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Will Doom VR Be A Successful Game

June 21, 2017 by  
Filed under Gaming

Doom is getting a virtual reality (VR) mode that will up the frights and will probably have you clawing at your face.

You know Doom, everyone knows Doom and people are always trying to play it on things that it was never meant to go on, like cash machines and cars, for example.

Doom was born for VR. The facefirst run and shoot game will lend itself very well to the format, and we can admit to wanting a go on it.

There is a reveal trailer, and Doom VFR certainly looks, smells and bleeds like the Doom we have come to know and love. The trailer is marked as unsuitable for some viewers which if you ask us, makes it sound like a perfect trailer for Doom. It is quite a bloody thing, it is certainly exciting, action-packed and violent.

“If you flinched the first time you saw a meaty Mancubus charging at you in last year’s critically acclaimed Doom, wait till you get up close and even more personal with rampaging demons in Doom VFR,” says Bethesda Softworks. “Doom VFR is a new virtual reality game from legendary developer id Software, coming to PlayStation VR and Vive platforms.”

Bethesda and ID Software, the companies behind Doom, said that VR has opened up fresh opportunities for both them and the games that they are aiming it at.

“Developing a Doom game specifically for virtual reality has provided an exciting opportunity to not only surround players with the world of Doom like never before, but also let them experience and explore the UAC and Hell in new ways, playing as new characters with totally unique tools and abilities,” said Robert Duffy, CTO at id Software.

The game’s director, Marty Stratton, explained that Doom VFR gives the fans what they want. “Since the hallmark of any Doom game is combat, we’ve made it our top priority to ensure moving, shooting and killing demons with overwhelming force in virtual reality is as brutal and rewarding as it is in the Doom experience that fans have been enjoying for the past year.”

Courtesy-TheInq

Will The US Video Game Industry Grow To A 28 Billion Dollar Market

June 16, 2017 by  
Filed under Gaming

According to the 18th PwC Global Entertainment and Media Outlook 2017-2021, which covers a number of major industries (not just games), the total video games revenue in the US is expected to grow at a 6.3% CAGR rate to reach more than $28.5 billion by 2021. The research firm notes that the PC games sector looks a bit rosier than consoles in the next few years in terms of growth. While total PC games revenue in the US is set to grow from $3.7bn in 2016 to $5.0bn in 2021, at a 6.6% CAGR, consoles will only grow at a 2.8% CAGR, hitting $9.4bn in 2021.

Consoles’ slowed growth “can be attributed to the increase in digital full game downloads which is mostly offset by a decline of physical console game sell-through revenue, which is set to drop by a 4.3% CAGR during the forecast period,” PwC noted. At the same time, the PC sector is seeing “healthy growth” in the online/microtransactions department – online PC revenue is expected to climb at a 7.0% CAGR to $4.2bn by 2021. PwC said that much of this can be attributed to the ongoing success of F2P, more subscription services and the rise of eSports. Digital sales on consoles are getting stronger and stronger as well, expected to grow at a 9.8% CAGR to hit $3.7bn by 2021 – but as noted above, the decline in physical is still offsetting much of this growth.

Virtual reality continues to draw lots of attention across the industry, and according to PwC, the segment should grow at an impressive 64% CAGR to reach $5bn by 2021, or roughly 17% of the entire US games business revenue total. The firm estimates that dedicated high-end VR (Rift, Vive, PSVR) should climb to an installed base of 13 million by 2021, while the overall VR headset installed base will reach 68 million. Additionally, “Portable dedicated headsets – a new category of self-contained headset that will emerge from 2017 designed exclusively to render VR experiences – will have an installed base of 5.3mn by 2021 (CAGR of 87.5%) because of their superior capabilities compared to smartphone-based devices, and ease of use,” the firm said.

While games as a technology have been the driver of VR, PwC expects VR content revenues to be driven by non-gaming experiences like VR video, which will “grow at a CAGR of 87.8% to represent 58.3% of overall content spending in 2021. It will surpass interactive experiences and games revenue…in 2019.” PwC remarked that established media like Netflix, HBO and ESPN, would play a big part in driving VR content along with major game publishers; that said, “expect smaller developers like Jaunt to get an increasing share of this content revenue as they act as the technical partners for both the big studios and non-specialist start-ups.”

