusive features for its users. Diving deeper, this experience is powered by a blend of features that were built in-house or created by third parties. Examples include:

Bits, preceded by Streamlabs and StreamTip: direct donations from viewers are one of the foundations of a streamer’s income.

Clips, preceded by Oddshot, Plays.tv and Forge: allows viewers and creators to efficiently capture highlights and share to different social media channels.

Subscriptions / Partner Program and 3rd-party services (Revlo, Gamewisp and Curse/Discord integrations): subscriptions are another big source of income for streamers, and the third-party services all add further value to a sub and reduce churn.

TwitchPlays: what started out as a fun social experiment (TwitchPlaysPokemon) is now its own category to interact with potential customers for publishers.

Chatbots (Moobot, Nightbot and Xanbot): automated assistants that help moderate chat to prevent spamming and inappropriate behaviour.

Stream+ currency: Twitch’s new currency announced at TwitchCon 2016, which will allow developers to integrate monetisation options directly into games.

Facebook Live has launched to much fanfare, and given the massive distribution channel it will always be a huge threat. However, until it can get to feature parity Facebook Live will need to rely on traditional media partnerships or viral hits to create consistent content. These types of partnerships don’t scale when we’re talking about the individual streamers and professional players that have played a large part in getting Twitch to 100m+ MAUs, although the signing of G2 and Heroes of the Dorm is a good first step. YouTube Gaming is farther along and is doing a great job of starting to launch some analogous features.

How, then, should publishers look to partner with entrepreneurs and third parties? I’d like to see publishers create a vehicle, individually or collectively, in the model of Disney Accelerator, to offer mentorship, funding and support to kick-start the next generation of eSports businesses. Publishers should be developing their games as platforms, not individual entities - tons of data are being generated and archived and there is a treasure trove of use cases for them.

I’m confident that we’re slowly moving in the right direction. One day we’ll see a truly open ecosystem with publishers and third parties living in harmony.

Courtesy-GI.biz

It Appears That The Video Games Market Had A Bang-Up Year

December 30, 2016 by  
Filed under Gaming

Games generated $91 billion worldwide in 2016, according to a report from beancounters at SuperData Research who have been adding up some numbers on Christmas Party napkins.

Most of the cash was made in the mobile game segment some $41 billion (up 18 percent), followed by $26 billion for retail games and $19 billion for free-to-play online games.

Beancountrs at SuperData said that the new categories such as virtual reality, esports, and gaming video content were small in size, but they are growing fast and holding promise for next year. Hardware firms like Sony and HTC to take the lead in 2017. Still,

VR grew to $2.7 billion in 2016. Gaming video reached $4.4 billion, up 34 percent.

Mobile gaming was driven by Pokémon Go and Clash Royale. The mobile games market has started to mature and now more closely resembles traditional games publishing, requiring ever higher production values and marketing spend. Monster Strike was the top mobile game, with $1.3 billion in revenue.

The esports market generated $892 million (up 19 percent) in revenue. A string of investments in pursuit of connecting to a new generation of media consumers has built the segment’s momentum, as major publishers like Activision, Riot Games, and EA are exploring new revenue streams for selling media rights, according to the report.

Consumers increasingly download games directly to their consoles, spending $6.6 billion on digital downloads in 2016 which has helped improve margins.

PC gaming continues to do well, earning $34 billion (up 6.7 percent) and driven largely by free-to-play online titles and downloadable games. League of Legends together with newcomers like Overwatch are driving the growth in PC games.

PC gamers also saw a big improvement with the release of a new generation of graphics cards.

Courtesy-Fud

Is Word-Of-Mouth The Best Way To Advertise Games?

November 28, 2016 by  
Filed under Gaming

Last week, over three and a half years after its initial release, Digital Extremes’ free-to-play shooter Warframe broke its concurrent player record with expansion The War Within, hitting Steam’s top three on the weekend of release, recording a maximum of 68,530 players online at once and logging an incredible 1.2 million hours of playtime in a single day. Across PC and the more recent Xbox One and PS4 versions of the game, over 1 million of the 26 million players who have registered since the game’s 2013 launch had played by November’s halfway point, beating all previous monthly unique records with a fortnight to go.

Those are impressive numbers, especially for a game at a point in its lifecycle where it could certainly be forgiven for slowing down – and it’s no anomalous bump. Instead, a quick glance at SteamSpy’s graphs for the game show a steadily increasing number of players for the game, as well as a very healthy schedule of updates, patches and big content drops. Rather than leeching users to other games as it ages, Warframe is going from strength to strength.

