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Is e3 Leaving Los Angeles

June 27, 2017 by  
Filed under Gaming

The organizers behind the Electronic Entertainment Expo are considering taking the show away from its traditional home at the Los Angeles Convention Center.

During a roundtable interview, ESA CEO Mike Gallagher said his organisation might explore other possible locations if the center fails to upgrade and modernise its facilities, GameSpot reports.

The exec specifically hopes to see increased floor space and a smoother route between the West and South halls, currently separated by a length corridor. If these expectations are not met, E3 may be hosted in another venue – and, by extension, away from Los Angeles.

E3 2018 is already booked in for June 12th to 14th next year, once again at the convention center. The venue will also host E3 2019, but no decision has been made for 2020.

The ESA has previously attempted to hold E3 at an alternative location. In 2007, the show became the E3 Media and Business Summit and was around Santa Monica. This was part of an attempt to make it more industry focused, capping the attendance to shut out bloggers and non-industry professionals, as well as bringing the costs down for exhibitors.

However, the experiment proved to be unpopular and E3 has been held in the LA Convention Center ever since 2008.

In stark contrast to its 2007 decision, E3 officially opened its doors to the public for the first time this year, selling 15,000 tickets to consumers who wanted to attend the show.

GameSpot reports the ESA has now revealed attendance for this year’s event came in at 68,400 – boosted in part by those public tickets. The 30% increase over last year’s 50,300 brings attendance figures close to the 70,000 peak seen in 1998 and 2005, according to IGN.

The ESA has yet to confirm whether it will sell public tickets for E3 2018. Gallagher said his team is gathering feedback from attendees – both industry and consumer – before confirming how the show will be structured next year.

Courtesy-GI.bz

Is Grand Theft Auto V The Best Selling Video Game Ever

June 12, 2017 by  
Filed under Gaming

Grand Theft Auto V has sold more copies in the US than any other release over the past 22 years.

That’s according to NPD Group analyst Mat Piscatella, who tweeted that Rockstar’s masterpiece is the region’s best-selling game since the market research firm first began tracking.

“Not surprising, but still amazing,” he wrote.

That’s not to say GTA V has overtaken some previous champion, GamesBeat reports – just an interesting factoid Piscatella was keen to share.

As the analyst says, it comes as no surprise. The latest Grand Theft Auto has sold more than 80m units around the worldwide to date – despite originally launching way back in 2013 on the Xbox 360 and PS3.

Subsequent PC, Xbox One and PS4 releases have driven sales further, as have the regular updates for the game’s Grand Theft Auto Online multiplayer mode.

The latter was a significant contributor to the financial performance of Rockstar parent Take-Two, which reported revenues of $1.78bn for the year ended March 31st. Earlier this week, CEO Strauss Zelnick noted this success has come despite his belief the company has been restrained with in-game purchases and is currently “undermonetising” its users.

All eyes are on Rockstar’s next release Red Dead Redemption 2, which was recently delayed to 2018. The original was a huge worldwide hit, although it is perhaps unlikely the sequel can match the success of Grand Theft Auto V.

Courtesy-GI.biz

Square Enix Is Giving IO Interactive The Boot

May 23, 2017 by  
Filed under Gaming

Square Enix is dropping IO Interactive, the Danish studio behind the long-running Hitman franchise.

In a statement released today, the Japanese publisher said the decision was part of a strategy to “focus our resources and energies on key franchises and studios.”

The withdrawal was in effect as of the end of the last financial year, on March 31, 2017, and resulted in a ¥4.9 billion ($43 million) extraordinary loss on the company’s balance sheet.

Square Enix has already started discussion with potential new investors, the company said. “Whilst there can be no guarantees that the negotiations will be concluded successfully, they are being explored since this is in the best interests of our shareholders, the studio and the industry as a whole.”

IO Interactive was acquired by Eidos in 2003, just before it launched Hitman: Contracts, the third game in what was already its signature franchise. Eidos was acquired by Square Enix in 2009, and it has launched four games in the time since: Mini Ninjas, Kane & Lynch 2: Dog Days, Hitman: Absolution, and Hitman, last year’s episodic take on its most celebrated IP.

The bold new structure implemented in Hitman saw the game’s missions being separately on digital platforms, with various live events and challenges taking place between the release of each one. Square Enix originally planned to give the entire series a boxed retail release, but that never materialised. It has never disclosed official numbers regarding the sales figures for Hitman, either as a series or for individual episodes.

However, the series’ ámbition was widely appreciated within the games press – it was named 11th best game of 2016 by Eurogamer, for example, and was Giant Bomb’s overall Game of the Year. When we talked to IO studio head Hannes Seifert last year, he described the pride his team felt at the “new feeling” the game created, and made it clear that plans for Hitman extended far beyond a single season of epsiodes.

“When we say an ever expanding world of assassination, it means we don’t have to take everything that’s out there, throw it away and make a new game,” he said. “We can actually build on that. Just imagine after two or three seasons, you enter at that point in time, the amount of content will just blow your mind. That’s where we want to be.”

Seifert stepped down as IO’s studio head in February this year. He was replaced by Hakan Abrak, IO’s former studio production director.

Courtesy-GI.biz

Will Digital Video Game Sales Grow This Year

May 18, 2017 by  
Filed under Gaming

The growth of full game downloads in the console space has surprised EA, the firm says.

The company told investors during its Q&A – as transcribed by Seeking Alpha – that full game downloads accounted for 33% of unit sales. That’s considerably ahead of the firm’s previous estimate of 29%, and 9% higher than the figure it posted last year.

The firm says the chief driver was “the continuing evolution of consumer behavior. but some of the out-performance was driven by the shift from Star Wars Battlefront to Battlefield 1, as well as the digital performance of our catalog.”

It expects full game downloads will account for 38% of its console unit sales during 2017.

However, EA’s CFO Blake Jorgensen anticipates that for the whole industry the figure will be even higher – around 40%. This is because EA’s big titles, such as FIFA, often perform strongly in markets with slower digital uptake.

“In terms of full-game downloads, the number surprised us because we had thought that it’d be around the 5% year-over-year growth,” he said. “Some of that may simply be the consumer is shifting faster than we know or we expected. The trends can sometimes jump in dramatic ways and maybe we’re starting to see that overall shift. And some of it could be product-related. We do think the industry will end calendar year 2017 probably above 40%. We will most likely lag that as we have historically because FIFA is such a large product and it is so global that we are operating in markets where either the ability to purchase digitally, or the ability to download based on bandwidth speeds, are compromised and thus we tend to skew a little lower on FIFA than we do on the rest of our portfolio. So we’ve always lagged the industry slightly, but we are excited about the potential that you’re seeing the consumer possibly shift quicker to digital than we’d originally anticipated.”

