Subscribe to:

Subscribe to :: TheGuruReview.net ::

Will EA Make Games For Wearables?

September 16, 2014 by Michael  
Filed under Computing

EA is considering developing games for wearables. The company already has two teams on the job, looking for ways to make wearable games. Their efforts are focused on the Apple Watch for now.

EA told CNET that the company has quite a relationship with Apple and Frank Gibeau, head of EA’s mobile gaming arm, said he is impressed with the new Apple A8 SoC. Gibeau added that Apple’s decision to include 128GB storage in flagship models is more good news for gamers, as it raises the bar for developers and gives them more room to play around with.

Gibeau said EA’s mobile division is “intrigued” by the prospect of gaming on wearables. He said wearables are eventually going to offer more performance and capability, thus enabling new gaming experiences. However, he cautioned that “it’s very early days” for wearable gaming.

“In fact, we have two teams prototyping wearable experiences that are not only standalone, but also some ideas where you can actually use the fitness component in the watch that can unlock capabilities in the game that might be on your iPhone. Or you could do crafting or some other auction trading on your watch that goes back into your tablet game that you might check out later when you get home,” he told CNET.

Courtesy-Fud

Watch Dogs For Wii U Coming In November

September 15, 2014 by Michael  
Filed under Gaming

Finally, Ubisoft has a release date for the Wii U version of Watch Dogs. While we don’t know if that many people are waiting for the Wii U version, when it does release it could very well end up being one of the last M rated titles for the Wii U console.

The release date for the Wii U version of Watch Dogs appears to be November 18th in North America and November 21st in Europe. This ends the original release delay that Ubisoft announced for the Wii U version as resources were moved to prepare the other versions of the game for release.

Ubisoft has been one of the strongest supports of software for the Wii U, but recently it announced that it was done producing titles like Assassins Creed and Watch Dogs for the Wii U because the sales of these M rated titles are just not there on the Wii U platform. It did indicate that it would focus on some of its other Wii U titles that continue to be popular on the console.

The news is good that they are getting Watch Dogs, but it looks like we will not see many more games like this on the Wii U.

Courtesy-Fud

Will eSports Overtake the NHL?

September 11, 2014 by Michael  
Filed under Gaming

You can’t accuse eSports League CEO Ralf Reichert of always telling people what they want to hear. At last month’s FanExpo Canada in Toronto, Ontario, just a few blocks away from the Hockey Hall of Fame, Reichert told GamesIndustry.biz that he saw competitive gaming overtaking the local pastime.

“Our honest belief is it’s going to be a top 5 sport in the world,” Reichert said. “If you compare it to the NHL, to ice hockey, that’s not a first row sport, but a very good second-row sport. [eSports] should be ahead of that… It’s already huge, it’s already comparable to these traditional sports. Not the Super Bowl, but the NHL [Stanley Cup Finals].”

Each game of this year’s Stanley Cup Finals averaged 5 million viewers on NBC and the NBC Sports Network. The finals of the ESL Intel Extreme Masters’ eighth season, held in March in Katowice, Poland, drew 1 million peak concurrent viewers, and 10 million unique viewers over the course of the weekend. That’s comparing the US audience for hockey to a global audience for the IEM series, but Reichert said the events are getting larger all the time.

As for how eSports have grown in recent years, the executive characterized it as a mostly organic process, and one that sometimes happens in spite of the major players. One mistake he’s seen eSports promoters make time and again is trying to be too far ahead of the curve.

“There have been numerous attempts to do celebrity leagues as a way to grow eSports, to make it more accessible,” Reichert said. “And rather than focusing on the core of eSports, the Starcrafts and League of Legends of the world, people tried to use easy games, put celebrities on it, and make a classic TV format out of it.”

One such effort, DirecTV’s Championship Gaming Series, held an “inaugural draft” at the Playboy Mansion in Beverly Hills and featured traditional eSports staples like Counter-Strike: Source alongside arguably more accessible fare like Dead or Alive 4, FIFA 07, and Project Gotham Racing 3.

“They put in tens of millions of dollars in trying to build up a simplified eSports league, and it was just doomed because they tried to simplify it rather than embrace the beauty of the apparent complexity.”

Complexity is what gives established sports their longevity, Reichert said. And while he dismisses the idea that eSports are any more complex than American football or baseball, he also acknowledged there is a learning curve involved, and it’s steep enough that ESL isn’t worrying about bringing new people on board.

“It’s tough for generations who didn’t grow up with gaming to get what Starcraft is,” Reichert said. “They need to spend 2-10 hours with it, in terms of watching it, getting it explained, and getting educated around it, or else they still might have that opinion. Our focus is more to have the generations who grew up with it as true fans, rather than trying to educate people who are outside of this conglomerate… There have been numerous attempts to make European soccer easier to approach, or American football, or baseball, but they all kill the soul of the actual sport. Every attempt to do that is just doomed.”

Authenticity is what keeps the core of the audience engaged, Reichert said. And even though there will always be purists who fuss over every change–Reichert said changing competitive maps in Starcraft could spark a debate like instant replay in baseball–being true to the core of the original sport has been key for snowboarding, mixed martial arts, and every other successful upstart sport of the last 15 years.

“Like with every new sport, the biggest obstacle has been people not believing in it,” Reichert said. “And it goes across media, sponsorships, game developers, press, everyone. The acceptance of eSports was a hard fought battle over a long, long time, and there’s a tipping point where it goes beyond people looking at it like ‘what the hell is this?’ And to reach that point was the big battle for eSports… The thing is, once we started to fill these stadiums, everyone looking at the space instantly gets it. Games, stadiums, this is a sport. It’s such a simple messaging that no one denies it anymore who knows about the facts.”

That’s not to say everybody is convinced. ESPN president John Skipper recently dismissed eSports as “not a sport,” even though his network streamed coverage of Valve’s signature Dota 2 tournament earlier this year. Reichert admitted that mainstream institutions seem to be lagging behind when it comes to acceptance, particularly with sponsors. While companies within the game industry are sold on eSports, non-endemic advertisers are only beginning to get it.

“The very, let’s say progressive ones, like Red Bull, are already involved,” Reichert said. “But to get it into the T-Mobiles and other companies as a strategy piece, that will still take some time. The market in terms of the size and quality of events is still ahead of the sponsorship, but that’s very typical.”

Toronto was the second stop for ESL’s IEM Season 9 after launching in Shenzhen July 16. The league is placing an international emphasis on this year’s competition, with additional stops planned in the US, Europe, and Southeast Asia.

Courtesy-GI.biz

Is Video Game Music Production Being Outsourced?

September 10, 2014 by Michael  
Filed under Gaming

In July, Gamasutra’s annual developer salary survey reported that the best compensated job for hands-on game creators wasn’t programmer or producer, but audio professional. That didn’t sound right to the organizers of audio conference GameSoundCon, so they conducted their own survey aimed squarely at audio specialists in the gaming industry, the results of which they released today.