Meridith Braun, VP Publishing at Digital Extremes, says that it’s been a tight compromise of strategies – resulting in a success which far exceeds the expectations of a game which was initially seen as something of a make or break exercise. Key to that, she says, has been a careful acquisition process, but not one which has come at the cost of long term curation and engagement of existing players.

“It’s definitely a balancing act between catering development to new players and veterans of the game,” Braun explains, “but after 3.5 years, the core of the game has grown so much that for new players there are literally hundreds of hours of missions, quests, customising and exploring game systems before they catch up to where veteran players are.

“Whilst many of our updates focus on adding new content and improving game systems that our veterans are most interested in, earlier this year we took a fresh look at the new player experience and released an update that refined some of the tutorials, updated the UI, tied quests together to help the lore flow better, and revamped the market for easier functionality. It was not our most played update, like The Second Dream or The War Within, but it served a long-tail purpose of making Warframe more inviting and easier to understand for new players. It helps them navigate to the really intricate depths of the game with the intent to retain them long-term.”

“We spend very little compared to other free-to-play games that focus a large amount of their budgets on acquisition”

Polishing the tip of the spear is a tried and tested acquisition technique, but it’s not usually a way of sidestepping the vast costs which many companies associate with gathering new players. Warframe’s marketing, though, was forged in a crucible of necessity, at a time when budgets were almost non-existent. As a result, the studio has learned to maximise the gain from channels which deliver users without draining revenue, although the financial success of the game has also enabled them to operate in areas previously well beyond their price range.

“We spend very little compared to other free-to-play games that focus a large amount of their budgets on acquisition,” says Braun. “Warframe was a passion project – the studio’s ‘Hail Mary’ pass, if you will. There was barely budget to buy an account server for the game, let alone to spend on marketing at the time. We turned to viral everything to get the word out: live streaming, social media, Reddit, forums, PR, knocking on partner’s doors for promotional opportunities. Once we launched in open beta and more players got a taste of the game, it was clear we had something unique on our hands. Since then our acquisition strategy has focused primarily on our update schedule and community involvement.

“We discovered early on that frequent significant updates – updates that added dramatic gameplay changes, enhancements and content, and transparency with our community, brought in droves of new players. Now that we have more wiggle room in our coffers, we work the usual acquisition channels – online CPA-focused advertising, social media, streaming, etc. – but nothing beats age old word-of-mouth between players telling their friends to join in on a game that only gets better and better over time.”

What’s perhaps even more unusual about the current high that Warframe finds itself riding upon is that it comes at a time when the AAA shooter market is crowded with a wide spread of very high quality competitors – many of which are under-performing at retail. The game’s peak numbers come at a point when there are brand new Battlefield and Call of Duty games at market, as well as extremely well reviewed releases like the Titanfall and Dishonored sequels.

“Warframe was a passion project – the studio’s ‘Hail Mary’ pass, if you will. There was barely budget to buy an account server for the game, let alone to spend on marketing at the time”

Braun very much sees free-to-play as playing a significant part in the difficulties which Warframe’s boxed rivals are experiencing.

“I think we’re seeing the F2P model disrupting the standard retail model for larger budget games,” she says. “The continued rise of AAA-quality, free-to-play games coming to market – and their ability to fill the long gaps between large IP releases – is taking a bite out of the big game market. Just this year it was great to see F2P titles like Paragon and Paladins launch to great fanfare and numbers, I’m sure they both had some effect on the big budget FPS games alongside Warframe.

“It’s hard to compete with free. Sure, we want people to eventually pay for the entertainment they’re receiving – but when you have the ability to try out a game for free for as long as you want, a game with equally great production value, and then decide if it’s a game that deserves your money, that’s pretty stiff competition. The larger games also aren’t built to be as agile and reactive to the market after they ship. Free games at their core are made to continually update and improve, offering incredible value and entertainment over a longer period of time.”

Blizzard probably has a few things to say about the notion that free-to-play games offer the best long-term player engagement and responsive improvement, and Braun freely admits that games like Overwatch share that strategy of player curation. Warframe, she says, also offers something else, though. Because it wasn’t a Blizzard game, born almost fully-fledged and slickly functional, early adopters have had the joy of watching it smooth out its rougher edges.

“When Warframe first launched it was a shell of the size of game it has become, and our players have stayed with our growth throughout its life-span. They enjoy taking the ride with us, being a part of the evolution, experiencing game development from the front seat. If you’re not thinking about long-term engagement and game service at the heart of your game design as a good part of the future of gaming, you may have yet to come to grips with the dwindling projections of one-and-done games.”

Courtesy-GI.biz

Do 8-bit Video Games Compete In The Industry Today?

November 15, 2016 by  
Filed under Gaming

8-bit-gamesNostalgia has become a powerful tool in entertainment these past few years.