EA remains optimistic about the console space. It says that at the end of last year the install base for both PS4 and Xbox One was 79m, and that it would grow to 105m by the end of 2017. This figure does not include Nintendo Switch, although EA is bullish about Nintendo, too.

“We have a tremendous relationship with Nintendo and have done for many, many years and are excited by the fact that they have come out very strong and are bringing in a whole new player base into the ecosystem,” said EA CEO Andrew Wilson. “We continue to be bullish on it and are looking at other titles that we might bring to the Switch. Our console number that we quoted does not include the Switch at this point, so anything that Nintendo does is additive to that number.”

There were a few additional takeaway points from EA’s financials. The publisher said that the traditional DLC mode is becoming “less important” as it moves further into live services. We’ve already seen EA evolve its DLC model with Titanfall 2, which is giving away all of its DLC for free.

EA also revealed that its new EA Motive studio in Montreal has 100 staff, and the publisher expects that number will grow to 150.

Courtesy-GI-biz

Can Big Game Developers Keep Innovation Alive

May 12, 2017 by  
Filed under Gaming

The games industry has gone through a series of major transitions and changes over the past couple of decades – changes to the platforms people play on, the way they pay for and interact with games and even to the audiences that are actually playing. Each of those has brought along a series of challenges which the industry has had to surmount or circumvent; none of them, arguably, is a perfectly solved problem. Meanwhile, though, there have also been a handful of challenges running in the background – consistent issues that are even more fundamental to the nature of the games business, less exciting and sexy than the latest great transition but no less in need of clever solutions. Education and skills is one example; tax regimes and the industry’s relationship with governments is another.

Perhaps chief among those issues, though, is one which ties in to a common problem across a wide variety of industries, creative and otherwise. It’s the problem of innovation; specifically, the question of how to make innovation work in the context of a large corporation. The conventional wisdom of modern capitalism is that innovation bubbles up from small start-ups; unencumbered by the institutional, structural and cultural constraints that large, established companies operate within, they’re free to create new things and execute original ideas. As firms grow bigger, they lose that nimbleness and flexibility. Projects become wrapped up in internal politics, in the stifling requirements of handling shareholder relationships, and all too often, in the innovator’s dilemma – the unwillingness to pursue fresh innovation for fear that it’ll disrupt one of your proven cash cows.

As a result, we see a structure in which innovation happens at small start-ups, which large companies tap into through acquisitions. We see this in the games industry too, in the form of big publishers acquiring innovative and successful developers. Such acquisitions usually come with golden handcuffs for the key talent, requiring them to work for their firm’s new owners for a certain amount of time – after which they’re free to go off and create something new, small and innovative again (with a few million quid in their back pocket, to boot). This creates a cycle, and a class of serial innovators who repeatedly build up new, successful small companies to sell to larger, innovation-starved firms.

For many large companies, this isn’t an entirely satisfactory situation. Surely, they reason, there must be some way for a company to scale up without losing the capacity to innovate? Yet for the most part, the situation holds; big companies can create great products, but they are generally iterative and derivative, only very rarely being major, disruptive breaks from what was offered before. There are just too many barriers a game or a product needs to get through; too much politics to navigate, too many layers of management stumped by new ideas or worried about how something hard to explain will play to investors who only want to hear descriptions like “it’s like GTA, but with elements of Call of Duty”, or “it’s like an iPhone, but with a better camera”.

The desire to find some way to bottle the start-up lightning and deploy it within existing corporations runs deep, though, and it’s resulted in a number of popular initiatives over the years. Perhaps the most famous of recent years is the buzz around Eric Ries’ book The Lean Start-Up, a guide to effective business practices for start-up companies which extolled a launch-early, iterate-fast approach. Though it had some impact in the start-up world, The Lean Start-Up seemed to find its most receptive audience among executives at large corporations keen to find some way to create “internal start-ups” – silos within their companies which would function like incubators, replicating the conditions which allowed start-ups in the wild to innovate and iterate rapidly.

For the most part, those efforts didn’t work. The reality is that a start-up inside a company isn’t the same as a start-up in the wild. It doesn’t have the same constraints or the same possibilities available to it; its staff remain employees of a large corporation and thus cannot expect the same rewards, or be exposed to the same decision-making environment, as staff at a start-up. Even something as basic as success or failure can’t be measured in the same way, and in place of experienced venture capitalists (often the final-stage Pokémon evolution of the serial innovators described above) as investors and advisors, an internal start-up finds itself being steered and judged by executives who have often spent a lifetime working within precisely the corporate structure they now claim to wish to subvert. It’s hardly surprising that this doesn’t work very often, either within games or in any other sector.

We haven’t talked about Hearthstone yet, even though it’s right up there in the opening lines. Let’s talk about Hearthstone.

Hearthstone is Blizzard’s card battling game, available across a variety of platforms. It’s a spin-off from the Warcraft franchise, and last year it made somewhere in the region of $350 million (according to estimates from SuperData). This week it topped 70 million unique users, and though the company doesn’t release concurrent user figures, it claims to have set a new record for those following the release of its latest expansion pack in April. It also remains one of the most popular games in the world for streaming. It’s a hell of a success story, and it’s also, in essence, a counterpoint to the notion that big companies can’t do small, innovative things. Hearthstone was prototyped and built by a small team within Blizzard, and ever since its launch it has embraced a distinctly start-up approach – iterating quickly and doing its experimentation in public through features like the “Barroom Brawl”, a sandbox that allows developers to test new mechanics and ideas that might make their way into the main game if they work well.

Given Hearthstone’s commercial success and the relatively small team and infrastructure behind it (relative, that is, to a behemoth like World of Warcraft), it’s probably Blizzard’s most profitable game. The question is, can other publishers and developers learn from what Blizzard did here? There’s a tendency with Blizzard success stories to simply attribute them to some intangible, indefinable “Blizzard Magic”, some sparkling pixie dust which is sprinkled liberally on all of their games but which can only be mined from the secret goblin tunnels under the company’s Irvine campus. In reality, though, Blizzard is simply a very creative and phenomenally well-managed company – one which has, in many respects, placed the solving of the whole question of how to innovate within a large company environment at the very heart of how it structures and defines itself.

