The computer security firm says it has discovered new spyware that infects iPhones, gathers large amounts of personal information and sends it to a remote server.
The spyware, called XAgent, is delivered via a phishing attack using a technique called island hopping. In that, the phones of friends and associates of the true target are first infected and then used to pass on the spyware link. It’s based on the assumption that the target is more likely to click on links from people they know than from strangers.
Once installed, XAgent will collect text messages, contact lists, pictures, geo-location data, a list of installed apps, a list of any software processes that are running and the WiFi status of the device. That information is packaged and sent to a server operated by the hackers. XAgent is also capable of switching on the phone’s microphone and recording everything it hears.
XAgent runs on both iOS 7 and iOS 8 phones, whether they’ve been jailbroken or not. It is most dangerous on iOS 7 since it hides its icon to evade detection.
On iOS 8 it isn’t hidden and needs to be manually launched each time the phone is rebooted — a process that would require the user to purposely reinfect their phone each time. For that reason, Trend Micro believes the spyware was written before iOS8 was launched last year.
While close to three quarters of Apple mobile devices are using iOS 8, a quarter are still running iOS7, according to data published by Apple this week.
“We’ve been monitoring the actors behind this for quite some time,” said Jon Clay, senior manager of Global Threat communication at Trend Micro, in a phone interview. “The criminals have introduced [the iOS app] as part of their campaign to move further into the [targeted] organization, using this rather than PC malware.”
While the identity of the hackers isn’t known, Trend Micro says it believes those behind what it calls “Operation Pawn Storm” to be a pro-Russian group. Past targets have included military organizations, defense contractors, embassies and media groups.
Dell has unleashed a mobile workstation aimed at developers, designed to be the “beast” to the already available XPS 13 ultra-mobile system “beauty”.
The Precision M3800 was previously available only with Microsoft Windows 8.1, but the new Precision M3800 Developer Edition will ship with the Ubuntu 14.04 Long Term Support Linux distro.
The developer version was unveiled by Barton George, Dell’s director of developer programmes, who talked about the company’s “beauty and the beast” strategy for Linux-powered PCs to produce an ultra-portable laptop as the XPS 13 and then a more capable machine.
Work on making the Precision M3800 a more Ubuntu-friendly machine started soon after the XPS 13 release thanks to developer Jared Dominguez, who improved the code in his personal time and put together instructions on how to run the OS on the machine.
After listening to “tremendously positive” feedback, George said that Dell has now officially added a Ubuntu 14.04 LTS customisation option to the company’s official online shop.
The Precision M3800 Developer Edition weighs 1.88kg, and is less than 18mm thick. It runs a 4th-generation Intel Core i7 quad-core CPU coupled with an Nvidia Quadro K1100M GPU, 16GB of RAM and a 4K Ultra HD screen option.
Dominguez explained that there are still problems with Ubuntu support for the Precision M3800 hardware as the distro shipped with the first M3800 units doesn’t include support for Thunderbolt ports.
The updated kernel of Ubuntu 14.04.2 will add “some” Thunderbolt support, however, thanks to the hardware-enablement stack in Ubuntu, the developer said.
Cablevision System Corp said that it would launch in February a wireless Internet phone service to give customers an alternative to more expensive data plans from cellular companies such as AT&T and Verizon.
The “Freewheel” phone service, which runs on any WiFi connection, is an attempt by Cablevision to retain and potentially add subscribers at a time when cable companies are losing out to lower-priced, bundled TV and Internet services from telecom firms.
Cablevision said the phone service was the first of its kind to be launched by a cable company and aims to tap users seeking to download unlimited amounts of data on their mobile phones using WiFi, which is less expensive than a cellular connection.
Such services could pose a challenge to traditional telecom carriers. Currently, carrier Republic Wireless and Massachusetts-based startup Scratch Wireless offer users similar services that use WiFi to control data costs.
