Acer’s boss Jason Chen says his company will not make its own VR devices and will focus on getting its gaming products to work with the existing VR platforms.
Eyebrows were raised when Acer released its new Predator series products which support virtual reality devices. The thought was that Acer might have a device of its own in the works. However Acer CEO Jason Chen said there were no plans and the goal was to get everythink working with the four current major VR platforms Oculus, HTC’s Vive, OSVR and StarVR.
He said that VR was still at a rather early stage and so far still has not yet had any killer apps or software. Although that never stopped the development of tablet which to this day has not got itself a killer app. But Chen said that its demand for high-performance hardware will be a good opportunity for Acer.
Acer is planning to add support for VR devices into all of its future Predator series products and some of its high-end PC products.
Chen told Digitimes that said Acer was investing in two robot projects, the home-care Jibo and the robot arm Kubi in the US, and the company internally has also been developing robot technologies and should achieve some results within two years. Acer’s robot products will target mainly the enterprise market.
Virtual reality is, without a doubt, the most exciting thing that’s going to happen to videogames in 2016 – but it’s becoming increasingly clear, in the cold light of day, that it’s only going to be providing thrills to a relatively limited number of consumers. Market research firm Superdata has downgraded its forecast for the size of the VR market this year once more, taking it from a dizzying $5.1 billion projection at the start of the year to a more reasonable sounding $2.9 billion; though I’d argue that even this figure is optimistic, assuming as it does supply-constrained purchases of 7.2 million VR headsets by American consumers alone in 2016.
Yes, supply-constrained; Superdata reckons that some 13 million Americans will want a VR headset this year, but only 7.2 million will ship, of which half will be Samsung’s Gear VR – which is an interesting gadget in some regards, but I can’t help but feel that its toy-like nature and the low-powered hardware which drives it isn’t quite what most proponents of VR have in mind for their revolution. Perhaps the limited selection of content consumers can access on Gear VR will whet their appetite for the real thing; pessimistically, though, there’s also every chance that it will queer the pitch entirely, with 3.5 million low-powered VR gadgets being a pretty likely source of negative word of mouth regarding nausea or headaches, for example.
This is a problem VR needs to tackle; for a great many consumers, without proactive moves from the industry, word of mouth is all they’re going to get regarding VR. It’s a transformative technology, when the experience is good – as it generally is on PSVR, Rift and Vive – but it’s not one you can explain easily in a video, or on a billboard, because the whole point is that it’s a new way of seeing 3D worlds that isn’t possible on existing screens. Worse, when you see someone else using a VR headset in a video or in real life, it just looks weird and a bit silly. The technology only starts to shine for most consumers when they either experience it, or speak to a friend evangelising it on the basis of their own experience; either way, it all comes down to experience.
That’s why it was interesting to hear GameStop talk up its role as a place where consumers can come and try out PlayStation VR headsets this year. That’s precisely what the technology needs; where at the moment, there are a handful of places you can go to try out VR, but it’s utterly insufficient. VR’s objective for 2016 isn’t just to get into the hands of a few million consumers – it’s to become desired, deeply desired, by tens of millions more. The only way that will happen is to create that army of evangelists by creating a large number of easily accessible opportunities to experience VR – and GameStop is right to position itself as the industry’s best chance of doing so in the USA. Pop-up VR booths in trendy spots might excite bloggers, but what this new sector needs in the latter half of 2016 is much more down to earth – it needs as many of America’s malls as possible to be places where shoppers can drop in and try out VR for themselves.
In a sense, what’s happening here is deeply ironic; after years of digital distribution and online shopping making retail all but irrelevant, to the point where it’s practically disappeared in some countries, the industry suddenly needs retail stores again – not to sell games, because those are, in truth, better sold online, but to sell hardware, to sell an experience. How exactly you structure a long-term business model around that – the games retailer as showroom – is something I’m honestly not sure about, but it’s something GameStop and its industry partners need to figure out, because what VR makes clear is that games do sometimes need a way to reach consumers physically, in the real world, and right now only games retail chains are positioned to do that.
