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Blizzard Get Tougher on Bad Gamers

September 7, 2017 by  
Filed under Gaming

Blizzard has reassured its community that it will be clamping down on those who are consistently abusing other players or demonstrating bad behaviour in Overwatch.

A user post on the official forums described the community as “toxic” and the reporting system “a failure”. Overwatch director Jeff Kaplan responded to this with more details on what the developer plans to do.

In the short term, the Overwatch team plans to re-evaluate which punishments are assigned to various offences, and as “in the process of converting silences over to suspensions”, according to Kaplan. Suspensions will also be extended as the original user post observed that a one-week ban isn’t particularly threatening to some players.

Blizzard plans to eventually phase out silences and rely solely on suspensions and bans, although users causing violations with their BattleTag name will be forced to change.

Repeated offenders within the Competitive Play mode will face permanent bans. Currently bans are only in force for the rest of the current season, but if Blizzard bans the user for more than a certain number of seasons, they will not be allowed to play this mode ever again.

Kaplan promised Blizzard will be “way more aggressive” during the upcoming sixth season of Competitive Play.

An email system will also be introduced that informs players if someone they reported has been punished, as well as an in-game notification system that delivers similar information. While the emails won’t offer full details, the idea is to encourage more users to report abusive behaviour by showing that it is acted upon.

Kaplan finished by calling on Overwatch players to help identify the most toxic members of the community, and hopes that one day effort spent on dealing with them can be put to better use.

“In the long term, we really want to work on systems that encourage positive behavior and reward good players. It really bums us out to spend so much time punishing people for being bad sports. We like making cool, fun game systems — that’s what we do for a living. But because people seem to lack self-control or because people like to abuse anonymity and free speech we’re put in a position of spending a tremendous amount of our time and resources policing the community. We will do this as it is our responsibility but we’d like to spend more time rewarding good players rather than having to focus on poor sportsmanship and unacceptable bad behavior so much.

“Like it or not, this is an ‘us, the OW community problem’ and not just an ‘OW team problem’. For better or for worse, we’re in this together. We’re working hard to make changes. I hope you all do too.”

A video update about plans for a stronger regulation system has already been filmed and will go live soon, although Kaplan was not sure when.

Courtesy-GI.biz

Do Indy Developers Need a Publisher To Succeed On Steam

August 31, 2017 by  
Filed under Gaming

Discoverability problems on Steam have reached the stage where it’s essential that indie and smaller developers seek out a publishing deal.

That’s according to Bulkhead Interactive producer Joe Brammer, who spoke to GamesIndustry.biz at Gamescom about indie attitudes towards publishers, lessons learned from his first few releases, and the increasingly crowded PC market.

Back in December, it emerged that more than 4,200 games were released in 2016 alone – accounting for 38% of the marketplace’s entire back catalogue – and there has been no shortage of new releases this year. While the platform has become a go-to destination for self-publishing indies, Brammer says it’s harder than ever to generate decent sales this way.

“Nowadays you pretty much need an indie publisher, or you need to have an amazing game,” he tells us. “It would have to be incredible. That doesn’t mean a ‘good enough’ game is a bad one, but it has to be something really special to be picked up organically – something like PUBG.

“The market is changing. Indie publishers are becoming less like indie publishers and more like smaller publishers, but smaller publishers are totally acceptable. That doesn’t mean they’re worse now.”

Brammer’s own game, the upcoming WW2 multiplayer FPS Battalion 1944, is being published by Square Enix Collective following a successful partnership between the two firms for The Turing Test – an arrangement the producer is more than pleased with.

“They listen to us,” he says. “No other indie publisher can give you the power of a megacorporation like Square Enix, but still let you maintain the finesse of that indie mentality. Not that we’re super indie, of course.”

But why go for a publisher at all? There seems to be the lingering perception that publishers are greedy and out to exploit smaller and independent developers – which has led to many new indie publishers referring to themselves as labels instead.

“Indie publishers are becoming less indie and more like smaller publishers, but smaller publishers are totally acceptable”

Brammer’s desire for a publisher stems from his team’s experience with its first release, Pneuma: The Breath of Life – a launch that also introduced him to how challenging the market on Steam can be. He maintains that while some indies may still feel apprehensive about publishers, they are necessary because “the industry has changed massively.”

