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WWW.GAMEDEVELOPER.COMWhat Blizzard is doing to make sure World of Warcraft never gets oldHow is World of Warcraft still going?In an age where online multiplayer games rise and fall sometime in the same year, it's a worthy question to ask. Its legions of beloved fans stick around even though its core gameplay hasn't changed much since 2004 (though it has been repeatedly overhauled and improved). Players pick a race, class, and gender, then set out into the world to complete quests, raid dungeons, and fight other players using unique spells and abilities.What once pressed against the technical limits of online play is now quaint in an age of battle royales and co-op basebuilding games. And yet, it persists. And not merely persistsmillions of players still log in regularly to raid dungeons, bringing in extraordinary cash for the studio and its new parent company Microsoft.This Saturday, the venerated MMORPG officially turns 20. At Gamescom 2024, we asked production director Michael Bybee and game producer George Velev about the game's long-lasting appealand what its current stewards are doing to make sure it never goes away.World of Warcraft players want a reason to log in every dayThe team at Blizzard is fully aware it doesn't take much to drag someone away from World of Warcraft. "We're ultimately competing for everyone's attention and we compete with everything, including things like Netflix," Bybee said. "If we're not giving you something interesting or engaging to do, [players] are gonna go somewhere else."Related:That was a problem Blizzard ran into with the expansion Shadowlands, which released to positive reviews but soon saw a drop-off in players. (It didn't help that the critically acclaimed MMORPG Final Fantasy XIV, a dark horse competitor to World of Warcraft, was enjoying great word-of-mouth marketing).Beginning with the next expansion Dragonflight, Blizzard began releasing content at what Bybee referred to as a "faster pace." Around this time, the company began shifting its production structure to support two expansion teams and one "live service" team. The company had always worked several expansions ahead, but the hope now was that Blizzard could plan expansions in a way that let them tease players about future content sooner and adjust that content based on player reception.Image via Blizzard Entertainment/Microsoft.Enter this year's expansion, The War Within. In it, Blizzard introduced a new idea for World of Warcraft, which is the idea of a story arc that will play out over multiple annual releases. The first one is called "The Worldsoul Saga," and its announcement came with the names of the next two expansions: Midnight and The Last Titan. "Our goal was to make sure that players always felt like there was something right around the corner," said Bybee. Creating expansions that end with a metaphorical "next time on World of Warcraft..." definitely tees up the game's future direction more than the climactic finales of Shadowlands or Legion.Related:But altering the structure of expansions wasn't Blizzard's only pivot point. Velev explained that beginning with a revamp of the talent system in Dragonflight, the studio began designing new "evergreen" features to be introduced in expansions that could be kept fresh with the help of the live service team. Another example would be the "Delves" of The War Withindungeons that can be run quickly on a daily basis solo or with up to four friends.That's a shift from the strategy found in previous expansions, whose big showcase centerpieces would be large raids meant to be run repeatedly by large groups of players. These expansions catered to players who wanted to run said encounters again and againbut Blizzard started getting the message this wasn't appealing to all of its subscribers. Raids are still a high priority for Blizzard, but players will now have endgame options that don't demand they and their friends all be available at the exact same time.Related:Delves also allow casual players to see story narrative cinematics that used only appear after completing high-difficulty dungeonsa boon for the broader World of Warcraft playerbase. So far it's been enough to keep them coming back over, and over, and over again...Repetition is fun with friendsDevelopers on games like World of Warcraft face a constant challenge: how exactly do you make sure content that's meant to be repeated on a daily or weekly basis doesn't become a boring grind?The idea of re-running dungeons over and over again in MMORPGs sounds "dull on paper," Velev admitted, but it's been Blizzard's goal to provide variance in those features so they do not feel like the exact same encounter every time (one such tool is the decade-old "Mythic" dungeon system, which lets players tweak the difficulty of encounters before entering). But Bybee said it's the game's status as a social hub that's made these encounters stand the test of time.Velev pointed out that there are player-led challenges like the "world first" competition, where groups assemble to be the first (or second, or third) to defeat a new dungeon on their server. External sites that connect with the World of Warcraft API track player stats for PvE and PvP competitions, and it goes on from there with streamers, player-written guides, etc.Of course those elements are common to many online games. Bybee pointed out that World of Warcraft, unlike many other games, is one that's been a hub for friend groups, some who've been at it for the last two decades. "You're doing it with your friendsthat's the kicker, is that you're doing it with other people [you know]," he said.It's definitely something worth thinking about in an era of struggling online games. If your friends are wedded to one game, even if it's not as slick or fresh as a brand-new title, why would you want to leave them behind?The pair declined to tell Game Developer if any plans for an Xbox version of World of Warcraft were in the works ("there's nothing new to announce about that," said Bybee). For now, it's just about focusing on "the community [they] have" and all the guilds, friend groups, high school pals, and families still playing together as the game enters its second decade.0 Comentários 0 Compartilhamentos 2 VisualizaçõesFaça o login para curtir, compartilhar e comentar!
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WWW.GAMEDEVELOPER.COMStalker 2 has sold 1 million copies in two daysChris Kerr, News EditorNovember 22, 20242 Min ReadImage via GSC Game WorldAt a Glance..."The Heart of Chornobyl emanates stronger with each of us," said the Ukrainian studio. "Thank you, Stalkers."Stalker 2: Heart of Chornobyl has sold one million copies worldwide. Developer GSC Game World shared the news on X and said more players have downloaded the title through Xbox Game Pass."This is just the start of our unforgettable adventure. The Heart of Chornobyl emanates stronger with each of us," said the Ukrainian studio. "Thank you, Stalkers."The survival shooter has received mixed reviews, with some critics heaping praise on the title despite obvious performance issues and others taking issue with the array of bugs.GCS Game World acknowledged those "rough edges" in a a statement issued earlier this week, but emphasized it has never released a title of this scale before and is determined to roll out fixes."We're absolutely committed to being here, monitoring your feedback, and quickly fixing any issues that need our attention," reads the post. "In the first days after release, we'll be working with hot fixes, rolling them out as precisely as possible, but as frequently as we can. Then, we'll switch to larger updates that include constant improvements."Stalker 2 was developed in a war zoneIt should't be forgotten that bringing Stalker 2 to market was an achievement in itself. GSC Game World has been developing the title in a war zone amid Russia's ongoing invasion of Ukraine. In 2022, the company expressed defiance after Russia began its assault on the country."As of today, the Russian Federation has officially declared war on Ukraine. Our country woke up with the sounds of explosions and weapons fire, but is ready to defend its freedom and independence, for it remains strong and ready for anything," said the studio at the time."The future is unknown, but we hope for the best, are ever sure of our armed forces and our belief in Ukraine. We thus address all of our colleagues in the gaming industry. Players, bloggers, or anybody else who sees this post in their newsfeed: share this, do not stand aside, and help those in need."Read more about:Top StoriesAbout the AuthorChris KerrNews Editor, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, andPocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 2 Visualizações
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WWW.GAMEDEVELOPER.COMHow wall running and high-speed movement works in Project: HasteHowdy! My name is Connor Roberts, the programmer for Project: Haste, an online first-person arena shooter made in Unity. Today I would like to run you through how I implemented the high-speed movement for our project.Project: Haste is an arena shooter game where players chain together movement techniques to outmaneuver their opponents. Our main goal with this game was to give players ultimate control over their positioning and maneuverability. The movement system is the basis for the game, especially as the game expands from a student project at Vancouver Film School to a Unity Awards 2024 Nominee, and finally into a full-scale live-ops release where this movement will be the bread and butter of the player experience.It starts with the designAs a team, we knew immediately when starting pre-production for Project: Haste that we wanted the basis of our game to be a satisfying movement system. I began prototyping based solely on intuition because I wanted to test movement out before we had a concrete design - this let us understand what we wanted before we sat down at the whiteboard.This ended up being one of our greatest strengths, as I had unknowingly created the foundational system for the game; it was complete with wall-running, slides, double jumps, and a dash.For some time we considered basing the game around grappling hooks or rocket jumping, but came to the conclusion that the dash ability solved those problems for us.I developed this movement to have a lot of tunability so the rest of the team could easily work with it. I also made sure to use scriptable objects and remote config to allow for the teams designers Trex Hossain and Sergio Lisuardi to tune our movement while they ran hundreds of playtests for our movement as the project matured.InspirationProject: Haste had many core inspirations, such as Quake and Titanfall 2, but before we had fully studied these titles or even had the full concept for the game, the movement was largely complete - at least technically.Its hard for me to personally say where I drew inspiration during the early movement prototyping, even to the end of production. Not to say I didnt study similar games, but the movement system became so core to our project that there wasnt much time to study movement in other games.With this in mind, I think it would be a good idea to move on to how the movement actually works, which is made up of our:Custom PhysicsCamera and Screen Space EffectsAnimation FeedbackAs Project: Haste evolved, these layers made our movement go from good to addicting.Custom physicsAt the core of our movement is my disdain for using built-in physics in game engines. I dont know what it is, but Id rather program it all so I can provide maximum tunability for the design team, or just for myself.To make the physics easier on myself, I used a state machine to divide every movement states physics into individual closed systems with input and output parameters. With each closed system created, the state machine allowed for the inputs and outputs of these systems to feed into each other to create a predictable, tuneable, and fluid movement system.For example, our wall run has an input of the players current speed and a gravity input. This speed is simply the value in meters per second, and the gravity is fed in as a tuned gravity specific to wall running. These are then used in conjunction with some collision-vector shenanigans to let you run along curved surfaces in Project: Haste.This then outputs a velocity value to the player, which can later be used as an input for any other movement state.Even though the main movement mechanics are our Wall Run, Slide, and Double Jump, we also had movement mechanics that were hidden from the player such as our slide jumping, our double jumps forward boost, or our mental ability used for affordance at ledges. Each of these had its own closed physics systems which fed together to allow the player to traverse our levels with additive speed.Camera and screen space effectsNow with all of our movement pieces connected together, we needed to make the player feel fast. We used a bunch of tricks here to make the player feel in tune with the movement of the player, such as FOV changes mapped to the change in velocity of the player, dash lines that scale based on player speed, and changing color depending on the current movement ability. We basically wanted to make the game feel satisfying in every movement that you do, really scratching the fast-paced