The other smaller, but quickly growing segment that should boost total industry revenues in the US is, of course, eSports. PwC expects the sector to grow at a 22% CAGR to reach almost $300 million in 2021. Streaming advertising is the lion’s share of that total at $149 million, but sponsorships, voluntary consumer contributions and ticket sales all add to the pie as well.

“The US is the largest market in revenue terms, having overtaken South Korea in 2015, although the latter will stay far ahead in terms of per-capita revenue,” PwC explained. “The development of eSports has grown at a breakneck pace in the US over recent years, receiving perhaps its biggest boost into the mainstream when ESPN began covering major events on both its streaming and regular channels – most notably the August 2015 final of The International, a tournament for Defense of the Ancients 2 (Dota 2). In September 2015 the company even advertised for an eSports general editor, in recognition of the specialist knowledge required to cover the discipline comprehensively.”

Streaming sites are still the dominant medium for eSports viewing, however. Amazon-owned Twitch is said to rank behind Netflix, Google (YouTube) and Apple in terms of peak internet traffic, PwC noted. There’s no doubt that eSports is capturing the attention of major corporations and advertisers. “Companies are moving in swiftly to sponsor both teams and events, with fast-moving consumer goods companies like Coca-Cola, Doritos and Snickers all forging a niche…

“Notably, in September 2016 the NBA’s Philadelphia 76ers bought the long-time franchise Dignitas and Apex, which offers a guaranteed spot in the League of Legends circuit. For the 76ers, the purchase offers an opportunity to diversify into a market that is particularly popular with the protean 18-24-year-old market and get a named presence at eSsports tournaments, while their newly signed-up players can also live-stream and create content under their parent owner’s banner. If the space continues to grow exponentially, sports teams such as the 76ers that become early movers will have the upper hand – as well as a usefully sized stadium for hosting tournaments. Certainly signs are positive here, with the NBA in February 2017 announcing plans to create a new league based around the game NBA 2K.”

Courtesy-GI.biz

Is Grand Theft Auto V The Best Selling Video Game Ever

June 12, 2017 by  
Filed under Gaming

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

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

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

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

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

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

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

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

Courtesy-GI.biz

Square Enix Is Giving IO Interactive The Boot

May 23, 2017 by  
Filed under Gaming

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

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

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

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

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

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

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

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

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

Courtesy-GI.biz

Will Digital Video Game Sales Grow This Year

May 18, 2017 by  
Filed under Gaming

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

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

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

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

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

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

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

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

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

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

Courtesy-GI-biz

Can Big Game Developers Keep Innovation Alive

May 12, 2017 by  
Filed under Gaming

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Courtesy-GI.biz

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

May 4, 2017 by  
Filed under Gaming

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

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

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

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

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

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

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

Courtesy-GI.biz

Blizzard Entertainment Wins Cheating Lawsuit

April 14, 2017 by  
Filed under Gaming

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

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

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

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

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

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

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

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

Courtesy-GI.biz

The Witcher Franchise Goes 25 Million Units

April 12, 2017 by  
Filed under Gaming

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

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

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

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

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

Courtesy-GI.biz

Can Violence In A Game Promote Safety?

March 30, 2017 by  
Filed under Gaming

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Courtesy-GI.biz

Can Microsoft Make Game Pass Profitable?

March 29, 2017 by  
Filed under Gaming

Of all the various innovations we’ve seen in this console generation, it may be the business model changes that have the most lasting impact on the games industry. Though originally introduced in the back half of the previous generation, the notion of giving consumers “free” games on a monthly basis for continuing their subscription to console online services has become a standard part of the model in this hardware generation.

The degree to which this is expected, and to which the perceived quality of each month’s offerings is hotly debated, is a clear signal of how the value relationship between consumers and game software is changing. Now, within the next few months, both Microsoft and Sony will evolve that relationship even further, with services which aim to give consumers access to current-gen game software through a very different transaction model.

Microsoft was first out of the blocks with its announcement, revealing at the end of last month that a large library of software for the Xbox One will be made available for a $9.99 recurring monthly subscription. Sony’s version of the concept is similar in business terms, if dramatically different technologically; it’s going to start adding PS4 titles to PS Now, a game-streaming service which currently offers a huge library of PS3 games for a $20 recurring subscription (or $45 for three months, which gets it a little closer to Microsoft’s pricing).