While Pneuma wasn’t a critical or commercial hit, it sold well enough to let the developers continue making games and move on to The Turing Test. When it came to launching the puzzle game, Brammer and his team revisited Pneuma’s performance and realised while it had sold well enough on Xbox and PlayStation, Steam sales fell short of the mark.

“We decided if we’re going to do anything on Steam, we need a publisher,” he says. “We need someone with those contacts, someone that can give us a bit of help and the punch that we needed. When we went to Square we said we didn’t need money; we just needed help to get the game on Steam, so they actually only helped us with the Steam version. After doing that, I’d have rather they’d taken the Xbox One version as well because they just did a phenomenal job.”

Brammer admitted his team has probably been guilty of “lowballing ourselves” by not asking publishers for more money in the past, perhaps giving the perception that the games are cheap and therefore of a lower quality.

Steam has already been identified as a difficult market for new developers trying to make their mark, thanks largely to the aforementioned discoverability problems. Valve has attempted to revamp its submission process, killing the previous Greenlight system in favour of Steam Direct, which charges developers $100 to submit a game to the marketplace.

However, following the launch of Direct in June, Steam actually saw a spike in the number of games submitted – as many as 213 in a single week, and 730 in a four-week period. Valve has said that the new system is not necessarily designed to reduce the number of submissions but to ensure those that do get through are genuine.

Brammer believes the issue of discoverability is not one that Valve is particularly motivated to solve: “I had a meeting once with a platform holder and I made a joke about the App Store, saying, ‘It’s terrible, you’ll never get found’ – and they said they’d love to have the App Store. The platform holders would absolutely love to have millions of games come out and the good ones rise to the top, almost organically.

“The community sees [discoverability] as a problem and Steam says they’ll fix it, but all they really do is rehash it”

“Frankly, I don’t think Steam sees it as a problem. The community sees it as a problem and Steam says they’ll fix it, but all they really do is rehash it. I don’t know why they’ve made the changes they made when they got rid of Greenlight, but they’re not really stopping anything; they’re just opening things up even more. That’s just the 2017 market and how it works: removing the barrier to entry and creating more content, hoping the good quality content will rise to the top but it’s very difficult.”

Instead, reducing the number of games flooding the PC marketplace – and by extension improving the chances of discovery and success – will partly come down to developers. Brammer encouraged studios to “be more honest” with themselves about the quality of their game – and if it’s not up to scratch, scrap it. His team did just that with a robot football game it was building before work began on Pneuma.

“After three weeks, we had it working in Unity,” says Brammer. “Then I made a joke saying, ‘Why don’t we switch to Unreal Engine?’ and we all looked at each other and said, ‘Is our game a bit shit?’ So we threw it away – but those three weeks were the most important of my career as it led to me working on Pneuma, The Turing Test and today Battalion 1944.

“So developers need to start effectively nutting up, saying ‘My game is crap, I need to do better’. Learn to read the market, because that’s another major difference now: you can’t just release anything.”

Even if a game is of a high quality, Brammer still encourages studios to seek a publisher rather than hoping for PlayerUnknown levels of surprise success. We asked what studios should look for in a publisher, what they should expect or demand.

“Well, if you need to demand something from a publisher, if it’s something they don’t want to give to you, that’s the start of a bad relationship,” he says. “Debbie [Bestwick] at Team 17 says if you go for a fair deal where both sides are happy, you’ll get a better deal out of it. There’s always a bit of push-pull, but if you have to demand something they don’t want to give, maybe it isn’t the right fit.

“Speak to everyone, get everyone’s opinion, but if you find someone you like working with [that’s key]… because you’re going have to trust people with your game. For me, reliability is one of the most important thing. If you find someone you think you can rely on, you should go with them.

“No one’s going to care about your game as much as you are, so you have to find the guys you think care about it enough.”

Courtesy-GI.biz

Microsoft’s Xbox One X Enhanced Games List Keep Growing

August 29, 2017 by  
Filed under Gaming

Microsoft spent its Gamescom livestream detailing some of the games that will be enhanced for Xbox One X.

