After releasing a string of AAA console titles to varying levels of commercial success, the UK-based studio is attempting to establish what it describes as a “third way” of making games – one that falls somewhere between what we have traditionally called AAA and Indie. Smaller scale, lower cost, with no sacrifices made in terms of creative risks and quality of execution.
“We’re taking our work on Hellblade as an opportunity to question the way the games industry has always done things,” said product development manager Dominic Matthews in a recent developer diary. “To see if there’s a better way, a more streamlined way. To create amazing quality on a smaller budget.”
As a result, Hellblade has a core team of 12 people, with a single person working in the majority of discipline areas. Ninja Theory is committed to finding affordable or homebrew alternatives to the high-end processes associated with its previous games – the performance capture used in Enslaved: Odyssey to the West, for example – but its sales target will remain eminently achievable: between 200,000 and 300,000 units.
“[Hellblade] is about what we feel passionate about, what we’re good at, and what we think our fans and supporters want from a game,” said Tameem Antoniades, Ninja Theory’s co-founder. “But it comes at a price. We have to self-fund this game, and we have to work within the restrictions that that means for us.”
The game might be inspired by a lot of games, but the basic idea is that you are the leader of a Stone Age tribe and you have guide your tribe through civilization and human history. The ability exists for you to form alliances, trade with friends, and raid your enemies.
Reynolds has not said what is next for the new Big Huge Games, but if DomiNations is successful, it could fund more complex projects for console or PC according to our sources.
Video game violence has been in the spotlight for over two decades now. When Senator Joe Lieberman chaired a subcommittee in 1993 after seeing the violence in Mortal Kombat, the mainstream media started paying close attention. And just five months later, the Entertainment Software Rating Board (ESRB) was born and assigned Mortal Kombat an “M” for Mature rating. This was undoubtedly a good thing. In the years following, the board continued to tweak its ratings and in combination with retail partners it’s become one of the best systems for keeping inappropriate content from our youth (as ranked by the FTC).
However, in the last 5-10 years that I’ve attended E3 and other trade shows, I’ve seen wave after wave of intensely violent content. In previous roundtables with my GamesIndustry.biz staff, I’ve referred to it as the Michael Bay-ification of the games business. There’s a lot of eye candy, lots of fighting and plenty of explosions; but as veteran designer Sid Meier pointed out, the industry doesn’t need to push that sort of content anymore. “I think we got people’s attention. We can make good games now,” he said.
I’m not suggesting that the industry abandon this type of content, but I am wondering whether developers actively think about what lines are okay to cross. It’s especially relevant considering that in the last week or so a trailer for a brutally violent game – effectively nothing more than a mass murder simulator imitating the worst shootings in America – made the rounds on the internet. Some of my peers on other publications unfortunately gave them exactly what they wanted: plenty of press in the form of critiques, trailer embedding and interviews. I won’t give them that gratification, but I did speak with developers about how much violence is actually acceptable in today’s games.
“I think that yes, there are lines that game developers should not cross,” said The Astronauts’ Adrian Chmielarz, former creative director at People Can Fly. “On the other hand, no, these lines should not be defined by law. In other words, only the developers’ conscience should define what type of game they want to make, and its level of cruelty, indecency and moral corruption.”
Deus Ex and Epic Mickey creator Warren Spector is of the mind that even if he finds something completely objectionable he wouldn’t attempt to tell other developers what lines they can or can’t cross.
“I’d never want to mandate where the lines are but there are certainly lines for me. The fact is, I think of games as a form of communication – as an art form – with all the first amendment rights of any more traditional medium of expression. Any limitation is anathema. We just have to make sure people know what they’re getting into before they pay for or begin playing a game,” said Spector, who’s now the Director of the Denius-Sams Gaming Academy at the University of Texas at Austin.
“That’s where our solid ratings system comes in. Having said that, there are lines of good taste I WISH developers wouldn’t cross, but personal opinion is never an excuse for setting any kind of public policy. I’ll continue to call out developers who cross the line of good taste, but it’ll just be the opinion of one man, not a proscription for an entire medium.”