This isn’t a one-time thing, either – we know that, because this has happened before, in the not-so-distant past. Nintendo’s Wii enjoyed an extraordinary sales trajectory from its first Christmas post-launch into its first full year on the market, not least because the company did a good job of putting demo units (mostly running Wii Sports, of course) into not only every games store in the world, but also into countless other popular shopping areas. It was nigh-on impossible, in the early months of the Wii, to go out shopping without encountering the brand, seeing people playing the games and having the opportunity to do so yourself – an enormously important thing for a device which, like VR, really needed to be experienced in person for its worth to become apparent. VR, if anything, magnifies that problem; at least with Wii Sports, observers could see people having fun with it. Observing someone using VR, as mentioned above, just looks daft and a bit uncomfortable.
GameStop has weathered the storm rather better than some of its peers in other countries. The United Kingdom has seen its games retail devastated; it’s all but impossible to actually walk into a specialist store and buy a game in many UK city centres, including London. Would a modern-day version of the Wii be able to thrive in an environment lacking these ready-made showrooms for its capabilities on every high street and in every shopping mall? Perhaps, but it would take enormous effort and investment; something that VR firms, especially Sony, are going to have to take very seriously as they plan how to get the broader public interested in their device, and how to break out beyond the early adopter market.
Much of the VR industry’s performance in 2016 is going to be measured in raw sales figures, which is a bit of a shame; Vive and Rift are enormously supply constrained and having fulfillment difficulties, and the numbers we’ve seen floating around for Sony’s intentions suggest that PSVR will also be supply constrained through Christmas. The VR industry – ignoring the slightly worrying, premature offshoot that is mobile VR – is going to sell every headset it can manufacture in 2016. If it doesn’t, then there’s a very serious problem, but every indication says that this year’s key limiter will be supply, not demand.
The real measurement of how VR has performed in 2016, then, should be something else – the purchasing intent and interest level of the rest of the population. If by the time the world is mumbling through the second line of Auld Lang Syne and welcoming in 2017, consumer awareness of VR is low and purchasing intent isn’t skyrocketing – or worse, if the media’s dominant narratives about the technology are all about vomiting and migraines – then the industry will have done itself a grievous disservice. This is the year of VR, but not for the vast majority of consumers – which means that the real task of VR firms in 2016 is to convince the world that a VR headset is something it simply must own in 2017.
Troubled camera brand GoPro is going for broke and getting into the emerging VR market.
The outfit has GoPro has announced a new channel dedicated to 360-degree or VR content, which it calls GoPro VR. It has also unveiled a new version of its HeroCast wireless streaming tool, LiveVR, that’s dedicated to VR content. It seems to think that this effort will bail it out of its financial woes.
Meanwhile it has been talking up its VR camera rig. This is a six-camera Omni VR which will cost $5,000 for a complete bundle which can create extreme 360-degree content. It is even offering a $1,500 discount for those who already have a stack of GoPro cameras.
Pre-orders for the Omni VR camera will be opening up today, which is when the GoPro VR platform will also be launching. Today will also see the launch of GoPro VR apps for iOS and Android. Much of GloPro’s VR work is based around Kolor Eyes which was a 360-degree software specialist GoPro acquired around this time last year.
We expect to see the rest of the VR product line-up at the NAB show that starts in Las Vegas later today.
Software giant Microsoft has moved to deny a daft internet rumor that it was responsible for the ongoing Oculus Rift supply issues.
Oculus Rift customers were kept in the dark about the delays following the 28 March release date. Oculus confirmed that a component shortage was to blame for the long delays in supplying its VR headset to those who had pre-ordered. Then a rumour started that the mysterious “missing component” was actually the Xbox One control pad.
The rumour got a fair bit of traffic among the IT press which did not check the facts and liked making Microsoft the villian for all its woes. A moment engaging brain would have knocked the rumor stone dead. The source of the rumor came from a Reddit post from a bloke who claimed to have an inside source who told him. In journalism this is called a “man you met down the pub” source. You get around it by naming the source or using the information to stand the story up.
Someone finally did the right thing and asked Redmond, they were promptly told that the rumor was totally false and if anyone had any question about Rift delays they should ask Oculus VR.
This morning Reddit marked the post as a “confirmed fake.” An Oculus customer support worker, whose identity was verified, also dismissed the claim.
