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.
One of the inherent risks of a story-heavy IP is that if you bugger up one of the instalments, your audience skips it, falling out of touch with the series’ story arc and disconnecting from its universe. Such was the fear for Dragon Age, a world which impressed in its opening act, but fell away sharply with what felt like a rushed and uncertain part 2. In acknowledging the shortcomings of the second game, Bioware went some way towards reassuring the faithful, but it was undeniable that nothing less than a resounding crescendo could re-establish the land of Tevinter as an RPG setting of the same calibre as the Tamriel of the Elder Scrolls or The Witcher’s Temeria.
There aren’t many teams you’d rather leave such a task in the hands of than Bioware’s and, judging from review scores, that trust would be well-placed. With a metacritic ranging from 84 for Xbox One, 88 on PC and 89 for PS4, EA and Bioware seem to have established the Dragon Age series as the new gen’s first top-class RPG – stealing a march on 2015′s Witcher 3 and whatever Bethesda may be working on as a follow up to Skyrim.
One of the best-scoring reviews comes from Polygon’s Philip Kollar, who focuses on the game’s scope, characters and sheer wealth of content in his 9.5/10 review. Kollar argues that this is the game where the universe really finds its feet, finally fulfilling the promise it had teased in Origins and its sequel by immersing the player in a sequence of events which incorporates a story far bigger than the perspective you’ll have of it. Nonetheless, says Kollar, it’s still in the details that Bioware’s talents shine brightest – weaving engaging and worthwhile characters as threads in a vast tapestry.
For all its narrative nuance and political intrigue, Dragon Age: Inquisition isn’t afraid of a good old slimy monster, either.
“But in true BioWare fashion, that broader story often takes a back seat to smaller character conflicts,” he writes. “The Inquisitor pulls together a huge group of followers, including nine playable party members, and each has reams of dialogue conveying a fully developed personality.”
As well as offering chatter and the opportunity for romance, the player’s extended party brings both questing opportunities and advice on dealing with obstacles, says Kollar, making them more than just talking weapons. In fact, he says, that guidance comes in extremely useful in coping with a game which offers gameplay hours well into triple figures.
“Dragon Age: Inquisition is made up of numerous zones that I could teleport in between at will. However, each of those zones is gigantic in and of itself. In the 80 hours I spent playing Inquisition, I only fully completed two zones, and each of them took me around 20 hours of exploration, questing and monster-bashing.”
“In the 80 hours I spent playing Inquisition, I only fully completed two zones, and each of them took me around 20 hours of exploration, questing and monster-bashing”
Philip Kollar, Polygon
In addition, Bioware has added the simplest of tools as an aide to exploring this vast landscape: the jump button. By doing so, says Kollar, the team has made the world feel more whole and believeable, introducing vertical as well as horizontal scale and a much more convincing sense of exploration. Tie that into the sense of being part of such a huge chain of events that new additions such as the ambassador-lead ‘war table’ missions, says Kollar, and you have a classic perfect for the winter evenings.
In broad agreement is Richard Cobbett at Eurogamer, who awards an 8 to Bioware’s efforts. Whilst full of praise for the lush surroundings of Tevinter and the clear improvements made over the last game, Cobbett finds some concerns over the influence which Inquisition seems to have felt from its contemporaries.
“The role-playing too, pretty as it is, didn’t feel like BioWare. There are straight up MMO style quests, like collecting 10 bits of meat, which at least make sense in context – that you’re helping refugees and refugees need food. Others, however, are thrown in with no finesse whatsoever. You find a letter that says, in about as many words, “Girls really dig people who can kill bears!” and then ping, your Quest Journal suddenly thinks you’re interested in bear-hunting. The first hour of a game is a bad, bad time for it to be resorting to this crap.
“The reason for the sack of activities where normally there’d be more involved quests is that Inquisition takes as many cues from the likes of Assassin’s Creed as other RPGs, with its maps a sack of quests, collectibles, secret bits and general things to do.”