“There has been a dramatic shift in how consumers use their mobile devices: today, it’s all about data, and WiFi is now preferred and clearly superior to cellular,” Kristin Dolan, chief operating officer of Cablevision, said in the statement.
Cablevision, controlled by New York’s Dolan family, has been investing in its “Optimum” WiFi network since 2007, setting up over 1.1 million WiFi hotspots or access points in New York, New Jersey and Connecticut.
Cablevision’s WiFi phone service will be offered at $29.95 per month and $9.95 per month for subscribers of its “Optimum Online” service. It will be available exclusively on the Motorola Moto G smartphone that users will have to purchase, the company said.
The $180 Android phone will be sold to “Freewheel” users without a contract at a discounted price of $99.95, it added.
Over the last few years, the industry has seen budget polarization on an enormous scale. The cost of AAA development has ballooned, and continues to do so, pricing out all but the biggest warchests, while the indie and mobile explosions are rapidly approaching the point of inevitable over-saturation and consequential contraction. Stories about the plight of mid-tier studios are ten-a-penny, with the gravestones of some notable players lining the way.
For a company like Ninja Theory, in many ways the archetypal mid-tier developer, survival has been a paramount concern. Pumping out great games (Ninja Theory has a collective Metacritic average of 75) isn’t always enough. Revitalizing a popular IP like DMC isn’t always enough. Working on lucrative and successful external IP like Disney Infinity isn’t always enough. When the fence between indie and blockbuster gets thinner and thinner, it becomes ever harder to balance upon.
Last year, Ninja Theory took one more shot at the upper echelons. For months the studio had worked on a big budget concept which would sit comfortably alongside the top-level, cross-platform releases of the age: a massive, multiplayer sci-fi title that would take thousands of combined, collaborative hours to exhaust. Procedurally generated missions and an extensive DLC structure would ensure longevity and engagement. Concept art and pre-vis trailers in place, the team went looking for funding. Razor was on its way.
Except the game never quite made it. Funding failed to materialize, and no publisher would take the project on. It didn’t help that the search for a publishing deal arrived almost simultaneously with the public announcement of Destiny. Facing an impossible task, the team abandoned the project and moved on with other ideas. Razor joined a surprisingly large pile of games that never make it past the concept stage.
Sadly, it’s not a new story. In fact, at the time, it wasn’t even a news story. But this time Ninja Theory’s reaction was different. This was a learning experience, and learning experiences should be shared. Team lead and co-founder Tameem Antoniades turned the disappointment not just into a lesson, but a new company ethos: involve your audience at an early stage, retain control, fund yourself, aim high, and don’t compromise. The concept of the Independent AAA Proposition, enshrined in a GDC presentation give by Antoniades, was born.
Now the team has a new flagship prospect, cemented in this fresh foundation. In keeping with the theme of open development and transparency, Hellblade is being created with the doors to its development held wide open, with community and industry alike invited to bear witness to the minutiae of the process. Hellblade will be a cross-platform game with all of the ambition for which Ninja Theory is known, and yet it is coming from an entirely independent standpoint. Self-published and self-governed, Hellblade is the blueprint for Ninja Theory’s future.
“We found ourselves as being one of those studios that’s in the ‘squeezed middle’,” project lead Dominic Matthews says. “We’re about 100 people, so we kind of fall into that space where we could try to really diversify and work on loads of smaller projects, but indie studios really have an advantage over us, because they can do things with far lower overheads. We have been faced with this choice of, do we go really, really big with our games and become the studio that is 300 people or even higher than that, and try to tick all of these boxes that the blockbuster AAA games need now.
“We don’t really want to do that. We tried to do that. When we pitched Razor, which we pitched to big studios, that ultimately didn’t go anywhere. That was going to be a huge game; a huge game with a service that would go on for years and would be a huge, multiplayer experience. Although I’m sure it would have been really cool to make that, it kind of showed to us that we’re not right to try to make those kinds of games. Games like Enslaved – trying to get a game like that signed now would be impossible. The way that it was signed, there would be too much pressure for it to be…to have the whole feature set that justifies a $60 price-tag.