“Totally fake, but super-entertaining,” he said. “Thanks for this! Keep the fanatic coming!”
Clearly who ever fabricated the leak did not know what a supply issue really is. It is when there is not enough bits ordered to make up the final machine. Sometimes it is caused by a batch of faulty components, but normally it is because someone did not order enough.
Oculus has assured customers that it is working to overcome its supply issues. “We’ve taken steps to address the component shortage, and we’ll continue shipping in higher volumes each week,” reads its statement.
“We’ve also increased our manufacturing capacity to allow us to deliver in higher quantities, faster. Many Rifts will ship less than four weeks from original estimates, and we hope to beat the new estimates we’ve provided.”
When was the last time you played as a black character in a game who wasn’t either a) the sidekick to a strapping white dude or b) a stereotypical gang member? We Are Chicago, from Indie studio Culture Shock, offers something different: a realistic representation of the life of a person of color in Chicago’s South Side neighborhoods.
“It was interesting to think about how you make a game about something that’s actually happened, a true story, and still give the player agency,” explains studio founder Michael Block.
“So we were talking about those ideas. We’re from Chicago and at the time we had started doing some volunteer stuff and talking to some people on the South Side, a very racially-segregated section of the city, very poor and has a lot of issues with gangs and violence. We realized it’s a really interesting story and nobody is talking about this stuff.”
This was the moment that led to the game I played a few weeks ago at GDC, which Block calls a documentary game, a game which gives players an insight into the world of high school student Aaron. During the very first scene, Aaron’s family sits down to dinner, only to hear the sound of gunshots. It’s shocking not because I’ve never heard a gunshot in a game before, but because the family carries on with dinner, discussing their situation but accepting the violence as part of the background to their lives.
“We brought on a writer from one of the neighborhoods to write the actual dialogue”
Scenes like this aren’t just based on Culture Shock’s preconceived ideas about the South Side, but on the sort of research that would make any journalist proud.
The growth of narrative games
“Part of it comes to down to places like Telltale, I think what they were able to do which has been super helpful, and they’ve been paving the way for everyone else to do all this stuff, is because they had this tie-in to an IP that people really liked and then they were able to tell a really compelling story with that IP. I think that got people into that genre.
“That has benefited us in unimaginable ways because it allows people to come into it with an open mind and know what they’re getting.”
“At the beginning we did interviews. We actually got really lucky: there was a non-profit group that we were volunteering with that basically blanketed the city with volunteers and they had a survey that could have been written for our game. Things like, what are you seeing in your neighbourhood that could be problematic? What are the things that you’re seeing are really good? Are you seeing any solutions that are working well? What do you wish was there?”
“From that we were doing interviews with people at bus stops on the South Side and we just asked a bunch of people all these questions and then gave that all back to the non-profit. Then we met a whole bunch of people who we were volunteering and people that they knew and put us in touch with and we did more in-depth interviews.”
As well as researching their subject matter, We Are Chicago took their commitment to representing the stories into the studio via recruitment.
“We brought on a writer from one of the neighborhoods to write the actual dialogue. So we had the outline in place, we had the ideas that we wanted to talk about and we went to him and said ‘let’s figure out how to make this into a narrative arc’. Then we brought on environment artists as well from the neighborhoods that we were looking at to work on the content of the game and they’ve also looked over the script and made sure everything makes sense to them as well.”
Block and his team also plan to continue working with the non-profits of Chicago, taking a build of the game to a couple of schools in Chicago to do play-testing with young kids and to make sure that the game is true to their experiences. He also reveals that he plans to do a revenue share with some of the non-profits, as a way of giving back.
That’s Block’s motivation here, and it’s a noble one. We Are Chicago is a difficult game to make and difficult game to sell, but its importance to its creators goes beyond simple profit and loss.
“I’m working on this project because for all of my career – I’ve worked on Organ Trail and I’ve worked at mid-sized studios before and released other games – I didn’t really feel like they were having the impact I wanted to have. I wanted to do something that was positive for our society and our community and so this feels very important to me personally because it feels like I’m able to achieve that,” says Block.
“We’ve had some really great responses from people. Seeing some people express more racist sentiments and ideas and then after playing the game actually not express those things is really validating and really satisfying, to think that we might actually be able to have that impact. It’s a very strong connection for me because I’m hoping that we can prove that this is possible with games and that we’re doing it.”