itch all of our brains were craving.In addition to these tricks, we also rotate the camera depending on the players turn speed, which made us feel really in tune with the way we were moving. We also do this with the wall run -and all of our jumps for that matter- to tilt the player away from the surface they are on, which really sold those movement abilities for us and made it feel like you were impacting the surfaces of the game world.Finally, we had some other screen space effects. Project: Haste is very stylized, so we wanted to add some feedback to our movement in a more stylized fashion. I created a halftone shader that we used around our project with various masks to create effects like screen transitions, and we realized we could use custom-designed masks to make different halftone shapes. We ended up using this on the edges of our screen to create feedback directly for wall running, sliding, double jumping, and even when you are using boost pads and jump pads. Matching the colors with the dash lines made everything feel very cohesive and fast.Animation feedbackI cant write this section without mentioning our teams artists Chevi Hernandez and Jose Andres Lopez. Chevi really worked wonders on all of our character animations, along with weapon models and animations done by Jose, which became a key indicator for our players in order to maintain understanding during the high-octane gameplay found while players duke it out in the Haste League.We ultimately had many layers of animation present, including a unique animation for each directional input for each movement ability- this was used to ensure players fully understand their movements as they make them, and gives a point of reference for what a movement action is going to do to your direction in gameplay.Mixing these animations with SFX and music from our composer and SFX designer Declan Johnston means that players have all the tools in their tool belt in order to fully understand what is happening with their own character, as well as their surroundings in a match.Final takeawayId like to highlight how making a game within a short time frame really does take a village. Project: Haste was only in development for four months, which looking back is incredibly short. It is thanks to my amazing team that I am fortunate enough to even be writing about our project, let alone programming away and getting it prepared for a full scale release. I feel truly lucky. Our process was very interesting; by the book in some ways, and very much not for others. The communication and cohesive vision of this team allowed for something pivotal to our gameplay, our movement, to be proved out and iterated on from week one of pre-production, needing few revisions as the game matured. Being the programmer for the team allowed me to focus in and get a mind map of how the game was going to function in its entirety, and that really started with that one clear goal of having precise and responsive fast-paced movement. I have loved watching that mind map transform into a game that I can see with the help of my team, it truly has been the most rewarding experience.The Project: Haste team and myself really hope you have enjoyed reading this! If you would like more information about our upcoming release of Haste or the development of Project: Haste, feel free to contact us at [emailprotected]Or if you are interested in Vancouver Film Schools Game Design program where this all started, click here.0 Comentários 0 Compartilhamentos 1 Visualizações
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WWW.GAMEDEVELOPER.COMShenmue 3's publishing rights switch over to Inin GamesEarlier this week, publishing rights for Shenmue 3 were transferred to Inin Games.Both Inin and Ys Net confirmed the news on November 19, saying this "deepened the relationship" between the two companies. Deep Silver first committed to publishing the crowdfunded action-adventure game in 2017, and it launched two years later on PlayStation 4 and PC.Ys and Inin previously teamed on 2023's Air Twister, and the collaboration marks the "next phase" of Shenmue 3's lifecycle. In the statement, they said the partnership "marks the beginning of a new chapter. Inin will be working closely alongside Ys Net to honor the series' legacy while ensuring its accessibility to even more fans around the world."The original Shenmue games released respectively in 1999 and 2001 for the Sega Dreamcast, and were acclaimed for their soundtracks and the ambition of Sega AM2 and director (and producer and writer) Yu Suzuki. In many ways, they were the blueprint for what Ryu Ga Gatoku would do with its own Like a Dragon (ne Yakuza) series: players get embroiled in the criminal underworld, freely explore recreations of real-world cities from Japan and China, and fight enemies using brawler mechanics.Oh, and minigames. Many minigames.Shenmue 3's long journeyIn 2015, Suzuki formally announced Shenmue 3 was in development, and called on the series' fanbase to put their money toward its development. By the end of its Kickstarter period in September 2018, it made $7.18 million, breaking several records on the website in the process.In 2020, Lars Wingefors, CEO of Deep Silver's parent company Embracer, remarked that Shenmue 3 ultimately did "fine" commercially, but was not expected to be a "mass market game." Both Shenmue 3 and Air Twister are Ys Net's only games. At time of writing, we don't know if this will lead to wholly new Shenmue or a port for current-gen platforms. Shenmue 3 was an Epic Games Store exclusive on PC, and at time of writing, has yet to release on Steam.However, Inin teased more information would be revealed "soon enough. So if you're interested, watch this space!"0 Comentários 0 Compartilhamentos 1 Visualizações
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WWW.GAMEDEVELOPER.COMBandai Namco dissolving online studio after Blue Protocol's collapseOn April 1, 2025, Bandai Namco will dissolve and absorb Bandai Namco Online (BNO), its subsidiary studio focused on online games.Bandai Namco Online was established in 2009 with the express goal of developing MMO titles based on the company's properties for PC and consoles. Over the years, the developer released titles such as Dragon Ball Z: X KeeperZ, Gundam Evolution, and the Amazon Games-backed Blue Protocol.In its translated post, Bandai Namco explained it was absorbing BNO due to "recent changes in the environment surrounding the game business, and with the aim of strengthening the business management system of the entire digital business." Gundam Evolution shut down just a year after its 2022 release, and Blue Protocol was scrapped this past August.Before Blue Protocol's closure, BNO was facing insolvency, in part said to be owed to ballooning development costs. The game itself was only playable in Japan before its end, and Amazon was to handle its wider global release for PC, PlayStation 5, and Xbox Series X|S as part of its continued MMO focus alongside its internally made New World.According to its parent company, Bandai Namco Online's current titles, such as Gundam Tryve and Idolish 7, will be run by Bandai Namco proper after the absorption is complete. Even with losing one of its studios, Bandai Namco said it still aims at "providing high-quality content and diverse entertainment that can be played for a long time."0 Comentários 0 Compartilhamentos 30 Visualizações
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WWW.GAMEDEVELOPER.COMValve sets new guidelines for devs selling season passes on SteamJustin Carter, Contributing EditorNovember 21, 20242 Min ReadImage via Valve.At a GlanceDevelopers are now required to be more transparent about what's in a season pass and when its content is ready for players.New rules have been established for developers using Steam to sell their games' season passes. In its posting, Valve put studios on the hook for delaying post-launch content, and said offering a season pass is "promising future content. You will be asked to commit to a launch timing for each content release in the Season Pass, [which is] is a commitment to both players and Steam.""If you aren't ready to clearly communicate about the content included in each DLC and when it will be ready for launch," it continued, "you shouldn't offer a Season Pass."These changes only pertain to season passes specifically: in its FAQ, Valve explained how a battle pass can be "similar, but different: an in-game character or skin is already predetermined and become unlockable at specific gameplay milestones, usually depending on a player's pace. In this instance, Valve defines a season pass as developers choosing "when the content is released to [players], and that release is not based on gameplay milestones."So, an Apex Legends or Diablo IV battle pass is exempt from this, but a season pass for Borderlands 3? That needs to play by Valve's rules.As part of the new guidelines, season pass listings must now include a complete list of what will be bundled in, a basic description of each DLC, and the expected release date for each piece of content. Whether the date is specific or somewhat vague ("Winter 2025" or "January 2025," for example), Valve said the listing must have some kind of windowand in the event of a delay, developers can push back the season pass date by up to three months, but only that one time.Valve warned that if the release date has been missed, and it was not directly contacted about a delay longer than three months beforehand, it will delist the season pass from Steam and refund players for that specific DLC or the entire pass. Refunds will also be conducted if a DLC within that season pass ends up canceled.Additionally, season passes for already-released games must have at least one DLC that is already out when it's made available for purchase. Exceptions are made in the case of pre-ordering a game's deluxe edition.More information on Steam's new season pass rules, including how to set up a season pass on the storefront, can be read here.Read more about:ValveAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 29 Visualizações
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WWW.GAMEDEVELOPER.COMNiantic's new AI model may have been built by unaware Pokmon Go playersJustin Carter, Contributing EditorNovember 20, 20243 Min ReadImage via Niantic.At a GlanceThe AR dev has spent half a decade using its games and positioning tech to build a 'detailed understanding' of the planet.Niantic recently announced a Large Geospatial Model (LGM), which uses machine learning to "understand a scene and connect it to millions of other scenes globally." But according to 404 Media, the LGM was possibly made by conscripting unaware players into doing the studio's work for years through games like Pokmon Go.In its blog, Niantic expressed hope the LGM would "implement a shared understanding of geographic locations, and comprehending places yet to be fully scanned." It's built on the studio's Visual Positioning System (VPS), which lets players "position themselves in the world with centimeter-level accuracy" and see or place digital content in their exact location, even after they've left.Both Pokmon Go and Ingress are augmented reality (AR) titles, and collect geolocated images as players explore locations to find Pokmon or player-made art. By Niantic's admission, its VPS has over 10 million locations scanned globally from the past five years, and "receive[s] about 1 million fresh scans each week," which are collected from its gamesone of which has been quite popular for nearly a decade, meaning players may have unknowingly participated in helping build its LGM.Similar to a Large Language Model (LLM), Niantic's model scrapes data from real-world locations, and it hopes to use the technology to "enable computers not only to perceive and understand physical spaces, but also to interact with them in new ways." And what makes its data more substantial than something like Google Maps or Street is the point of view: as Niantic notes, the data is "taken from a pedestrian perspective and includes places inaccessible to cars."As of July 15, 2024, Niantic's privacy policy confirms it uses geospatial technology and player recordings to "build a 3D understanding of real-world places, with the goal of offering new types of AR experiences to our users." The feature is opt-in and can be disabled by players at any time, but appears to be a "critical component" of Niantic's goals for AR and its model."The path from LLMs to LGMs is another step in AIs evolution," its blog concluded. "The worlds future operating system will depend on the blending of physical and digital realities to create a system for spatial computing that will put people at the center."The games industry wants to go in on genAI, for better or worseCompanies like NVIDIA and OpenAI have previously come under criticism for using what or whoever they could to build their AI technology. In August, 404 published a report claiming NVIDIA did extensive scraping of copywritten material across YouTube for its AI tools, and would reportedly dismiss concerns about the practice or say it was "in full compliance with the letter and spirit of copyright law."Breaching consent has been a major point of criticism regarding generative AI and similar technology for some time: voice actors have talked about how their voices have been used by modders making content for popular games, and expressed similar worry that audio companies are forcing them into letting their performances be used to train AI models.Some developers have used genAI tech in non-voice acting ways as a means of lightening the development load and finding new fixes to old problems. But top-level executives think the technology can also be put toward concepting new game ideas or other creative means.Game Developer has reached to Niantic for clarification on how its geospacial data was obtained, and the transparency of that data's use. We will update when a response is given.Read more about:Generative AIAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 43 Visualizações