Gamasutra acknowledged its own numbers on audio professionals were likely skewed by a few factors. They only had 33 respondents, they only counted full-time professionals even though audio work is frequently done on a freelance basis, and their survey base of Game Developer Conference attendees was likely skewed to more senior people, as developers might not invest in sending fresh recruits to the show. GameSoundCon’s survey drew 514 responses, and as might be expected, painted a less lucrative picture of the field.

“Most game audio jobs, whether they are composers or sound designers, are freelance,” said GameSoundCon executive director Brian Schmidt. “Game audio is increasingly an outsourced industry.”

According to the survey, the average salaried audio professional position in the game industry pays $70,532. However, only 37 percent of those who took the survey were salaried employees. About 12 percent of respondents said they were paid by the hour, day, or week.

For freelance work, the average project fee was $28,091. However, that number was skewed significantly by big-budget games, where per-project fees could come in greater than $250,000. For indie or casual games, the average project fee dropped to just $9,830. For projects where the audio contractor retained rights to their work, the average fee dipped still lower, to $4,481, with as many projects paying $1,500 or less as there were paying more.

“There does seem to be a good ‘career path’ in game audio,” Schmidt added. “You can start out as a composer for indie games, and end up with a 6-figure salary as an audio director. Being able to get technical definitely gives you a leg up; more than 60 percent of responders say they provided audio content as well as technical services for implementation of the audio.”

The survey also underscored some rarities in the field. Gender diversity is lacking among audio professionals, as 96 percent of respondents were male. Royalties are also rare, with only 2 percent of composers per-unit payments for big-budget titles. Royalties were somewhat more common among indie and casual projects, with 17 percent reporting per-unit payments.

Soundtrack sales also didn’t do much to pad composers’ pockets, as 5 percent of large-budget games included a clause paying out for soundtrack sales. However, that number increased to 18 percent for indie or casual titles.

Courtesy-GI.biz

 

Will Gamers See An Alan Wake 2?

September 9, 2014 by Michael  
Filed under Gaming

While we would not call Alan Wake from developer Remedy Entertainment a disappointment, we would say that it took a long time to make, cost a lot of money, and didn’t quite live up to what everyone though it would be in the end.

The one thing about Alan Wake has been however, that over time it has perhaps gained a bit of a following. Creative director Sam Lake from Remedy has been quoted as saying that, “while the sequel for Alan Wake didn’t work out at this point, but we are definitely are looking for opportunities to do more with Alan Wake when the time is right.”

As for when the time might be right, that is really hard to say. We know right now that the studio is hard at work on Quantum Break which is on track for a 2015 release, so we don’t think we are going to see a squeal anytime soon. The good news for fans is that it does seem that there is at least interest in a squeal.

Courtesy-Fud

Are Video Games Revealed Too Early?

September 8, 2014 by Michael  
Filed under Gaming

You’re sitting at home, watching one of the major E3 presentations. A brand-new AAA video game has just been revealed and the teaser trailer actually makes it look pretty hot. You’re halfway through watching the trailer, interest piqued, and now you’re wondering, “When’s this coming out?” Now you see it; it’s slated for the holiday season… of the following year. You’re going to be waiting a solid 18 months, and that’s assuming the project doesn’t encounter delays.

Such is the way of the modern AAA console and PC business, but it wasn’t always like this. While the industry never really saw Apple-like announcements when you could practically buy the product immediately after, recent history shows that game announcements used to happen more regularly around six months prior to shipping.

“Back in the PS2 days…if it was shipping in the fall, you usually would see it for the first time at E3. That’s if everything went according to plan. The running joke was if you saw it for two E3s, development was a problem,” noted industry veteran and consultant Christian Svensson.

So what happened? With the success of the PS2 and the continued boom in the industry, retail became increasingly more important, and pre-orders started driving everything. And naturally, more time before release meant more time for marketing and more time to drive pre-sales.

“Around the time that Xbox 360 and PS3 came to market, the investments and risks were so high you had to do everything you can to build awareness earlier,” Svensson said. “You had to build in more beats for your PR earlier, you had more shows to attend to drive hands-on and media exposure, and all of that was ultimately in the name of driving up your pre-order numbers… everyone was trying to lock down the day one consumer. That drove all of that mania where you had to announce 18 months to two years out.”

While pre-orders were a primary factor in the ever-lengthening lead time to a launch, there were other factors as well. Svensson pointed out that companies have always worried about early leaks twisting their messaging. “If we announced it first, at least we controlled the message. Announcing it early lets you prep all of your partners earlier without fear that there are leaks out there,” he said.

Beyond that, development cycles on big budget titles just grew longer and longer. Announcing earlier enabled teams to adequately judge and react to feedback.

Warren Spector (Deus Ex, Epic Mickey), Director of the Denius-Sams Gaming Academy at the University of Texas at Austin, remarked, “Talking about a game early is a double-edged sword, no doubt about it. On the one hand, it can lead to unrealistic expectations about ‘promised’ features that ultimately fail to make the shipping game (as inevitably happens). And there’s no doubt, public clamor can amp up the pressure on a team  On the flip side, seeing public excitement about what you’re doing can get a team ’psyched and cranking’ as we used to say. It’s nice when people express enthusiasm for what you’re doing. Also, early reveals can help you gauge public opinion, which can be useful in weeding out undesirable features as well as ones you might want to focus on more. Early reveals cut both ways.”

Dominic Matthews, product development manager for Ninja Theory, added, “The risk with announcing too early is that you make a first impression that is very, very hard to change. You can say as many times as you like that the game is very early in development, or this isn’t finished or is work in progress, but players understandably don’t hear it. They just see what you’re showing and take it as representative of the finished game. Personally, I would have kept all of the games I worked on under wraps for longer.”

That said, Matthews acknowledges that most developers are very excited to be able to discuss their projects usually. “It’s actually a really positive thing for a developer to be able to share their work outside of the studio. The announcement of the game allows everyone in the team to be able to share what they are doing with friends, family and industry peers. It can be frustrating having to say ‘I’m working on something really cool, but I just can’t talk about it yet’,” he said.

There’s also the very tangible benefit that by announcing earlier, teams should have an easier time adding talent to make a project go more smoothly.

Gearbox Software boss Randy Pitchford commented, “It’s not merely about attracting future customers, but communicating about the effort to the industry itself. When your in-development project is known, some activities including recruiting or attracting business partners or other activities becomes much easier than when you’re silent under the radar.”

Svensson agreed: “[If] you’ve created some assets, you think you know what you’re going to build, but you still need some very key roles to be filled and/or just body count to do the work, when it’s known that a particular studio is working on that franchise then recruitment becomes an easier task than, ‘hey we’d like to call you in but we can’t tell you what we’re working on’.”