The company announced over 115 games that have been souped up for Microsoft’s new console, including including Halo 5, Dishonored 2, Halo Wars 2, Killer Instinct, Resident Evil 7, Gears of War 4, Rime, Star WarsL Battlefront II, Project CARS 2, Ghost Recon: Wildlands, Smite, Rocket League, Assassin’s Creed Origins, Ark Survival Evolve and a whole lot more. The full list is through here.

The firm also showed some new titles that will utilize the hardware, including Frontier Development’s Jurassic World Evolution, which is a theme-park-style game that’s due next summer (the title is coming to PS4 and PC, too). Microsoft also confirmed the existence of a special edition of last year’s ReCore, which was a big bet from Microsoft that unfortunately failed to deliver at the time.

Elsewhere, the platform holder pledged to support family and casual gamers, and announced that titles such as Disneyland Adventures and Zoo Tycoon will be updated for Xbox One X.

In terms of pre-orders, Microsoft detailed a special ‘Project Scorpio’ edition of Xbox One X. Similar to the ‘Day One Edition’ it created for the original Xbox One launch, this version of the console will feature a custom design and an exclusive vertical stand. It’s available only to those that pre-order.

It wasn’t just Xbox One X, however. Xbox One S bundles were also revealed, including a partnership with Warner Bros on Middle-earth: Shadow of War. The Shadow of War bundles will be priced at $279 for the 500GB S model (not available in the US) and $349 for the 1TB S edition (which is the same price as the current RRP). It will be bundled on October 10th alongside the launch of the game.

Finally, Microsoft showed off a limited-edition Minecraft version of Xbox One S. The newly designed machine will come with a special ‘Creeper’ Minecraft controller, with a second ‘pig’ controller sold separately. It will also include the Minecraft game, and is coming to retail on October 3rd.

Courtesy-GI.biz

Will Crackdown 3 Hurt The Xbox One X

August 24, 2017 by  
Filed under Gaming

Microsoft has announced a fresh delay for the long-awaited Crackdown 3, which slips into next year.

The open-world action shooter was originally due for release on November 7th, notably as a launch title for the upcoming Xbox One X – Microsoft’s souped-up 4K-ready version of its current console.

However, Microsoft Studios Publishing general manager announced via Twitter that the game has been held back “so we can make sure we deliver all the awesome that Crackdown fans want.”

Now delayed until spring 2018, this means the only new first-party release that will take advantage of the device will be Forza Motorsport 7.

Microsoft will instead be relying on titles likely already in Xbox One owners’ collections to shift the powerful new console. At E3 2017, the platform holder confirmed Gears of War 4, Forza Horizon 3 and Halo Wars 2 will receive free updates that take advantage of the Xbox One X hardware.

Third parties will also play a vital role in the new machine’s launch. Previously released titles including Final Fantasy XV, Resident Evil VII, Ghost Recon: Wildlands and Rocket League are all due free 4K updates, and forthcoming heavy hitters like Assassin’s Creed Origins and Middle-Earth: Shadow of War will also be compatible with the new console.

With Xbox One’s major rival PlayStation 4 storming ahead at over 60m sales worldwide, Microsoft will no doubt be hoping the X will help close the gap. The platform holder has avoided sharing concrete Xbox One sales figures for some time now, but it’s believed to be significantly behind PS4.

Crackdown seems to have had a troubled development, originally unveiled as far back as E3 2014 with an initial 2016 release date. This is likely due to the game’s ambitious plans to use cloud computing to power fully destructible environments, although this is reported to be exclusive to the game’s multiplayer mode.

GamesIndustry.biz will be speaking to the game’s developer Sumo Digital at Gamescom next week to get an update on the project’s progress.

Courtesy-GI.biz

The Xbox One X To Get Unity Inside

August 23, 2017 by  
Filed under Gaming

Unity has added Xbox One X support to its list of supported platforms.

The update gives users of the engine access to the new Xbox model’s 4K and HDR output. Ultimately, Unity users with an Xbox One development kit can now deploy to the Xbox One, Xbox One S and Xbox One X simultaneously.