We Are Chicago will be released this year on PC, Mac and Linux.
The next installment of first-person shoot-and-crouch game Call of Duty will take place in space, according to reports, and will not be a direct sequel to Ghosts.
Reports from as far and wide as Eurogamer and Shinobi have this as a pretty sure thing, and we do not consider it an unbelievable proposition.
There have been a few Call of Duty games so far and they have all been terrestrial. The canon has strayed into the near future, but has not yet gone the extra mile into the far future.
Going into space opens Call of Duty to aliens and lasers, and could make the game much more like Halo or any other popular punch-space-aliens-in-the-face games.
Call of Duty developer Infinity Ward is mute, and Activision declined to comment when Eurogamer called at its door. The last time we considered Activision was when the firm was expanding his horizons, and its coffers, by acquiring pastel coloured smartphone crack maker King Digital Entertainment, and taking on Candy Crush and mobile gaming to increase its roster.
The internet has taken the space story and run with it. Twitter is the scene of a lot of Buzz Lightyear memes already, while some people just hope that the incoming title has a bit of the charm and playability of earlier titles like Modern Warfare.
Let us all hope that, at the very least, players will not be charged with shooting and securing garish candies in a nightmare pastel world for the sake of the galaxy. Oh, and let’s also hope that Call of Duty retains the dog feature that everyone liked in the last one.
The dark satanic rumor mill has manufactured a hell on earth yarn which claims that the outfit which nearly killed off VR gaming with its “Virtual Boy” wants to get back into the industry.
More than 20 years ago Nintendo came up with its $179.95 Virtual Boy it was marketed as the first “portable” video game console capable of displaying “true 3D graphics.” It failed because it was too pricey, was not really portable and made users sick. It was pulled within a year and was cited as proof as to why VR was not ready yet.
Not surprisingly Nintendo didn’t want to go back to that AI place. Nintendo of America boss Reggie Fils-Aime even claimed it “just isn’t fun” enough. Now that appears to have changed and Nintendo saying it was “looking at VR” but wouldn’t be in a position to give more details any time soon.
Carnegie Mellon University professor and game designer Jesse Schell outlined his 40 predictions for VR and and Augmented Reality on the list was Schell’s belief that the Japanese company is already working on a headset, and that it could be the one which takes the industry in a new direction.
Schell feels that by 2022, most of the cash spent on VR will be related to portable, self-contained systems that are not dependant on other mobile tech (like Samsung’s Gear VR, which needs a Samsung smartphone to function) or require a PC or console, and are free from cables and wires which restriction movement and immersion.
Sony’s entry into the virtual reality market may be just a few short months away, thanks to an interview segment with GameStop CEO Paul Raines with Fox Business on Monday.
According to the interview segment, Raines told the network that GameStop is being centrally positioned for the launch of several major virtual reality (VR) projects, which he claims will be a “lucrative business.”
“We are right now preparing for the launches of the major VR products,” Raines told Fox Business. “So we’re now in discussions with Oculus, with HTC Vive, and with Sony. The market size is really hard to measure right now, but there are a lot of different measurements — all of them start with a [billion]. In fact, I saw a Goldman Sachs report the other day that said that the virtual reality segment will be worth about $80 billion by 2025. So it’s a big launch. We’re getting ready for it. We will launch the Sony product this fall, and we are in discussions with the other two players.”
Although the GameStop CEO did not refer to the headset by name, there is not much doubt that he was referring to Sony’s PlayStation VR, previously known by the codename “Project Morpheus.”
The first time the public learned about Sony’s Project Morpheus was during the 2015 Game Developers Conference (GDC) in San Francisco last spring, where a prototype was revealed using a 5.7-inch 1920x1080p OLED display (960x1080p per eye) with an RGB sub-pixel matrix running at 120 frames per second. The headset uses custom curved lenses to magnify and stretch the display across a wearer’s field of vision.