Whether it is the return of X-Files and Twin Peaks, or Shenmue and Pokémon, bringing back classic IP has become a safe way to secure headlines and generate copious amounts of hype.

Yet it’s not just brands that are tapping into our love for the familiar. Take this summer’s smash Netflix show Stranger Things, which plays homage to both ’80s Spielberg and classic horror. Or indeed the millions of dollars that the likes of Yooka-Laylee and Bloodstained have raised on Kickstarter – the former riffing on 1990s platformers like Banjo-Kazooie (and made by many of the same team members), with the latter acting as the spiritual successor to Castlevania (from former producer Koji Igarashi).

Ron Gilbert is another person looking to recreate those ’90s feelings. The adventure game maker behind the likes of Maniac Mansion and Monkey Island is creating a new one called Thimbleweed Park, a point-and-click adventure with retro 8-bit visuals that raised $626,250 via Kickstarter.

“I think a lot of the nostalgia that is around right now comes from a desire to go back to a simpler time,” suggest Gilbert, speaking to Gamesindustry.biz shortly after appearing at Melbourne International Games Week in Australia.

“Back then games were a little bit simpler and seeping with charm. A lot of people that love the 8-bit games today might not have even been alive back then, but they still identify with that era because it was so interesting and charming.

“It is really one of the reasons we did Thimbleweed Park. We were looking at and asking why was Monkey Island and Maniac Mansion so appealing? What is it about modern adventure games, although they’re interesting and have great stories, that means they lack the charm those games from that era had? Can we recreate that old feeling today?”

Point-and-click adventure games are enjoying a small renaissance, thanks in part to the rise of indie developers – as indeed are platformers, Metroidvania games and a whole host of other genres long thought dead.

“I don’t know exactly why adventure games faded away,” Gilbert continues.

“I do feel that somewhere around the mid-90s, point-and-click adventures sort of ran off the rails. A lot of really – for want of a better word – stupid puzzles were being made. I think what happened was that people looked at this, and went: ‘Wait a minute, you’re asking me to do completely ridiculous and random things to get through these games.’ Some players just checked out at that point.

“You also had games like Doom that came along and were first person and were more action orientated, and those games attracted a very different audience into games. So I don’t know if adventure games necessarily fell, but they certainly didn’t grow with the rest of the industry. But now we are seeing this place where we are attracting a much broader audience, and a little bit of that is due to mobile games being so ubiquitous. There are just so many more people playing games these days, and with adventure games being very story and character focused, they are able to attract that broader audience.”

He continues: “You have games that have always been niche markets. Now, because of digital distribution and the way the democratization of development tools is working, niche markets can be viable markets.”

Gilbert is enjoying the current state of indie development and the ability to make decent games with relatively small teams. It speaks to his days making titles in the ’80s and ’90s. Maniac Mansion was made with three people, Monkey Island had five full time members of staff, which increased to seven for its sequel.

Thimbleweed Park is also being made by just a handful of creators, with input from the game’s plentiful Kickstarter supporters. But this desire to go back to those early days is not just about how the visuals looked or how small the teams were, Gilbert also wants to head back to a period when developers didn’t take themselves quite so seriously.

“When we were making games back then, it was all kind of new,” Gilbert remembers. “We didn’t have anything to go from, so it was a more innocent time. Games today, although I love modern adventure games like Firewatch or Kentucky Route Zero, they are very deep and thoughtful. They require a lot from me as a player, or the viewer, because there are very interesting, deep messages that I am gleaming from this stuff. And that’s largely just the advancement of the art form. The games of the ’80s and early ’90s, they were just more innocent, and simple and therefore more charming.

“Adventure games have certainly improved. Visually, games like Firewatch are much more advanced. But I think they’ve advanced in some ways and they’ve actually de-evolved in others. I think they’re more advanced because they are trying to tell more meaningful stories, stories that are truly about something interesting or important.

“But in other ways, they haven’t moved forward. Games like Kentucky Route Zero… although I enjoyed that game quite a bit, I sort of jokingly call it the ‘press A to continue game’, because I didn’t feel like I was making a lot of choices. I was just kind of pressing the A button to get to the next piece of dialogue, and it was greatly written dialogue and it was a captivating world, which made it ok. In Firewatch, you are spending a lot of time walking around and exploring this world, and it is a very fascinating world and a very beautiful place, so I was utterly enthralled with it, but there’s not actually a lot to do. The old school adventure games really required you to work. It was a case of: ‘here is a load of puzzles and here is a bunch of story, and you have to solve all these puzzles, which should lead to uncovering the next part of the mystery’. The classic adventure games were more sophisticated in that sense.”