Vlambeer’s Rami Ismail pointed out the power of games as a medium. If a developer can think of it, it most likely can be made – but just because something can be made doesn’t mean it should be. “I think it’s important to realize that there are no lines that developers can’t cross as long as a project is feasible, and whether they should is obviously up for discussion,” he said.
Indeed, that’s the hard part to figure out. While it’s technically possible to animate some brutally violent action in great detail, does it need to be included? Some would say yes, some would say no.
“It’s justified if there is a strong thematic, narrative or mechanical reason to offer objectionable or offensive content, and if it’s done in an appropriate and considerate way,” noted Ismail. “There’s a big difference between ‘just throwing in Nazi’s’ or ‘I guess some sort of sexual violence’ and ‘here’s a terrible thing that fits this context in every conceivable way’.
“Games have a long tendency of justifying violence through ridiculous means. We happily accept that we’re killing faceless ‘bad people’ when a nuke launches in the first part of the third act of a first person shooter. We feel justified for shooting at threats to the West, but we’re outraged when you shoot at civilians. I think that difference is justified, because the ludo-narrative context of it changes. If you’re executing innocent civilians that are begging for their lives because that is your intended goal, without any lessons to be learned beyond what execution animations exist, without offering a useful perspective to terrible events like these, then I feel that the creators failed to make anything noteworthy.”
Devolver Digital’s Graeme Struthers largely agrees: “In general, my view on content tends to come back toward the artist and what story they are seeking to tell. For example, If the project is holding a mirror up to society and challenging the audience, I think that can be a good thing. This War of Mine is such a strong and positive example of that. Good entertainment can tackle difficult and even controversial subject matter.
“Seeking to be controversial for the sake of it should always be challenged and I figure that fans and games media are savvy enough to see those things when they come along.”
While extreme violence may reflect poorly on the medium in the mainstream, Spector noted that no developer should ever feel that he or she has to censor a game’s content to fit some pre-approved mold.
“There are obviously cases where satire comes into play and others where content that’s objectionable to some is portrayed in the context of making a statement of some kind. Still, it seems patently obvious that a lot of game content does damage to the medium in the public eye – plenty of games confirm the biases of our most outspoken critics. But despite that, we have to defend ourselves by reminding people of our ratings system and by citing all the games that AREN’T objectionable or potentially offensive. Censoring ourselves isn’t the answer,” he said.
Perhaps the bigger question then is whether game developers have some moral responsibility to the players. There’s no proof that violent games can lead directly to senseless acts in real life, but if a certain individual is already dealing with some pathological psychosis, it’s easy to see how an extremely graphic video game could act as a trigger.
Developers seem to be torn on the question of morality in games, however. Ismail is in the camp that believes developers should own up to that responsibility.
“Wouldn’t it be a sad medium if we didn’t?” he questioned. “We claim that games are impactful, that they have meaning and purpose. We create worlds from bare code, from data and models and pixel and sound and music – worlds that adhere to our every whim, our every intent – and then we get to place players in there and allow and deny them certain interactions. We work in a medium in which our users don’t talk about the characters, but identify to a point where they talk about what ‘they’ did, instead of what ‘a character’ did.
“This is the most personal and exciting medium in the world, and we have the ability to create things for which we are responsible and accountable – things that reflect ourselves and our views and interests. Making anything less feels like a waste of potential of this medium.”
“Players will vote with their dollars, inevitably, and all we can hope for is that their sense of good taste and common sense comes into play as they make their purchasing decisions”
Chmielarz agreed. “Yes, of course. We create things to affect people, so how could we not?” he said. “However, to be clear, I don’t hold creators responsible for triggering psychotic behaviors. Psychopaths will always find a trigger – today it may be a video game, but a hundred years ago it was a poem, and five hundred years ago it was some other pretext. Video games (or other art forms) don’t create psychopaths, video games may only reveal psychopaths.”
Spector, on the other hand, said he didn’t feel that developers should feel morally responsible, even though he has a strong aversion to extremely violent games.