The stereoscopic 3D headset features a 100-degree field of view (FOV), six degrees of freedom (up, down, back, forward, right, left, yaw), and unwrapped (flat) output to a TV for use with a separate display or for viewing by others. Sony claims this is to prevent the unit from becoming a solitary experience, as it sees VR as a multi-user technology. The unit is controlled with a standard DualShock 4 game controller for most games, a PlayStation Camera to track physical movements, and can also be used with PlayStation Move wand controllers to simulate hand interactions in virtual game environments.
There are currently 82 games listed for the PlayStation VR, only sixteen of which have been announced so far with a 2016 release date. Some notable titles include Ace Combat 7 (Namco Bandai), Battlezone (Rebellion Developments), Eagle Flight (Ubisoft), Earthlight (Opaque Media), EVE: Valkyrie (CCP Games), Job Simulator (Owlchemy Labs), The London Heist (Sony Computer Entertainment), Robinson: The Journey (Crytek), Tekken 7 (Namco Bandai) and Vector 36 (Red River Studio), among others.
Software giant Microsoft is planning to get its Xbox business back in gear by making it follow the same sort of business model which worked for it on Microsoft office.
CEO Satya Nadella said that Microsoft has shifted its focus away from trying to strong-arm competitors out of the market, and towards a future of providing apps and services on the iPhones, Android phones, and Macs.
For example Microsoft Office is already on a subscription-based service available via the Internet. With the Office 365 service, customers pay their $10/month (or more if they’re a business) and get access to all the Office apps they can eat.
Redmond recently announced that it had 48 million monthly active users of its Xbox Live gaming service, across both the last-generation (but still popular) Xbox 360 console and the newer Xbox One.
Redmond sells this in two subscription tiers: Silver, which is free, and Gold, which is $60 per year. Silver subscribers can buy games, movies, and TV shows from the Xbox’s digital store they are also expected to swim while wearing pajamas. But subscribing at the Gold level gets you some crucial perks, including the ability to play multiplayer games online and a handful of “free” games every month. Gold subscription will also mean that people start calling you ‘sir’ or ‘madam’ and take their hats off when they talk to you.
What is different is that the new Windows 10 operating system can push Microsoft’s subscription services on you including the Xbox live. It has all been dubbed as “Xbox as a service.”
The latest game from Microsoft “Quantum Break,” was supposed to be an Xbox exclusive. It was announced that there also be a PC version, which buyers of “Quantum Break” for the Xbox One get for free. Most important, you also can sync your saved games across the two via the cloud.
Xbox boss Phil Spencer said that this would be a “platform feature” for the Xbox and Windows 10. Basically it means you buy the game once, get two copies that you can play anywhere.
Sony is behind in this because it does not have Windows 10 as its trump card. It offers “cross-buy support” for some while on select games, letting you buy a game once and play it on your PlayStation 4 or the handheld PlayStation Vita console.
Google is researching into a more virtual realtiy technology which will probably just end up in the beta stage before the search engine gives up on the whole project.
Google is apparently developing a new virtual-reality headset for smartphones, and adding extra support for the technology to Android in a cunning plan to give Oculus a run for its money. We are not holding our breath, we keep getting announcements like this from Google and they always turn to be vapourware like Google Glass..
Anyway this one is to be a successor to Cardboard, the cheap-and-cheerful mobile VR viewer that Google launched in 2014 and you can sort of buy and sold more than than 5 million units.
This one will feature better sensors, lenses and a more solid plastic casing, according to people familiar with its plans. The smartphone-based device will be similar to the Gear VR, a collaboration between Samsung and Oculus that went on sale to consumers late last year.
Google is expected to release its rival headset, alongside new Android VR technology, this year. Like Cardboard and Gear VR, the new headset will use an existing smartphone, slotted into the device, for its display and most of its processing power. But it will still be VR for dummies. Google Cardboard relies solely on sensors already built into modern smartphones to detect the position of a user’s head while real VR kits are a bit better and suffer less from latency issues.
The updated Google headset will be compatible with a much broader range of Android devices than Gear VR, which only works with a handful of recent Samsung Galaxy smartphone models, as the Alphabet unit tries to bring the technology to a wider audience.
The thought is that by improving resolution and latency, the combination of better Android software and the new headset will allow viewers to spend longer in VR and enable developers to create more sophisticated apps.