One of the most famous things that people in the industry know about Blizzard is that the company is ruthless in its willingness to take an axe to projects that don’t live up to its standards. StarCraft: Ghost never saw the light of day after years in development; Titan, the planned MMO follow-up to World of Warcraft, was similarly ditched (with a core part of its team going on to rapidly develop the enormously successful Overwatch as their “rebound project”). What that means is that Blizzard has developed something within its internal culture that a lot of other firms in the industry lack; a capacity to coolly, rationally judge its own work on a purely creative and qualitative level, and to make very tough decisions without being overly swayed by internal politics, sunk-cost fallacies or other such calculations.

It’s instructive to listen to comments from people who worked on cancelled projects at Blizzard, even at a high level; while it was no doubt an emotional and difficult experience for them, their comments in hindsight usually express genuine agreement with the decision. There appears to be a culture that allows the company to judge projects without extending that judgment to the individuals who worked on them; I don’t doubt that this is an imperfect system and that there’s still plenty of friction around these decisions, but by and large, it seems to work.

There is no magic pixie dust involved in the success of games like Hearthstone (or Overwatch, for that matter). This is a model that can be replicated elsewhere… it’s not dissimilar to the structure of a company like Supercell”

That creates an environment in which a start-up style approach can actually thrive. Small, creative teams can work on innovative games, rapidly prototyping and being effectively judged for their quality along the way. After only a couple of cycles of internal culling and restarting, surviving projects can be pushed out to the market as a kind of “minimum viable product”; not a thinly disguised prototype, but the minimum required to be a viable Blizzard game. Polished, fun and interesting, but designed as a springboard from which the team can go on to iterate and innovate in a way that’s informed by feedback from a real audience, rather than as an expensively developed, monolithic product.

Not every company can accomplish this; it’s not just Blizzard’s exacting standards of quality that permit it, there are also important factors like the company’s opaqueness to investors (which allows it to make products for the market rather than making products for shareholders) and its ability to bootstrap new games with IP from existing franchises (the Nintendo model, in essence) to consider. There is, however, no magic pixie dust involved in the success of games like Hearthstone (or Overwatch, for that matter). This is a model that can be replicated elsewhere, given the right approach and the right people in decision-making roles. In fact, it’s a model that does exist elsewhere; it’s not dissimilar to the structure of a company like Supercell, for example, which helps to explain why Supercell is one of the only mobile developers that’s been able to “bottle its lightning” and consistently develop hit titles. It’s also close, though slightly different in structure, to the way Nintendo has shifted towards working in recent years, which has resulted in titles like Splatoon.

Big companies can be creative; they can be innovative, daring, clever and even disruptive. Hearthstone shows this at work within Blizzard, and it’s also present in a select but distinguished line-up of other game companies that have made it a priority to nurture innovation and to create a culture where good taste and creative excellence are celebrated above all else. For many companies, this would be a radical shift – requiring a change in priorities, in structure and even in staffing – but in the long run, such a shift might end up a lot cheaper than having to pull out your wallet every couple of years to buy the next innovative start-up that came up with an idea your own firm couldn’t conceive of.

Courtesy-GI.biz

Nintendo Betting Record Profit On Switch Console

April 28, 2017 by  
Filed under Gaming

Nintendo Co Ltd is predicting its new Switch console will more than double annual operating profit and end the eight-year sales decline that plagued its previous offering just as players were turning to smartphone gaming.

The Japanese firm entered the mobile gaming market last year to the relief of shareholders fretting about diving console sales. Now the early success of the Switch has fueled hope of a long-term earnings recovery and sent the firm’s share price about 20 percent higher since the console’s March debut.

“We are hoping to change the tide of our business with the Switch,” Nintendo President Tatsumi Kimishima said at a news briefing on Thursday.

Nintendo estimated profit to grow 2.2-fold to 65 billion yen ($584 million) in the year through March 2018, with sales jumping 53.3 percent. That was still far below the 104 billion yen average of 23 analyst estimates surveyed by Thomson Reuters I/B/E/S.

Asked if the outlook was too low, Kimishima said the firm was stepping up marketing costs for the Switch.

Nintendo aims to sell 10 million of the hybrid home console and handheld device this financial year, on top of a higher-than-expected 2.7 million sold in its debut month.

“If the 10 million target is achieved … that means the sales momentum would be close to the Wii,” Nintendo’s most successful console, Kimishima said.

The Wii, launched in November 2006, sold about 20 million units in its first year and exceeded 100 million over its life. The last time Nintendo’s sales grew was in the year ended March 2009, when Wii demand drove profit to a record 555 billion yen.

Profit from a new console typically peaks a couple of years after launch when there is a wide choice of game titles.

Kimishima also said Nintendo’s first own-brand smartphone game, Super Mario Run, has neared 150 million free downloads, but the number of users paying the one-off fee to unlock most of its content is below the target 10 percent.

One reason behind the Switch’s strong start is that unlike its predecessor Wii U, the console has a long list of game titles from independent studios because Nintendo made the Switch compatible with publicly available game development platforms from the start, said Hirokazu Hamamura, a director at Kadokawa Dwango Corp, which publishes games magazines.

Blizzard Entertainment Wins Cheating Lawsuit

April 14, 2017 by  
Filed under Gaming

Blizzard Entertainment has asked for $8.5 million in damages from Bossland, a German company that makes and sells cheats and hacks for its most popular games.

This is the latest and probably final step in a legal complaint Blizzard filed in July 2016, which accused Bossland of copyright infringement and millions of dollars in lost sales, among other charges. Cheat software like Bossland’s Honorbuddy and Demonbuddy, Blizzard argued, ruins the experience of its products for other players.

According to Torrent Freak, Bossland’s attempt to have the case dismissed due to a lack of jurisdiction failed, after which it became unresponsive. It also failed to respond to a 24-hour ultimatum to respond from the court, and so Blizzard has filed a motion for default judgement.

The $8.5 million payment was calculated based on Blizzard’s sales projections for the infringing products. Bossland had previously admitted to selling 118,939 products to people in the United States since July 2013, of which Blizzard believes a minimum of 36% related to its games.

“In this case, Blizzard is only seeking the minimum statutory damages of $200 per infringement, for a total of $8,563,600.00,” the motion document stated. “While Blizzard would surely be entitled to seek a larger amount, Blizzard seeks only minimum statutory damages.

“Notably, $200 approximates the cost of a one-year license for the Bossland Hacks. So, it is very likely that Bossland actually received far more than $8 million in connection with its sale of the Bossland Hacks.”

Update: The court has granted Blizzard’s motion for default judgement, ordering Bossland to pay $8.56 million in damages.