“Again, there’s so much personal taste involved in the creation of game content it’d be hard to say when a game crosses some line where moral responsibility comes into play. I can wish all day that developers would stop making games that ‘go too far’ but all I can do is express that wish loudly enough and publicly enough that game creators feel a little ashamed of themselves and maybe change the way they think about the medium,” he remarked.
Ultimately, the content in the games of the future will be dictated by everyone in the gaming community, including players, press, and developers. As Ismail pointed out, “I think the press should criticize, the devs should discuss and the players should decide whether they’re interested or not based on the press and devs.”
Spector added, “I think the primary response from press and developers has to be adequate communication. People – players – have to know what they’re getting into before they get into something. Players will vote with their dollars, inevitably, and all we can hope for is that their sense of good taste and common sense comes into play as they make their purchasing decisions.”
Discussing what type of content makes it into our video games is a healthy thing for the medium as a whole. You’d be surprised, however, how many developers GamesIndustry.biz reached out to who simply declined to take part in the discussion. If video games are to continue to evolve and mature, then discussion is key.
“Do not avoid the subject,” said Chmielarz. “We make video games, and one branch of video games is slowly evolving into holodeck experiences. In a few years we will have virtual reality sims that will give an uncanny illusion of real life experiences. Avoiding difficult subjects that help us get ready for that would be a mistake.”
In an interview that Xbox head Phil Spencer gave to IGN, he says that a new IP is in development at one of Microsoft’s development studios. It apparently isn’t a new racing or military space marine title.
Spencer says that the Xbox brand needs “new stories and new characters” which provide a “canvas to try new things.” He went on to add that “Sunset Overdrive is a great example of a game that isn’t like anything else in our portfolio, and he thinks that is great. I want to continue to invest in things which push the boundaries.”
Spencer believes that it has to be a commitment from the first-party publisher to try things that are new and unique. While he would not offer a clue as to which studio might be working on this new IP or what the new IP might be, he does seem to imply that there is at least more than one internal/external studio that is working on unannounced games for Microsoft studios.
In the interview he again says that he wants RARE to be more than the Kinect Sports developer and he is in fact heading out to see them soon to look at a new pitch from the studio.
November Xbox One update, explaining that it will throw a bucketful of new features into the console.
The firm polishes the console experience on a monthly basis and this month sees it swathe the device in tweaks and social networking positives.
Whether you use the console to browse the internet, talk to people, do social networking, watch television, or even play games, you will see some sort of improvement, according to spokeschap Major Nelson.
“We’re bringing you new and exciting ways to watch TV and interact with the Xbox Live gaming community in this month’s Xbox One system update preview. Today, we will begin rolling out a ton of new features to members of the Xbox One preview programme,” said Nelson in a blog that also introduces an excited video walkthrough.
Cosmetic features include the ability to change the background on your Xbox One, and even use achievements from games in your wallpaper.
Braggish players will be able to add their best clips to their profile page and generally swagger around the place, while people who like to crow on a range of platforms will be able to tweet clips from games.
Users can also share their location in their biography pages, and through the Smartglass app can see when anyone has checked out their profile.
Smartglass users can also check out their friends’ activities on the Xbox One, and can line up downloads of content, for example the free titles provided to Gold level subscribers.
The Xbox One store has been improved and Microsoft said that this would make it “easier to find and download apps for your Xbox One”.
The November update is out will be out, unsurprisingly, next month.
In a recent interview with OXN, Mile Colter who plays Agent Locke in Halo Nightfall claims that his character is the primary character that people will be playing in the Halo 5 game. That is not to say that Master Chief will not have a significant role in Halo 5 as well.
Part of the campaign will apparently be Locke’s search for Master Chief. Still we don’t know if Locke is a friend or not, so it is obvious that the relationship between the two will be a big part of the story in Halo 5 according to our sources.
Hard to say how accurate this all is, but we do know that we don’t have much longer to wait till the Nightfall series starts airing on the Halo Channel starting November 11th.