This confirms what we noticed at CES where there were few people even showing 3D as a feature and one of them was LG.
Speaking to ET News in Korea, an LG representative stated that only its premium sets this year will be 3D capable, slashing the number of supporting TVs by half.
“Although 40 per cent of all TVs last year had 3D functions, only 20 per cent this year will. There are still consumers who enjoy 3D movies and others, so we are going to apply it mainly on premium products.”
Apparently Samsung is going the same way according to a supplier of 3D glasses who was told not to bother making compatible specs this year.
3D in the home has been in decline for the last two to three years, with first the BBC stopping producing its 3D material and Sky started killing off its dedicated channels last June. Sky still offers some 3D movies and content on demand.
It does not mean that 3D video is a dead format. It is still going strong in cinemas and we will probably see films made in that format for years. It is just that it never really worked in the home. Some of that might have been due to content, other reasons is that it tended to be erratic technology whcih was a little too much like hard work to set up. Quality also suffered in comparison some of the HD and UH pictures which were suddenly more realistic.
According to Newzoo’s 2016 Global eSports Market Report, this year is expected to be a “pivotal” one for the eSports sector. The firm said that last year’s tally for worldwide eSports revenues came to $325 million, and this year the full eSports economy should grow 43 percent to $463 million; Newzoo said this correlates with an audience of 131 million eSports enthusiasts and another 125 million “occasional viewers who tune in mainly for the big international events.” Overall, Newzoo’s report states that global and local eSports markets should jointly generate $1.1 billion in 2019.
Looking a bit deeper, Newzoo found that investment into and advertising associated with eSports continue to grow at a rapid clip. “This year has been dominated by the amount of investors getting involved in eSports. An increasing amount of traditional media companies have become aware of the value of the eSports sphere and have launched their first eSports initiatives. With these parties getting involved, there will be an increased focus on content and media rights. All major publishers have increased their investment into the space, realizing that convergence of video, live events and the game itself are providing consumers the cross-screen entertainment they desire from their favorite franchises,” Newzoo commented.
Online advertising in particular is the fastest growing revenue segment within eSports, jumping up 99.6 percent on a global scale compared to 2014. North America is expected to lead the charge worldwide.
“In 2016, North America will strengthen its lead in terms of revenues with an anticipated $175 million generated through merchandise, event tickets, sponsorships, online advertising and media rights. A significant part of these revenues flows back to the game publisher, but across all publishers, more money is invested into the eSports economy than is directly recouped by their eSports activities,” said Newzoo’s eSports Analyst, Pieter van den Heuvel.
“China and Korea together will represent 23 percent of global esports revenues, totalling $106 million in 2016. Audience-wise, the situation is different, with Asia contributing 44 percent of global eSports enthusiasts. Growth in this region is, for a large part, fuelled by an explosive uptake in Southeast Asia.”
While eSports is certainly on a good path for growth, game companies would be wise to not get too caught up by the hype. The average annual revenue per eSports enthusiast was $2.83 in 2015 and is expected to grow to $3.53 this year, Newzoo said, but that’s still a factor four lower than a mainstream sport such as basketball, which generates revenues of $15 per fan per year.
Peter Warman, CEO at Newzoo added, “The initial buzz will settle down and the way forward on several key factors, such as regulations, content rights and involvement of traditional media, will become more clear. The collapse of MLG was a reminder that this market still has a long road to maturity and we need to be realistic about the opportunities it provides. In that respect, it is in nobody’s interest that current market estimates differ so strongly. Luckily, when zooming in on the highest market estimates of more than $700 million, the difference is explainable by an in-depth look. This estimate only differs in the revenues generated in Asia (Korea in particular), and by taking betting revenues into account. At Newzoo, we believe betting on eSports should not be mixed into direct eSports revenues as the money does not flow into the eSports economy. Similarly, sports betting is not reported in sports market reports.”
On February 16, Street Fighter V will launch on PlayStation 4 and PC. It will not be launching to Xbox One thanks to an exclusivity deal signed with Sony. And as Capcom director of brand marketing and eSports Matt Dahlgren told GamesIndustry.biz recently, there are a few reasons for that.
Dahlgren called the deal “the largest strategic partnership that fighting games have ever seen,” and said it addressed several problems the publisher has had surrounding its fighting games for years.