That number was calculated based on 42,818 sales of Bossland’s products in the US. The court ruled that the German company should not be allowed to sell Honornuddy, Demonbuddy, Stormbuddy, Hearthbuddy and Watchover Tyrant in the country from now on, as well as any future products that exploit Blizzard’s games. Bossland will also have to pay $174,872 in attorneys’ fees.

Courtesy-GI.biz

The Witcher Franchise Goes 25 Million Units

April 12, 2017 by  
Filed under Gaming

The Witcher 3: Wild Hunt continues to pay off for CD Projekt. The Polish publisher today reported its financial results for calendar year 2016, and the hit 2015 role-playing game loomed large over another successful campaign for the company.

CD Projekt said its revenues “continued to be dominated by ongoing strong sales” of The Witcher 3 and its two expansions. While the base game and its first expansion debuted in 2015, the second and final expansion pack, Blood and Wine, arrived last May and helped drive revenues of 583.9 million PLN ($148.37 million). That was down almost 27 percent year-over-year, but still well beyond the company’s sales figures prior to 2015. Net profits were likewise down almost 27%, with the company posting a bottom line gain of 250.5 million PLN ($63.65 million).

The company also announced a new milestone for the Witcher franchise, saying the three games have now cumulatively topped 25 millions copies sold, a number that doesn’t include The Witcher 3 expansions packs. That suggests 2016 saw roughly 5 million copies sold over the 20 million reported in CD Projekt’s 2015 year-end financials.

Even if this year saw overall sales take a dip for CD Projekt, its GOG.com online retail storefront still managed to post its best year ever. The company reported GOG.com revenues of 133.5 million PLN ($33.92 million), up 15% year-over-year.

CD Projekt is currently testing its Gwent free-to-play card game in closed beta, and intends to open it up to the public this spring. It is also working on its next AAA game, Cyberpunk 2077, thought it has no release date as yet.

Courtesy-GI.biz

Can Violence In A Game Promote Safety?

March 30, 2017 by  
Filed under Gaming

When the original Doom was released in 1993, its unprecedentedly realistic graphic violence fueled a moral panic among parents and educators. Over time, the game’s sprite-based gore has lost a bit of its impact, and that previous sentence likely sounds absurd.

Given what games have depicted in the nearly quarter century since Doom, that level of violence no longer shocking so much as it is quaint, perhaps even endearing. So when it came time for id Software to reboot the series with last year’s critically acclaimed remake of Doom, one of the things the studio had to consider was exactly how violent it should be, and to what end.

Speaking with GamesIndustry.biz at the Game Developers Conference last month, the Doom reboot’s executive producer and game director Marty Stratton and creative director Hugo Martin acknowledged that the context of the first Doom’s violence had changed greatly over the years. And while the original’s violence may have been seen as horrific and shocking, they wanted the reboot to skew closer to cartoonishly entertaining or, as they put it, less Saw and more Evil Dead 2.

“We were going for smiles, not shrieks,” Martin said, adding, “What we found with violence is that more actually makes it safer, I guess, or just more acceptable. It pushes it more into the fun zone. Because if it’s a slow trickle of blood out of a slit wrist, that’s Saw. That’s a little bit unsettling, and sort of a different type of horror. If it’s a comical fountain of Hawaiian Punch-looking blood out of someone’s head that you just shot off, that’s comic book. That’s cartoonish, and that’s what we wanted.”

“They’re demons,” Stratton said. “We don’t kill a single human in all of Doom. No cursing, no nudity. No killing of humans. We’re actually a pretty tame game when you think about it. I’ve played a lot of games where you just slaughter massive amounts of human beings. I think if we had to make some of the decisions we make about violence and the animations we do and if we were doing them to humans, we would have completely different attitudes when we go into those discussions. It’s fun to sit down in a meeting and think about all the ways it would be cool to rip apart a pinky demon or an imp. But if we had the same discussions about, ‘How am I going to rip this person in half?’ or rip his arm off and beat him over the head with it, it takes on a different connotation that I don’t know would be as fun.”

That balancing act between horror and comedy paid off for the reboot, but it was by no means the only line last year’s Doom had to straddle. There was also the question of what a modern Doom game would look like. The first two Doom games were fast-paced shooters, while the third was a much slower horror-tinged game where players had to choose between holding a gun or a flashlight at the ready. Neither really fit into the recent mold of AAA shooters, and the developers knew different people would have very different expectations for a Doom game in 2016.

As Stratton explained, “At that point, we went to, ‘What do we want? What do we think a Doom game should be moving forward?’As much as we always consider how the audience is going to react to the game–what they’re thinking, and what we think they want–back in the very beginning, it was, ‘What do we think Doom should be, and what elements of the game do we want to build the future of Doom on?’ And that’s really where we came back to Doom 1, Doom II, the action, the tone, the attitude, the personality, the character, the irreverence of it… those were all key words that we threw up on the board in those early days. And then mechanically, it was about the speed. It was about unbelievable guns, crazy demons, really being very honest about the fact that it was Doom. It was unapologetic early on, and we built from there.”

It helped that they had a recent example of how not to bring Doom into the current generation. Prior to the Doom reboot, id Software had been working on Doom 4, which Stratton said was a good game, but just didn’t feel like Doom. For one, it cast players as a member of a resistance army rather than a one-marine wrecking crew. It was also slower from a gameplay perspective, utilizing a cover-based system shared by numerous modern shooters designed to make the player feel vulnerable.

“None of us thought that the word ‘vulnerable’ belonged in a proper Doom game,” Martin said. “You should be the scariest thing in the level.”

Doom 4 wasn’t a complete write-off, however. The reboot’s glory kill system of over-the-top executions actually grew out of a Doom 4 feature, although Stratton said they made it “faster and snappier.”

Of course, not everything worked as well. At one point the team tried giving players a voice in their ears to help guide them through the game, a pretty standard first-person shooter device along the lines of Halo’s Cortana. Stratton said while the device works well for other franchises, it just didn’t feel right for Doom, so it was quickly scrapped.

“We didn’t force anything,” Stratton said. “If something didn’t feel like Doom, we got rid of it and tried something that would feel like Doom.”

That approach paid off well for the game’s single-player mode, but Stratton and Martin suggested they weren’t quite as thrilled with multiplayer. Both are proud of the multiplayer (which continues to be worked on) and confident they delivered a high quality experience with it, but they each had their misgivings about it. Stratton said if he could change one thing, it would have been to re-do the multiplayer progression system and give more enticing or better placed “hooks” to keep players coming back for game after game. Martin wished the team had messaged what the multiplayer would be a little more clearly, saying too many expected a pure arena shooter along the lines of Quake 3 Arena, when that was never the development team’s intent.