“That $60 price-tag means games have to add multiplayer, and 40 hours of gameplay minimum, and a set of characters that appeal to as many people as they possibly can. There’s nothing wrong with games that do that. There’s some fantastic games that do, AAA games. Though we do think that there’s another space that sits in-between. I think a lot of indie games are super, super creative, but they can be heavily stylised. They work within the context of the resources that people have.
“We want to create a game that’s like Enslaved, or like DMC, or like Heavenly Sword. That kind of third-person, really high quality action game, but make it work in an independent model.”
Cutting out the middle-man is a key part of the strategy. But if dealing with the multinational machinery of ‘big pubs’ is what drove Ninja Theory to make such widespread changes, there must surly have been some particularly heinous deals that pushed it over the edge?
“I think it’s just a reality of the way that those publisher/developer deals work,” Matthews says. “In order for a publisher to take a gamble on your game and on your idea, you have to give up a lot. That includes the IP rights. It’s just the realities of how things work in that space. For us, I think any developer would say the same thing, being able to retain your IP is a really important thing. So far, we haven’t been out to do that.
“With Hellblade, it’s really nice that we can be comfortable in the fact that we’re not trying to appeal to everyone. We’re not trying to hit unrealistic forecasts. Ultimately, I think a lot of games have unrealistic forecasts. Everyone knows that they’re unrealistic, but they have to have these unrealistic forecasts to justify the investment that’s going into development.
“Ultimately, a lot of games, on paper, fail because they don’t hit those forecasts. Then the studios and the people that made those games, they don’t get the chance to make any more. It’s an incredibly tough market. Yes, we’ve enjoyed working with our publishers, but that’s not to say that the agreements that developed are all ideal, because they’re not. The catalyst to us now being able to do this is really difficult distribution. We can break away from that retail $60 model, where every single game has to be priced that way, regardless of what it is.
Driven into funding only games that will comfortably shift five or six million units, Matthews believes that publishers have no choice but to stick to the safe bets, a path that eventually winnows down diversity to the point of stagnation, where only a few successful genres ever end up getting made: FPS, sports, RPG, maybe racing. Those genres become less and less distinct, while simultaneously shoe-horning in mechanics that prove popular elsewhere and shunning true innovation.
While perhaps briefly sustainable, Matthews sees that as a creative cul-de-sac. Customers, he feels, are too smart to put up with it.
“Consumers are going to get a bit wary of games that have hundreds of millions of dollars spent on them”
“I think consumers are going to get a bit wary. Get a bit wary of games that have hundreds of millions of dollars spent on them. I think gamers are going to start saying, ‘For what?’
“The pressures are for games to appeal to more and more people. It used to be if you sold a million units, then that was OK. Then it was three million units. Now it’s five million units. Five million units is crazy. We’ve never sold five million units.”
It’s not just consumers who are getting wise, though. Matthews acknowledges that the publishers also see the dead-end approaching.
“I think something has to be said for the platform holders now. Along with digital distribution, the fact that the platform holders are really opening their doors and encouraging self-publishing and helping independent developers to take on some of those publishing responsibilities, has changed things for us. I think it will change things for a lot of other developers. “Hellblade was announced at the GamesCom Playstation 4 press conference. My perception of that press conference was that the real big hitters in that were all independent titles. It’s great that the platform holders have recognised that. There’s a real appetite from their players for innovative, creative games.
“It’s a great opportunity for us to try to do things differently. Like on Hellblade, we’re questioning everything that we do. Not just on development, but also how we do things from a business perspective as well. Normally you would say, ‘Well, you involve these types of agencies, get these people involved in this, and a website will take this long to create.’ The next thing that we’re doing is, we’re saying, ‘Well, is that true? Can we try and do these things a different way,’ because you can.