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WWW.GAMEDEVELOPER.COMSquare Enix and Lightspeed team up to bring Final Fantasy XIV to phonesJustin Carter, Contributing EditorNovember 20, 20242 Min ReadImage via Square Enix.At a GlancePublishers are bringing their biggest games to phones, and Final Fantasy XIV is the newest title to join the mobile market.Final Fantasy XIV is expanding to phones, courtesy of Lightspeed Studios and key developers, including director and producer Naoki Yoshida.Square Enix's hit free-to-play MMO is coming to mobile devices, building on the game's arrival on Xbox Series X|S earlier this year. As with the console version, phone players will take on the role of a Warrior of Light and interact with others while going through Final Fantasy XIV's core and post-launch stories.Yoshida described the new version as "a sister to FFXIV, aiming to recreate the grandeur of the original's story and combat mechanics" for a new audience. Square Enix has previously ported over several mainline and spinoff Final Fantasy entries to phones, sometimes with concessions to the titles' graphics or gameplay.The game will release in China first through playtests, then have a global launch "soon after." At time of writing, it is unclear if the two versions of Final Fantasy XIV will feature any type of cross-save or cross-play.Big games on mobile screensIn recent years, major console and PC franchises have made their way to phones to draw in more players and revenue. Just last year, Call of Duty released a new mobile version of its popular battle royale Warzone, and Ubisoft is aiming to do the same with Tom Clancy series Rainbow Six and The Division.Fellow live-service games Warframe and Destiny 2 have or will soon follow suit. In the latter's case, its mobile title Destiny: Rising will be a spinoff of the series rather than a simple port.However, not all big games are built for the phones: last year, EA killed the mobile version of Apex Legends and another in development for its Battlefield shooter series. Similarly, iPhone ports for Capcom's 2023 remake of Resident Evil 4 and Ubisoft's Assassin's Creed Mirage reportedly failed to find much of an audience when they launched over the summer.Read more about:Square EnixAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 30 Visualizações
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WWW.GAMEDEVELOPER.COMXsolla establishes Asia-Pacific HQ in Busan to grow another global dev hubJustin Carter, Contributing EditorNovember 20, 20241 Min ReadImage via Xsolla.At a GlanceXsolla will work toward making Busan into a "global hub for game development and technological innovation."Xsolla has entered another "strategic agreement," this time with the government of Busan. The game commerce firm has teamed with the Busan Metropolitan City (BMC) and Busan Digital Asset Nexus (BDAN) with the aim of building an Asian-Pacific (APAC) headquarters in the South Korean city.As part of the agreement, Xsolla will work toward making Busan into a "global hub for game development and technological innovation." This marks the company's newest international partnership in 2024, as it's previously teamed with the governments of Uzbekistan and Saudi Arabia to build game development academies.Busan will have a similar "cutting-edge talent development center" to provide creators with mentorship, resources, and funding opportunities. Xsolla and BDAN also intend to focus on "exploring advancements in Web3 technologies to drive regional economic and digital growth.""This partnership is a testament to Busans incredible potential as a center for games and technology," said Xsolla's global strategic partnerships VP Rytis Joseph Jan. "By collaborating with BDAN and Busan City, we aim to create opportunities for local talent and businesses while contributing to the economic and technological growth of the region."No schedule listed for BusanInterestingly, Xsolla's Busan plans do not appear to have a timetable for turning the city into a prominent game development hub. For both Uzbekistan and Saudi Arabia, the commerce company explicitly stated it wanted those countries' development academies to create new jobs or be a prospective location for the larger game industry by 2030.Still, this deal with Xsolla is said to "demonstrate Busans potential to become a global leader in the gaming and digital industries," according to mayor Park Hyung-Joon. "We look forward to collaborating with Xsolla and BDAN to strengthen our citys digital competitiveness and foster new economic opportunities."About the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 29 Visualizações
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WWW.GAMEDEVELOPER.COMAFK Journey and Clash of Clans lead Google Play's top games of 2024Farlight's AFK Journey just released on iOS and Android last month, and it's already been crowned Google Play's best game of 2024.In celebrating the best apps and games to grace the storefront this year, Google commended the mobile-RPG for its "expansive roster of characters and satisfying tactical battle system. [...] Its vast explorable world and beautiful art style also helps it stand apart from its peers." According to its store listing, the game has over 5 million downloads on Google Plays since its launch."AFK Journey blew us away within its opening minutes, showcasing exceptional visuals and a fantasy world packed with satisfying things to explore," Google continued. "The choice for Best Game of 2024 was obvious: We just couldnt get enough of [it].Meanwhile, Supercell's Clash of Clans took the win for best multi-device game. Earlier this year, the free-to-play title released on PCs and Chromebooks, becoming "optimized across everywhere you play, however you want to play. [It] may have been around for over a decade," said Google, "but this year, it went even bigger."Fellow games to receive "Best of" awards this year include Squad Busters ("Best Multiplayer"), Yes, Your Grace (Best Indie), Solo Leveling: Arise (Best Story), and Honkai: Star Rail (Best Ongoing). Last year, Honkai took home Google Play's Best 2023 Game, preceded by Apex Legends Mobile in 2022.Changes afoot for the Google Play StoreGoogle also used the 2024 awards to tout its changes to the Google Play Store throughout the year. Along with updating its discoverability features and "ensuring timely content delivery," it worked to "better support the developers who power the platform. We look forward to seeing how developers and publishers continue to help people discover new apps, games and bookswherever they are, on whatever device."The full list of Google Play's best games and apps for 2024 can be read here.0 Comentários 0 Compartilhamentos 41 Visualizações
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WWW.GAMEDEVELOPER.COMRemedy claims self-publishing model will help it 'think more commercially'Chris Kerr, News EditorNovember 19, 20243 Min ReadImage via RemedyAt a GlanceRemedy is going all-in on self-publishing but claims the approach will require a change in mindset.Alan Wake and Control developer Remedy claims self-publishing will drive the studio create games for a wider audience.Outlining the company's five-year strategy during a Capital Markets Day presentation, Remedy CFO Santtu Kallionp said ditching the publisher-funded model isn't just about securing a bigger chunk of revenue, but rather changing how Remedy approaches development."With the publisher funded model, the way Remedy has approached building our game concepts and business cases can be explained in the following way. [...] It starts by Remedy creating a captivating creative pitch and game concept, which includes a budget ask," said Kallionp."Then we would have taken that out and sold it to a potential publisher. Once a publisher has bought the concept it is the publisher's responsibility to try and position [the title] and try to find a big enough audience for that game. Often publishers, especially if they are platform holders, have strategic platform interest, making them more willing to take risks on creative projects with unknown commercial upsides."Kallionp explained that with its previous titles, especially projects funded by publishers, Remedy didn't prioritize building a game with a huge target audience in mind. Instead, the company was more focused on creating a compelling concept that would attract interest (and investment) from prospective partners.That's going to change. Now that Remedy intends to fund development and self-publish its titles (with help from select partners like Annapurna Pictures and Tencent), Kallionp said the company will need to be "more strategic" when thinking about that intended audience. He explained the studio will need to understand from the get-go whether a concept will be capable of attracting a large playerbase, because it's now Remedy's "sole responsibility" to ensure its projects become commercially viable.Remedy expects entire organization to buy into new publishing modelKallionp said Remedy's approach to self-publishing is shaped by three guiding principles. Firstly, the Finnish studio wants to build a "focused internal team" that owns the critical publishing areas and can achieve operational scale and global reach by working with key partners.Secondly, he emphasized that Remedy will only publish its own gameslargely because it wants "publishing to be closely integrated with our development teams throughout the life cycle of our games." Finally, he said everyone involved with production must understand "how we are publishing our games [and] how we are marketing out games," because all employees are driving towards the same end goal.Kallionp noted that Remedy is still expanding its self-publishing team, which is split into six key units each with their own leader, and hopes to grow the division to just over 20 people. If the company can realize its vision, Kallionp believes Remedy will deliver lucrative hits and nurture expansive player communities."By publishing our games ourselves, we get to build closer integrations between game development and publishing to help align our games with a large enough target audience. We will also get closer closer to our players, as we are responsible for making the key decisions regarding updates and fixes based on player feedback and analytics," he added."And finally, self-publishing will push and motivate the whole organization to think more commercially, as we are solely responsible ourselves for the financial success or failure of our games."Read more about:Remedy EntertainmentTop StoriesAbout the AuthorChris KerrNews Editor, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, andPocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 17 Visualizações
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WWW.GAMEDEVELOPER.COMBook Excerpt: Learning Video Game Design on the Tabletop'Presented in a step-by-step format, this book helps the reader understand how the game design skills that are acquired through creating tabletop games can be used when designing video games.'0 Comentários 0 Compartilhamentos 26 Visualizações
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WWW.GAMEDEVELOPER.COMPlayStation finds two new execs for its mobile game divisionJustin Carter, Contributing EditorNovember 19, 20241 Min ReadImage via PlayStation.At a GlanceThe new leaders for PlayStation's mobile division previously worked at Disney, EA, and Meta.PlayStation has uploaded a new pair of executives to lead its mobile division. As of today, Olivier Courtemancheand Justin Kubiak hold respective positions as the head of mobile and leader of mobile business development and partnerships at Sony Interactive Entertainment (SIE).Both men have been at SIE since 2022: Courtemanche, an alum at EA and Meta, started out as a senior director for PlayStation Studios' mobile division, and just last year, became mobile's co-head alongside Kris Davis. Meanwhile, Kubiak joined SIE in licensing mobile partnerships, and previously worked at Samsung and NCSoft.Major moves for Sony's mobile businessThe duo mark the first major hires for PlayStation's mobile side since the departure of VP Nicola Sebastiani in 2023. At the time, PlayStation's ambitions for the phone market were quiet, save for acquiring Savage Game Studios, which saw the exits of CEO Mikhail Katkoff and general manager Sophie Vo not long after Sebastiani left.In the time since, Savage Game rebranded to Neon Koi, which was closed down alongside Concord developer Firewalk back in October. Prior to its end, Neon Koi was working on an action-RPG for phones which was never fully revealed.This past May, reports alleged Sony was aiming to make a mobile PlayStation store for free-to-play titles. It's unknown how Cortemanche and Kubiak's new positions will factor into that, or its other plans (or commitment) for the phone space beyond that hypothetical storefront.Read more about:[Company] PlayStationAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 17 Visualizações