To be more specific, that’s a difference of 3 million units, with Advanced Warfare expected to sell around 17 million. Obviously, that’s still a very healthy number, and the sort of success that most publishers rarely experience, but nevertheless it would be ill news for what remains Activision’s most important franchise.
Ghosts was, in itself, markedly less successful than Black Ops II, and a second year of decline will be enough to cause concern within Activision. When pre-orders for Ghosts were lower than expected, Eric Hirshberg attributed it to the transition to a new generation of consoles. With a minimum of 15 million PlayStation 4s and Xbox Ones now in the wild, that explanation would not stand up quite as well with Advanced Warfare.
In a note given to Cinema Blend, Sterne Agee’s Arvind Bhatia gave several reasons for the possibility of ongoing decline, one of which was the number of people who are still waiting to upgrade to new generation hardware, and may not buy any new software until they do. The others were sharply declining sales of Xbox 360 and PS3 software, and the fact that some Call of Duty fans may have been disappointed with Ghosts.
A significant counter to that is the positioning of Battlefield: Hardline, which slipped to March 2015 release and left Activision’s franchise free of its fiercest competitor.
Given its huge investment in Bungie’s Destiny and the relatively cool critical response that greeted the game, Activision will be hoping that Sterne Agee’s research is not an indicator of Call of Duty’s long-term health.
PS4 is going gangbusters, 3DS continues to impress, Steam and Kickstarter have between them overseen an extraordinary revitalisation of PC gaming, and mobile gaming goes from strength to strength; yet it’s absolutely clear where the eager eyes of most gamers are turned right now. Virtual reality headsets are, not for the first time, the single most exciting thing in interactive entertainment. At the Tokyo Game Show and its surrounding events, the strongest contrast to the huge number of mobile titles on display was the seemingly boundless enthusiasm for Sony’s Morpheus and Oculus’ Rift headsets; at Oculus’ own conference in California the same week, developers were entranced by the hardware and its promise.
VR is coming; this time, it’s for real. Decades of false starts, disappointments and dodgy Hollywood depictions will finally be left behind. The tech and the know-how have finally caught up with the dreams. Immersion and realism are almost within touching distance, a deep, involved experience that will fulfil the childhood wishes of just about every gamer and SF aficionado while also putting clear blue water between core games and more casual entertainment. The graphical fidelity of mobile devices may be rapidly catching up to consoles, but the sheer gulf between a VR experience and a mobile experience will be unmistakeable.
That’s the promise, anyway. There’s no question that it’s a promise which feels closer to fulfilment than ever before. Even in the absence of a final consumer product or even a release date, let alone a killer app, the prototypes and demos we’ve seen thus far are closer to “true” virtual reality than many of us had dared to hope. Some concerns remain; how mainstream can a product that relies on strapping on a headset to the exclusion of the real world actually become? (I wouldn’t care to guess on this front, but would note that we already use technology in countless ways that would have seemed alien, anti-social or downright weird to people only a generation ago.) Won’t an appreciable portion of people get motion sickness? (Perhaps; only widespread adoption will show us how widespread this problem really is.) There’s plenty to ponder even as the technology marches inexorably closer.
One thing I found myself pondering around TGS and Oculus Connect was the slightly worrying divergence in the strategies of Sony and Oculus. A year or even six months ago, it felt like these companies, although rivals, were broadly marching in lock step. Morpheus and Rift felt like very similar devices – Rift was more “hobbyist” yet a little more technically impressive, while Morpheus was more clearly the product of an experienced consumer products company, but in essence they shared much of the same DNA.
Now, however, there’s a clear divergence in strategy, and it’s something of a concern. Shuhei Yoshida says that Morpheus is 85% complete (although anyone who has worked in product development knows that the last 10% can take a hell of a lot more than 10% of the effort to get right); Sony is seemingly feeling reasonably confident about its device and has worked out various cunning approaches to make it cost effective, from using mobile phone components through to repurposing PlayStation Move as a surprisingly effective VR control mechanism.