“There’s definitely pressure for us to fill all those gaps left by a publisher, but it’s a great challenge for us to step up to. Ultimately, we have to transition into a publisher. That’s going to happen at some point, if we want to publish our own games.”
While the Sony PlayStation 4 has been selling very well, it seems that Christmas was not really its season.
Sony said that the PlayStation 4 has sold more than 18.5 million units since the new generation of consoles launched. While that is good and makes the PS4 the fastest selling PlayStation to date, there was no peaking at Christmas.
You would think that the PS4 would sell well at Christmas as parents were forced to do grevious bodily harm to their credit cards to shut their spoilt spawn up during the school holidays. But apparently not.
Apparently, the weapon of choice against precious snowflakes being bored was an Xbox One which saw a Christmas spike in sales.
Sony said that its new numbers are pretty much on target, it sold the expected 2 million sales per month rate.
Redmond will be happy with that result even if it still has a long way to go before it matches the PlayStation 4 on sales.
It appears that Apple waited too long and relied too much on the press to keep interest in its iWatch vaporware product going. New research has showing that interest in the device has been falling faster than a free fall team of parachuting elephants who have forgotten to pack the key ingredient of their act.
The Tame Apple press is beside itself with worry as Apple does not like failure and it might not invite them to one of its press launches again unless people get enthusiastic about the watch again.
One tech press reporter seriously wrote “One would assume that ever since Apple announced the introduction of the Apple Watch, anticipation for the product would be steadily growing.”
Why would that be Sherlock? The longer Apple leaves it the more it will be out of date?
Investment firm Piper Jaffray asked 968 iPhone owners whether they were interested in purchasing an Apple Watch, and only seven percent said they planned to buy it. That figure is down from eight percent in September, when Apple first unveiled the product at its annual iPhone event. By the time the product is actually launched next year (maybe) that figure could drop even further.
Some analysts who have been drinking Apple’s Kool Aid, like Trip Chowdhry of Global Equities Research, have claimed that every iPhone user will also be an Apple Watch user. If Piper Jaffray’s figures prove right, GER should sack Chowdhry as a warning to other analysts who promote Apple at the expense of their company’s credibility.
For independent developers, the last decade has been an endless procession of migratory possibilities. The physical world was defined by compromise, dependence and strategically closed doors, but the rise of digital afforded freedom and flexibility in every direction. New platforms, new business models, new methods of distribution and communication; so many fresh options appeared in such a brief window of time that knowing where and when to place your bet was almost as important as having the best product. For a few years, right around 2008, there was promise almost everywhere you looked.
That has changed. No matter how pregnant with potential they once seemed, virtually every marketplace has proved unable to support the spiralling number of new releases. If the digital world is one with infinite shelf-space for games, it has offered no easy solutions on how to make them visible. Facebook, Android, iOS, Xbox Live Arcade, the PlayStation Network; all have proved to be less democratic than they first appeared, their inevitable flaws exposed as the weight of choice became heavier and heavier. As Spil Games’ Eric Goossens explained to me at the very start of 2014: “It just doesn’t pay the bills any more.”
Of course, Goossens was talking specifically about indie development of casual games. And at that point, with 2013 only just receding from view, I would probably have named one exception to the trend, one place where the balance between volume and visibility gave indies the chance to do unique and personal work and still make a decent living. That place would have been Steam, and if I was correct in my assessment for even one second, it wasn’t too long before the harsher reality became clear.
After less than five months of 2014 had passed, Valve’s platform had already added more new games than in the whole of the previous year. Initiatives like Greenlight and Early Access were designed to make Steam a more open and accessible platform, but they were so effective that some of what made it such a positive force for indies was lost in the process. Steam’s culture of deep-discounting has become more pervasive and intense in the face of this chronic overcrowding, stirring up impassioned debate over what some believe will be profound long-term effects for the perceived value of PC games. Every discussion needs balance, but in this case the back-and-forth seemed purely academic: for a lot of developers steep discounts are simply a matter of survival, and precious few could even entertain the notion of focusing on the greater good instead.