The goal being pursued by both firms is fairly obvious; paying monthly rather than buying titles outright is the model which has become dominant for both music and video, so it stands to reason that games will follow down the same path, at least to some extent. There’s certainly some appeal to the idea of a “Netflix / Spotify For Games”. From a business perspective, getting $120 (or $180) from consumers in flat monthly fees for games is probably actually a revenue boost if the service is primarily picked up by the kind of consumers who don’t buy a lot of new games – either predominantly buying pre-owned, waiting for titles to hit bargain basement prices, or borrowing games from friends, for example.

On the other hand, there’s an abundance of consumers out there who buy far, far more than the two new games a year that you’d get for that $120 fee – so any of those who stop buying new games in favour of a subscription service will represent a major revenue loss to the industry. Many people will be worried about that possibility, no doubt, but the reality is that there’s plenty of precedent to suggest that a subscription service won’t harm sales of new games.

New titles won’t go directly onto a subscription service; there’ll undoubtedly be a lengthy exclusivity period for people who pay for a physical or digital copy of the game, with titles only appearing for subscribers once their revenue potential in direct sales is already all-but exhausted. Subscription revenue therefore becomes a second bite at the cherry – a way of boosting the industry’s often rather ratty-looking “long tail”.

From a consumer perspective, that’s actually not all that different from the way things are now. If you’re not bothered about playing a game in its first few months on the market, then you’re probably going to end up buying a second-hand copy – or getting it from the bargain bin, or borrowing it from a friend, or perhaps even just waiting for it to pop up on PlayStation Plus at some point.

Game software generally loses value dramatically after the first few months on the market; lots of options exist for picking it up cheap, but decades of experience shows that this doesn’t dissuade fans from buying new games they really care about. Games are a “zeitgeisty” medium; people want to be playing the game everyone else is playing right now (as anyone who’s had to put up with their social media feeds being filled to the brim with Zelda chat while every electronics store in the city remains out of stock of Switch can tell you – not that I’m bitter, of course).

For the industry, however, most of these options aren’t very appealing. Second-hand software sales enrich GameStop, and just about nobody else; there’s an argument that second-hand sales boost new software sales by providing trade-in value, but it’s hard to balance the effects of that against the simple revenue loss game creators suffer from the repeated recycling of second-hand stock through stores that often deliberately push consumers towards used games instead of new ones. Borrowing the game from a friend is arguably preferable to the industry; no money is changing hands at all, so at least potential revenue hasn’t been sucked out by a third party.

Given, then, that we’re already talking about consumers who have a range of options for accessing software which provide no revenue to game creators, something like a Netflix-esque subscription service starts to make a lot of sense. How the revenue works in the back-end will, no doubt, be subject to endless negotiation and dispute, but the point is that at least the revenue exists; games on the service will continue to generate cash for their creators as long as they’re being played, and every cent they receive is a cent they’d never have seen in the currently dominant second-hand models. Moreover, the existence of subscription services could be a net boost for the games industry as a whole; the ability to access a large library of software for an affordable monthly subscription fee is something that will appeal to a lot of consumers, potentially bringing them into the console ecosystem.

If the business case for these services is very clear, however, the question of which technical approach will succeed is rather less so. For now, I think that Microsoft’s model – allowing consumers to download and play locally the software on its subscription service – is comfortably superior to the PS Now streaming system.

Game streaming over the Internet remains a technology that’s arguably ahead of its time; there are question marks over the business case (since the provider needs to pay for racks and racks of hardware which every consumer using the service already possesses in their own home, a duplication of functionality that makes little sense, especially since PS Now recently dropped support for “thin client” platforms like Bravia TVs), but more importantly, a huge number of consumers simply won’t be able to make use of the service because their broadband connections are not up to the standard required for high-quality, real-time gameplay. The demands of real-time game streaming are very different from the demands of watching live streams of video, because you can’t buffer a real-time game stream; when it works, it’s impressive, but the reality is that for a great many consumers it either doesn’t work at all or only works at time when the network isn’t congested.

Given the limitations of PS Now (and I think the dropping of support on Bravia TVs, mobile phones and so on is an ominous sign for the future of the service), Microsoft’s native software approach seems far more likely to be a hit with its consumers – indeed, the company may be hoping to recapture some of the magic of the Xbox 360 era, when its enormous advantage over Sony in online services helped it to maintain a lead over the PS3 for several years.