Of course, there’s another benefit to announcing early that some developers would be very keen on: once a project is revealed there’s a better chance it won’t be canceled. “One of the things people forget is that not every game put in development always ships. A reason a lot of teams would want to announce earlier is that it’s harder to kill a product that’s been announced because it’s very public and for it to not come out after it’s been announced is a difficult thing for a company to suffer. It raises questions about if the company knows what it’s doing,” pointed out Svensson.

Once the announcement gets out there, the pressure definitely ramps up on a development team. But that’s not necessarily a terrible thing. After all, it takes an intense amount of pressure to create a diamond.

“Sometimes pressure is a good thing on the development process,” said Pitchford. “The best amongst us game makers exist to try to entertain people and whenever we have a deadline we work crazy hard to do the best job we can as we know that once the deadline is up, there’s no more time to do any better.”

“In my experience a lot of that magic that just sort of works out is the result of trying to adapt to some kind pressure on the situation.  It often turns out that the pressure forces some of these things to happen that ultimately make games not only better, but shippable.  The point is that while pressure always feels stressful, there are often a lot of positive aspects to pressure from a development point of view.”

Pitchford also noted that some of that pressure should be alleviated by a good publisher: “I think the only really negative consequence is about expectation management and that’s where the best publishers are really worth their value. The best publishers have a knack for managing customer expectations positively while projects unfold during the development and marketing phases of a project and that’s where you get the best feelings and results from a project.”

So if you’re planning a big budget game right now, when’s the right time to announce? How much lead time do you really need?

“I think it varies from product to product as far as what’s appropriate. An enormous AAA game that is new IP aimed at a monster retail release, a longer lead time, certainly north of a year, is still warranted,” advised Svensson. “When you start to get into north of 18 months, you get diminishing returns, even on something like that… When people have short attention spans, it’s hard to stay on people’s radar at a high level. I think the industry went too far for a period of time on that front and I think the economics of it are changing.”

Pitchford agrees that if you’re looking to sell something new, having that extra lead time is beneficial. “I’ve worked on games that have gone a long time in silence before being announced and I’ve worked on games that have had public announcements that were way too early. I think both approaches can be made to work, but both also bring their own set of challenges. My preference on which way to go depends on the game. The more inventive the game is and the more education required to communicate what is being promised, the more time is useful to master that communication before going wide,” he said.

It’s a fluid process, however, and the marketing teams have to be ready to adapt. Pitchford continued, “Part of the value of the early marketing campaign is to actually learn how to market the title to a wider audience. You’ll notice if you look at campaigns from start to finish that everything from logo designs to key messaging points to front-of-box and key art content evolves and iterates over the course of a project. This is a very tangible manifestation of the marketing team actually learning how to sell the thing they are selling through a careful process of testing and iterating.”

While early reveals can certainly be beneficial for both the marketing side and development side, it’s clear that the digital revolution is having an impact, noted Ninja Theory’s Matthews.

“I think the transition into digital gaming will shorten the window between announcement and release. There won’t be such pressure to drive pre-orders as there is in the retail space,” he said.

Another wrinkle in the digital space is the rise of self-publishing. Under that scenario, announcing earlier remains quite valuable.

“Ordinarily I would say that you should wait to announce as long as you can to make sure you have the best possible assets to make a first impression with: An amazing trailer or a rock-solid gameplay demo. Having said that, we’ve just announced our new game Hellblade at the very beginning of development – in other words incredibly early. We’ve done this because we’re self-publishing and actually want to build a community behind the game by sharing the development process,” Matthews continued. “By announcing now, we can share development right from the start. If we waited, we’d be retrospectively looking back at development which would feel less real, less here and now. This type of approach, or funding a game through crowdfunding, or Steam Greenlight might result in more games actually being announced even earlier.”

“The digital share of sales is climbing up and the need for that pre-order drive is slipping a little bit in the sense that you don’t have to have this crescendo to launch to necessarily find success with the right product, especially when you have live teams creating content post-launch; it’s not the put everything in the box and ship it mentality anymore,” he explained. “It is the, ‘hey we’re going to create a minimum viable product (MVP) and we’re going to bring it to market and support it’ … In some cases you might not even really ramp the marketing until you feel you’ve got a good product to promote.

“To some degree, I think the pressure to announce early across the industry as a whole is being reduced because of the proliferation of digital, the adoption of games as service, and quite frankly, the other part of it is it’s really fucking expensive to have an 18-month or two-year marketing cycle for a game. It’s really hard to do, and not every game has the right kind of content to support that longevity. You can’t go dark, otherwise you lose people’s attention, you have to have a consistent set of beats all the way through from announcement to launch, otherwise why announce early? You’ve lost that benefit. It’s hard on production teams because they have to create assets to support these beats, it’s hard on marketing teams because it’s a long, hard slog.”

And with the rise of indies and smaller games published on platforms like Xbox Live and PlayStation Network, huge lead times make even less sense. For smaller digital projects, three months might be more than enough time to spread the word.

“One of the things we’ve learned doing digital products, announcing more than three months out to build awareness just really doesn’t make a lot of sense. A lot of those titles are smaller, they don’t necessarily have a lot of features to drive a six-month or nine-month campaign… They’re focused. The level of touch is very high in a short period, and I’d love to see the business get back to a lot more of that,” Svensson said.

“What I do think we’re going to see is a lot of normalization again for the average product probably around six to nine months again, kind of where we were in ’99 and 2000. And I don’t think that’s bad.”

Courtesy-GI.biz

 

Will Activision Buy Take-Two?

September 4, 2014 by Michael  
Filed under Gaming

Take-Two’s share price rose nearly five per cent to 23.66 last week as rumours circulated that the publisher may be the target of a potential takeover by Activision.

Mike Hickey, an equity researcher for the Benchmark Company, penned a note which fuelled the trading, claiming that the two companies were engaged on an “emerging romance”.

“For Activision, acquiring Take-Two Interactive would be a no-brainer, in our view, circling some of the strongest development talent and owned IP in the world, within a company that has nearly $1 billion in cash and trades at a comparably lower multiple,” Hickey’s report reads. “With the acquisition of Take-Two Interactive, Activision would have arguably the three strongest development studios in the world with Rockstar Games, Bungie and Blizzard.”

By acquiring Take Two’s portfolio, Hickey believes that Activision could offer a rolling catalogue of massively high-profile AAA console titles, capitalising massively on the tremendous performance of the current generation of new machines.

Mike Hickey, Equity Researcher, The Benchmark Company LLC

“While Activision has historically managed their performance profile around franchises they can annualize, their $500 million investment in Bungie seems to be a departure from that philosophy, as we suspect the venture will prove difficult to annualize. The opportunity for Activision to intelligently layer future releases from Rockstar, Bungie and Blizzard, could in-part enable Activision to annualize future performance from what today is arguably a less linear performance profile.