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WWW.GAMEDEVELOPER.COMFarming Simulator 25 has series-best launch with 2 million copies sold in opening weekWithin a week, Farming Simulator 25 has been a bountiful harvest for developer GIANTS: not only has it sold 2 million copies, it's now become the "most successful launch" in the franchise's history.According to the studio, the simulation game peaked at 135,970 players as of November 17. It also added that "thousands more" played the title across Mac, PlayStation 5, and Xbox Series X|S throughout the past week. Sales-wise, its performance is a step up from Farming Simulator 22, the developer's first self-published entry, which sold 1.5 million copies during its launch week back in 2021."Thank you to our fans, partners, and the team for all your support and hard work," GIANTS wrote on November 12. "It's looking like we did well."Player numbers for prior Farming Simulator games are trickier to determine than other series, since some games didn't release on PC or consoles in a particular year. The last PC-bound entry was Farming Simulator 22, which holds the franchise's second-highest player peak at 105,636 players from three years ago. Other entries like the 2016 and 2018 installments come in considerably lower at 32,313 players and 59,466 players, respectively.Looking ahead, GIANTS affirmed its plans to add "more machines, features, and fun" through Farming Simulator 25's first year with expansion packs and updates. It's also eyeing more mods to bring to its ModHub platform, which holds "awesome creations from our community."0 Comentários 0 Compartilhamentos 18 Visualizações
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WWW.GAMEDEVELOPER.COMRoblox adds more parental controls to its revamped child safety proceduresJustin Carter, Contributing EditorNovember 18, 20242 Min ReadImage via Roblox Corp.At a GlanceRoblox Corp. has implemented even more options to address its platform's child safety concerns.New child safety protocols have come to Roblox, and parents now have greater insight into what their kids are doing on the creation platform.As part of the new reforms, parents can access parental control features from their own devices, rather than needing their child's to do it. They can now link their accounts to their child's, which lets them see their child's friends list and playtime and establish limits on screentime, in-game content, and how much real-world money is spent on Roblox.These features were first reported by Bloomberg in October, and have been deemed "a considerable leap forward" by Family Online Safety Institute (FOSI) CEO Stephen Balkam. "By offering robust tools for non-intrusive monitoring and privacy, Roblox is providing families with the confidence they need to foster a secure and enriching online environment," he said in a statement.Roblox's new safety measures in contextRoblox Corp.'s new safety rules come after numerous reports concerning the lack of real protections for its younger players. Part of how it's addressing those concerns is by requiring content creators to answer a questionnaire that will provide age-appropriate summaries and images for their experiences targeted toward players aged 13 and under.In addition, Roblox Corp. will now only permit players aged 13 and younger to publicly broadcast messages within a Roblox game or experience. By default, players within that age bracket will no longer able to directly message others, although that setting can be tweaked by parents.Certain experiences will also be age-gated: players aged 9 or under will only be able to access "Minimal" or "Mild"-rated content by default. Unlocking "Moderate" content will require parental permission.MichelleLipkin, executive director of the National Association for Media Literacy Education (NAMLE) said the new options and parental controls address "the need to improve safety features for kids and empower parents with the tools they need to help their kids navigate the complex media ecosystem."Read more about:RobloxTop StoriesAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 28 Visualizações
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WWW.GAMEDEVELOPER.COMAstro Bot and Balatro headline Game Awards' 2024 nomineesThe Game Awards revealed its 2024 nominees for the upcoming ceremony, and most of the year's biggest players were honorably nominated.For the vaunted Game of the Year award, candidates include the PlayStation platformer Astro Bot, deckbuilder darling Balatro, big RPG hits Metaphor: ReFantazio and Final Fantasy VII Rebirth, breakout smash Black Myth: Wukong, and FromSoftware's Shadows of the Erdtree expansion for its 2022 hit Elden RIng.If the expansion to a two-year-old game getting a Game of the Year nomination is an eyebrow raiser, the Game Awards gave its seal of approval over the weekend. Ahead of the nominations, the awards show said sizable post-launch content like Erdtree (or last year's Cyberpunk 2077: The Phantom Liberty) were eligible for Game of Year if the jury (which consists of global media outlets like Giant Bomb, DiscussingFilm, and NPR) "deems the new creative and technical work to be worthy of a nomination."Both Astro and Rebirth are also nominated in respective categories like "Best Family Game" and "Best RPG," and have the most nominations at seven each. Metaphor follows with six nominations, including "Best Art Direction," "Best Narrative," and "Best Score."Some of the Game Awards categories and their nominees are below, while the full list can be seen and voted on here. The winners will be revealed on Thursday, December 12.Game of the YearBalatro (Localthunk)Metaphor: ReFantazio (Atlus)Final Fantasy VII Rebirth (Square Enix)Black Myth: Wukong (GameScience)Astro Bot (Team Asobi/PlayStation)Elden Ring: Shadows of the Erdtree (FromSoftware/Bandai Namco)Best Game DirectionBalatro (Localthunk)Metaphor: ReFantazio (Atlus)Final Fantasy VII Rebirth (Square Enix)Black Myth: Wukong (GameScience)Astro Bot (Team Asobi/PlayStation)Elden Ring: Shadows of the Erdtree (FromSoftware/Bandai Namco)Best NarrativeFinal Fantasy VII Rebirth (Square Enix)Like a Dragon: Infinite Wealth (Ryo ga Gatoku/Sega)Metaphor: ReFantazio (Atlus)Hellblade II: Senua's Sacrifice (Ninja Theory/Xbox)Silent Hill 2 (Bloober Team/Konami)Best PerformanceBriana White (Aerith Gainsborough, Final Fantasy VII Rebirth)Hanna Telle (Max Caulfield, Life is Strange: Double Exposure)Humberly Gonzlez (Kay Vess, Star Wars Outlaws)Luke Roberts (James Sunderland, Silent Hill 2Melina Juergens (Senua, Hellblade II: Senua's Sacrifice)Innovation in AccessibilityCall of Duty: Black Ops 6 (Treyarch/Activision Blizzard)Dragon Age: The Veilguard (BioWare/EA)Diablo IV (Blizzard Entertainment)Prince of Persia: The Lost Crown (Ubisoft Montpellier/Ubisoft)Star Wars Outlaws (Massive Entertainment/Ubisoft)Best AdaptationArcane (Riot/Fortiche/Netflix)Knuckles (Sega/Paramount)Fallout (Bethesa/Prime Video)Like a Dragon: Yakuza (Sega/Prime Video)Tomb Raider: The Legend of Lara Croft (Powerhouse Animation/Netflix)0 Comentários 0 Compartilhamentos 18 Visualizações
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WWW.GAMEDEVELOPER.COMHow a South Korean intern saved Valve from a Vivendi lawsuitJustin Carter, Contributing EditorNovember 18, 2024Image via Valve.At a GlanceValve developers recall the 2002 lawsuit with Vivendi that nearly bankrupted the company and prevented Half-Life 2's release.This weekend marked Half-Life 2's 20th anniversary, and NoClip released a new documentary covering the history of Valve's first-person shooter. And the reason for the game's existence can be owed in part to a Korean-speaking intern who came into the picture during a tumultuous legal battle.In the documentary, developers at the studio discussed its 2002 lawsuit against Vivendi, which gained the retail publishing rights for Counter-Strike after acquiring Sierra. Vivendi begun licensing out the multiplayer game to cybercafes, leading to Valve filing a lawsuit after Vivendi did not agree the cybercafe fell out of its original purview.According to COO Scott Lynch, the two companies were already in the throes of "torturous" negotiations, so the lawsuit prompted Vivendi to "go World War III." Attorney Karl Quackenbush added the Seattle court sided with Valve, which led to Vivendi hiring a new law firm that hit the studio with multiple counterclaims, including the cancellation of the companies' initial 2001 agreement and Vivendi acquiring the entire Half-Life IP and preventing Valve from doing Steam.In Lynch's words, Vivendi's aim was clear: "'We're going to put Valve out of business, and then we'll bankrupt the two of you'" he said when describing their alleged strategy.Valve CEO Gabe Newell flatly called it an intimidation move, one helped by Vivendi knowing Valve's financial situation. "This was really about an assertion of power. [...] They were just trying to crank up our legal costs as another way of draining [time and money] from the company."The Valve/Vivendi lawsuit took a toll on the studio, even as developers were mostly said to be siloed off from it so they could focus on making Half-Life 2. Even so, there was concerns the game could never come out, even if development did finish: at the time, Vivendi was considerably larger, and Newell remarked that at time, it was common for publishers to "bully" developers in this way.The tide turned in Valve's favor after Vivendi made a massive mistakeBoth Newell and Valve were "pretty close" to going bankrupt, but things turned in Valve's favor after it asked for documents covering Vivendi's activity in Asia. The documents were all in Korean, which Newell and others speculated may have been another way to drain its resources.But that summer, the studio employed an intern named Andrew who natively spoke the language and asked him to pore through the documents. He discovered conversations in Korean which directly implicated Vivendi in destroying documents regarding its deal with Valve "as directed"a potentially illegal move that Quackenbush admitted to never seeing laid out quite like this in his career as a lawyer.Valve presented those conversations of the evidence being destroyed to the judge, who subsequently sided with the studio and halted Vivendi from further contesting the suit. In the end, Valve secured ownership of Half-Life and Counter-Strike, and ended Vivendi's cybercafe deal. The ability to distribute its own games led to the creation of Steam, which launched in September 2003 and has become a major (and often controversial) fixture of the game industry.You can learn more about Half-Life 2's development, from its physics engine to the real-world faces they used for the game's characters, in NoClip's documentary.Read more about:ValveLawsuitsAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 16 Visualizações
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WWW.GAMEDEVELOPER.COMIndie RPG dev Thought Pennies cuts staff after losing project fundingJustin Carter, Contributing EditorNovember 18, 20242 Min ReadImage via Thought Pennies Entertainment.At a GlanceThought Pennies was founded in 2020, and these layoffs continue from its previous staff reductions last October.Employees at RPG studio Thought Pennies have been recently let go, according to CCO Daniel Erickson. On LinkedIn, he explained the layoffs came after funding on a previous project was pulled by its unnamed publisher, which opted to go in a new "strategic direction.""Last week, we had to shrink the size of the studio," he wrote. "Every person you see with Thought Pennies next to their name and their brand-new 'open to work' tag was hand-picked and performed the improbable with our team." This is its second round of layoffs within a year, and this new set of eliminations further shows the industry is still going through tough times.Around this time last year, Thought Pennies had cut several positions. At the time, the studio was working on what had been previously deemed a "multiplatform, social role-playing game," but it's unclear if this or another project was scrapped. The all-remote studio was founded by 2020 by mobile developer Tim Ernst, and has spent the years since operating in "stealth mode."Erickson went on to say the company would "love to grab each one of these people back when our next project arrives, but first and foremost we want them all to be in the perfect place for their lives and aspirations."Like last year, 2024 has been very layoff-heavy, and in some cases the result of cancelled projects or lost funding. Last week, Tequila Works went insolvent shortly after it had to cancel an unannounced project, and ProbablyMonsters recently cut staff from its internal Battle Barge team after a project was similarly gutted.The governments of some countries have started funding programs in an attempt to alleviate the issue and aid the studios (and workers) who reside there. Meanwhile, studios like Tales of Kenzera creator Surgent Studios are seeking out funding on their own, and publicly showing off projects as a way to lure potential partners.Read more about:LayoffsAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 28 Visualizações