And the indie pinch was felt beyond Steam’s deliberately weakened walls. Kickstarter may be a relatively new phenomenon – even for the hyper-evolving landscape of the games industry – but it faced similar problems in 2014, blighted by the twin spectres of too much content and not enough money to go around. Anecdotally, the notion that something had changed was lurking in the back ground at the very start of the year, with several notable figures struggling to find enough backers within the crowd. The latter months of 2014 threw up a few more examples, but they also brought something close to hard evidence that ‘peak Kickstarter’ may already be behind us – fewer successful projects, lower funding targets, and less money flowing through the system in general. None of which was helped by a handful of disappointing failures, each one a blow for the public’s already flagging interest in crowdfunding. Yet another promising road for indies had become more treacherous and uncertain.
So are indies heading towards a “mass extinction event”? Overcrowding is certainly a key aspect of the overall picture, but the act of making and releasing a game is only getting easier, and the allure of development as a career choice seems to grow with each passing month. It stands to reason that there will continue to be a huge number of games jostling for position on every single platform – more than even a growing market can sustain – but there’s only so much to be gained from griping about the few remaining gatekeepers. If the days when simply being on Steam or Kickstarter made a commercial difference are gone, and if existing discovery tools still lack the nuance to deal with all of that choice, then it just shifts the focus back to where it really belongs: talent, originality, and a product worth an investment of time and money.
At GDC Europe this summer, I was involved in a private meeting with a group of Dutch independent game developers, all sharing knowledge and perspective on how to find success. We finished that hour agreeing on much the same thing. There are few guarantees in this or any other business, but the conditions have also never been more appropriate for personality and individuality to be the smartest commercial strategy. The world has a preponderance of puzzle-platformers, but there’s only one Monument Valley. We’re drowning in games about combat, but This War of Mine took a small step to the left and was greeted with every kind of success. Hell, Lucas Pope made an entire game about working as a border control officer and walked away with not just a hit, but a mantelpiece teeming with the highest honours.
No matter how crowded the market has become, strong ideas executed with care are still able to rise above the clamour, no huge marketing spend required. As long as that’s still possible, indies have all of the control they need.
Project Orleans, the cloud engine that powers Xbox hits Halo Reach and Halo 4, is being taken open source.
The engine, which has also played a vital role in the development of Microsoft’s Azure cloud computing platform, will be released under an MIT licence next year by Microsoft Technologies after being trailed at this year’s Microsoft Build Conference.
This is the latest in a long line of open-source announcements by Microsoft this year as the company tries to reinvent itself for the age where its stranglehold on the market has reduced and a wide variety of non-proprietary alternatives exist.
At the same Build conference, the company also announced that it will open source the .NET framework, on which most Windows applications depend.
The project, as described by the team itself, is “an implementation of an improved actor model that borrows heavily from Erlang and distributed objects systems, adds static typing, message indirection and actor virtualisation, exposing them in an integrated programming model”.
The team added that, whereas Erlang is a pure functional language with its own custom virtual machine, the Orleans programming model “directly leverages .NET and its object-oriented capabilities”.
One example available to try is an analysis of Twitter sentiment gauging reaction to a given hash-tag based on the language around it and creating visual representations of the mood of the web.
The code will be available as an extension to Microsoft Studio 12 or 13 with samples and supporting documentation already available, including for the Azure implementations. Non-Azure users can grab a free trial version before they buy.
New versions of wireless technology standards aren’t often a big deal, there are far too few car chases and full frontal nudity, but the latest Bluetooth 4.2 is apparently going to change that. The new spec allows Bluetooth devices to connect to the Internet through newer home routers supporting IPv6. This should drastically simplify home automation, as it would avoid the need for dedicated Bluetooth hubs or devices with built-in Wi-Fi.