“We would also note that Activision’s mega performance foundation with World of Warcraft is trapped within a life cycle decline, their Skylanders franchise will face considerable pressure from Disney and Call of Duty is vulnerable to franchise fatigue from consistent annual iterations. Therefore, acquiring GTA, Red Dead, Borderlands, NBA 2K, BioShock… etc. Along with the potential performance opportunity from a new MMO and movie adoption of GTA from Rockstar Games… Acquiring Take-Two Interactive would seem like a very smart move for Activision.”

Hickey doesn’t see the potential deal being motivated entirely by a desire for direct growth, however. He points to shared cinematic ambitions as the key factor in any merger. Activision has close ties to Hollywood, and its attention, as evinced by the recruitment of superstar Kevin Spacey for the latest Call of Duty title. Take Two is rumoured, not for the first time, to be shopping around for a potential film adaptation of Grand Theft Auto, something which Activision’s capital and connections could make a great deal easier.

Piers Harding-Rolls, Director, Head of Games, IHS

“We suspect that Activision’s strategic alignment into the movie business, could in-part be related to an emerging romance wrinkle between the two companies and the Houser’s, leading toward a possible Take-Two acquisition,” Hickey continues.

Some other analysts are more cautious, however. Piers Harding-Rolls, head of games at major analyst IHS, doesn’t necessarily see the move making sense for the larger company.

“I would file this rumour under unlikely at this point,” he told GamesIndustry.biz in an exclusive statement. “Activision’s MO is relatively anti-risk and it has a calculated long-term growth strategy based on establishing and developing billion dollar franchises that unlock large amounts of value for the company. Activision is well placed to deliver that once again following the Skylanders success with Destiny and I don’t believe acquiring Take Two and its stable of IP fits with this strategy.

“Having said that, Activision is likely to be looking for further growth opportunities – it has yet to build a substantial games apps business and a number of its franchises are longer in the tooth or more competitively challenged than before. As such, I think we can expect Activision to be more rigorously examining adjacent markets – the movie opportunity makes sense in this context – as well as planning for the development of new franchises within its portfolio.”

True or not, the note was enough to light a fire under the imaginations of traders. Take Two’s stock actually reached a six year high on July 28, at 23.67, but dropped soon after. Friday’s news pushed it up 4.67 per cent, with Activision’s stock also rising 0.81 per cent to 23.54.

Were Kotick and Hirshberg to take the plunge, they’d have to put a more convincing offer on the table than EA managed in 2008, the last time a public offer was made for Take Two. Then, a deal worth $2 billion wasn’t enough to convince Take Two shareholders, who felt that the company was being undervalued, rejecting the offer.

Courtesy-GI.biz

 

Does Nintendo Need To Offer Third Party Developers More Support?

August 26, 2014 by Michael  
Filed under Gaming

Along with publishing some rather good games, Ubisoft has quietly been developing another important role over the past few years. Thanks to the outspoken nature of CEO Yves Guillemot and the company’s careful balancing of enthusiasm for new technologies and platforms with a decent degree of financial and management conservatism, Ubisoft has become a bellwether for the publishing industry. Perhaps a difference between French and American business culture plays a role, perhaps not; either way, where other firms equivocate and fall back on meaningless corporate double-speak, Ubisoft and its executives have developed a reputation for speaking openly and giving us an insight into what the publishing industry at large is actually thinking.

When Guillemot pronounces, then, that his company is no longer going to launch “mature” titles on Wii U – Watch_Dogs will be their last such effort, following the disappointing performance of Assassin’s Creed on the platform – you can safely bet that it’s not acting in isolation. What Ubisoft says in the open is almost certainly precisely the strategy being pursued by other publishers as well; they’re just more likely to try and veil it with empty platitudes about what a great partner Nintendo is and how important it is to the industry, effusive corporate praise which, once picked apart, actually carries no commitment of substance to the Wii U platform.

Nor should any such commitment be forthcoming. If mature cross-platform titles aren’t selling on the Wii U, which they are not, then publishers should feel no obligation to continue to develop them for that platform. If this were a two-horse race between rival platform holders, some publishers might be tempted to continue support for the lagging console just in order to keep the front-runner on its toes, but with three strong companies competing, that branch of thought no longer produces fruit. Wii U is on its own, in this regard. Just as Ubisoft will continue to publish Just Dance titles and their ilk on the platform, where they do very well, other publishers will also find casual or kids’ games in their line-ups which suit the Wii U – but support for “mature” or “core” games will disappear in short order. I wouldn’t expect to see many multi-platform core titles on Wii U from 2015 onwards.

This will cause wailing and gnashing of teeth, because wailing and gnashing of teeth is essentially what the games media and the fanboy frenzy is set up to provide. The death knell! The final nail in the coffin! Vultures circle overhead! Once the core-game supply for Wii U completely dries up and other publishers admit to pursuing exactly the same policy as Ubisoft, headline writers will fall over themselves to drag out death-related imagery that would make a teenage goth poet blush. We know this, because it has happened before. Every Nintendo console since the SNES, in fact, has seen its third-party support fall off a cliff at some point in its life cycle. On each occasion, Nintendo’s failure to woo third-parties has been presented as a sign of inevitable doom.

Let’s lay it out, then; Nintendo’s home console platforms are terrible for third parties. They’ve been that way for twenty years and they’re not going to stop being that way any time soon. Honestly, it wouldn’t matter a tuppenny damn if Nintendo unveiled a PS4-beating HD console tomorrow; the business model, the branding and the market for Nintendo consoles is simply poison to the cross-platform “mature” mega-hit franchises like Call of Duty, GTA or Assassin’s Creed.

“Core gamers buy a Nintendo console as a second device because they want access to Nintendo exclusive titles, primarily first-party games”

Purchasers of Nintendo home consoles fall broadly into two categories. You’ve got core gamers who buy a Nintendo console alongside another gaming device – either a Sony or Microsoft console, or a PC; and you’ve got “casual” gamers, including the family and child segments, who buy a Nintendo device because they trust the brand. Neither of those groups is actually all that keen to buy the latest Call of Duty on a Nintendo platform. Core gamers buy a Nintendo console as a second device because they want access to Nintendo exclusive titles, primarily first-party games, but migrate back to their “primary” console to play mature cross-platform titles. Casual gamers don’t want to play mature cross-platform titles anyway. In both cases, they bought a Nintendo device to play Nintendo exclusives.