Those issues aside, it’s clear the pair feel the new wrinkles and changes they made to the classic Doom formula paid off more often than not.

“Lots worked,” Stratton said. “That’s probably the biggest point of pride for us. The game really connected with people. We always said we wanted to make something that was familiar to long-time fans, felt like Doom from a gameplay perspective and from a style and tone and attitude perspective. And I think we really accomplished that at a high level. And I think we made some new fans, which is always what you’re trying to do when you have a game that’s only had a few releases over the course of 25 years… You’re looking to bring new people into the genre, or into the brand, and I think we did that.”

Courtesy-GI.biz

Will Politics Bring Down The Gaming Industry?

February 20, 2017 by  
Filed under Gaming

If you’re someone who makes a living from videogames – as most readers of this site are – then political developments around the world at the moment should deeply concern you. I’m sure, of course, that a great many of you are concerned about things ranging from President Trump’s Muslim travel ban to the UK Parliament’s vote for “Hard Brexit” or the looming elections in Holland and France simply on the basis of being politically aware and engaged. However, there’s a much more practical and direct way in which these developments and the direction of travel which they imply will impact upon us. Regardless of personal ideology or beliefs, there’s no denying that the environment that seems to be forming is one that’s bad for the medium, bad for the industry, and will ultimately be bad for the incomes and job security of everyone who works in this sector.

Video games thrive in broadly the same conditions as any other artistic or creative medium, and those conditions are well known and largely undisputed. Creative mediums benefit from diversity; a wide range of voices, views and backgrounds being represented within a creative industry feeds directly into a diversity of creative output, which in turn allows an industry to grow by addressing new groups of consumers. Moreover, creative mediums benefit from economic stability, because when people’s incomes are low or uncertain, entertainment purchases are often among the first to fall.

Once upon a time, games had such strong underlying growth that they were “recession proof,” but this is no longer the case. Indeed, it was never entirely an accurate reading anyway, since broader recessions undoubtedly did slow down – though not reverse – the industry’s growth. Finally, as a consequence of the industry’s broad demographic reach, expansion overseas is now the industry’s best path to future growth, and that demands continued economic progress in the developing world to open up new markets for game hardware and software.

What is now happening on a global basis threatens all of those conditions, and therefore poses a major commercial threat to the games business. That threat must be taken especially seriously given that many companies and creators are already struggling with the enormous challenges that have been thrown up by the messy and uneven transition towards smart devices, and the increasing need to find new revenue streams to support AAA titles whose audience has remained largely unchanged even as development budgets have risen. Even if the global economic system looked stable and conditions were ideal for creative industries, this would be a tough time for games; the prospect of restrictions on trade and hiring, and the likelihood of yet another deep global recession and a slow-down in the advances being made by developing economies, make this situation outright hazardous.

Consider the UK development industry. Since well over a decade ago, if you asked just about any senior figure in the UK industry what the most pressing problem they faced was, they’d give you the same answer: skills shortages. Hiring talented staff is tough in any industry, but game development demands highly skilled people from across a range of fields, and assembling that kind of talent isn’t cheap or easy – even when you have access to the entire European Union as a hiring base, as UK companies did. Now UK companies face having to fill their positions with a much smaller pool of talent to draw from, and hiring from abroad will be expensive, complex and, in many cases, simply impossible.

The US, too, looks like it may tighten visa regulations for skilled hires from overseas, which will have a hugely negative impact on game development there. There are, of course, many skilled creatives who work within the borders of their own country, but the industry has been built on labour flows; centres of excellence in game development, like the UK and parts of the US, are sustained and bolstered by their ability to attract talent from overseas. Any restriction on that will impact the ability of companies to create world-class games – it will make them poorer creatively and throw hiring roadblocks in the path of timely, well-polished releases.

Then there’s the question of trade barriers; not only tariffs, which seem likely to make a comeback in many places, but non-tariff barriers in terms of diverse regulations and standards that will make it harder for companies to operate across national borders. The vast majority of games are multinational efforts; assets, code, and technology are created in different parts of the world and brought together to create the final product. Sometimes this is because of outsourcing, other times it’s because of staff who work remotely, and very often it’s simply because a certain piece of technology is licensed from a company overseas.

If countries become more hostile to free trade, all of that will become more complex and expensive. And that’s even before we start to think about what happens to game hardware, from consoles that source components from across Asia before assembly in China or Japan, to PC and smart device parts that flow out of China, Korea, Taiwan and, increasingly, from developing nations in South-East Asia. If tariff barriers are raised, all of those things will get a lot more expensive, limiting the industry’s consumer base at the most damaging time possible.

Such trade barriers – be they tariff barriers or non-tarriff barriers – would disproportionately impact developing countries. Free trade and globalisation have had negative externalities, unquestionably, but by and large they have contributed to an extraordinary period of prosperity around the world, with enormous populations of people being lifted out of poverty in recent decades and many developing countries showing clear signs of a large emerging middle class. Those are the markets game companies desperately want to target in the coming decade or so. In order for the industry to continue to grow and prosper, the emerging middle class in countries like India, Brazil and Indonesia needs to cultivated as a new wave of game consumers, just as many markets in Central and Eastern Europe were a decade ago.

The current political attacks on the existing order of world trade threaten to cut those economies off from the system that has allowed them to grow and develop so quickly, potentially hurling them into deep recession before they have an opportunity to cement stable, sustainable long-term economic prosperity. That’s an awful prospect on many levels, of course (it goes without saying that many of the things under discussion threaten human misery and catastrophe that far outweighs the impact on the games business), but one consequence will likely be a hard stop to the games industry’s capacity to grow in the coming years.

It’s not just developing economies whose consumers are at risk from a rise of protectionism and anti-trade sentiments, however. If we learned anything from the 2008 crash and the recession that followed, it should be that the global economy largely runs not on cash, but on confidence. The entire edifice is built on a set of rules and standards that are designed to give investors confidence; the structure changes over time, of course, but only slowly, because stability is required to allow people to invest and to build businesses with confidence that the rug won’t be tugged out from underneath them tomorrow. From the rhetoric of Donald Trump to the hardline Brexit approach of the UK, let alone the extremist ideas of politicians like Marine le Pen and Geert Wilders, the current political movement deeply threatens that confidence. Only too recently we’ve seen what happens to ordinary consumers’ job security and incomes when confidence disappears from the global economy; a repeat performance now seems almost inevitable.