Like Yooka-Laylee with Banjo-Kazooie and Bloodstained with Castlevania, Thimbleweed Park is a game that could easily have had the words ‘Maniac Mansion’ or ‘Monkey Island’ plastered on the artwork. Gilbert does hope his new IP can be successful enough to become a series, but he also, quite publicly, wants to revisit those classic franchises that made his name. Both Maniac Mansion and Monkey Island were created at LucasArts, so the rights to them currently reside in the vaults somewhere at Disney’s HQ.

Disney has largely moved on from video games, and Gilbert has asked the media giant on Twitter to let him buy back the rights to his old franchises. To no avail, so far.

We ended our conversation by asking Gilbert if he had considered returning to Kickstarter to raise the funds he might need to acquire those 1990s brands.

“Buying the rights back for those games… it’s not a matter of money, it is a matter of Disney being willing to sell them,” Gilbert concludes. “If Disney came to me and said: ‘Hey, we’ll sell you Monkey Island’. I will go get the money. No amount of crowd-funding is going to make this happen, it’s just a case of Disney agreeing to sell them.

“I’ve not managed to talk to anyone at Disney who is high enough up the ladder to make that decision. I fear that the people who would make that decision have no idea what Monkey Island is.”

Courtesy-GI.biz

Is Electronic Arts Bullish On Next Quarter?

November 7, 2016 by  
Filed under Gaming

The second fiscal quarter is historically the quietest stretch for Electronic Arts, but the three months ended September 30 gave the publisher reason for optimism heading into the crucial holiday season. The company today released its second quarter results, beating its net income guidance and showing strong growth in its EA Sports Ultimate Team efforts.

“Q2 was an excellent quarter for Electronic Arts, led by breakthrough new EA Sports titles engaging players across console and mobile,” CEO Andrew Wilson said. “We are in an outstanding position for the quarter ahead, with two of the highest-rated games of this console generation in Battlefield 1 and Titanfall 2, global competitive gaming tournaments underway, and our first virtual reality experiences coming soon. Across all platforms, this holiday season will be a fantastic time to play.”

While Battlefield 1 and Titanfall 2 launched after the second quarter, EA used the report to tout the games’ early achievements. For Battlefield 1, the company said the total player base during the first week of release nearly doubled that of 2013’s Battlefield 4. As for Titanfall 2, which just launched last Friday, the company said dozens of press outlets had given review scores the equivalent of a 90 out of 100 or above.

As for the releases actually covered by EA’s second quarter results, they would include EA Sports mainstays Madden 17 and FIFA 17. The company said “20% more players were engaged” in FIFA 17 during its first week than in the first week of FIFA 16, but made no mention of specific performance for Madden. However, the EA Sports Ultimate Team game modes appear to be healthy, as EA said Ultimate Team’s net sales between the FIFA, Madden, and NHL series are up 15% year-over-year on a trailing 12-month basis.

For the second quarter, EA reported net revenues of $898 million, up 10% from last year, but short of the $915 million it had given as guidance. However, the company’s net loss for the quarter of $38 million was a significant improvement on the previous second quarter’s net loss of $140 million, and better than the projected $51 million net loss.

EA gave the early performance of FIFA 17 and the holiday slate of releases as reason enough to adjust its full-year expectations, with the company now expecting net revenue for the year ending March 31, 2017 to be $4.775 billion, up from $4.75 billion. Net income for the year is also projected to reach $848 million, compared to the previous guidance of $809 million.

Update: On the earnings call, EA CFO Blake Jorgensen addressed the early feedback on Battlefield 1 and Titanfall 2, noting that it’s too early to update any sales projections but that there’s “incredible excitement” around both and the company is “very optimistic” not just for this holiday season but for the longer term. Citing the fact that “quite a few players” were still playing Battlefield 4 years after it released, Jorgensen said he expects similar long-term interest in both titles. More generally, looking at EA’s business, Jorgensen is also encouraged by the opportunity that this generation’s consoles and the mid-cycle upgrades affords a big publisher like EA since the console installed base is already up 33% in the West compared to the previous generation, he said.

Interestingly, when asked about one of EA’s big upcoming titles, Mass Effect: Andromeda, Jorgensen effectively said that EA is not afraid to push the title back yet again (it was originally scheduled for 2016 but is now loosely slated for Q4, which ends next March). While that shouldn’t be read as a sign of trouble – Jorgensen said Mass Effect is “tracking extremely well” – it appears EA wants to be 100% sure that the game does not need any additional time before it commits more fully to a release date.

Courtesy-GI.biz

Will The PS4 Pro Be A Success?

September 14, 2016 by  
Filed under Gaming

0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-ps4proHalfway 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.

Courtesy-GI.biz

Next Page »