By contrast, Oculus Connect showed off a new prototype of Rift which is still clearly in a process of evolution. The new hardware is lighter and more comfortable – closer to being a final product, in short – but it’s also still adding new features and functionality to the basic unit. Oculus, unlike Sony, still doesn’t feel like a company that’s anywhere close to having a consumer product ready to launch. It’s still hunting for the “right” level of hardware capabilities and functionality to make VR really work.
I could be wrong; Oculus could be within a year of shipping something to consumers, but if so, they’ve got a damned funny way of showing it. Based on the tone of Oculus Connect, the firm’s hugely impressive technology is still in a process of evolution and development. It barely feels any closer to being a consumer product this year than it did last year, and its increasingly complex functionality implies a product which, when it finally arrives, will command a premium price point. This is still a tech company in a process of iteration, discovering the product they actually want to launch; for Luckey, Carmack and the rest of the dream team assembled at Oculus, their VR just isn’t good enough yet, even though it’s moving in the right direction fast.
Sony, by contrast, now feels like it’s about to try something disruptive. It’s seemingly pretty happy with where Morpheus stands as a VR device; now the challenge is getting the design and software right, and pushing the price down to a consumer friendly level by doing market-disruptive things like repurposing components from its (actually pretty impressive) smartphones. Again, it’s possible that the mood music from both companies is misleading, but right now it feels like Sony is going to launch a reasonably cost-effective VR headset while Oculus is still in the prototyping phase.
These are two very different strategic approaches to the market. The worrying thing is that they can’t both be right. If Oculus is correct and VR still needs a lot of fine-tuning, prototyping and figuring out before it’s ready for the market, then Sony is rushing in too quickly and risks seriously damaging the market potential of VR as a whole with an underwhelming product. This risk can’t be overstated; if Morpheus launches first and it makes everyone seasick, or is uncomfortable to use for more than a short period of time, or simply doesn’t impress people with its fidelity and immersion, then it could see VR being written off for another decade in spite of Oculus’ best efforts. The public are fickle and VR has cried wolf too many times already.
If, on the other hand, Sony is correct and “good enough” VR tech is pretty much ready to go, then that’s great for VR and for PS4, but potentially very worrying for Oculus, who risk their careful, evolutionary, prototype after prototype approach being upended by an unusually nimble and disruptive challenge from Sony. If this is the case (and I’ve heard little but good things about Morpheus, which suggests Sony’s gamble may indeed pay off) then the Facebook deal could be either a blessing or a curse. A blessing, if it allows Oculus to continue to work on evolving and developing VR tech, shielding them from the impact of losing first-mover advantage to Sony; a curse, if that failure to score a clear win in the first round spooks Facebook’s management and investors and causes them to pull the plug. That’s one that could go either way; given the quality of the innovative work Oculus is doing, even if Sony’s approach proves victorious, everyone should hope that the Oculus team gets an opportunity to keep plugging away.
It’s exciting and interesting to see Sony taking this kind of risk. These gambles don’t always pay off, of course – the company placed bets on 3D TV in the PS3 era which never came to fruition, for example – but that’s the nature of innovation and we should never criticise a company for attempting something truly interesting, innovative and even disruptive, as long as it passes the most basic of Devil’s Advocate tests. Sony has desperately needed a Devil’s Advocate in the past – Rolly, anyone? UMD? – but Morpheus is a clear pass, an interesting and exciting product with the potential to truly turn around the company’s fortunes.
I just hope that in the company’s enthusiasm, it understands the absolute importance of getting this right, not just being first. This is a quality Sony was famed for in the past; rather than trying to be first to market in new sectors, it would ensure that it had by far the best product when it launched. This is one of the things which Steve Jobs, a huge fan of Sony, copied from the company when he created the philosophies which still guide Apple (a company that rarely innovates first, but almost always leapfrogs the competition in quality and usability when it does adopt new technology and features). For an experience as intimate as VR – complete immersion in a headset, screens mere centimetres from your eyes – that’s a philosophy which must be followed. When these headsets reach the market, what will be most important isn’t who is first; it isn’t even who is cheapest. The consumer’s first experience must be excellent – nothing less will do. Oculus seems to get that. Sony, in its enthusiasm to disrupt, must not lose sight of the same goal.