“Basically every SKU of a game we released had its own segmented community,” he said. “No one was really able to play together and online leaderboards were always segmented, so it was very difficult to find out who would be the best online and compare everybody across the board.”
Street Fighter V should alleviate that problem as it’s only on two platforms, and gamers on each will be able to play with those on the other. Dahlgren said it will also help salt away problems that stemmed from differences between platforms. For example, the Xbox 360 version of Street Fighter IV had less input lag than the PS3 version. That fraction of a second difference between button press and action on-screen might have been unnoticeable to most casual players, but it was felt by high-level players who know the game down to the last frame of animation.
“There were varying degrees of input lag, so when those players ended up playing each other, it wasn’t necessarily on an equal playing field,” Dahlgren said. “This time around, by standardizing the platform and making everyone play together, there will be a tournament standard and everyone is on an equal playing field.”
Finally, Dahlgren said the deal with Sony will help take Street Fighter to the next level when it comes to eSports. In some ways, it’s a wonder it’s not there already.
“I think fighting games are one of the purest forms of 1v1 competition,” Dahlgren said. “A lot of the other eSports games out there are team-based, and while there’s an appeal to those, there’s something about having a single champion and having that 1v1 showdown that’s just inherently easy for people to understand.”
Street Fighter has a competitive gaming legacy longer than League of Legends or DOTA, but isn’t mentioned in the same breath as those hits on the eSports scene. In some ways, that legacy might have stymied the franchise’s growth in eSports.
“A lot of our community was really built by the fans themselves,” Dahlgren said. “Our tournament scene was built by grassroots tournament organizers, really without the help of Capcom throughout the years. And I would say a lot of those fans have been somewhat defensive [about expanding the game's appeal to new audiences]. It hasn’t been as inclusive as it could have been. With that said, I do definitely feel a shift in our community. There’s always been a talking point with our hardcore fans as to whether or not Street Fighter is an eSport, and what eSports could do for the scene. Could it potentially hurt it? There’s been all this controversy behind it.”
Even Capcom has shifted stances on how to handle Street Fighter as an eSport.
“In the past, we were actually against partnering up with any sort of corporations or companies out there that were treating eSports more like a business,” Dahlgren said. “And that has to do out of respect for some of our long-term tournament organizers… Our fear was that if we go out and partner up with companies concerned more about making a profit off the scene instead of the values that drive the community, then it could end up stomping out all these tournament organizers who are very passionate and have done so much for our franchise.”
“In the past, we were actually against partnering up with any sort of corporations or companies out there that were treating eSports more like a business.”
So instead of teaming with the MLGs or ESLs of the world, Capcom teamed with Twitch and formed its own Pro Tour in 2014. Local tournament organizers handle the logistics of the shows and retain the rights to their brands, while Capcom provides marketing support and helps with production values.
“I can’t say Capcom wouldn’t partner up with some of the other, more established eSports leagues out there,” Dahlgren said. “I do think there’s a way to make both of them exist, but our priority in the beginning was paying homage to our hardcore fans that helped build the scene, protecting them and allowing them to still have the entrepreneurial spirit to grow their own events. That comes first, before partnering with larger organizations.”
Just as Capcom’s stance toward tournaments has changed to better suit Street Fighter’s growth as an eSport, so too has the business model behind the game. The company has clearly looked at the success of many free-to-play eSports favorites and incorporated elements of them (except the whole “free-to-play” thing) into Street Fighter V. Previously, Capcom would release a core Street Fighter game, followed by annual or bi-annual updates with a handful of new fighters and balancing tweaks. Street Fighter V will have no such “Super” versions, with all new content and tweaks made to the game on a rolling basis.
“We are treating the game now more as a platform and a service, and are going to be continually adding new content post-launch,” Dahlgren said. “This is the first time we’re actually having our own in-game economy and in-game currency. So the more you play the game online, you’re going to generate fight money, and then you can use that fight money to earn DLC content post-launch free of charge, which is a first in our franchise. So essentially we’re looking at an approach that takes the best of both worlds. It’s not too far away from what our players really expect from a SF game, yet we get some of the benefits of continually releasing content post-launch and giving fans more of what they want to increase engagement long-term.”