“Taking advantage of the increased power and 4K HDR output of the Xbox One X is as easy as changing some quality settings,” asserts a brief blog post on the update from Unity.

The engine maker is now appealing to developers to provide feedback on their experience deploying to Xbox One X, with a view to refining and updating the support.

The Xbox One X offers a more powerful version of the console, but for a price of £449, or $499, leading analysts have collectively suggested it may struggle to sell. The machine, previously known as Project Scorpio, will sell at a loss at its RRP, though some predict Microsoft will shift in excess of 20 million units by 2022.

It is worth noting that the original Xbox One debuted with a $499 RRP.

How appealing the Xbox One X’s increased resolution output will be to Unity’s legion of indie and microstudio users is yet to be seen, but support from such a prolifically employed tool may be seen as a considerable boon.

Courtesy-GI.biz

Is GTA-V A Gaming Phenomena

August 2, 2017 by  
Filed under Gaming

A lot of exciting things have happened in the games industry since 2013. That time has seen the mobile game space rise to maturity; it’s seen Sony return to console dominance with PS4, and Nintendo bounce from its greatest heights to its lowest ebb.

And yet one thing has stayed consistent throughout that entire four-year period. Through it all, Grand Theft Auto V has steadily, unstoppably continued to sell huge numbers every single week. In 2017 so far, it’s the best-selling game in the UK; in the United States it charts in fourth place.

Previous entries in the Grand Theft Auto series were, of course, landmark titles in their own right – both culturally and commercially. Their content sparked controversy and, from the point when the series shifted into an extraordinary open world with Grand Theft Auto 3, their enormous sales pushed them into a mainstream consciousness that had generally glossed over videogames up to that point. Grand Theft Auto came to be the series that defined perceptions of games in the 2000s, perhaps even more so than Mario or Sonic had done in the 1990s.

Grand Theft Auto V, however, has quietly gone beyond that and become something even more. I say quietly, because it’s not necessarily something that you see if you’re an ordinary game consumer. For most of us, Grand Theft Auto V was a game – a really great, beautifully made, fantastic game – that we played for a pretty long time a few years ago. We’ve moved on, though sometimes it comes up in conversation, or you see a really crazy stunt video on YouTube; it’s part of gamer consciousness, but arguably no more than a number of other superb games of the same era.

Yet unlike all those other games, GTAV keeps on selling. People keep walking into shops and buying it; 340,000 copies in the UK alone this year. The only way to explain those sales is to assume that they are representative of GTAV being purchased along with, or soon after, the upgrades being made by many consumers to next-gen consoles or higher spec PCs. Far more than its predecessors, the game has become a cultural touchstone – something that you simply buy by default along with a new game system.

Of course, individual game consoles have had must-own games before; how many people bought Halo with the original Xbox, or Mario 64 with the Nintendo 64? Never before, however, has there been a game like GTAV, which has served as a touchstone for an entire era of gaming. The closest point of comparison I can think of is something like The Matrix, which was the go-to DVD for people buying new DVD players in the late 1990s, or Blade Runner’s Directors’ Cut, which served a similar role for Blu-Ray. Nothing before now in the realm of videogames comes close.

Something we don’t know, however, is what people are actually doing with those new copies of GTAV; the huge question is whether they’re buying them for the game’s excellent single-player experience, or whether they’re diving into GTA Online. The online game has been a runaway success for publisher Take Two, and has definitely helped to prolong the longevity of GTAV, but it’s hard to quantify just how much it has to do with the continued strong sales of the game itself.

That question is important, because if people are primarily buying GTAV as an online game, it makes it a little easier to categorize that success. In that case, it would belong alongside titles like League of Legends, World of Warcraft or Destiny; enormous, sprawling games that suck up years upon years of players’ attention.

From a commercial standpoint, the industry is still a little unsure what these games are or what to do about them; they are behemoths on the landscape that everyone else needs to navigate around, but while many people share an intuition that they collapse revenues for other games in the same genre, it’s not entirely clear as yet what influence they really have on everything else on the market. If GTAV fits in with those titles, albeit on a level of its own to some degree, then it makes sense; it fits a pattern.