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WWW.GAMEDEVELOPER.COMSenator questions Valve's commitment to wiping out 'disturbing and violent' extremism on SteamChris Kerr, News EditorNovember 18, 20243 Min ReadImage via SteamAt a GlanceValve co-founder Gabe Newell has been asked why the Steam owner isn't doing more to combat a surge in hateful extremism.U.S. Senator Mark Warner (D-VA) has questioned whether Valve is committed to combating extremism on Steam.As spotted by The Verge, Warner sent a letter to Valve co-founder Gabe Newell to raise concerns over the "hate and extremism" that has allegedly been allowed to fester on Steam, and suggested the platform holder has "chosen to continue a 'hands off'-type approach to content moderation" that allows some to engage in "sustained bouts of disturbing and violent rhetoric."Warner's letter references a new Anti-Defamation League (ADL) report, which claims Steam now contains over 1 million unique user accounts and 100,000 user-created groups that glorify "antisemitic, Nazi, white supremacist, gender-and sexuality-based hate, and other extremist ideologies."He notes that Valve has previously been made aware of the issue via a Senate letter sent in 2022 but has seemingly failed to directly address the problem, and believes the company has avoided wider scrutiny despite being comparable in size to some of the largest social media networks."Steam is the largest single online gaming digital distribution and social networking platform in the world with over 10 million unique user accounts and a userbase similar in scale to that of the 'traditional' social media and social network platforms," he wrote."Steam is financially successful, with a dominant position in its sector, and makes Valve billions of dollars in annual revenue. Until now, Steam has largely not received its due attention as a de facto major social network where its users engage in many of the same activities expected of a social media platform."[...] It is reasonable to question how committed Valve is to effectively implement and enforce Valve's own, self-created Conduct Policy for its users, in light of the 1 million Steam user accounts and 100,000 user-created groups glorifying hateful ideologies that ADL found."Warner stated that "lax enforcement of the letter of user conduct agreements" on other social networks, combined with a "seeming reluctance" by those companies to embrace the spirt of those same agreements, has elevated harassment and abuse. With that in mind, he claimed Valve should be doing more to protect users, rather than leaving them vulnerable to harassment, intimidations and ridicule."As Black Friday and the holiday buying season approaches, the American public should know that not only is Steam an unsafe place for teens and young adults to purchase and play online games, but also that, absent a change in Valve's approach of user moderation and hate type of behavior that it welcomes on its platform, Steam is playing a clear role in allowing harmful ideologies to spread and take root among the next generation," he added."Valve must bring its content moderation practices in line with industry standards or face more intense scrutiny from the federal government for its complicity in allowing hate groups to congregate and engage in activities that undoubtedly puts Americans at risk."Warner has requested Valve and Newell answer a series of questions before December 13, 2024, so he can better understand how the company is approaching content moderation.You can read the full letter here.Read more about:ValveTop StoriesAbout the AuthorChris KerrNews Editor, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, andPocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 22 Visualizações
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WWW.GAMEDEVELOPER.COMI designed economies for $150M gameshere's my ultimate handbookAbstractHello, dear readers!Wiserax is on the line. After working in game development for over 5 yearsdesigning the economy and balance for projects that have generated over $150 million in revenue I decided to disappear for the last six months to consolidate all my knowledge in game economy, balancing, and monetization into one work and share it with other developers.There are very few materials in this field; as of writing this article in the fall of 2024, there are only about 20 scientific articles and a couple of books, one of which is an 800-page tome by Brenda Romero and Ian Schreiber. I have compiled all this information into one article and added my own knowledge and experience, so I believe that my insights will be useful to you.By studying this detailed guide, you will learn how to successfully monetize games, develop strategies and balance for a sustainable economy, and become acquainted with current trends in the gaming industry.We will start with the basics of game economics and gradually dive deeper and deeper until we understand how to create an economy that not only brings you income but also provides genuine enjoyment to players.My article contains 7 chapters in total; the material has turned out to be quite extensive.Happy reading! P.S. Dear readers, this article contains a lot of information on game monetization and how game developers can make money. I have come across many comments from readers who express discontent, saying, "Why should games make money? I don't like ads or in-app purchases; games should be free!"So, if you are not ready to read about how games generate revenue from their players, please feel free to close this article.IntroductionThe gaming market, despite the blow from the pandemic, continues to grow steadily. It is estimated that the global gaming market will reach $189.3 billion in 2024 and $197.1 billion by 2025 [1]. This is a good reason to take a closer look at how games generate revenue and how to monetize your game while meeting player needs.My name is Alex Karpenko. Having worked in game development for over 5 years, designing the economy and balance for projects that generated more than $150M in revenue, I will share with developers how to create an economy for your project so that it thrives and earns. By studying this detailed guide, you will learn how to successfully monetize games, develop strategies and balance for a sustainable economy, and get acquainted with current trends in the gaming industry.Why should you even bother with game economy?A well-designed economy can bring your game world to life, making it dynamic, engaging, and real. Players will feel like part of this world, and this sense of belonging will keep them coming back again and again.Lets dive together into the wonderful world of game economy and balance, break it down into its components, and understand how to create an economy that not only brings you income but also gives players true enjoyment.Chapter 1: The Three Pillars of Game Economy"We expect our dinner not from the benevolence of the butcher, the brewer, or the baker, but from their regard for their own interest." Adam SmithBuilding a successful game economy is a multi-layered task that requires deep understanding and a thoughtful approach. Professor and PhD Edward Castronova argues that currency stability, price rationality, and proper resource distribution are the three pillars that will help you create a sustainable economy [2]. Lets examine each of them in more detail.To illustrate key principles of economic design, we will sometimes refer to "Budget Adventure"a fictional game whose developers didnt really care about the economy and just made things up randomly.Pillar 1. Currency StabilityYour in-game currency is the lifeblood of the economic system. If the blood circulates irregularly, the body cannot function properly. The same thing happens with a game economy: unstable currency leads to chaos and player dissatisfaction.For the currency to be stable, it must fulfill three main functions:Medium of exchange it should be used for transactions. Imagine a game where a player can easily propose: "Ill give you 50 gold for that helmet." This is important because it allows players to trade goods without barriers, even if their items are not directly comparable in value (e.g., trading a horse for a staff).Unit of account the currency should allow for the valuation of goods and services. This simplifies the process of trade and makes meaningful discussions about the value of different items in the game possible. A player should be able to ask, "How much is my house worth in golden dragons?" A stable currency gives players and developers a clear understanding of how much each item is worth in the game world.Store of value players should be able to save currency with confidence that its value will be preserved. This allows them to set aside earned funds, making the game world more persistent and reliable. Players need to know that even if they take a break from the game, they will be able to use their savings when they return.In "Budget Adventure," the currency fluctuates so wildly that players never know how much their loot is worth. One day a sword costs 100 gold, and the next day its 10,000. Player "PoorPlanner" decides to save 10,000 gold to buy a legendary sword. After many days of farming, he finally collects the required sum, but by the time of purchase, the swords price has soared to 500,000 gold. Now hes running around with a carrot instead of a sword.Take a real example: in Diablo 2, by the end of the game, gold had become so devalued that players stopped using it and switched to a more stable item the Stone of Jordan. This item completely replaced gold as the main currency, and all game items were valued in quantities of Stone of Jordan. [2]Without reliable currency, the game economy becomes chaotic, and players spend more time negotiating the value of goods than on the core gameplay, which can diminish the enjoyment of the game.Pillar 2. Price RationalityRational pricing is the foundation of player trust in your economy. Prices should reflect the real value of items and adapt to changes in supply and demand. Armor should be expensive, and cabbage should be cheap.However, sometimes the system can break down:Prices may be too low, creating shortages due to high demand.Or they may be too high, resulting in a surplus due to low demand.Its also crucial to monitor the balance between production and consumption. If rare items appear too frequently, their value drops. On the other hand, if a common item becomes scarce, its price can skyrocket.Another thing the developers of "Budget Adventure" love to do is place merchants selling goods at fixed prices in infinite quantities. Such an action helps developers fix prices, but it removes players from trading in basic goods.Pillar 3. Proper DistributionIts important that the right items go to the right players. You dont want a mage to get armor and a warrior to get a staff, with neither being able to use these items. This causes frustration.For some strange reason, players are always dissatisfied..In addition, players should receive appropriate rewards for their efforts. If in your game a strong player receives the same rewards as a novice, this will lead to frustration and player churn. Proper reward distribution is a balance between effort and reward that keeps players engaged and motivated.Principles of proper distribution:All players start on equal footing.Players who put in more effort receive greater rewards.If you can balance all three aspects, you have a good chance of building an effective and sustainable game economy.Now that weve covered the basic principles of economic design, lets move on to the next important aspect the flow of resources in the game. This involves understanding how resources move and are distributed among players and systems within the game. This determines how efficient and engaging the gameplay will be.Chapter 2: Resource Flow in the Game"The best moments usually occur when a persons body or mind is stretched to its limits in a voluntary effort to accomplish something difficult and worthwhile."Mihaly CsikszentmihalyiThe movement of resources within a game is a key aspect that influences balance and player engagement. The main concepts that help manage this process include creating emotional swings and properly distributing content over time.But how do you distribute resources correctly to keep the player from getting bored and constantly in the flow state described by Csikszentmihalyi?Create Emotional SwingsCreating emotional swings is one of the key elements of retaining players. But to understand how it works, lets turn to the science of the brainneurobiology.Our brain, the result of millions of years of evolution, constantly seeks balance between stimulation and satisfaction. Two neurotransmitters play a central role in this process: dopamine and endorphins.Dopamine is the "anticipation hormone" that motivates us to keep going in hopes of a reward. It is activated during moments of expectation, whether it's waiting for a new level, a rare item, or defeating a tough boss. In an evolutionary context, dopamine was crucial for survival. Imagine our ancestors: searching for food, avoiding predatorsthese activities required constant effort and activity. Dopamine in such situations "turned on" motivation and maintained interest in seeking rewards, even when they were just beyond the horizon.Endorphins, on the other hand, are released when the