That’s exactly how Nintendo likes it. Nintendo consoles maintain pretty strong tie ratios – even the Wii, supposedly the dust-gatherer of the last generation, had a healthy software tie ratio – and the lion’s share of the games sold are Nintendo first-party games. It’s not that Nintendo “accidentally” builds consoles like the Wii and Wii U which are underpowered and “weird” compared with the other consoles of their era, then wrings its hands and wonders why third-parties aren’t launching loads of cross-platform games. Nintendo does this deliberately, building consoles that are custom-made to play Nintendo first-party games and which don’t risk being overrun by Call of Duty and its ilk and thus damaging or polluting the brand image which the company has carefully constructed over the past few decades. For Nintendo, the fact that Assassin’s Creed doesn’t sell too well on Wii U is a feature, not a bug, because it means that the company’s own first-party titles remain solidly in the spotlight and the brand image of the console remains Nintendo’s to control.

Of course, that approach begins to look a little less wise when the console in question fails to sell very well, leaving Nintendo’s first-party titles with only a limited audience to address – which is exactly what’s happened with the Wii U. Yet the solution isn’t to throw in the towel and simply copy what Sony does – an enterprise in which Nintendo would almost certainly be doomed to fail. Nintendo needs to find a solution to its current woes which actually suits Nintendo; something which leverages all the things the company is good at and rescues its market position without simply becoming a clone of its rivals or, worse, just another software publisher jostling for attention on the App Store.

The solution, perhaps unsurprisingly for a company with such a long history, may lie in the past. Nintendo doesn’t need or want a swathe of third-party multi-platform manshooters on the Wii U, and that’s absolutely fine. It does, however, need more breadth if not more depth in the Wii U’s software catalogue. The first-party games on the system are excellent, but it needs more of them, addressing more niches; maintaining Nintendo’s excellent quality standards while also exploring more genres, more aesthetics and more audiences.

Once upon a time, Nintendo used to do almost exactly that. It operated “second-party” studios within and outside Japan, most famously Britain’s Rare, which were independent but nestled under the wing of the platform holder, given access to Nintendo’s expertise, assets and finance in return for accepting creative guidance from Kyoto and publishing exclusively on Nintendo platforms. It also built relationships with publishers, mostly in Japan, which guaranteed exclusive titles to Nintendo systems on similar terms.

Some legacies of the second-party system remain. Bayonetta 2, which no other publisher or platform holder would fund, is a compelling Nintendo exclusive now; Hyrule Warriors, released in Japan last week, is a cross-publisher collaboration of a sort which the company should pursue more regularly. Yet these are mere echoes of a system which once guaranteed a strong flow of exclusive, high-quality titles to Nintendo platforms – titles which were different from the offerings on rival platforms, but compelling enough to ensure that gamers felt that they really, really needed a Nintendo console under the TV as well.

A resurrection and reinvigoration of second-party would make enormous sense for Nintendo today. It would look quite different to the system of the past in some regards; indie developers would have to form a big part of it, for example, although one could argue that Sony has already stolen a march on Nintendo in this regard with its policy of working closely with selected indie developers on PS4 and Vita. The scope would have to be as big as it once was if not bigger, though; studios around the globe, not just in Japan, with oversight from Kyoto but also enjoying the trust required both to build excellent new IP and to experiment with old properties. Rebuilding this system would require opening the Nintendo warchest, of course; and it would take time and patience, although both of those are qualities Nintendo has never lacked for. It would, however, do more that just giving Wii U a shot in the arm; it would set Nintendo up with a supply of IP and games that would sustain its platforms for generations to come.

Courtesy-GI.biz

Unity Starts Pushing Open Source Plan

August 25, 2014 by Michael  
Filed under Computing

Unity Technologies has stepped up its commitment to democratising game development by making key components of its ubiquitous engine open source.

At present, that applies to the Unity Test Tools and the engine’s new graphical user interface system, which was demonstrated in the opening keynote of Unite 2014. The features will be available under the MIT/X11 license, giving users the freedom to “control, customise and extend” their functionality.

The source code for the components will be hosted on BitBucket, and Unity has prepared a guide for any interested open source contributors. The source for the Unity Test Tools is already available, with the GUI to follow.

“Beyond that, we don’t have a concrete plan, but we have a lot of things in the pipeline,” the company said in a statement. “These components will all be isolated from Unity in such a way that you can modify them and use your own modified version with the official public Unity release.

“Although Unity Technologies has been active in the open-source community for quite some time, this is the first time we’ll be opening the source to components of Unity itself.

“We’re excited to see what you do with it.”

Courtesy-GI.biz

Will Activision Launch An Entertainment Group?

August 25, 2014 by Michael  
Filed under Gaming

Sources are suggesting that Activision is planning to launch an entertainment division that would be responsible for creating movies and TV shows based on Activision intellectual properties. The move might leave many scratching their heads if true since so many others have failed at trying to turn video game IP into gold.

Word is that CEO Bobby Kotick is taking to folks in an effort to secure the right talent to make this happen. Kotick has to be aware that this has not gone well for its competitors, but he apparently thinks that Activision IP is different and they will have no problem giving the people want they want.

Our take on this is that we will wait and see what happens, but it will not be easy to be successful, regardless of the IP that you have in your stable. The bigger question might be is it really worth the money and effort to try and make it work?

Courtesy-Fud

Are Physical Games On The Way Out?

August 21, 2014 by Michael  
Filed under Gaming

Numbers added up by research firm DFC Intelligence, show that few physical games are being bought and that digital sales are where all the money is.

According to DFC, 92 per cent of PC game sales in 2013 were digital and it thinks this trend will continue and rise in 2014.

Gamers are starting to favour digital downloads over physical copies of the game, which is not really surprising given that who actually wants to own boxes and DVDs and manuals when all you really need is the game.

DFC Intelligence goes on to add that PC games outsold console games in terms of revenue so it means that channel is not the way gamers are playing. But then again the specs of consoles are well below PCs.

Courtesy-Fud

 

Is EA Finally Listening To Gamers?

August 20, 2014 by Michael  
Filed under Gaming

By his own admission, Andrew Wilson still “geeks out” at EA’s press conferences, despite his position as the company’s CEO demanding that he take centre stage. When we meet after the Gamescom media briefing, he enthuses in great detail and at considerable length about a FIFA 15 video demonstrating the capabilities of the new game’s goalkeepers. What that team has accomplished since he ascended to executive level, Wilson says, never fails to make him smile.

And Wilson has spent his first year in charge identifying the ways to spread that enthusiasm to EA’s customers. That hasn’t always resulted in success, of course: with Battlefield 4 the company stumbled once again on the unpredictable landscape of online gaming, and with EA Access it met with resistance from Sony on the grounds of value. In this interview, Wilson discusses both of these issues, and outlines EA’s renewed dedication to listening to its customers and following wherever that might lead.

Q: The last time we spoke you were still with EA Sports, and you’ve had a promotion since then – quite a big one, in fact. You’re coming up on a year as CEO now. Have we started to see evidence of the mark you wanted to make on the company?

AW: I think…no, I know that I didn’t approach this role thinking about making a mark or leaving a legacy. It wasn’t personal in nature. I took on the role because of how I feel about the company. This company has been very good to me and my family over the years, I loved the people I worked with inside the company and I loved the games we made together.