My sense, however, is that GTAV is something entirely different. It’s not quite, as Take-Two CEO Strauss Zelnick rather bombastically claimed at E3, that there are no “other titles… clustered around GTA from a quality point of view.” GTAV is a brilliant game, but it’s hard to support the claim that there’s nothing else out there of similar quality.

Rather, it’s that GTAV has struck a series of notes perfectly, stitching together a combination of elements each of which is executed flawlessly and which combined to make a game that is memorable, replayable, funny, challenging, and – vitally in this era – a never-ending source of entertaining video clips for YouTube or Twitch. Almost every aspect of GTAV is good, but there’s no single part you can point to and say, “this is why this is the game that defines an era.” The magic lies in the sum, not the individual parts.

And perhaps it’s something more than even that; perhaps GTAV isn’t just the right game, it’s also a game that’s appeared at the right time.

Think of the average age of a game consumer, which is well into the thirties at this point. Think of how games have come to be a part of our cultural conversation; no longer in a dismissive way, but as a field of genuine interest, a source of inspiration for other media, a topic of watercooler conversation. Think too of how videogames have begun to inform the aesthetics of the world, from the gloss of Marvel’s movies to the more obvious homages of Wreck-It Ralph or (god help us) Pixels. Somehow they’ve even managed to rope Spielberg into adapting inexplicably popular execrable teenage gamer fanfiction novel Ready Player One. Games are embedded as part of the world’s culture and, more importantly, part of how we talk about that culture.

GTAV arrived, in stunning, endlessly discussable, endlessly uploadable form right at the moment when that transition was being completed. There’s no way to quantify this, but I’ll wager GTAV holds a special record that’ll never go in Guinness’ book. I’ll wager it’s the most talked-about game of all time. Not because of controversy or scandal; it’s a game that’s just been talked about in conversation after conversation, four years of discussing stunts and jokes and achievements and easter eggs, until the game became embedded in our collective consciousness until it was The Game You Buy When You Finally Get A PS4.

There’s never been a game that occupied a place in the public consciousness quite like GTAV; but now that such a place exists for games in our collective cultural consciousness, perhaps it won’t be very long before more fantastic games roll up to take on similar roles.

Courtesy-GI.biz  

Is The Gaming Industry Going Through A Nostalgic Summer

July 12, 2017 by  
Filed under Gaming

I had been repeating that this summer for games offers little outside of some decent Nintendo titles.

“You keep forgetting Crash Bandicoot,” said my retail friend.

I laughed. “Sure, it’s a nice piece of nostalgia,” I reasoned. “But it’s hardly going to set the market alight.”

“Pre-orders are brilliant,” came the reply. “We’ve upped our order twice. I think it’s going to be the biggest game of the summer.”

I shouldn’t be surprised. We’ve written extensively about the marketplace’s current love of nostalgia, and that trend only seems to be accelerating. In the last two weeks alone, we’ve seen the news that original Xbox games are coming to Xbox One, the reveal of the Sega Forever range of classics for smartphones, and now the best-selling SNES Mini.

The trend isn’t new. Classic re-releases have been standard for over a decade. However, the recent surge in nostalgia can be traced back to the onset of Kickstarter and the indie movement, which brought with it a deluge of fan-pleasing sequels, remakes and spiritual successors.

The trend reached the mainstream around the 20th anniversary of PlayStation, with Sony tapping into that latent love for all things PS1. And today, nostalgia is a significant trend in video games. Look at this year’s line-up: Sonic Mania, Yooka-Laylee, Super Bomberman, Wipeout, Crash Bandicoot, Thimbleweed Park, Micro Machines, Metroid II… even Tekken, Mario Kart and Resident Evil have found their way to the top of the charts (even if they never really went away).

It’s not just software, either. Accessories firms, hardware manufacturers and merchandise makers are all getting in on the act. I even picked up a magazine last week (on the shelves of my local newsagent) dedicated to the N64. This is the industry we live in.

Nostalgia has manifested itself in several different ways. We’ve seen re-releases (Xbox Originals, Sega Forever, NES Mini, Rare Replay), we’ve seen full remakes and updates (Crash Bandicoot, Final Fantasy VII, Resident Evil 2), plus sequels and continuations (Elite Dangerous, Shenmue 3). We’ve seen a plethora of spiritual successors (Yooka-Laylee, Bloodstained, Thimbleweed Park) and we have also witnessed old-fashioned game elements re-introduced into modern titles (split-screen multiplayer, for instance).