reward is received, causing feelings of joy and satisfaction. Its like an internal "prize" for achieving a goal. Endorphins also have a pain-relieving effect, which literally helps us "forget" the difficulties we faced on the way to success. In games, as in life, endorphins encourage us to return to what brings pleasure and fulfillment.Now, understanding how these neurotransmitters work, it becomes clear why emotional swings are not just about playing with resources, but about the science of keeping the player in a constant state of seeking and satisfaction. Its important not only to reward the player but also to skillfully create moments of anticipation, so dopamine drives them to new achievements, while endorphins reinforce success and the desire to continue.Imagine a player named BeautyQueen278 stuck on level 189 of Candy Crush Saga. Every time BeautyQueen278 gets close to the final combination, but the candies dont quite line up, her brain is literally bathed in dopamine: "Just one more try, Im almost there!" It feels like victory is just around the corner. At this point, shes ready to buy a booster... but heres the interesting thing: this balance between frustration and anticipation is what keeps her playing. Finally, on the 11th attempt, BeautyQueen278 beats the level, and her brain is flooded with endorphins. Shes so happy she could soar like the candies on the screen. But you know what makes the difference here? BeautyQueen278 is not only given the victory but also a small giftanother life after so many attempts. This is the perfect balance: youve won, but they give you just enough resources to keep you playing without feeling totally drained.Players should experience two or three different emotions in a single session. This helps maintain interest and motivation. If players experience frustration several times in a row, they may lose interest in the game. Properly managing emotions through resource distribution and level design is key to success.Spread Content Over TimeSpreading content over time is another important aspect of maintaining player interest. At the beginning of the game, you should generously distribute content to grab players' attention and give them the chance to feel successful. In the first few sessions, players should receive rewards quickly and easily. This allows them to familiarize themselves with the games resources and become accustomed to them.Imagine a puzzle game where the player has just started. On the first day, they face an incredibly difficult level and, despite their best efforts, cannot pass it. Instead of giving the player a chance to progress quickly early on, the developers decided that a level with unbeatable puzzles was a great idea. Player "PuzzleNoob" spends an entire day trying to beat the first level and ultimately decides its easier to delete the game than waste their nerves.As progress is made, the pace should slow down, requiring players to put in more effort to earn rewards. This helps create a sense of scarcity, encouraging players to invest more into the game. For example, if players begin to struggle with passing levels, they may turn to boosters or other paid upgrades if it fits within the games monetization strategy.Sources and Spend Points: Managing Resource FlowNow, let's move on to the key concepts of resource distributionspend points and sources [3].Its like managing finances in your personal banking app. Sourceswhere the player earns resources. In a game, these can include:Mission rewardsShort-term eventsLoot (trophies, drops)AchievementsPassive incomeSeasonal rewards and battle passesSocial interactionsGameplay mechanicsWatching ads, and moreOn the other hand, spend points are where the currency earned from sources is drained. We will explore spend points and sources in more detail in chapters 4 and 5.Too many resources from sourcesand the balance overflows, leading to inflation. Too fewand players lose interest. Balancing between sources and spend points is the key to a stable game economy.In Clash of Clans, developed by Supercell, resources come from mines and collectors (sources), and are spent on building and upgrading (spend points).In EVE Online, resources come from mining, production, and trade (sources), and are spent on shipbuilding, purchasing modules, and participating in wars (spend points).In World of Warcraft, players earn resources through quests and raids (sources), and spend them on crafting items and upgrading gear (spend points).The developers of these games carefully monitor the balance of resources to maintain player interest.Now that you know what sources and spend points your player has, you can build a Resource Flowchart (which can be done even in the early stages of game development).Caption: When designing the resource flow in your game, its crucial to account for even the smallest spend and income sources so that developers can see the full picture.As a developer, youve set up analytical events on all the key mechanics of your game, and you have access to the products analyticsyou know how much of a resource, like money, the player received from the "Loot" or "Quests" categories. By calculating the percentage of total flow using the Resource Flow Chart, you can easily see where in your game there are areas for improvement, where youre oversupplying, and where youre asking too little.You can create a similar flowchart for all of your games mechanics, linking them into a single ecosystem to understand how introducing a new mechanic will impact the economy of your project. Tools like Machinations.io, Miro, or classic GS/Excel tables can be used to build such flowcharts.During the development of the game "Dreamdale", we noticed that players quickly accumulated the main currency by exchanging resources for money but spent almost none of it. An analysis of the resource flow chart showed that the spend points were not attractive enough. We added new upgrades and special events requiring resource expenditures, and the games economy became more balanced.Questions to Consider:What sources and spend points are present in my game?What incentives are my players experiencing right now? Are they enough?Am I "playing" with the player, making them feel scarcity at times and abundance at others? Or do they always have enough of everything?Now that weve covered resource flows in the game, I suggest we delve deeper into the player, for whom we are striving. Using examples from scientific research, we will try to better understand the nature of the people who play our games and attempt to answer the question:Can we reliably know if the player will actually enjoy playing in the updated balance?Chapter 3: Player Psychology and Game Economy"Man is a mystery. It needs to be unraveled, and if you spend your whole life unraveling it, dont say youve wasted time." Fyodor DostoevskyEntertaining the human brain is incredibly challenging, as it is one of the most mysterious and complex objects in the universe. Whats worse, most of its work is done secretly from our consciousness. Think about it: when was the last time you consciously controlled your body position or breathing rate? As you read this text, you probably arent aware of how your eyes are moving across the lines. Are they moving smoothly or making tiny jumps? Youve been reading books all your life, but perhaps youve never thought about how this process works. Similarly, when you speak, you dont always realize what youre about to say until the words leave your lips. Whos doing all these subconscious calculations?Heres another example: youve probably driven along a winding road hundreds of times, turning the steering wheel at just the right angle. Can you even recall how you tracked the curves of the road? Strangely enough, after reading the phrase "imagine eating a burger with pickles," your mouth suddenly fills with saliva. Why? Who gave the command?Heres one of Jesse Schells favorite examples from his bestseller The Art of Game Design. Call your friend and ask them to do these three things:Say the word "post" five times in a row: Post, post, post, post, post.Now pronounce it clearly and loudly so it sticks in your head: P-O-S-T!Answer this question: What do we put in a toaster?If your friend answered "toast," congratulations! Youve caught them in a subconscious trap because the correct answer, of course, is "bread." By repeating the word "post" too often, the brain cleverly associates it with something similarand there you have "toast"! This is a classic example of how certain stimuli can alter our expectations and decisions.Unlike a book or movie, where the heros path is predetermined, in a game, every player is free to choose their own path. And this makes the game designers task both challenging and fascinating. We can only guess how the player will play our game.I recall as a child playing Serious Sam, I would run in the complete opposite direction from the temple with monsters at the start of a mission, just to see where the edge of the map was. The greater the degree of freedom in a game, the more responsibility the developers take on.Since the topic of player psychology remains underexplored, I reviewed all available studies as of summer 2024 relevant to game economics. In this chapter, I will reference scientific research to enhance the credibility of the information presented and minimize subjective interpretations.Game Difficulty and AdvertisingA study conducted by Dardis et al. (2019) found that game difficulty can provoke negative emotional reactions in players, which, in turn, reduces the effectiveness of advertising [4]. In hardcore games, advertising is less effective.As a result, we can speculate why the advertising monetization format has succeeded primarily in casual games, while in competitive games, only IAP (in-app purchases) dominates. Imagine the frustration caused by forced ads during an intense battle with an opposing team.In "Budget Adventure," ads appear at the most inappropriate moments. The hero "Tommy-Tapper" is fighting a dragon, his health is almost depleted, and suddenly a toothpaste ad pops up. Tommy loses the battle, and the player decides its time to delete the game and switch to a more considerate developer.Let the Player TryAnother study on ad-based monetization, conducted by Lee & Shin (2017), analyzed data from a mobile app in Korea, collecting 1,404,295 transaction records from September 2013 to May 2014.Providing users with free in-game items can create a trial effect and increase the likelihood of users making in-app purchases. Analyzing user behavior data within the app, the researchers found that users who were offered a free in-game item as a reward were more likely to make a purchase [5].Providing players with trial items increased the number of purchasesFactors Influencing Playtime and In-Game PurchasesResearch has shown that game achievements, in-game item purchases, and social interaction positively influence playtime and in-game purchases (Jiao et al., 2022) [6]. This study was based on an analysis of weekly activity and spending data from 100,000 players in a free-to-play (FTP) mobile game over a three-year period.These factors can be used by developers to retain players and increase their spending in the game.Game Achievements: An inverted U-shaped effect shows that players who perform either very well or very poorly in a game during one week tend to play less and make fewer purchases the following week. Developers should monitor player performance and offer rewards to prevent player churn.In-game Item Purchases: Players who purchase in-game items tend to play longer and make more purchases the following week. Developers should create personalized virtual items with individualized pricing to encourage prolonged play and increased spending.Social Interaction: Players who are members of clans or play with friends tend to play longer and make more purchases the following week. Developers can encourage players to invite their friends to play together to increase engagement and revenue.As an experienced developer, you already understand how crucial it is to grasp player psychology in order to create a successful game. Imagine your game not only engaging players but also motivating them to return again and again through a deep understanding of psychological aspects. These insights are available to any developer, regardless of team size or budget. The key is to apply them wisely and adapt them to the specifics of your game. Studying player psychology is no easy task, but the time invested will pay off in the form of a loyal audience and steady revenue.The path to perfection lies in constant study and data analysis, allowing us to better understand players and adjust our approach to meet their needs. Step by step, we can strive to create games that not only bring joy to players but also provide us, as developers, with the revenue needed to support our teams and create even more ambitious, better projects.Questions for Reflection:Does my game have elements that can surprise the player? How can I add unexpected surprises or rewards?Am I offering my players trial items to increase the likelihood of a purchase?What emotions do I want players to experience when interacting with my game s economy? Why?Now that weve gained a better understanding of the nature of people playing our games, lets move on to the next central topic of this articlecreating and balancing the game