“Financial return is an outcome, but it shouldn’t be the objective. We’ve made a lot of decisions based on that over the last 12 months”

As I worked in the company in a variety of different roles, it became apparent to me that in some areas we’d lost our way a little bit. When I came in [as CEO] I really wanted to bring to the forefront the things that I thought made the company great, things that had delivered for us over the years. That really meant building this foundation of ‘player first’. I get that there are things we have to think about: we’re a big company, we’re a public company, we have shareholders, we have 8,000 people working for us. But all of that is for nothing unless you deliver for your number one constituency: the players. Without that, it’s for nothing.

Q: So the idea that the CEO is stuck trying to serve two masters, the shareholder and the customer, that isn’t how you see it, then?

AW: Financial return is an outcome, but it shouldn’t be the objective. Financial return is what happens when you achieve the right objectives. We’ve made a lot of decisions based on that over the last 12 months. We are engaging with our player-base more regularly, through more platforms to ensure that we’re doing what they want, and to make sure that we’re listening to them when we’re doing something that they don’t want. It’s as much about eliminating what doesn’t inspire or entertain as it is about the stuff that does.

Q: Is that how we should think about the problems that Battlefield 4 faced? You’ve publicly addressed the complaints already, but was that just a consequence of trying to deliver on an ambitious objective?

AW: If I promised you that nothing would ever go wrong [on future projects], that would be very disingenuous of me. The reality is that we come to work every day and challenge ourselves and our teams to do creative and innovative things. What I can say, however, is that living up to that commitment to engagement and action I mentioned before means that we will make tough decisions in service of the player.

Titanfall for Xbox 360 was coming in hot, it needed a few more weeks, and we moved it out of the fiscal year to get a great game. I don’t think we would have done that before. Need for Speed is a franchise we’ve released every year for 17 years – it’s as sure a thing as FIFA. But the team said that they couldn’t do what we challenged them to do in a year. It wasn’t possible, so for the first time in 17 years we decided not to launch a Need For Speed.

More recently, Battlefield: Hardline, moving out of the holiday quarter would traditionally be seen as catastrophic in this industry.

Q: Particularly that franchise. Battlefield 3 and 4 were both holiday releases.

AW: Yes, but it was the feedback. We brought gamers in earlier, we let them play the beta earlier. And the beta was very stable, so we’d solved a bunch of the problems that existed in Battlefield 4. But what people said to us was, ‘This is pretty cool, but we think you should go deeper. We want more out of this.’ So we’ve given the team more time. That’s a tough decision to make, and it has a financial impact in the near-term, but long-term, for the player and the franchise, that’s the right decision.

Q: Do you see EA Access in the same way? You’re the first publisher to pull the trigger on something like this on console. I remember a talk you gave at the Develop conference a few years back, where you held up services like Netflix as a model for the games industry to emulate. Was this idea in your mind all the way back then?

AW: It’s not completely the same, but yes. But, again, I wouldn’t take credit for that programme in its entirety. I’ve been involved in that programme, but we’ve got a great team that’s been looking at challenging the standard by which certain people access products. It’s early days – we launched it yesterday – but for what it’s worth all the positive intent is there. It will evolve, but what we’ve come to understand – and what I believed back then – is that this concept of, ‘I want to give you an amount of money each month that makes sense, and for that I want a bunch of cool stuff’, we want to live up to that.

Does that mean people will stop paying $60 for games? No, but there’s a big part of the population for whom that [EA Access] is the right context, that’s the right way for them to engage with games.

“There’s a big part of the population for whom EA Access is the right context, that’s the right way for them to engage with games”

Q: And potentially it’s a way for people who wouldn’t ordinarily play, say, Madden to get acquainted with the franchise. For a lot of people, FIFA and Battlefield would be enough to justify for the annual fee, and anything else is a bonus.

AW: Yes, but there will be many different types of players. For some people that will be how they want to play all content, for others it will form some part of it. There’ll be others who might use it just to trial games. Again, the price point is low enough that it’s pretty cool as a trial mechanism. We want to build a service that players can use in a way that makes sense to them.

Q: It gives the catalogue longevity, too, which is something that the games industry hasn’t been particularly good at.

AW: EA makes great games. Stuff that we made ten years ago is still good, and so in ten years time the games we’re making now will still be good.

Q: It’s early days, as you point out, but even in the near term are you planning to grow the selection on EA Access, to be additive?

AW: Absolutely. We wanted to launch it at a point where we could put things into the catalogue, into The Vault, and it would have value. We thought that four [games] was the minimum for the price-point, but we want to get to a place where you could play any number of games for that price-point. Over time, the value will just get better and better and better, in much the same way that Netflix does. When I started subscribing to Netflix, there was no House Of Cards, there was no Orange Is The New Black – there is now.

Q: I have been surprised at my preference for buying games digitally in the generation so far. I thought it would take a bit more time.

AW: Convenience is a wonderful thing.

Q: Is that sort of behaviour behind the decision to get EA Access out there now, this year? Is that transition happening faster than you expected?

AW: No. Listen, we – and certainly myself – have matured in the understanding over the years about how people consume content, irrespective of the industry. One of the stats that I hear frequently is that 40 per cent of music is still bought on CD. Now, I haven’t bought a CD in 14 years. I’ve bought vinyl, by the way, a bunch in the last 14 years, so I consume media in different ways through different business models based on what I’m looking for. The way my view has evolved, I’m a bit like you: I haven’t bought a disc for my PS4 or my Xbox One; I click a button and it turns up, and that’s good for me. But that doesn’t mean that everyone wants it the same way. I’ve moved from a belief that there will be one access model to rule them all, to the belief that our objective as a company is to provide access to our entertainment in ways that make sense to the growing population of players.

 

Q: Services like EA Access to make sense in the context of this generation, which seems to largely about choice, whether that’s variety of games, how you want to buy, how you want communicate with other players. The experience is very open now.

AW: One of the things that we’re learning as we make the digital transformation is that we don’t need to guess what players want any more. For the longest time we had to guess, and the first opportunity to find out whether you got it right or not was when you saw the game on the shelf. Now, we’re getting better at listening. We haven’t always been great listeners, but we’re getting better, and what that’s telling us is that people want choice. They want to be able to choose what’s right for them at a given moment in time. There isn’t a one-size-fits-all any longer. We’ve got to build a core platform, game engines and games that facilitate that.

Q: Are you concerned that Access will alter your customer’s perception of value? FIFA 14 is still a game that can be played all year whether the new one is out or not. That $60 has got to feel like a better decision than before, surely.