It’s not just games. We’ve recently seen nostalgia-tinged TV such as Twin Peaks, Stranger Things and X-Files, plus the cinematic return of Ghostbusters, Baywatch, and Jurassic Park. Yet this trend isn’t so new for film and TV (or music, either). And that’s because they’re older mediums. The demand for nostalgia tends to come from those aged 30 or above, and with video games being such a young industry, we’re only starting to see the manifestation of this now.

It’s perhaps also more significant in games because of just how different the experiences of the 1990s are to what we have today. In terms of tech, visuals, genre and connectivity, video games have moved so quickly. We simply don’t get many games like Crash Bandicoot or Wipeout anymore, which makes the demand for them even more acute.

Can it last forever? Or is this destined to be another gaming gold mine that gets picked to death? It’s difficult to say. Nostalgia isn’t like MMOs or futuristic shooters. This isn’t a genre, but an emotion ‘sentimental longing for a period in the past’. In theory, the clamour for old games and genres should get broader. In ten years’ time, those brought up on a diet of DS and Wii will be approaching 30. They’ll be reminiscing of the times they spent on Wii Sports and Viva Pinata. And the nostalgia wheel turns again.

Nevertheless, what we’re starting to see now is changing expectations of consumers. No longer are they pandering to every Kickstarter that promises to resurrect a long lost concept (sorry Project Rap Rabbit), and they will not tolerate a nostalgic releases that fails to deliver (sorry Mighty No.9). Lazy ports or half-hearted efforts will not win you any fans. If you want good examples of how to do it, look at Nintendo with the inclusion of Star Fox 2 in the SNES Mini, or the documentaries hidden in Rare Replay, or the special PS1-style case that Sony created for the new Wipeout. This is the games industry and the same rules apply. You cannot get away with rubbish.

Of course, big companies can’t live off nostalgia alone. Nintendo can’t build a business from just re-selling us Super Mario World (even if it seems to try sometimes). These moments of retro glory can often be fleeting. Will a new lick of paint on Crash Bandicoot revitalise the brand and deliver it back to the mainstream? It’s not impossible, but unlikely. More often than not you see a brief surge in gamers reminiscing over a time gone by, and then the IP drifts back to the era from which it was plucked. Musical comebacks are often short-lived and movie remakes are, typically, poorly received.

Yet there are exceptions every now and then. Major UK 1990s pop group Take That made its big comeback in 2006, but it did so with a modernised sound that has seen the band return to the top of the charts and stay there for over 10 years. In 2005, the BBC’s Doctor Who returned after 16 years. It was faster paced and far more current, and it remains a permanent fixture on Saturday night TV.

And last year’s Pokémon Go, which stayed true to the IP whilst delivering it in a new way and through new technology, has elevated that brand to the heights not seen since the late 1990s.

“Nostalgia is a seductive liar, that insists things were far better than they seemed. To be successful with it in the commercial world, you need to keep that illusion alive”

They say nostalgia is a seductive liar, that insists things were far better than they seemed. To be truly successful with it in the commercial world, you need to keep that illusion alive. You must create something that looks and sounds like it comes from a different era, but actually plays well in the modern age. And that’s true whether it’s Austin Powers or Shovel Knight.

Indeed, nostalgia isn’t always about the past, it can help take us into the future. One unique example comes in what Nintendo did with The Legend of Zelda: A Link Between Worlds. The company altered the traditional Zelda formula with that 3DS game, and made it more palatable to fans by dressing it in the same world as 1991’s A Link To The Past. It worked, and set the company up to take an even larger risk with its seminal Breath of the Wild.

If the SNES Mini taught us anything, the clamour for all things 1990s remains strong. For developers and publishers who were smart enough to keep hold of their code from that era, they may well reap the benefits.

However, there’s a broader market opportunity here than just cashing in on past success. There’s a chance to resurrect IP, bring back lost genres, and even rejuvenate long-standing brands in need of innovation.