Of course, the games industry isn’t in a position to do anything about these political changes – not alone, at least. The same calculations, however, apply to a wide variety of industries, and they’re all having the same conversations. Creative industries are at the forefront for the simple reason that they will be the first to suffer should the business environment upon which they rely turn negative, but in opposing those changes, creative businesses will find allies across a wide range of industries and sectors.

Any business leader that wants to throw their weight behind opposing these changes on moral or ethical grounds is more than welcome to, of course – that’s a laudable stance – but regardless of personal ideology, the whole industry should be making its voice heard. The livelihoods of everyone working in this industry may depend on the willingness of the industry as a whole to identify these commercial threats and respond to them clearly and powerfully.

Courtey-GI.biz

Is The Gaming Industry Due For An Overhaul?

February 16, 2017 by  
Filed under Gaming

Physical retailers are calling for a change in how video game pre-orders are conducted.

They are speaking to publishers and platform holders over the possibility of selling games before the release date. Consumers can pick up the disc 1 to 3 weeks before launch, but it will remain ‘locked’ until launch day.

The whole concept stems from the pre-loading service available in the digital space. Today, consumers can download a game via Steam, Xbox Live and PSN before it’s out, and the game becomes unlocked at midnight on launch day for immediate play (after the obligatory day one patch).

It makes sense to roll this out to other distribution channels. The idea of going into a shop to order a game, and then returning a month later to buy it, always seemed frankly antiquated.

Yet it’s not only consumer friendly, it’s potentially retailer and publisher friendly, too.

For online retailers, the need to hit an embargo is costly – games need to be turned around rapidly to get it into consumers’ hands on day one.

For mainstream retailers, it would clear up a lot of confusion. These stores are not naturally built for pre-ordering product, with staff that are more used to selling bananas than issuing pre-order receipts. The fact you can immediately take the disc home would help – it could even boost impulse sales.

Meanwhile, specialist retailers will be able to make a longer ‘event’ of the game coming out, and avoid the situation of consumers cancelling pre-orders or simply not picking up the game.

Yet when retail association ERA approached some companies about the prospect of doing this, it struggled to find much interest from the publishing community. So what’s the problem?

There are a few challenges.

There are simple logistical obstacles. Games often go Gold just a few weeks before they’re launched, and then it’s over to the disc manufacturers, the printers, the box makers and the distributors to get that completed code onto store shelves. This process can take two weeks in itself. Take the recent Nioh. That game was available to pre-download just a few days before launch – so how difficult would it be to get that into a box, onto a lorry and into a retailer in advance of release?

It also benefits some retailers more than others – particularly online ones, and those with strong distribution channels.

For big games, there’s a potential challenge when it comes to bandwidth. If those that pre-ordered Call of Duty all go online straight away at 12:01, that would put a lot of pressure on servers.

Piracy may also be an issue, because it makes the code available ahead of launch.

The end of the midnight launch may be happening anyway, but not for all games. If consumers can get their game without standing in the cold for 2 hours, then they will. And those lovely marketable pictures of snaking queues will be a thing of the past.

None of these obstacles are insurmountable. Getting the game finished earlier before launch is something that most big games publishers are trying to do, and this mechanism will help force that issue. Of course, the disc doesn’t actually have to contain a game at all. It can be an unlock mechanism for a download, which will allow the discs to be ready far in advance of launch. That strategy is significantly riskier, especially considering the consumer reaction to the same model proposed by Xbox back in 2013.

As for midnight events, there are still ways to generate that big launch ‘moment’. Capcom released Resident Evil 7 with an experiential haunted house experience that generated lots of media attention and attracted a significant number of fans. Pokémon last year ran a big fan event for Sun and Moon, complete with a shop, activities, signing opportunities and the chance to download Mew.

So there are other ways of creating launch theatre than inviting consumers to wait outside a shop. If anything, having the game available in advance of launch will enable these theatrical marketing events to last longer. And coupled with influencer activity, it would actually drive pre-release sales – not just pre-release demand.

However, the reality is this will work for some games and not for others, and here lies the heart of the challenge.

Pre-ordering is already a relatively complex matter, so imagine what it’ll be like if some games can be taken home in advance and others can’t? How many instances can we expect of people complaining that ‘their disc doesn’t work’?

If this is going to work, it needs cross-industry support, which isn’t going to happen. This is a business that can’t even agree on a digital chart, don’t forget.

What we may well see is someone giving this concept a go. Perhaps a digital native publisher, like Blizzard or Valve, who can make it part of their PR activity.

Because if someone like that can make the idea work, then others will follow.

Courtesy-GI.biz

Is Sony Really Committed To The PSVR?

February 1, 2017 by  
Filed under Gaming

The positive reviews pouring in from all corners for Capcom’s Resident Evil 7 are a welcome validation of the firm’s decision to go in quite a radically new direction with the series, but Capcom isn’t the only company that will be happy (and perhaps a little relieved) by the response to the game. A positive reaction to RE7 is also hugely important for Sony, because this is the first real attempt at proving that PSVR is a worthy platform for full-scale, AAA games, and much of the credibility of the nascent VR platform rests on RE7.

Although some of the sentiment in reviews of the game suggests that the VR mode is interesting but somewhat flawed, and several reviewers have expressed a preference for playing on a normal screen, the game’s VR aspect undoubtedly fascinates consumers and seems to be implemented well enough to justify their interest. In the process, it also justifies Sony’s investment in the title – the company did a deal that secured a year-long VR exclusivity window for PSVR – and Capcom’s own faith in the burgeoning medium, which undoubtedly played a large role in the decision to switch the entire game over to a first-person perspective.

The critical success of RE7, and the likely commercial success that will follow, comes at a crucial juncture for PSVR. Although the hardware was well-reviewed at launch and remains more or less supply-constrained at retail – you certainly can’t get your hands on one without paying a hefty re-seller premium in Japan at the moment, and believe me I’ve tried – there’s an emerging narrative about the VR headset that’s distinctly negative and pessimistic. Plenty of op-eds and videos have popped up in recent weeks comparing PSVR to previous Sony peripheral launches like PlayStation Eye and PlayStation Move; hardware that was launched with a lot of heavy marketing support but which the giant company rapidly seemed to lose interest in, condemning it to a few years of token, declining software support before being quietly shelved altogether.

It’s worth noting, of course, that neither Eye nor Move actually died off entirely – in fact, both of these technologies have made their way into PSVR itself, with the headset essentially being an evolution of a number of previous Sony technologies that have finally found a decent application in VR. However, there’s no question but that Sony has a bad track record with peripherals, and those interested in the future of PSVR should absolutely be keeping a close eye on the company to see if there are any signs of it repeating its past behaviour patterns.