“We thought that four games was the minimum for the price-point, but we want to get to a place where you could play any number of games for that price-point”

AW: It doesn’t matter whether you spend a $1, $10 or $100,000, as long as you’re getting value from what you’ve spent then you’ll feel good about that. EA Access feels like tremendous value, and whether you continue to feel good about paying whatever it is for a frontline product comes down to our ability to to deliver value.

The commitment that we’re making to those frontline products is that they will be bigger, more engaging, service oriented, with new and dynamic content every time you log in. People are now playing FIFA and Battlefield all year round. When I started a game would get played for four weeks, and then it was on to the next one. The value that we deliver today, we have games that can be the only thing you play for an entire year.

Q: Certain products have started to feel out of time to me. I won’t mention the name, but I bought a game digitally that cost the same amount as, for example, FIFA, and it took me six or seven hours to finish and that was it. I felt cheated in a way that I wouldn’t have with the exact same game at this point in the last generation.

AW: That understanding of value is really, really important, and I’m trying to push that into the organisation – irrespective of business model. Back in the day it was all about delivering $60 of value; now, I want to deliver $1 of value if you want to spend $1, I want to deliver $10 of value if you want to spend $10. I want to deliver value on your investment and on your investment of time. As you get older you realise that time is the most important resource. Part of your issue with that other game is that it took six hours, and you didn’t feel the value returned. We should think about the investment of money, but also the investment of time.

Q: You’ve mentioned the value of EA Access several times, and obviously Sony came out and disagreed on that point. For now, at least, Access won’t be available to PlayStation customers. Was that disappointing, particularly with the reason Sony gave?

AW: What I can say is that we launched it yesterday. We believed when we launched it that it was great value, and gamers, for the most part, have fed back that it’s great value. We’re going to continue to put things into that service that make it even better value. It will evolve and go through lots of permutations over time as we listen and learn from players who engage with it. My hope is that we can deliver that kind of service to many millions of players for years to come.

Courtesy-GI.biz

Will Bioware Announce A New IP At Gamescom?

August 11, 2014 by Michael  
Filed under Gaming

Word is circulating that the new BioWare IP which is rumored to be called Shadow Realms could be on EA’s agenda to finally be revealed at Gamescom. While rumors have been making the rounds for some time, so far EA has been mum about its existence.

We do know that EA’s is planning to provide more details on FIFA 15, Battlefield: Hardline, The Sims 4, Dragon Age Inquisition, and Dawngate at its Gamescom presser which will take place on Wednesday, August 13th at 9am BST.

While EA might reveal Shadow Realms, it is likely that BioWare has it on the release schedule for late 2015 at the soonest, but it is possible that it could even be a 2016 title. Let’s hope EA puts some of these rumors to bed and tells us what Shadow Realms is all about.

Courtesy-Fud

Activision Blizzard Depends Heavily On Digital

August 7, 2014 by Michael  
Filed under Gaming

Activision Blizzard reported its financial results for the quarter ended June 30 today, revealing an unprecedented reliance on digital revenues.

The publisher reported revenues of $970 million in sales on a GAAP basis, 49 percent of which came from digital channels. On a non-GAAP basis (excluding the impact of changes in deferred revenues), the digital percentage was actually 73 percent of the company’s $658 million in sales. Activision attributed the digital strength to Blizzard’s lineup of titles (World of Warcraft, Hearthstone, and Diablo III), combined with digital sales for Call of Duty.

However, not all of those digital sales drivers posted strong numbers for the quarter. World of Warcraft in particular lost about 800,000 subscribers over the period, and as of the end of June was down to a paying player base of 6.8 million gamers. However, Activision Blizzard characterized this decline as a “seasonal” dip in advance of the next expansion, Warlords of Draenor, which is set to launch later this year. The publisher likened the downturn to the subscriber losses that happened in 2012 ahead of the Mists of Panderia launch.

On a GAAP basis, Activision Blizzard revenues were down nearly 8 percent, with net income down 37 percent to $204 million. However, the publisher still beat its previous guidance. On a non-GAAP basis, revenues were up about 10 percent to $658 million, while non-GAAP net income was reported at $45 million, down 50 percent year-over-year.

The quarter’s performance gave Activision Blizzard enough confidence to update its previous guidance for the full year. For calendar year 2014, the publisher had previously forecast total GAAP revenues of $4.22 billion, but moved that up to $4.24 billion today. The company also projected earnings per share of $0.91, up from $0.89.

Courtesy-GI.biz

Will Developers Screw Up Virtual Reality Based Gaming?

August 4, 2014 by Michael  
Filed under Gaming

Whether you think it’s a fad or the next big thing, there’s no denying that the return of virtual reality, this time backed up by competent technology and plausible price-points, has caught the imagination of developers and their customers alike. Projects for Sony’s Morpheus and the Oculus Rift are popping up everywhere, from the modest to the monumental.

As of yet, though, none of the major publishers have publicly committed much to the new platforms, leaving it to smaller studios to test the waters of what could potentially form an entirely new frontier for games. Many of those smaller studios are changing their models and work-methods entirely to focus on the new technology, preparing to hit the ground running once consumers are finally able to get their hands on the headsets.

One of those studios is Patrick O’Luanaigh’s nDreams. A studio which has always enjoyed a broad remit, nDreams now has “around five [VR] projects on the go”, including forthcoming title The Assembly: a 3D VR adventure game which will see players investigating a ground-breaking scientific organisation which has started to push some ethical boundaries.

“We decided that an adventure game would make sense because we don’t have the budget to draw tons of environments that you run through at top speed,” Patrick tells me. “Adventure games work well because we’ve found that, when people play with VR, they want to really look around and explore. They want to examine the walls, everything, in a way you might not in a FPS.

“The game is split into sections of about 10-15 minutes long, which we thought makes sense for VR. We still don’t know what the final consumer versions will be like, but 10-15 minutes seems sensible. People can either do a chapter then take a break, or they can play through the entire game.

“We spent around six months prototyping lots of experiments with VR. What happens when your avatar wears glasses? What would it be like if it’s cold and you have frosty breath? What about different sized characters? That tested really nicely – Madeline is 5’1″ and Joel is 6 foot and you really notice that. You notice the breathing, the speed they walk at, the perspective. It’s all very different. You feel like you’re playing those roles.

“We’ve also got lots of specific things for VR, microscopes, binoculars, night vision goggles, things like that. They work really well. We’ve also got plenty of puzzles and other bits like vertigo and fear sections that we think are great for VR, so it’s a real medley.”

The Assembly is a definite step up for the developer in terms of scope and ambition, so I ask O’Luanaigh if the resource costs were pushed up even further by the technology they’re working with. In short, is making a VR game more expensive?

“I don’t know, honestly,” he admits. “It’s probably slightly more for VR, but there’s not a lot of difference. We’ve kind of picked our battle here and chosen a game we think would be great for VR, but one that we can also afford to make. This seemed like the right genre and approach. We’re taking influence from games like Gone Home and Dear Esther – with more puzzles, but still about exploring a great environment. I guess if we’d just done it as a Steam game it might have been a bit cheaper, but not a big difference.