For Sony’s part, the desire to try to boost PS Now may be its undoing, at least in the short term; but an enhanced version of PS Plus (PS Plus… Plus?) with a library subscription built-in seems like a no-brainer in the medium term. It’s a win-win situation for platform holders and game creators alike. The only really big loser in all of this will be heavily pre-owned reliant retailers like GameStop; if game subscription services truly take off this year, they’ll have to scramble to find a new model before it’s too late.

Courtesy-GI.biz

Can Washington D.C. Become The Center Of eSports?

March 22, 2017 by  
Filed under Gaming

Washington D.C. intends to become the home of eSports in the United States, with a strategy that includes sponsorship of the NRG Esports team and the construction of a $65 million stadium.

The city’s plans, which were revealed to Mashable, will be executed by Events D.C., the District of Columbia’s convention and sports authority. The deal with NRG Esports is among the first instances of a city sponsoring a pro gaming organisation, and Washington D.C. will now have its logo and branding on NRG teams’ uniforms, livestreams and websites.

NRG, which has teams competing in Overwatch, Counter-Strike: GO, Hearthstone and Rocket League, has roots in the world of traditional sports. It was founded by Andy Miller and Mark Mastrov, the co-owners of the NBA’s Sacramento Kings, and counts the basketball player Shaquille O’Neal and the baseball stars Alex Rodriguez and Jimmy Rollins among its investors.

“This is just another prong in our strategic approach to continue to make D.C. a great place to live and work and play,” Events D.C. chairman Max Brown told Mashable, highlighting the number of students attending the city’s many universities.

“There are lots of younger kids who are here and are coming here every year through our universities, so we think it makes a lot of sense for us as a city to plant a flag [for eSports], and ultimately be the capital of eSports like we’re the capital of the United States.”

There are other “prongs” to the city’s strategy, the most notable being the construction of a new stadium. The arena will be used by the WNBA team the Washington Mystics, as well as other events, but it is being built “with eSports in mind.”

“A $65 million 4,200-seat, state-of-the-art arena,” Brown added. “[It will] come online in late-2018, early-2019. Fully tailored and wired for esports.”

Courtesy-GI.biz

Mass Effect: Andromeda PC Specs Revealed

March 6, 2017 by  
Filed under Gaming

EA and Bioware have released official PC system requirements for its upcoming Mass Effect: Andromeda game that has gone gold and will be launching on March 21st.

According to details provided over at EA’s Origin site, those looking to play the new Mass Effect game will need at least an Intel Core i5-3570 or AMD FX-6350 CPU, 8GB of RAM and Nvidia Geforce GTX 660 2GB or AMD Radeon HD 7850 2GB graphics card.

The recommended system requirements rise up to an Intel Core i7-4790 or AMD FX-8350 CPU, 16GB of RAM and either an Nvidia GTX 1060 3GB or AMD RX 480 4GB graphics card.

Both minimum and recommended system requirements include at least 55GB of storage space as well as a 64-bit version of Windows 7, Windows 8.1 or Windows 10 OS.

The official release for the game is set for March 21st in the US and March 23rd in Europe and it will be coming to PC, Playstation 4 and Xbox One. Those with EA Access and Origin Access should get the game five days earlier.

Courtesy-Fud

Is The Xbox Game Pass A Good Move For Microsoft?

March 2, 2017 by  
Filed under Gaming

Microsoft has just made the Xbox One console a bit more interesting by announcing a new subscription service called the Xbox Game Pass, which will give access to over 100 games for US $9.99 a month, when it launches later this spring.

The Microsoft Xbox Game Pass will include over 100 games, like Halo 5: Guardians, Payday 2, NBA 2K16, and SoulCalibur 2. Unlike other similar subscription based services, Xbox Game Pass will allow users to download available games and buy them with a 20 percent discount if they decide to keep the game. This also means that users won’t have to worry about streaming, bandwidth or other connectivity problems.

Add-ons for those games will be available for purchase with the same exclusive discount for Xbox Game Pass members as well.

While it was initially announced as a service that will only be available on Xbox One and Windows 10 devices, the Windows 10 part was later removed from the official Xbox Game Pass site, but it is still possible that it will be coming to the PC later this spring.