Even if it’s not quite free-to-play, Street Fighter V may at least be cheaper to play. Dahlgren said that pricey arcade stick peripherals are not as essential for dedicated players as they might have seemed in the past.
“Since Street Fighter comes from an arcade heritage, a lot of people have this general belief that arcade sticks are the premier way of playing,” Dahlgren said. “I think now that the platform choice has moved more towards consoles, pad play has definitely become much more prevalent. I would believe that at launch you’re probably going to have more pad players than you actually have stick players. And in the competitive scene, we’ve seen the rise of a lot of very impressive pad players, which has pretty much shown that Street Fighter is a game that’s not necessarily dictated by the controller you play with; it’s the strategies and tactics you employ. And both of them are essentially on equal playing ground.”
Virtual reality (VR) will not be supported on most consumer computers as the technology booms and manufacturers prepare to introduce it on a consumer level this year, Nvidia has warned.
Jason Paul, the firm’s general manager of Shield, gaming and VR, told Venturebeat that graphics processors need to be about seven times more powerful than in a standard PC game to run VR, and that there will be only about 13 million PCs in the market that will be powerful enough to run them by next year when the first major PC-based VR headsets ship, at least on PCs.
However, Nvidia said that this number could be extended to 25 million if the VR game makers use Nvidia’s GameWorks VR software (of course), which is said to make the VR processing more efficient.
GameWorks VR is aimed at games and applications developers, and includes a feature called VR SLI, which provides increased performance for VR applications where multiple GPUs can be assigned to a specific eye to dramatically accelerate stereo rendering.
The software also delivers specific features for VR headset developers, including Context Priority, which provides control over GPU scheduling to support advanced VR features such as asynchronous time warp. This cuts latency and quickly adjusts images as gamers move their heads, without the need to re-render a new frame.
There’s also a feature in the SDK called Direct Mode, which treats VR headsets as head-mounted displays accessible only to VR applications, rather than a typical Windows monitor, providing better plug-and-play support and compatibility for VR headsets.
Nvidia said that GameWorks VR is already being integrated into leading game engines, such as those from Epic Games, which has announced support for GameWorks VR features in an upcoming version of the popular Unreal Engine 4.3. However, considering Paul’s comments, it mustn’t be getting implemented as much as the firm would like.
VR is becoming increasingly prevalent as device manufacturers try to offer enhanced experiences, especially in gaming. Oculus has been showing off what it can do for some time, and it seems its official debut is not too far away. But it was Oculus that seemed to kick-start this upward trend and, since it hit the headlines, we’ve seen a number of big technology companies giving it a go, especially smartphone makers.
The HTC Vive is one, for example. But, like Oculus, the headset is still in the initial rollout phase and not yet on sale commercially, requiring any developers wanting to have a pop at writing code for it to enter a selection process for distribution, which began only this summer.
Sony, another smartphone maker, has also dipped its toe in the world of VR via Project Morpheus, a headset like HTC’s Vive that looks to enhance gaming experiences, but specifically as an accessory for the PlayStation 4, which we assume won’t come with the concerns Nvidia has as it should work with the console right out of the box.
Epic Games said it is investigating issue with Unreal Engine 4 and AMD CPUs.
The problem appears in Squad which is the first big, publicly available game using Epic Games’ Unreal Engine 4. The game was just stuck up on Steam so complaints about the AMD have been somewhat vocal.
The engine appears to create a poor performance on AMD CPUs due to an audio component of the engine. The issue has been reported before but no one took it that seriously. In fact some of theissues here seem to be a communication problem between Squad and Epic.
Squad developer Offworld Industries told Tweaktown that there was little it could do about this besides wait for Epic to fix it and release the fix in an engine patch.
However Epic’s senior marketing manager Dana Cowley said she didn’t even know about the problem until she was contacted by the media.
She said he was getting on the blower with the Squad team to investigate, and see how it could help.
There is a work around being suggested on the blogs which might help. If you navigate to C:UsersAppDataLocalSquadSavedConfigWindowsNoEditor, back up the Engine.ini file then open it with Notepad, find the [Audio] section, change MaxChannels from 128 to 96, 64, or 32, and save.