It’s a chance for the games industry to take stock and look to its past before embarking on its future.

Courtesy-GI.biz

GTA V Still Riding High In England

July 6, 2017 by  
Filed under Gaming

GTA V unit sales dropped 10% this week (in terms of boxed sales), and yet the game still returned to the top of the UKIE/GfK All-Formats Charts.

It was a very poor week for games retail in general, with just 171,389 boxed games sold across the whole market. The lack of new releases is the main reason for the drop, and that’s a situation that won’t be getting any better during the course of the summer.

The only new games in the Top 40 are 505 Games’ Dead by Daylight at No.16, Final Fantasy XIV: Stormblood at No.23 and Ever Oasis at No.28.

Although the data shows a difficult week, there were a few positives. Dirt 4, after a disappointing first week, is showing some resilience. The Codemasters game is now at No.2, although sales did drop 49% week-on-week.

Mario Kart 8 Deluxe is back at No.5 with a 45% jump in sales, driven by an increase in available Switch stock, while The Legend of Zelda: Breath of the Wild had a 68% sales jump (but still sits outside of the Top Ten at No.12).

And Ubisoft’s Tom Clancy’s Ghost Recon: Wildlands returns to the Top Ten after a 31% sales boost, driven by price activity at games retail.

Elsewhere, Horizon: Zero Dawn, which was No.1 last week, has dropped down to No.8. The game had been on sale for several weeks, but now it has returned to a premium price point. Tekken 7 has dropped to No.10, while Wipeout Omega Collection, which was No.1 just three weeks ago, has now fallen to No.14.

Courtesy-GI.biz

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

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

Can The PS4 Pro Stop The Falling Sells Of The PS4?

May 4, 2017 by  
Filed under Gaming

Sony Interactive Entertainment sold 20 million units of its PlayStation 4 console in the last fiscal year, boosting revenue by 6% and operating income by more than 50%.

In the 12-month period ended March 31 2017, SIE’s Game & Network Services division earned $14.7 billion in revenue, a 6% increase over the year before. Operating income for the division was $1.2 billion, a more significant 53% increase over the prior year, largely due to cost reductions on PS4 hardware and rising software sales.

Guerrilla Games’ Horizon: Zero Dawn will have been a major contributor to software revenue, becoming the fastest-selling new IP of the PS4 era after moving 2.6 million units in the two weeks following its late-February release. Uncharted 4: A Thief’s End also launched in the accounting period; Naughty Dog’s widely acclaimed title sold 8.6 million copies by the end of calendar 2016.

Across the entire year, 20 million units of the PS4 were shipped, 13% more than the 17.7 million units in the previous fiscal year. Given that the PS4 had 40 million confirmed sales in May 2016, that puts the total PS4 installed base somewhere around 60 million – possibly just below, but certainly not very far away.

Sony offered no details on the specific performance of the PS4 Pro, and no further information on PSVR sales beyond the 915,000 unit figure revealed in February. Both devices launched at the end of calendar 2016.

Looking ahead, Sony expects PS4 shipments to decline to 18 million next year. However, it expects the GNS division to improve in general, with a 14.6% increase in revenue and a 34% increase in operating income.

Overall, Sony Corp. earned $67.9 billion in revenue in the last fiscal year, down 6%, and a $654 million net profit, a more dramatic 50% decline.

Courtesy-GI.biz

nVidia Shows Off GameWorks Technology

May 1, 2017 by  
Filed under Gaming

Nvidia has revealed a few more details about its GameWorks Flow technology, which should provide fluid effects for realistic combustible fluid, fire and smoke simulation.

Following in the footsteps of Nvidia Turbulence and FlameWorks technologies, the new GameWorks Flow library provides both DirectX 11 and DirectX 12 implementations and can run on any recent DirectX 11- and DirectX 12-capable GPUs.

The GameWorks Flow uses an adaptive sparse voxel grid which should provide both maximum flexibility as well as the least memory impact. It is also optimized for use of Volume Tiled Resources, which allows volume textures to be used as three-dimensional tiled resources.