Microsoft announced that some big game publishers have already signed on including 2K, 505 Games, Bandai Namco Entertainment, Capcom, Codemasters, Deep Silver, Focus Home Interactive, Sega, SNK Corporation, THQ Nordic GmbH, Warner Bros. Interactive Entertainment and Microsoft Studios.

Currently, the Xbox Game Pass is available in an alpha preview stage with a limited number of games so we are certainly looking forward to what it will look like when it launches this spring.

Courtesy-Fud

Why Are The NPD Games Sales Kept Private?

February 22, 2017 by  
Filed under Gaming

When I first began my career in the games industry I wrote a story about an impending digital download chart.

It was February 2008 and Dorian Bloch – who was leader of UK physical games data business Chart-Track at the time – vowed to have a download Top 50 by Christmas.

It wasn’t for want of trying. Digital retailers, including Steam, refused to share the figures and insisted it was down to the individual publishers and developers to do the sharing (in contrast to the retail space, where the stores are the ones that do the sharing). This led to an initiative in the UK where trade body UKIE began using its relationships with publishers to pull together a chart. However, after some initial success, the project ultimately fell away once the sheer scale of the work involved became apparent.

Last year in the US, NPD managed to get a similar project going and is thus far the only public chart that combines physical and digital data from accurate sources. However, although many big publishers are contributing to the figures, there remains some notable absentees and a lack of smaller developers and publishers.

In Europe, ISFE is just ramping up its own project and has even began trialling charts in some territories (behind closed doors), however, it currently lacks the physical retail data in most major markets. This overall lack of information has seen a rise in the number of firms trying to plug the hole in our digital data knowledge. Steam Spy uses a Web API to gather data from Steam user profiles to track download numbers – a job it does fairly accurately (albeit not all of the time).

SuperData takes point-of-sale and transaction information from payment service providers, plus some publishers and developers, which means it can track actual spend. It’s strong on console, but again, it’s not 100% accurate. The mobile space has a strong player in App Annie collecting data, although developers in the space find the cost of accessing this information high.

It feels unusual to be having this conversation in 2017. In a market that is now predominantly digital, the fact we have no accurate way of measuring our industry seems absurd. Film has almost daily updates of box office takings, the music market even tracks streams and radio plays… we don’t even know how many people downloaded Overwatch, or where Stardew Valley would have charted. So what is taking so long?

“It took a tremendous amount of time and effort from both the publisher and NPD sides to make digital sales data begin to flow,” says Mat Piscatella, NPD’s US games industry analyst. NPD’s monthly digital chart is the furthest the industry has come to accurate market data in the download space.

“It certainly wasn’t like flipping a switch. Entirely new processes were necessary on both sides – publishers and within NPD. New ways of thinking about sales data had to be derived. And at the publishers, efforts had to be made to identify the investments that would be required in order to participate. And of course, most crucially, getting those investments approved. We all had to learn together, publishers, NPD, EEDAR and others, in ways that met the wants and needs of everyone participating.

“Over time, most of the largest third-party publishers joined the digital panel. It has been a remarkable series of events that have gotten us to where we are today. It hasn’t always been smooth; and keep in mind, at the time the digital initiative began, digital sales were often a very small piece of the business, and one that was often not being actively managed. Back then, publishers may have been letting someone in a first-party operation, or brand marketing role post the box art to the game on the Sony, Microsoft and Steam storefronts, and that would be that. Pricing wouldn’t be actively managed, sales might be looked at every month or quarter, but this information certainly was not being looked at like packaged sales were. The digital business was a smaller, incremental piece of the pie then. Now, of course, that’s certainly changed, and continues to change.”

“For one, the majors are publicly traded firms, which means that any shared data presents a financial liability. Across the board the big publishers have historically sought to protect the sanctity of their internal operations because of the long development cycles and high capital risks involved in AAA game publishing. But, to be honest, it’s only been a few years that especially legacy publishers have started to aggregate and apply digital data, which means that their internal reporting still tends to be relatively underdeveloped. Many of them are only now building the necessary teams and infrastructure around business intelligence.”