When Titan first came to light in 2007, most people assumed it would be Blizzard’s next big thing, ultimately taking the place of World of Warcraft which was likely to see further declines in the years ahead. Fast forward seven years, WoW clearly has been fading (down to 6.8 million subs as of June 30) but Blizzard has no MMO lined up to replace it, and that fact was really hammered home today with the surprise cancellation of Titan. In fact, the developer stressed that it didn’t want to be known as an MMO company and one may not be in its future. Cancelling the project this late in the game may have cost Blizzard several tens of millions of dollars, analysts told GamesIndustry.biz.
“Development costs for Titan may have amounted to tens of millions, perhaps $50 million or more. This is not an unusual event, however. Blizzard has cancelled several games in various stages of development in the past. Costs for unreleased games can be significant, but launching substandard games can harm the reputation of a successful publisher such as Blizzard. Expenses for development can be considered R&D, and benefits can include invaluable training, IP and technology that can be applied to other games,” explained independent analyst Billy Pidgeon.
Wedbush Securities’ Michael Pachter estimated an even higher amount lost: “My guess is 100 – 200 people at $100,000 per year, so $70 – 140 million sunk cost. It’s pretty sad that it took so long to figure out how bad the game was. I expect them to go back to the drawing board.”
Indeed, the market has changed considerably in the last seven years, and while MMOs like EA’s Star Wars: The Old Republic struggle to find a large audience, free-to-play games and tablet games like Blizzard’s own Hearthstone are finding success. Blizzard has no doubt been keenly aware of the market realities too.
“As far back as 2013, they had already stated Titan was not likely to be a subscription-based MMORPG. This is consistent with a market that is increasingly dominated by multiplayer games that are either free to play or are an expected feature included with triple-A games such as Call of Duty. Titanfall and Destiny sold as standalone games supplemented by paid downloadable add-ons. Blizzard maintains very high standards of quality, so expectations will be steep for new franchises as well as for sequels,” Pidgeon continued.
DFC Intelligence’s David Cole agreed, noting that after seven years of development in an industry where trends and technologies change at a rapid pace, Blizzard simply had to pull the plug on Titan.
“They realized that unless a big MMO is out-of-this-world unbelievable it won’t work in today’s market where it competes against a bunch of low cost options. If they felt that it just wasn’t getting to that point it makes sense to cut your losses,” he noted. “Also, you see games like League of Legends and their own Hearthstone which are doing very well on a much lower budget.”
“For Blizzard, I am expecting to see them continue to focus on high quality products but also focus on products with shorter development cycles and less cost. The market is just not in a place where you can have games with 7+ year development. It is changing too fast.”
For most developers, junking a seven-year long project would instantly spell turmoil, but thankfully for Blizzard, it’s part of the Activision Blizzard behemoth, which has a market cap of over $15 billion and, as of June 30, cash and cash equivalents of over $4 billion on hand. It’s a nice luxury to have.
We attended the first ever Oculus Connect conference, the beats and chatter of a cocktail reception just next door, Max Cohen is being brutally honest about the company’s mobile-based virtual reality headset.
“I can spend ten minutes talking about the problems with this device. We’re not afraid of them,” the VP of mobile says with a smile.
“It overheats if you run it too long. It is 60 Hertz low persistence, which means some people will notice flicker. The graphical quality is obviously a lot less than the PC. Battery life is a concern. There’s no positional tracking.
“We could try to say this is the be-all end-all of VR. We’d be lying. That’s a bad thing. We would hurt where we can get to the be-all end-all of VR. Everyone, Samsung, Facebook, Oculus, we’re all aligned with making a damn good product that we put out in the market and then working on improving it. Really soon, maybe even sooner than you think, we’ll get to that amazing VR experience for everyone.”