economy.Chapter 4. Game Economy and Balance"Our current situation resembles that of ancient alchemists. Before Mendeleev invented the periodic table of chemical elements, visually demonstrating the relationships between basic elements, alchemists used primitive rules to define these connections that they developed through trial and error. These rules were incomplete, sometimes incorrect, and often unscientific, yet using them, alchemists created amazing things, and their search for truth led us to what we now consider modern chemistry."Jesse SchellWelcome to the lab! We've arrived at one of the key sections of this article.If you start searching online right now for specific examples of game balance, templates, and formulas, youll be surprised because the best youll find are fan-made tables of constants and guides on mechanics. There are two main reasons for this:Companies carefully protect their intellectual property, and balance tables of companies like Supercell, Blizzard, Riot Games, Gameloft, and others are hidden in their internal bureaucracy and protected by NDAs.No standard, universal approach exists for balancing games. Some games have balance embedded directly in the custom engine's configs, others use Excel or Google Spreadsheets, another might use Machinations.io, and yet another has paper-based calculations. As many ways as there are to develop, there are just as many to balance.In this chapter, I will attempt not only to go beyond standard recommendations but also to give you a universal tool for balancing your game.Author's NoteWhen I started working on this chapter, I spent a long time thinking about how to approach game balance. After all, it is an incredibly deep and multifaceted topic. Game balance isnt just a set of numbers to put into a table. It encompasses player experiences, interactions of game elements, engagement, rewards, and, of course, the overall experience.The last book I read on game balance, Game Balance by Ian Schreiber and Brenda Romero, was 800 pages long [10]. Covering everything in one chapter is practically impossible.And to be honest, even with my years of experience in game balance and economy, I struggled with where to start. Therefore, I decided to take a creative approachin this chapter, there will be three sections that, if applied, will help you manage any game economy and balance challenge:Basics: Useful tips for balancing any project, regardless of genre or platform.Practice. Old SchoolSpreadsheets: We'll discuss how balancing tasks have traditionally been handled with spreadsheets and how they can help you organize processes in your project.Practice. New ApproachA Universal Tool: The latest development in the world of game balance, significantly simplifying work on any type of task.Part 1: BasicsBroken GamesLet's consider an example from my previous research on game balance in 2022. [9]Imagine a new card is added to a strategic card game. The games main resource is called "Mana." Even the weakest effects cost at least 1 Mana to use.Heres the card: "Get Lost You All" - Cost: 0 Mana. Action: You win the game.This card breaks the game for obvious reasons. In most strategy games, the joy comes from interactive gameplay and meaningful choices. This card destroys all of that. When someone draws "Get Lost You All," they have no interesting decision about which card to playits always the winning choice. Just draw it and win.With this card in the game, deck-building ceases to matter. Moreover, the only likely competitive strategy would become playing as many cards as possible to increase the chance of drawing "Get Lost" before the opponent.Lets look at another example.Consider this math problem and select the correct answer below: Problem: 2x + 4x - 4 = 0 <ol><code><li>x = -1 +/- 3</li><li>x = -1 +/- 3</li></code><li><code>x = -1 +/- 3</code></li></ol>The problem might be interesting, but the choices are all the same. Its a multiple-choice question where your choice doesnt matter.This is what happens when all cards and strategies in a game have equal strength. Every card you decide to include in your deck, every strategy you choose, is a choice. If all choices are equal, the choice, ultimately, doesnt matter.Earlier, I provided two opposing examples: in one, player choices determined everything, while in the other nothing. Theres no balance here, and as a result, the game turns either into a chaotic ride or a dull dj vu. To create an engaging experience, it's important to understand that balance isnt about perfect power distribution but about finding that golden mean.Game esigner Mila Pilipenko notes, Balance is a process, not a final result. I completely agree with this thought, because during development, everything can change, from the storyline to the core mechanics (and, honestly, thats something no one wishes for).Balance is a process, not a final result.Now that we understand balance is not static equilibrium but a living mechanism, lets move on. Its time to define the games core values. Without a clear understanding of these values, attempts to balance the game are like putting together a puzzle blindfolded with almost no chance of success.Defining the Games Core ValuesThe first step in creating balance is identifying the games core values. From classic value theory and common sense, we know that time is the primary resource for everyone. Your task is to translate all in-game values into units of time.Example: Imagine a game where players need to complete 300 levels. If an average player completes 10 levels a day, we can assume that the entire game will take about a month to finish. Thus, every value in the game should be expressed in terms of the time required to achieve it. This not only helps balance the game but also makes it more predictable for analysis.As a developer, knowing the time equivalent for each of your mechanics and resources gives you a powerful tool. For example, if a player wants to reach the top of the leaderboard, you know it will take them about a month of playtime, as well as how much content theyll need to go through.To simplify, calculations are done for an idealized player who performs each action with maximum efficiency.To maintain player interest, the game's difficulty function should resemble the classic Difficulty Curve, which grows either linearly or exponentially.Define Critical and Non-Critical ResourcesCritical resources directly influence the speed at which the player achieves the main game objective. These resources should be measured in time and carefully managed to avoid imbalances.Example: In a building game, resources like gold or wood may be critical because they speed up construction and content consumption. Their availability should be limited to prevent players from progressing too quickly without additional investments.Non-critical resources are those that do not directly affect player progress but can enhance the gaming experience. Examples include cosmetic items or decorative elements.Build a Cost SystemNow that we have identified the core values and resources, its time to establish a cost system and ensure currency stability from Chapter 1. Here, its important to create dependencies between game values and currency so players can reasonably assess the value of their efforts.If a sword in the game costs 1,000 gold coins and an average player earns 100 coins per hour, they would need to play for 10 hours to buy the sword. This approach helps set realistic goals and maintain player interest.The final output could be a chart showing how players progress through the games content, the time required to overcome it, and the necessary game elements.Break Down Your Game into StagesBreak down your game into stages and group them by difficulty.Use paywallssituations where the player can proceed to the next level but must make an effort or spend significant time to do so. This motivates the player to invest more in the game, perhaps by using in-game currency or watching ads to speed up the process in a mobile game.In mobile gaming, around 60% of revenue typically comes from such missions. In games Ive worked on, Ive seen players spend thousands of dollars to clear paywalls. Its essential to provide the option for players who want to make these purchases if it fits your monetization strategy.The difficulty of missions increases over time. Peak challenges are followed by a decline, and then another rise.Naturally, this is always a double-edged sword: you cannot create a paywall that most regular non-paying players cant overcome, or youll lose future payers and loyal fans.Higher mission difficulty Players spend more, but its also true thathigher mission difficulty More players quit and uninstall the game.Some game economy designers say that no more than 4% of players should quit due to mission difficulty; I aim for this number when designing mission difficulty in mobile projects. Ideally, the dropout rate should be close to 0%.Track your players' progress and carefully test the balance you apply in your game to avoid excessive frustration.Start with reasonable timeframes:First-time user experience should be calculated minute-by-minuteThe first day should be broken down by the hour, etc.The Difficulty CurveThe Difficulty Curve is essential in this context as it directly ties into your game's stages. In our world, matching this curve in games is a necessity, not a whim.Below is a chart of balance zones based on player skill and game difficulty. As players' skills increase, difficulty should also increase to maintain balance.The balance zones are as follows:Frustration too difficult to be enjoyableHardcore Fun very challenging, but some people enjoy itChallenging Fun for those who love overcoming difficultiesBalanced Fun the Goldilocks zone (not too hard, not too easy)Casual Fun beautiful and easy, never a challenge but not meaningless eitherMindless Fun players just want to play; they dont want to thinkBoring I could play this in my sleep... but actually, Id prefer to sleepIf youve calculated that your game content will provide enough gameplay for six months of active playtime, make sure the resources players can acquire in that time will allow them to reach the projected pointnot too much, so they end up in the boring zone, and not too little, so they end up in the frustration zone.Use the difficulty curve as a checkpoint for your graphs and calculations.Analysis and ModelingYour task is not simply to enter numbers into a spreadsheet but also to understand how they interact with each other. Problems of mathematical balance are solved through combinatorics, probability theory, mathematical statistics, and game theory. [1013]Simulating Game Economy: Create a model of the interaction between various game elements (resources, currency, NPCs) and run a simulation to see how they influence each other. For instance, if NPCs collect resources that players can trade, make sure the economy is closed, and resources dont appear out of thin air.Automated Balancing: Use automatic testing and balancing tools to model and simulate the projects economy, automatically adjusting parameters under specified conditions. Well return to this in the third part of this chapter.Part 2: Practice. The Good Old SpreadsheetsSpreadsheets are our trusty tool in the battle for balance, and if you havent come to love them yet, now is the time. They never betray you, unlike the latest automation services and calculation tools. Spreadsheets are like an old friendperhaps not the most exciting but always there to lend a hand.But as with any tool, its important to know how to use it correctly. Lets dive into how to get the most out of this tried-and-true approach.Organizing Data and StructureGrouping and Color CodingThe first thing I do when I start working on calculations is organize the data. Its critical to first extract all constants, then bring out variables, and only afterward calculate final metrics and results.Grouping: Think of it as organizing a room. Everything related to weapons should be in one place. All level information should be in another. Grouping data in tables works the same wayit helps you keep order and makes the tables more understandable.Color Coding: Your tables should be clear at a glance. I use green for constants entered manually (e.g., base weapon damage), blue for variables calculated automatically, and purple for final values. Its like placing everything on shelves, so you know exactly where each item is.Like anyone who enjoys their work, I sometimes go beyond the standards. Occasionally, I like to add a bit of colors who says spreadsheets cant be fun? When I work on thematic events, like Valentines Day, Ill even color code calculations according to themed palettes from sites like Color Hunt or other color palette websites.Automation and Data ValidationAutomation helps prevent mistakes and saves time. Here are a few tools worth using:Data Validation: Allows you to restrict data input in a table to acceptable values only. For example, if you have a column with difficulty levels, you can set it to accept only certain values (e.g., Easy, Medium, Hard). Choosing from a dropdown saves time and keeps data consistent.!img13.pngPivot Tables: Pivot tables allow you to aggregate and analyze data, helping you spot overall trends and patterns. This is especially helpful for analyzing large data sets.Dont Lose Your WorkUsing Templates: Creating templates for frequently performed