Indeed, both SuperData and NPD believe that progress – as slow as it may be – has been happening. And although some publishers are still holding out or refusing to get involved, that resolve is weakening over time.   “For us, it’s about proving the value of participation to those publishers that are choosing not to participate at this time,” Piscatella says. “And that can be a challenge for a few reasons. First, some publishers may believe that the data available today is not directly actionable or meaningful to its business. The publisher may offer products that have dominant share in a particular niche, for example, which competitive data as it stands today would not help them improve.

“Second, some publishers may believe that they have some ‘secret sauce’ that sharing digital sales data would expose, and they don’t want to lose that perceived competitive advantage. Third, resources are almost always stretched thin, requiring prioritisation of business initiatives. For the most part, publishers have not expanded their sales planning departments to keep pace with all of the overwhelming amount of new information and data sources that are now available. There simply may not be the people power to effectively participate, forcing some publishers to pass on participating, at least for now.

“So I would certainly not classify this situation as companies ‘holding out’ as you say. It’s that some companies have not yet been convinced that sharing such information is beneficial enough to overcome the business challenges involved. Conceptually, the sharing of such information seems very easy. In reality, participating in an initiative like this takes time, money, energy and trust. I’m encouraged and very happy so much progress has been made with participating publishers, and a tremendous amount of energy is being applied to prove that value to those publishers that are currently not participating.”

NPD’s achievements is significant because it has managed to convince a good number of bigger publishers, and those with particularly successful IP, to share figures. And this has long been seen as a stumbling block, because for those companies performing particularly well, the urge to share data is reduced. I’ve heard countless comments from sales directors who have said that ‘sharing download numbers would just encourage more competitors to try what we’re doing.’ It’s why van Dreunen has noted that “as soon as game companies start to do well, they cease the sharing of their data.”

Indeed, it is often fledgling companies, and indie studios, that need this data more than most. It’s part of the reason behind the rise of Steam Spy, which prides itself on helping smaller outfits.

“I’ve heard many stories about indie teams getting financed because they managed to present market research based on Steam Spy data,” boasts Sergey Galyonkin, the man behind Steam Spy. “Just this week I talked to a team that got funded by Medienboard Berlin-Brandenburg based on this. Before Steam Spy it was harder to do a proper market research for people like them.

“Big players know these numbers already and would gain nothing from sharing them with everyone else. Small developers have no access to paid research to publish anything.

“Overall I’d say Steam Spy helped to move the discussion into a more data-based realm and that’s a good thing in my opinion.”

The games industry may be behaving in an unusually backwards capacity when it comes to sharing its digital data, but there are signs of a growing willingness to be more open. A combination of trade body and media pressure has convinced some larger publishers to give it a go. Furthermore, publishers are starting to feel obligated to share figures anyway, especially when the likes of SuperData and Steam Spy are putting out information whether they want them to or not.

Indeed, although the chart Dorian promised me 9 years ago is still AWOL, there are at least some figures out there today that gives us a sense of how things are performing.

“When we first started SuperData six years ago there was exactly zero digital data available,” van Dreunen notes. “Today we track the monthly spending of 78 million digital gamers across platforms, in spite of heavy competition and the reluctance from publishers to share. Creating transparency around digital data is merely a matter of market maturity and executive leadership, and many of our customers and partners have started to realize that.”

He continues: The current inertia comes from middle management that fears new revenue models and industry changes. So we are trying to overcome a mindset rather than a data problem. It is a slow process of winning the confidence and trust of key players, one-at-a-time. We’ve managed to broker partnerships with key industry associations, partner with firms like GfK in Europe and Kadokawa Dwange in Japan, to offer a complete market picture, and win the trust with big publishers. As we all move into the next era of interactive entertainment, the need for market information will only increase, and those that have shown themselves willing to collaborate and take a chance are simply better prepared for the future.”

NPD’s Piscatella concludes: “The one thing I’m most proud of, and impressed by, is the willingness of the participating publishers in our panel to work through issues as they’ve come up. We have a dedicated, positive group of companies working together to get this information flowing. Moving forward, it’s all about helping those publishers that aren’t participating understand how they can benefit through the sharing of digital consumer sales information, and in making that decision to say “yes” as easy as possible.

“Digital selling channels are growing quickly. Digital sales are becoming a bigger piece of the pie across the traditional gaming market. I fully expect participation from the publishing community to continue to grow.”

Courtesy-GI.biz

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