“Samsung, Facebook, Oculus, we’re all aligned with making a damn good product”
Cohen’s talking about the Gear VR, the Samsung backed headset that offers a more portable and accessible entry into the virtual reality world for developers and users alike. It’s John Carmack’s passion project at the company and clearly it’s Cohen’s too.
“The first thing they did was to put me in the HD prototype with the Tuscany demo. I was floored, of course,” he remembers.
“Then I got to see the Valve room and then he showed me this mobile project. It was running on a Galaxy S4 at the time. It crashed a little bit. There were a lot of problems with it, but I just thought this was so amazing. I went back and was talking to a friend of mine who’s an entrepreneur. He said it’s rare that you have the opportunity to work on transformational hardware, and that’s really what this was.”
The story of the Gear VR is a simple one; Oculus went to the Korean company hoping to work with them on screens for the PC-based Rift and found Samsung had been working on a headset you could simply slide a Samsung Galaxy phone into to experience virtual reality. Now the companies are working together on both devices, with Samsung fielding calls from Carmack on a regular basis.
“It’s a collaboration. It’s not we tell them what to do or they tell us what to do,” Cohen continues. “We’re the software platform, so when you put that on, you’re in Oculus, but that wouldn’t be possible without maximizing the hardware. Carmack and our team works very closely with their engineering team. They make suggestions about UI as well. We’re working together to make the best possible experience. If it wasn’t collaborative, this thing just honestly wouldn’t function because this is really hard to do.”
The focus of Oculus Connect isn’t the media or sales or even recruitment, but developers. Supporting them, showing them the technology, offering them advice on the new territory that is virtual reality. Cohen, like everyone else I speak to at the weekend, believes developers and their content is absolutely key to the success of the hardware.
“At the end of the day, we want to make the developers’ lives as easy as possible so they can make cool content.”
“Facebook invested in the platform. They didn’t buy it. What they did is they’re also committing money to make sure it’s successful on an ongoing basis”
That content will be supported by an app store, and Cohen wants it to be a place where developers can make a living, rather than just a showcase of free demos. Jason Holtman, former director of business development at Valve, is overseeing its creation.
“We’re going to launch initially with a free store, but maybe a month later, follow along with commerce,” says Cohen.
“At the end of the day, as great as doing the art for free and sharing that is, we will have a hundred times more content when people can actually monetize it. This is a business. There’s nothing wrong with that. People need to be able to feed themselves. Our job is to make the platform as friendly for developers as we can so that it’s painless. You don’t have to worry about a bunch of overhead.”
There’s a sense that the Facebook money, that headline-grabbing $2 billion, has given the team the luxury of time and the chance to recruit the people they need to make sure this time virtual reality lives up to its promises. Other than that, Facebook seems to be letting Oculus just get on with it.
“That’s the thing… a lot of people, with the Facebook acquisition, asked how that would impact us and the answer is it hasn’t, in terms of our culture, and Facebook’s actually supportive of the way Oculus is because we know that content makes or breaks a platform,” says Cohen.
“They invested in the platform. They didn’t buy it. What they did is they’re also committing money to make sure it’s successful on an ongoing basis. We could have continued to raise a lot of venture capital. It would have been very expensive to do it right. Now we have replaced our board of directors with Facebook, but that’s completely fine. They are helping us. They are accelerating our efforts.”
No one at Oculus is talking about release dates for consumer units yet, and Cohen is no different. It’s clear that he and the team are hungry for progress as he talks about skipping minor updates and making major advances. He talks about “awesome” ideas that he’s desperate to get to, and pushing the envelope, but what matters most is getting it right.
“I think everyone understands that with a little bit more magic, VR can be ubiquitous. Everyone needs it. I think a lot of people understand what we need to do to get there, but it takes hard work to actually solve those things. Oculus and Facebook have lined up the right team to do it, but I want us to actually have time to do that,” says Cohen.
“We’re not trying to sell millions now. We’re trying to get people and early adopters, tech enthusiasts and all that interested in it.”
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.
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.
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.
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.
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.