That sense of piecemeal progress and scrappy world building disappears around a fifth of the way into the plot, says Cobbett, allowing the more convincing mechanisms of the plot to take hold. “The stakes become meaningful and dramatic,” he writes. “The mysteries become interesting.” Not as convinced as Kollar by the tasks which can be assigned to your plenipotentiaries, nor the combat which is arguably the game’s key activity, Cobbett finds Inquisition’s approach to less bloodthirsty matters of state a refreshing change from the sword and sorcery.
Bioware’s continued commitment to diversity is apparent, with plenty of deviations from the usual path of straight white male.
“While that side provides most of the raw action,” he says of dragon killing and rift-closing, “it’s the adventure and political parts of the game that make Inquisition work – its understanding that a party in Orlais, where the Great Game is played for the highest stakes, should be just as dangerous as anything that happens in a dungeon. After two games of controlling a ragtag bunch of misfits, it’s also interesting to be in a position of genuine power for once.”
Destructoid’s Chris Carter and Joystiq’s Alexander Sliwinski are similarly impressed, offering scores of 8.8/10 and 5/5, respectively.
Carter praises the RPG tree development of the characters as well as their dialogues, noting that “nothing feels tacked on” in a system which offers some of Origins’ depth, tempered by the streamlining in evidence in the sequel. Overall, he says, the experience is “less nuanced than Origins,” but offers a similar perspective on a living world, the fate of which increasingly lies in your hands.
Political intrigue and the raw sense of exploration garner praise from Carter, too, who also has good things to report about the game’s multiplayer mode – a section of the game which sees you take control of an entirely separate character.
“Multiplayer is the cherry on top, because nothing in the campaign feels like it was compromised for its addition”
Chris Carter, Destructoid.
“Multiplayer is the cherry on top, because nothing in the campaign feels like it was compromised for its addition. In essence, it’s a modified horde mode that operates similar to Uncharted 3′s co-op sections. Four players will be able to select from a host of classes, each with their own skills and abilities, and play through a miniature dungeon together.
“It has that horde feel in terms of fighting wave after wave of enemies, but each stage is an adventure complete with multiple paths, loot to gather, and special doors that can only be opened by certain classes. In that sense, it’s not your typical boring ‘kill kill kill’ mode.”
Sliwinski’s assessment also acknowledges the scope and detail achieved here, as well as the palatable way in which the development team is able to introduce such vast levels of information to the player.
“Inquisition’s immensely helpful in-game codex can introduce or refresh players to some of the characters and socio-political rules of the world,” he writes. “With very few exceptions, long-standing characters are properly reintroduced. There isn’t a ‘previously on Dragon Age…’ within the game, though curious players can cover those gaps with the helpful interactive recap at DragonAgeKeep.com.”
Joystiq’s reviewer also appreciates the switch of pace afforded by the inclusion of Orlais as a destination, a place where court politics partially replace the hew and bellow of the battlefield.
“With the inclusion of The Orlesian Empire, Inquisition delves deep into ‘the game,’ which is how those born into or educated in Orlais refer to the machinations of social politics. Orlais had previously been referenced in the Dragon Age series, but now we get to see this twist on 18th century French court intrigue in all its grandeur. Inquisition explores Thedas’ class and racial politics through a variety of missions and interactions with the game’s companions, who have rich ideological diversity.”
In summarising, Sliwinski makes the key point that so many Bioware fans have been waiting to hear since the Drs Zeschuk and Muzyka departed the company they founded: has Bioware maintained its aims, its ambitions and its quality?
“Dragon Age: Inquisition is BioWare’s reaffirmation of what it’s capable of delivering,” reassures Sliwinski. “It’s a gorgeous game on an epic scale. Rich in character and story, it creates a fantasy world with plausible social rules you can get lost in. It makes you feel that you aren’t just exploring a new world, but helping shape it at various levels of society. Inquisition sets the bar for what a blockbuster RPG should be.”