The Shahid Effect: Sony’s indie push & VR

Being PC-based, the Oculus Rift has a clear advantage in attracting indie developers: working on an open platform with little or no restriction. That said, Sony has made a very strong argument to small studios this generation, something it will need to continue if it wants to recruit the most exciting VR ideas. O’Luanaigh agrees, and says that there’s no need for concern on that front.

“Sony has been fantastic,” he says, enthusiastically. “We’re very lucky in that we’ve been working on Home for a number of years, so we have a good relationship with Sony. Our account manager happens to be the evangelist for Morpheus as well, so they’ve been great. They’ve been very supportive.

“We saw the Morpheus very early, it was one of the things that persuaded us to pivot away from what we were doing and spend so much time and money on VR. They’ve been really open, really helpful. I’ve got nothing but positive things to say about Sony. I can’t wait to see the final hardware that’s going to launch to consumers.”

“It’s more about the design, doing things the right way. There are a lot of ways you can mess up VR really easily. We’ve figured out what works and what doesn’t and designed the game with that in mind. It’s working really nicely.”

The Assembly is due for release on both the Oculus Rift and Sony’s Morpheus headset, currently the two mindshare leaders of virtual reality tech. Whilst neither is likely to admit it, each has a vested interest in the success of the other – a reason which was floated to explain Valve passing on some of its own VR research to Oculus last year: if the tech is to succeed it needs to attract developers. To do that, a rough ‘gold standard’ needs to be established, giving developers a technological target to aim at for cross-platform games. Having used both the Oculus and Morpheus and found them to be roughly equivalent, I’m interested to know if O’Luanaigh sees parity in the two visors.

“They are very, very similar, technology-wise,” he confirms. “Obviously with Oculus being on PC it’s a lot more open, there’s more freedom to mess around, but it’s also easier for people to just stick stuff out, to make bad VR. That’s one of the big risks – it’s very easy make people feel ill. You have to have good software as well as hardware. I think it’s easier for Sony to control that, because it’s a closed platform. They can say, do this, do that; to make sure people don’t do stupid stuff. I suspect that Oculus will do something similar, but obviously it’s open, so people can put what they want up online.

“In terms of specs, though, they’re really very similar. We’re creating this game for both and there’s not a big difference. There are a few little things involved in supporting the PS4: the Dualshock and some of the ways that PSN works, but by and large they’re very similar.”

Moving away from comfortable ground is an essential part of growing almost any company, but when you’re relying on a third party, such as a platform holder, for your success, there’s an additional risk. nDreams must be confident about the future of virtual reality to put such stake in it, so I ask Patrick if there’s a sales point when they’ll breathe a little more easily.

“We’ve kind of come at it the other way,” he counters. “We believe it will work. We’ve got financial models and projections but it’s all a bit finger-in-the-air, it’s very hard to know. We’re committed to doing it though, we’ve got a lot of launch titles and we’re going to be pushing and growing those. We’re lucky in that we’re financially secure enough to do that without too much stress.

“We’ve been looking at things like previous install bases of hardware on consoles. If you look at the Kinect install base, which was amazing, really – something like 35-40 per cent on the 360 – we’ve made projections on a conservative install base over time. I actually think that it’s going to be better than that, given the excitement around VR and the customer reaction when they see it, but we’re being fairly conservative. With Oculus they’ve spoken about trying to sell a million, by a set point. We’ve been working along those lines. Again, we think it’s going to do really well.

“There’s going to be other headsets out there as well, that haven’t been announced, we think those are going to be very exciting. There’s not going to just be two headsets, there’ll be a number of things over the next few years. We’re going to try and work out as best we can what we think they can sell, but we want to be there at launch with products so we can build and learn what people like and don’t like.

“It’s definitely going to be more of a core audience at launch, but I think Facebook’s acquisition of Oculus means that it’s going to be a bit cheaper than it would have been. I think they can afford to give it away at cost, which is brilliant. But it’s really hard to put a finger on how much that market is going to be worth. We think it’s going to be a couple of billion within two years, but we’ll see. We may be massively over-egging, or hugely under-estimating it. What’s clear is that there’s massive potential here, it could really explode. When you get a great VR experience it’s really special.

“I was at E3 playing Alien Isolation on Oculus and, although I’m slightly embarrassed to admit it, when it came to the end I ripped my headset off because I was so scared. You really feel like the Alien is there and actually attacking you. I’ve never done that with Dead Space or Resident Evil or anything. It really heightens your emotions.”

I can attest to just how absorbing that experience can be, having lost myself in the Morpheus demo at GDC in March. Even surrounded by other gawking journalists and nervous PR, dropping that helmet on was, in many sense, completely akin to teleportation. That demonstration wasn’t exactly a road-test, though. These were first-party, highly polished demonstrations designed to show off the potential for the new technology in a short, well-controlled session. Had my first experience been a shoddy, half-finished or poorly-executed demo instead, I might never have been interested at all. For O’Luanaigh, the responsibility for audience growth is firmly on the shoulders of developers.

“For me, it’s really important,” he tells me when I ask whether VR needs to get it right this time around. “I’m utterly convinced that VR is now a technology that’s caught up to an amazing idea and can make it work. The only thing that can ruin that is dreadful games. It’s easy to make a rubbish VR game with a bad framerate that takes control of the camera and does stupid things. That’s the worst thing that could happen, and I think that both Oculus and Sony get that. I think everyone entering the VR space gets it, but we just need to keep an eye on it.

“At least one or two of the projects we’re working on are non-traditional games, it’s definitely quite different. You’ll see VR spread into different areas over the next few years”

“I hope that the press plays its part as well and makes sure that, if there’s one rogue VR game that’s snuck out and it’s dreadful, that they won’t use that to argue that VR is awful.”

Good games might be the things that get people queuing in the shops, or, more likely, clicking online, but there are clear possibilities for virtual reality which fall well outside our sphere, particularly for Oculus’ Rift. Will nDreams being dipping a toe in those waters?

“At least one or two of the projects we’re working on are non-traditional games, it’s definitely quite different. You’ll see VR spread into different areas over the next few years, although it’ll definitely start with games. Oculus aren’t showing off Facebook social pop-up sims, they’re showing off great games.

“I don’t think Facebook has changed that but I think you’ll notice them start to add stuff in over the next few years. You might see spaces where people can hang out with their friends, stuff like that. If you’ve ever read Snowcrash, I think that sort of thing is why Facebook bought Oculus. They’ve got more money now, but it’s the same people with the same values. It’s very cool to be rude about Facebook, but I think a lot of the people who were being rude about Facebook when it bought Oculus were doing it on Facebook, which is pretty ironic.”

Courtesy-GI.biz