This will bring about some significant changes. Home automation plans are stuffed up by the fact that each service sells its own proprietary hub for connecting smart light bulbs, switches and sensors. This adds to the cost and complexity of home automation, because users may need multiple hubs to connect all the devices they want.
Bluetooth 4.2 should cut down on the overhead, so that even if two groups of products don’t talk to one another, you won’t need separate hardware. Bluetooth 4.2 includes new protections against Beacons, which can locate and send notifications to nearby Bluetooth devices.
Some retailers have been using Beacons to track and alert their shoppers, but with Bluetooth 4.2, users will have to opt in to the specific alerts they want to see. This works by having users download an app that effectively whitelists the store in question. Bluetooth 4.2 also uses new encryption and hash algorithms to protect wireless communications.
The systems data transfer should be up to 2.5 times faster, and connections over Bluetooth Smart and should be even more power efficient than before. Some of the new features (including Internet connectivity) won’t be around until later this month or early next year. In any case, we probably won’t start seeing phones, tablets and smart devices with Bluetooth 4.2 on board until later next year.
The lawsuits, filed in a federal court in California, accuse Arista of infringing on 14 patents on networks and also on related copyrights, Cisco General Counsel Mark Chandler said in a blog post.
Arista was formed by former Cisco employees, including Chief Development Officer Andreas Bechtolsheim, Chief Technology Officer Kenneth Duda, and Chief Executive Officer Jayshree Ullal.
“Rather than building its products and services based on new technologies developed by Arista, however, and providing legitimate competition to Cisco, Arista took a shortcut by blatantly and extensively copying the innovative networking technologies designed and developed by Cisco,” one of the complaints said.
Cisco is a leader in the networking world, with revenue of $12.2 billion in the third quarter. Arista, in contrast, reported sales of $155.5 million for the period, although it is growing fast.
Arista said it had not yet been able to evaluate the lawsuits.
“While we have respect for Cisco as a fierce competitor and the dominant player in the market, we are disappointed that they have to resort to litigation rather than simply compete with us in products,” Arista said in an emailed statement.
Cisco filed the lawsuits on the same day the U.S. Supreme Court agreed to review a $64 million patent infringement verdict that Commil USA LLC won against the company.
Sony Pictures Entertainment has hired FireEye’s Mandiant forensics unit to clean up a cyber attack that knocked out the studio’s computer network nearly a week ago, and resulted in three movies ending up online.
The FBI is also investigating the incident. Sony went down last Monday after displaying a red skull and the phrase “Hacked By #GOP,” which reportedly stands for Guardians of Peace. Emails to Sony have been bouncing back with messages asking senders to call employees because the system was “experiencing a disruption.”
Mandiant is an incident response firm that helps victims of breaches identify the extent of attacks, clean up networks and restore systems. The firm has handled some of the largest breaches uncovered to date, including the 2013 holiday attack on Target. Sony is investigating to determine whether hackers working on behalf of North Korea have launched the attack in retribution for the studio’s backing of the film “The Interview” which is to be released on Dec. 25 in the United States and Canada.
The movie is a comedy about a CIA attempt to assassinate North Korean leader Kim Jong Un, who is such a funny guy. The Pyongyang government denounced the film as “undisguised sponsoring of terrorism, as well as an act of war” in a letter to UN. Secretary-General Ban Ki-moon.
Software Defined Storage (SDS) is the latest buzzphrase in the sector, and in recognition of this Linux distributor SUSE has announced a pre-release programmer for SUSE Storage.
SUSE Storage is the open-source vendor’s first entry into the SDS market, and the firm describes it as “a self-healing, self-managing, distributed, software-based storage solution”.
The INQUIRER caught up with Gerald Pfeifer, senior director of product management and operations at SUSE, who said that it could quickly become the the firm’s number two in its product line.
“If we play this right, it can become the second biggest product line after our server product line. That’s the ambition, now we need to play that out. It fits nicely with our whole portfolio,” he said.