Sources are telling us that we should expect new skateboarding titles from both Electronic Arts and Activision in 2015. Word is that Activision is preparing a new Tony Hawk title and Electronic Arts will be bring out a new Skate title as well.
While Activision and Electronic Arts have not made the announcements yet, our sources tell us that we should expect both titles to be announced in the near future for a likely late 2015 release. It is unknown who might be handling the development on both titles, but word is that both titles are already deep in development.
With the release of a new Tony Hawk and Skate titles, it will revive the Skateboarding segment that has been dormant for quite some time. EA has not produced a new title in the Skate franchise since Skate 3 and the late couple of Tony Hawk titles didn’t do so well, but the re-issue of original Pro Skater for the Xbox 360 and PlayStation 3 with DLC made up of levels from 2 & 3 have shown that interest does still exist for this segment.
Our hope is that it will be less like what we saw with the SSX revival that EA tried and then realized that it was not really want the people wanted and more like a new next-generation skateboarding title that puts the fun back into skating. We will have to wait and see.
Red Hat has released an updated version of its Cloud Infrastructure suite that combines several products to deliver a comprehensive OpenStack-based cloud platform, adding its Satellite 6 lifecycle management tool to the mix.
Launched at the OpenStack Summit in Paris on Monday, Red Hat Cloud Infrastructure 5 brings together the firm’s Red Hat Enterprise Linux (RHEL) OpenStack Platform, CloudForms for managing hybrid cloud deployments, Red Hat Enterprise Virtualisation, and now the Satellite 6 lifecycle management tool which was released in September.
The new release is a comprehensive solution available under a single subscription licence that provides organisations with the tools they need to transform their IT infrastructure from traditional data centre virtualisation to an OpenStack-powered cloud capable of linking with public cloud OpenStack resources, Red Hat said.
“Hybrid environments are simply the reality of today’s IT, and organisations want to get to the cloud on their own terms and timeline. Red Hat Cloud Infrastructure acknowledges that reality,” said Joe Fitzgerald, vice president and general manager for cloud management at Red Hat.
“By bringing software lifecycle and configuration management capabilities that span physical, virtual and cloud systems to users via the addition of Red Hat Satellite, we’re helping to establish Red Hat Cloud Infrastructure as one of the most comprehensive and premier cloud infrastructure solutions for enterprises.”
Satellite 6 enables provisioning and lifecycle management tasks for various Red Hat products, including RHEL, while CloudForms provides cloud management and orchestration capabilities such as self-service portals, chargeback and metering of services across private and public clouds.
Meanwhile, the RHEL OpenStack Platform 5 is itself based on the previous Icehouse release of OpenStack combined with the firm’s RHEL 7 operating system. Red Hat already offers a three-year software support product lifecycle for this platform.
After releasing a string of AAA console titles to varying levels of commercial success, the UK-based studio is attempting to establish what it describes as a “third way” of making games – one that falls somewhere between what we have traditionally called AAA and Indie. Smaller scale, lower cost, with no sacrifices made in terms of creative risks and quality of execution.
“We’re taking our work on Hellblade as an opportunity to question the way the games industry has always done things,” said product development manager Dominic Matthews in a recent developer diary. “To see if there’s a better way, a more streamlined way. To create amazing quality on a smaller budget.”
As a result, Hellblade has a core team of 12 people, with a single person working in the majority of discipline areas. Ninja Theory is committed to finding affordable or homebrew alternatives to the high-end processes associated with its previous games – the performance capture used in Enslaved: Odyssey to the West, for example – but its sales target will remain eminently achievable: between 200,000 and 300,000 units.
“[Hellblade] is about what we feel passionate about, what we’re good at, and what we think our fans and supporters want from a game,” said Tameem Antoniades, Ninja Theory’s co-founder. “But it comes at a price. We have to self-fund this game, and we have to work within the restrictions that that means for us.”
In an interview that Xbox head Phil Spencer gave to IGN, he says that a new IP is in development at one of Microsoft’s development studios. It apparently isn’t a new racing or military space marine title.