Most of what’s being written now, however, feels premature. PSVR had a pretty solid launch line-up, with good support from across the industry; just this week it got its first truly big third-party AAA title, which is receiving excellent reviews, and later in the year it’s got some big launches like GT Sport on the way. The pace of software releases slumped after the launch window, but that’s not unusual for any platform. There’s nothing about PSVR that you can point to right now and declare as evidence of Sony’s focus shifting away; it feels like editorials claiming this are doing so purely on the basis of Sony’s track record, not the facts as they exist now.

If you really want to know how PSVR is shaping up, there are two key things to watch out for in the near future. The first will be any data that’s released regarding the performance of RE7’s VR mode; is it popular? Is it being played widely? Does it become a part of the broad conversation about the game? Much of this latter aspect is down to Sony and Capcom’s marketing of course; there’s an opportunity to push the VR aspect of RE7 as a genuinely unique experience with appeal even beyond the usual gaming audience, and if that can be capitalised upon, it will likely secure PSVR’s future to a large degree. What’s crucial, though, is that every other company in the industry will be watching RE7 like hawks; if proper, well-integrated PSVR support seems to be a major selling factor or a popular feature, you can be guaranteed that other publishers will start to look at their major franchises with a view to identifying which of them would suit a similar “traditional display plus optional VR” approach.

The other thing to watch for, unsurprisingly, is what Sony does at E3 and other major gaming events this spring. This is really where we’ll see the proof of the company’s focus – or lack of same. There’s still plenty of time to announce VR titles for the back half of this year, which is likely to be the crucial point for PSVR; by the time we slip into the second half of 2017, the hardware will no longer be supply constrained and the early adopters buying for novelty will be all but exhausted. That’s the point in time where PSVR’s software line-up really needs to come together coherently, to convince the next wave of potential purchasers that this is a platform worth investing in. If it fails that test, PSVR will join Move and Eye in the graveyard of Sony’s failed peripherals; success will turn it into a cornerstone of the PS4 for the coming years.

So keep a close eye on E3. Part of this is just down to optics; how much time and focus does the firm devote to PSVR on stage at its conference? If it’s not very much, if the PSVR section feels rushed or underemphasised, that will send a strong message that Sony is back to its old bad habits and has lost interest in its latest peripheral already. A strong, confident PSVR segment would convince consumers and the industry alike that the headset isn’t just another easily abandoned gimmick; better yet if this is backed up by plenty of the big games being announced having PSVR functionality built into them, so the device can be referred back to repeatedly during the conference rather than being confined to its own short segment.

It’s more than just optics though; the reality is that PSVR, like any platform, needs software, and Sony needs to lead the way by showing that it’s truly devoted to its own hardware. It may seem a little unfair that people are already keen to declare PSVR to be stumbling due to lack of attention, and well, it is a little unfair – but nobody should be surprised that people are seeing a pattern here that Sony itself clearly established with its behaviour towards previous peripherals. That’s the reputation the firm has, unfortunately, created for itself; that makes it all the more important that it should convince the world of its commitment to PSVR when the time comes.

Courtesy-GI.biz

Is EA Slowing Moving Away From Appearing At E3

January 20, 2017 by  
Filed under Gaming

It would appear that the trend of big publishers hosting their own events will continue in 2017. Last year’s E3 show floor was missing booths from the likes of Electronic Arts, Activision Blizzard, Disney and Wargaming. For its part, EA decided it could better serve the fans by hosting its own event next door to E3, and now the publisher has confirmed that EA Play will be making a return for the second year in a row, but it won’t be as close to the Los Angeles Convention Center.

EA Play will be held from June 10-12 at the Hollywood Palladium, which is around seven miles away. “Whether in person or online, EA Play 2017 will connect fans around the world to EA’s biggest new games through live broadcasts, community content, competitions and more. Those that can attend in Hollywood will experience hands-on gameplay, live entertainment and much more. For anyone joining digitally around the world, EA Play will feature livestreams, deeper looks into EA’s upcoming games and experiences, and content from some of the best creators in the community,” the company stated in a press release.

Furthermore, a spokesperson confirmed to GamesIndustry.biz that EA will indeed be skipping out on having a major E3 presence. “EA Play was such a powerful platform for us last year to connect with our player community. We learned a ton, and we wanted to build on everything we loved about last year’s event to make EA Play 2017 even better,” EA corporate communications VP John Reseburg said.

“So after an extensive search, we’ve selected the Hollywood Palladium as a place where we can bring our vision of creativity, content and storytelling to life, and build an even more powerful experience to connect with players, community leaders, media and partners. EA Play 2017 will originate from Hollywood, with more ways for players around the world to connect and experience the excitement.”

It’ll be interesting to see what the other major publishers do about E3 this year. We’ll be sure to keep you posted.

Courtesy-Fud

Can The Xbox One S Succeed Without Exclusives?

January 18, 2017 by  
Filed under Gaming

As with many game cancellations, it’s likely we’ll never know exactly why Platinum Games’ Xbox One exclusive Scalebound has been dropped by Microsoft. For a game that’s been in development for several years at a top-flight studio, helmed by one of the most accomplished directors working in the industry today, to be cancelled outright is a pretty big deal. Even acknowledging that most of the cost of launching a game lies in marketing budgets, not development costs, this still represents writing off a fairly huge financial investment – not to mention the hard-to-quantify costs to the image and reputation of the Xbox brand. This isn’t the kind of decision that’s made rapidly or taken lightly – and though the reasons remain obscure, we can guess that a mix of factors was considered.

For one thing, it’s fairly likely that the game wasn’t living up to expectations. Scalebound was ambitious, combining unusual RPG aspects with a style of action Platinum Games (usually masters of the action genre) hadn’t attempted before, and throwing four-player co-op into the mix as well. There are a lot of things in that mix that could go wrong; plenty of fundamental elements that just might not gel well, that might look good on paper but ultimately fail to provide the kind of compelling, absorbing experience a AAA console exclusive needs. These things happen, even to the most talented of creative teams and directors.

For another thing, though, it’s equally likely that Microsoft’s decision stems in part from some issues internal to the publisher. Since Scalebound went into development in 2013, the Xbox division has been on a long, strange journey, and has ended up in a very different place to the one it anticipated when it inked its deal with Platinum three years ago. When Microsoft signed on to publish Scalebound, it was gearing up to launch an ambitious successor to the hugely successful Xbox 360 which would, it believed, expand upon the 360’s audience by being an all-purpose entertainment box, a motion-controlled device as much media hub and high-tech TV viewing system as game console.