SDS works by automating control of storage systems using intelligent automated algorithms to create the maximum efficiency with the smallest amount of space.
The result is a reliable storage array that doesn’t involve manually cleaning up and optimising. SUSE storage is fully open source, as it’s based on the Firefly version of Ceph, already in use in many Red Hat Enterprise Linux systems.
“Storage is something we’ve been doing for many years as part of the operating system,” continued Pfeifer.
“The first time we talked about [SDS] was about four years ago at which point the technology was not mature enough, but now we can see that there really is going to be a big disruption in the storage market.”
Pfeifer bases this prediction on conversations with customers who, he says, have been asking for software defined arrays since the early days of the cloud, in some cases before the concept was properly cemented.
“We’ve had customers that have said: ‘I want to buy this. If you make it, I will buy it.’ Customers asking you to release a product is a luxury position and not one I’ve been in too often!”
A Gartner study shows that open source storage is likely to have a 20 percent market share by 2018, and with SUSE rivals such as Red Hat already launching their own products, the time is right for SUSE to join the fray.
The pre-release program launches next week, but there are a limited number of spaces available for anyone interested in a part of it. SUSE Storage will be given a full release during Q1 2015.
This announcement comes just weeks after SUSE released Linux Enterprise 12, its latest iteration of Linux for deploying and managing high availability enterprise class IT services in data centre and cloud environments.
The group had published a list of emails and passwords for PSN, Windows Live Mail and 2K Games accounts online, and claimed to be prepared to release more, but Sony says that they’ve come from other sources than hacking.
“We have investigated the claims that our network was breached and have found no evidence that there was any intrusion into our network,” the company wrote in a declaration to Joystiq. “Unfortunately, Internet fraud including phishing and password matching are realities that consumers and online networks face on a regular basis. We take these reports very seriously and will continue to monitor our network closely.”
Microsoft has seen a number of Xbox One exclusive titles already be ported to the PC. Both Dead Rising 3 and Ryse have already made it to the PC, but we are now again hearing that Sunset Overdrive again is heading to the PC and Forza Horizon 2 maybe following as well.
This is not the first time we have heard rumors of Sunset Overdrive coming to the PC. An ad that suggested as much was down played at the time by Insomiac as a mistake. Now Sunset Overdrive and Forza Horizon 2 showed up on Amazon France as coming for the PC.
While Phil Spencer has suggested that Microsoft will have more to say about the PC in 2015 and that it would be a good thing for PC gamers. The reality is that Microsoft has not pushed PC game development in a longtime as it chose to focus on titles for the Xbox and Xbox 360. With the Xbox One being closer in design to the PC, porting a title to the PC is easier and Microsoft of course wants to be a player in this space.
We will have to wait and see what actually happens, but should Sunset Overdrive and Forza Horizon 2 make their way to the PC, it will be a good thing for PC gamers. Then again it could just be nothing more than a mistake.
Ubisoft is claiming that the reason that its latest Assassin’s Creed game was so bad was because of AMD and Nvidia configurations. Last week the Ubisoft was panned for releasing a game which was clearly not ready and Ubisoft originally blamed AMD for its faulty game. Now Ubisoft has amended an original forum post to include and acknowledge problems on Nvidia hardware as well.
Originally the post read “We are aware that the graphics performance of Assassin’s Creed Unity on PC may be adversely affected by certain AMD CPU and GPU configurations. This should not affect the vast majority of PC players, but rest assured that AMD and Ubisoft are continuing to work together closely to resolve the issue, and will provide more information as soon as it is available.”
However there is no equivalent Nvidia-centric post on the main forum, and no mention of the fact that if you own any Nvidia card which is not a GTX 970 or 980. What is amazing is that with the problems so widespread, Ubisoft did not see them in its own testing before sending it out to the shops. Unless they only played the game on an Nvidia GTX 970 and did not bother to test it on a console, it is inconceivable that they could not have seen it.