Spencer says that the Xbox brand needs “new stories and new characters” which provide a “canvas to try new things.” He went on to add that “Sunset Overdrive is a great example of a game that isn’t like anything else in our portfolio, and he thinks that is great. I want to continue to invest in things which push the boundaries.”
Spencer believes that it has to be a commitment from the first-party publisher to try things that are new and unique. While he would not offer a clue as to which studio might be working on this new IP or what the new IP might be, he does seem to imply that there is at least more than one internal/external studio that is working on unannounced games for Microsoft studios.
In the interview he again says that he wants RARE to be more than the Kinect Sports developer and he is in fact heading out to see them soon to look at a new pitch from the studio.
Nosey Google has updated its search engine algorithms in an attempt to restrict piracy web sites appearing high in its search rankings.
The update will mean piracy sites are less likely to appear when people search for music, films and other copyrighted content.
The decision to roll out the search changes was announced in a refreshed version of a How Google Fights Piracy report, which was originally published in September 2013.
However, this year’s updated report features a couple of developments, including changes to ad formats and an improved DMCA demotion search signal.
The move is likely to be a result of criticism received from the entertainment industry, which has argued that illegal sites should be “demoted” in search results because they enable people to find sites to download media illegally.
The biggest change in the Google search update will be new ad formats in search results on queries related to music and movies that help people find legitimate sources of media.
For example, for the relatively small number of queries for movies that include terms like ‘download’, ‘free’, or ‘watch’, Google has instead begun listing legal services such as Spotify and Netflix in a box at the top of the search results.
“We’re also testing other ways of pointing people to legitimate sources of music and movies, including in the right-hand panel on the results page,” Google added.
“These results show in the US only, but we plan to continue investing in this area and to expand it internationally.”
An improved DMCA demotion signal in Google search is also being rolled out as part of the refresh, which down-ranks sites for which Google has received a large number of valid DMCA notices.
“We’ve now refined the signal in ways we expect to visibly affect the rankings of some of the most notorious sites. This update will roll out globally starting next week,” Google said, adding that it will also be removing more terms from autocomplete, based on DMCA removal notices.
The new measures might be welcomed by the entertainment industry, but are likely to encourage more people to use legal alternatives such as Spotify and Netflix, rather than buying more physical media.
Juniper Research now estimates smartwatch shipments will hit 100 million by 2019. The firm expects several high-profile products to launch over the next year or so, helping boost mainstream awareness.
However, the figures are anything but encouraging.
The report, titled ‘Smart Watches: Market Dynamics, Vendor Strategies & Scenario Forecasts 2014-2019′, expects growth will decelerate from 2016 onwards. The first batch will ride the hype, but moving forward it won’t do much for mainstream adoption.
However, the forecast also examines the possibility of sustaining 2014-2015 growth in the long term.
If consumers discover a ‘key use case’ or cases for smartwatches, backed by more product releases on the back of higher demand, higher growth could be sustained. In plain English, if people actually find a use for smartwatches, they will see more growth.
Unfortunately the case is hard to make at this point. Smartwatches face a number of hardware limitations and software support is still limited, which means they are not very useful at the moment. Juniper expects more vendors to integrate GPS, NFC and other technologies, but the downside is that smartwatches are not expected to become very cheap. The firm estimates premium branding and high functionality to keep prices at $200+ until the end of the decade.
Europeans not too keen
One possible application that could generate more demand comes in the form of mobile payments. Apple Pay is coming to the Apple Watch, but the service will be limited to the US for quite a while and Apple won’t have an easy time launching it in other markets, where it enjoys a much lower market share.
The problem with mobile digital wallets is that they have not taken off yet. What’s more, new research indicates that Europeans are not sold on the idea of smartwatch wallets.
The survey, carried out by German market research firm GfK, found that just 20 percent of Germans and 27 percent of Britons are interested in contactless payments built into a watch. However, Chinese and American consumers are more open to the idea, with 40 and 54 percent saying they are interested.
Most consumers said they are interested in health applications and many said they would store identification data on their smartwatches.