By the time Scalebound was cancelled this week, much of that ambition had been scrapped, PS4 had soared off into the sunset leaving Microsoft trailing in a very distant second place, and Xbox One has become instead one link in a longer chain, a single component of an Xbox and Xbox Live brand and platform that extends across the Windows 10 ecosystem and which will, later this year, also encompass a vastly upgraded console in the form of Scorpio.

It only stands to reason that the logic which led to the signing of a game before this upheaval would no longer apply in the present environment. While quality issues around Scalebound cannot be dismissed – if Microsoft felt that it had a truly great game on its hands, it would have proceeded with it regardless of any strategic calculation – the implications of Scalebound’s cancellation for the broader Xbox strategy are worthy of some thought. Actually, it’s not so much Scalebound itself – which is just one game, albeit a very high profile one – as the situation in which its cancellation leaves the Xbox in 2017, and the dramatic defocusing of exclusive software which the removal of Scalebound from the release list throws into sharp relief.

A quick glance down 2017’s release calendar suggests that there remain only two major Xbox One exclusive titles due to launch this year – Halo Wars 2 and Crackdown 3. The console remains well supported with cross-platform releases, of course, but in terms of reasons for a player to choose Xbox One over the more successful PS4, or indeed for an existing PS4 owner to invest in an Xbox One as a second console (a vital and often overlooked factor in growing the install base mid-cycle), things are very sparse. By contrast, the PS4 has a high profile exclusive coming out just about every few weeks – many of them from Sony’s first-party studios, but plenty of others coming from third parties. Platinum Games’ fans will note, no doubt, that Sony’s console will be getting a new title from the studio – NieR: Automata – only a few months after Scalebound’s cancellation.

The proliferation of multiplatform games means that Xbox One owners won’t be starved of software – this is no Wii U situation. Existing owners, and those who bought into the platform after the launch of the Xbox One S last year, will probably be quite happy with their system, but the fact remains that with the exception of the two titles mentioned above and a handful of indie games (some of which do look good), the Xbox One this year is going to get by on a subset of the PS4’s release schedule.

That’s not healthy for the future of the platform. The strong impression is that third parties have largely abandoned Xbox One as a platform worth launching exclusive games on, and unlike Sony during the PS3’s catch-up era, Microsoft’s own studios and publishing deals have not come forward to take up the slack in its console’s release schedule. This isn’t all down to Scalebound, of course; Scalebound is just the straw that breaks the camel’s back, making this situation impossible to ignore.

Why have things ended up this way? There are two possible answers, and the reality is probably a little from column A and a little from column B. The first answer is that Microsoft’s strategy for Xbox has changed in a way which makes high-profile (and high-cost) exclusive software less justifiable within the company. That’s especially true of high-profile games that won’t be on Windows 10 as well as Xbox One; one of the ways in which the Xbox division has secured its future within Microsoft in the wake of the company’s reorganisation under CEO Satya Nadella is by positioning itself as a key part of the Windows 10 ecosystem.

Pushing Xbox One exclusive software flies in the face of that strategic positioning; new titles Microsoft lines up for the future will be cross-platform between Windows and Xbox, and that changes publishing priorities. It’s also worth noting that the last attempt Microsoft made to plug the gap in its exclusive software line-up didn’t go down so well and hasn’t been repeated; paying for a 12-month exclusivity window for the sequel to the (multiplatform) Tomb Raider reboot just seems to have annoyed people and didn’t sell a notable number of Xbox Ones.

The second answer, unsurprisingly, revolves around Scorpio. It’s not unusual for a console to suffer a software drought before its successor appears on the market, so with Scorpio presumably being unveiled at E3 this year, the Xbox One release list could be expected to dry up. The wrinkle in this cloth is that Scorpio isn’t meant to be an Xbox One replacement. What little information Microsoft has provided about the console thus far has been careful to position it as an evolution of the Xbox One platform, not a new system. What that means in practice, though, hasn’t been explained or explored. Microsoft’s messaging on Scorpio is similar to the positioning of PS4 Pro – an evolutionary upgrade whose arrival made no difference to software release schedules – but at the same time suggests a vastly more powerful system, one whose capabilities will far outstrip those of Xbox One to an extent more reminiscent of a generational leap than an evolutionary upgrade.

The question is whether Microsoft’s anaemic slate of exclusive releases is down, in part, to a focus on getting big titles ready for Scorpio’s launch window. If so, it feels awfully like confirmation that Scorpio – though no doubt sharing Xbox One’s architecture and thus offering perfect backwards compatibility – is really a new console with new exclusive software to match. If it’s not the case, however, then along with clearing up the details of Scorpio, this year’s E3 will have to answer another big question for Microsoft; where is all your software?

2017 needs to just be a temporary dip in the company’s output, or all its efforts on Scorpio will be for naught. Seamus Blackley, Ed Fries, Kevin Bachus and the rest of the original Xbox launch team understood something crucial all the way back in the late nineties when they were preparing to enter Microsoft into the console business; software sells hardware. If you don’t have the games, nothing else matters. Whatever the reasons for 2017’s weak offering from Xbox, we must firmly hope that that lesson hasn’t been forgotten in the corridors of Redmond.

Courtesy-GI.biz

HDMI v2.1 To Support 8K

January 9, 2017 by  
Filed under Around The Net

The HDMI Forum has officially announced the upcoming release of the HDMI v2.1 specification, bringing a range of higher video resolutions, Dynamic HDR support and more.

According to the provided details, the new HDMI v2.1 specification will be backward compatible with earlier versions and in addition to higher video resolution and refresh rates, including 8K@60Hz and 4K@120Hz, it will also bring support for Dynamic HDR, Game Mode variable refresh rate (VRR), eARC support for advanced audio formats and the new 48G cable that will provide 48Gbps of bandwidth which is a key for 8K HDR support.

The full list of resolutions and refresh rates start with 4K at 50/60Hz and 100/120Hz and climbs all the way up to 10K resolution at both 50/60Hz and 100/120Hz.

The big surprise is the new Game Mode VRR, which is similar with AMD FreeSync and Nvidia G-Sync, and meant to provide stutter-, tearing- and lag-free gaming, on both consoles and the PC.

Another big novelty is the all new 48G cable, which will provide enough bandwidth for higher resolutions with HDR. The old cables will be compatible with some of the new features, but for 8K/10K with HDR, you will need the new HDMI v2.1 cable.

According to HDMI Forum, the new HDMI v2.1 specification will be available to all HDMI 2.0 Adopters which will be notified when it is released in early Q2 2017.

Courtesy-Fud

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