Nvidia has released a neat simulation video of the GameWorks Flow implementation in DirectX 12, which shows the fire and the combustion process with an adaptive sparse voxel grid used in both the fire and to compute self-shadowing on the smoke, increasing both the realism and visual effects.

Hopefully, game developers will manage to implement Nvidia’s GameWorks Flow without a significant impact on the performance.

Courtesy-Fud

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.

Is The AAA Game Model Sustainable?

April 28, 2017 by  
Filed under Gaming

The AAA model in increasingly developing into a market in which only the biggest companies can survive – and even then the design of these titles will become more stagnant.

That’s according to Boss Key Productions founder and Gears of War creator Cliff Bleszinski. Speaking to attendees at Reboot Develop today, the veteran games developer discussed the “really, really weird spot” blockbuster games have found themselves in, and pondered potential solutions.

“AAA is starting to feel like the American restaurant scene,” he said, referring to how increasing globalisation means every major city usually has the exact same chains and franchises when you’re looking for a place to eat. “They’re not bad, they’re not great, they’re just there.”

It’s the same with AAA, which he says has become a “category of eight games that are getting repeated over and over again”. He brought up a slide depicting best-sellers such as Uncharted 4 and the Call of Duty games, stressing that these are “great games” but cost hundreds of millions of dollars to produce and market.

He added that it doesn’t help most consumers view many blockbuster franchises as “the name you know” and are “too scared to take the risk on new IP”.

“$60 is still a lot of money to ask people for,” he said. “And to ask them to make that bet multiple times per year? Gamers are picky, they’re smart.

“This is a nearly unsustainable model, unless you’re an Activision, 2K or a Sony.”

His advice to developers still looking to make their mark is to aim for what he referred to as “Double A”, which he considers to be “games that look and play great but pick their battles in terms of budget and marketing”. Examples he offered included Warframe, Rocket League and Rust, with Bleszinski noting that most successful ‘Double A’ games are digital and/or free-to-play.

In terms of finding funding for such games, he pointed out that “there’s a lot of money in Asia” – his own studio, Boss Key Productions, has partnered with Nexon for its debut game, LawBreakers. This title is also designed to be ‘Double A’, and won’t have a full $60 price tag.

Bleszinski also warned that developers only have one shot to make a new IP, referring to the team at Raven Software: “They made a great game in Singularity, but it ultimately didn’t do well because of the marketing, even though the ratings were great. And now they’re one of the multi-headed hydras behind the Call of Duty series.”

He recognised that the collaborative model used to create titles like Call of Duty and many Ubisoft games, combining the efforts of teams from around the world, is effective but not one he’d ever want to be a part of.

His talk later branched into virtual reality, which he likened to lucid dreaming – something he has apparently spent years trying to master. In fact, VR has helped him hone this elusive skill: “I’m a better lucid dreamer when I wear a sleep mask because I think I’m wearing a headset.”

He stressed that high-quality graphics are the key to immersion in VR, adding that “the best VR looking experiences I’ve had are built in Unreal Engine 4”.

“I’ve not paid to say that by my former employers,” he laughed. “Unity is a good engine but when it comes down to it, you can’t beat Unreal for visual fidelity.”

The issue, as he puts it, is great graphics cost money. Bleszinski is currently pitching a VR project but struggling to get the investment required to make the finished product look as good as it needs to. He observed that shareholders are “only giving out a little money”, which is why the industry is seeing a lot of tech demos coming from the VR space.

He also likened the current trend of wave-based shooting games – such as Raw Data and Robo Recall – as the equivalent of ’80s arcade games such as Galaga and Robotron, adding that he’s confident VR will expand beyond this just as the arcades did.

Bleszinski acknowledged that there are plenty of barriers to overcome before virtual reality is adopted by the masses. Complicated setups, especially for room-scale VR, are particularly off-putting. He referred to his parents that didn’t even set the clock on their VCR – they just wired it into the TV and plugged it in – adding: “Why would they set up VR?”

He continued: “If I were Oculus, Facebook or Vive, I would have kiosks at every major retail location, and a tech team that comes round to set it all up properly”.

“But like all technologies, it’s get better, it’ll get faster. But give it a little bit of time.”

Courtesy-GI.biz

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

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