tasks speeds up work and reduces the chance of errors. I have templates for everything from small idle game calculations to complex LiveOps events. Over time, youll accumulate a library of templates, making you an invaluable specialist.Regular Data Updates: Ensure that data in your tables is up-to-date. Use automatic updates when possible, and check regularly to avoid working with outdated data.Visualization TipsCharts and Graphs: Using charts makes data more accessible and easier to understand, especially for those who dont want to sift through long columns of numbers. Charts help you see dynamics and trends, especially if youre presenting to your supervisor.Documenting Formulas and Processes: You never know when youll need to revisit a spreadsheetmaybe in a few weeks, maybe after a late night out. Add comments to your formulas so you can understand what that spell meant in a month:=IF(ROUNDDOWN(S$4$J$5^($Q8-1)+($Q8-1)$I$5,-1)>$K$5,$K$5,ROUNDDOWN($S$4$J$5^($Q8-1)+($Q8-1)$I$5,-1)) Whats the formula above? Hard to say right away, isnt it? Believe me, your future self will thank you.Avoid Hard-Coded Values: Avoid using hard-coded values in formulas. You likely wont remember what 0.2234 means in six months. Instead, use named ranges or variables to make the formula easier to understand and edit.Useful Functions and FormulasSpreadsheets come with numerous functions that simplify data work. Lets look at my top three favorites, with specific examples from game development.VLOOKUP: Resource Lists and Bundle Cost CalculationSuppose you need to calculate the cost of an offer (in-game purchase of items). A poor approach would be to manually find each items price and then add them up, hoping you dont make any mistakes. The issue with this method is obvious: once the data changes (and it will), youll have to redo everything.A better approach would be to use VLOOKUP for automation. With this function, you can easily find the price of each item and add them up:=VLOOKUP(A2, ResourcesTable!A:B, 2, FALSE)This formula searches for the item in a table and returns its cost. Then, just sum the prices of all items in the bundle, and the table does the work for you.SUMPRODUCT: Complex Calculations with Multiple Data ArraysImagine you have a table with upgrade levels, their costs, and efficiency gains. A poor example would be attempting to calculate the total effect manually by multiplying and summing values in each row and hoping you remember to update everything when the data changes.Usually, it looks something like this:=E7E$2+F7F$2+G7G$2+H7H$2+I7I$2+J7J$2+K7K$2+L7L$2+M7M$2+N7N$2+O7O$2+P7P$2+Q7Q$2+R7R$2+S7S$2+T7T$2+U7U$2+V7V$2+W7W$2+X7X$2+Y7Y$2+Z7Z$2+AA7AA$2+AB7AB$2+AC7AC$2+AD7AD$2+AE7AE$2+AF7AF$2+AG7AG$2+AH7AH$2+AJ7AJ$2+AK7AK$2+AL7AL$2+AM7AM$2+AN7AN$2+AO7AO$2+AP7AP$2+AQ7AQ$2+AR7AR$2+AS7AS$2+AT7AT$2+AU7AU$2+AV7AV$2+AW7AW$2+AX7AX$2+AY7AY$2+AZ7AZ$2+BA7BA$2+BB$5BB$2+BC7BC$2+BD7BD$2+BE7BE$2+BF7BF$2+BG7BG$2+BH7BH$2+BI7BI$2+BJ7BJ$2+BK7BK$2+BL7BL$2+BM7BM$2+BN7BN$2And this is no jokethis was an actual formula in a commercial project used by the previous game designer before me on a fairly large, serious project with millions of users.A better example is to use SUMPRODUCT, which does all this automatically:=SUMPRODUCT(AA36:EM36,AA$3:EM$3)This function multiplies values from two data arrays (cost and efficiency) and sums them, giving you the result in one step. Everything updates automatically as you change the base data.QUERY: Filtering Out Unnecessary Values from a ListSometimes, data builds up in a table, and you only want to extract whats important. A poor example is manually scrolling through the list to find and delete unnecessary rows.A better solution is to use the QUERY function, which does this for you:=QUERY(ItemsTable!A:C, "SELECT A, B WHERE C = 'Weapon'")```This formula allows you to select only rows that match the specified criterion (e.g., only weapons) and remove everything else.QUERY is one of the most complex and versatile functions, almost like working with databases.If youre unfamiliar with using complex functions like QUERY, especially for writing specific requests, the process can seem overwhelmingparticularly if youre in a time crunch.In this case, my new assistant comes into playGame Balance Guru.Part 3: A Universal Tool for Game BalanceMeet Game Balance Guru, a bot I created specifically for those who want to streamline work on game balance and economy. After a year of continuous improvement and expertise-building, it is now available to everyone, leveraging the latest OpenAI updates to help accelerate complex balancing tasks. And its free.Introducing Game Balance GuruGame Balance Guru is your personal assistant ready to tackle any challenge related to game balancing, economy, or monetization. Its important to remember that while Game Balance Guru is a powerful tool, it works best in tandem with you as a designer. Its not a replacement for expertise or intuition but rather a way to significantly reduce routine work and speed up decision-making.FunctionalityGame Process and Economy Analysis and Balancing:Feature and Mechanic Balancing:In-Game Resource Pricing Calculations:LiveOps Event Reports and Recommendations:Player Behavior Prediction Using Statistical Models:Using the BotBot's User InterfaceTo get started with the bot, simply follow this link:https://chatgpt.com/g/g-M5YWlXD0B-game-balance-guruNo special knowledge or skills are needed to startthe bot will guide you through the process by asking for context about your game. The more information you provide, the better it will understand your needs and produce quality results.Getting the Most Out of Game Balance Guru:Copy Tasks from Asana or Other Task Managers: You can copy a task directly and paste it into the bots chat window. Just make sure it includes basic task details or requirements.Add Custom Instructions: If there are specific requirements or nuances the bot should consider, include them. This will help it provide tailored recommendations.Review the Results: Remember, Game Balance Guru is an assistant, not a replacement. While its suggestions are helpful, they should still be reviewed and fine-tuned by you.Creating a Dedicated Version for Your Project:If needed, you can create a customized version of Game Balance Guru for your project. This version can include data on prices, missions, and other game parameters to enhance task accuracy. For setting up such a custom version, contact me on Telegram (tg: @wiserax) or via email contact details are available in my profile header.Practice Exercises for Independent AnalysisNow its time to try your hand at balancing! The exercises below will help you apply the methods and calculations discussed to achieve an optimal balance in various scenarios.Exercise 1: Tower Defense Optimizing DPS and Resource SpendingTower Defense games are classics when it comes to resource and damage balancing. Your goal is to build towers that automatically attack creeps (enemies) moving toward their goal in a way that maximizes DPS efficiency (damage per second) per unit cost. [10]Tower DataSwarm TowerOnly deals damage to flying enemies.DPS (damage per second): 480Cost: 640 unitsBoost TowerDoesnt deal damage itself but increases the DPS of all nearby towers by 50%.Cost: 500 units.Objective:Configure the towers on a 4x3 field to minimize costs and maximize the overall DPS/Cost ratio. Heres how to approach this task:Calculate the DPS increase for each Swarm Tower based on the number of surrounding Boost Towers. For example, if a Swarm Tower is surrounded by four Boost Towers, its DPS will be: DPS = 480 (1 + 0.5 4) = 1440Determine the total DPS value for all towers in the configuration: Total DPS = sum of all DPS values of towers, including the effect of Boost TowersDivide the total DPS by the total cost of all towers in the configuration to evaluate efficiency: DPS/cost = Total DPS / Total tower costCompare multiple configurations to find the optimal DPS-to-cost ratio.Compare different configurations to find the optimal DPS-to-cost ratio.Additional Questions:How would balance change if Boost Towers became more expensive?Can you find a configuration that yields the highest DPS per unit cost?Exercise 2: Doom Comprehensive Weapon Effectiveness AnalysisIn DOOM, players choose weapons depending on the situation. In this example, well examine different weapon types and determine their effectiveness based on damage and ammunition usage. [10]Weapon DataFists: Deals 220 damage per hit at a rate of 123.5 hits/min, expected DPS = 22.64. Unlimited use, but melee range only. With the Berserk Powerup, damage increases up to 10 times.Chainsaw: Deals 220 damage per hit at a rate of 525 hits/min, expected DPS = 96.25. Requires no ammunition but is limited to close range.Pistol: Deals 515 damage per shot at a rate of 150 shots/min, expected DPS = 25. Uses bullets (up to 200 rounds in reserve). DPS = (5 + 15) / 2 150 / 60 = 25.Chaingun: Deals 515 damage per shot at a rate of 525 shots/min, expected DPS = 87.5. Uses the same bullets as the pistol but consumes them quickly (entire ammo supply in 23 seconds). DPS = (5 + 15) / 2 525 / 60 = 87.5.Shotgun: Fires 7 spread pellets, each dealing 515 damage. If all pellets hit, thats 35105 damage per shot. Fire rate is 56.8 shots/min, expected DPS with all pellets hitting = 66.27.Rocket Launcher: Deals 20160 damage from a direct hit plus up to 128 additional splash damage. Maximum damage per shot = 288, with a fire rate of 105 shots/min, DPS with consistent hits = 287. DPS = (20 + 160 + 128) / 2 105 / 60 = 287.Plasma Gun: Deals 540 damage per shot at a rate of 700 shots/min, expected DPS = 262.5. Uses energy cells (up to 300 in reserve). DPS = (5 + 40) / 2 700 / 60 = 262.5.BFG 9000: Deals 100800 direct hit damage plus 40 additional rays at 4987 damage each. If all rays hit, total DPS reaches 2773.75, but 40 energy cells are consumed per shot. DPS = (100 + 800) / 2 + 40 * (49 + 87) / 2 = 2773.75.Task:Calculate effective DPS for each weapon, factoring in ammo limitations. For example, the Plasma Gun with a full ammo load (300 cells) can fire for:Identify the most economical weapon when ammo is limited and determine which weapons are best for specific situations.Remove one weapon, such as the Chaingun, and assess how overall strategy shifts. Which weapons will take its place?In SummaryIn this chapter, we explored how to create and maintain game balance effectively. We discussed the importance of defining core values, properly managing resources, and organizing game stages. We also emphasized spreadsheets as an indispensable tool for balancing and automating processes.In addition, we introduced Game Balance Guru a bot designed to accelerate and simplify game balancing and economic analysis tasks.Questions for Further Consideration:If your economy were designed not for players but for you as a developer, what would the most profitable balance look like?What amount of in-game progress can be considered ideal in a single play session? How would this change if players had access to extra resources?If players could trade items directly with each other, how would this impact the economy's valuable and scarce elements?If your ideal players are those who pay, at what point would you make the most attractive offers, and how often?However, balancing is just one aspect of creating a successful game. In the next chapter, well explore another critical elementmonetization.How can you turn an engaging, balanced gameplay experience into a sustainable revenue stream?Which strategies can help you achieve this without alienating players?Lets dive into the world of monetization and discover how to make your game not only engaging but also profitable.Chapter 5. Monetization of Your Game"When bankers gather, they talk about art. When artists gather, they talk about money."Oscar WildeIntroductionImagine: you've developed an amazing game. Its engaging, immersive, and... absolutely free. But what about making a profit? Lets acknowledge the obvious: game development is not charity. Developers need to earn money for their work so they can keep creating new masterpieces for their fans. If we just want to make a game for our own enjoyment, we could share it with family and friends for a few laughs. However, for a game to launch on the broader market, it needs to be profitable covering development costs and supporting you, your colleagues, and investors.Players: 'I just want everything for free, and no ads, please!' Developers: 'Of course, why not? We dont need salaries.' In reality, its like walking into a restaurant and demanding a truffle burger for free because 'I just want to eat!'The question isnt how to make money, but how to make money without disappointing players. Thats where the magic of smart monetization comes in.So, the goal is clear: monetize the game in a way that fattens your wallet while keeping players happy. By reading this comprehensive guide, you'll learn how to successfully monetize games, explore monetization strategies, and discover the latest trends in monetization.Author's NoteThis chapter is the second key one in this material. If in Chapter 4, we built the economic foundation and walls, now we're building a grand roof with pagodas that will ensure financial protection and prosperity for your project.The topic of game monetization has existed for a long time but continues to evolve daily. If you look at a popular game from 1998 and a similar one from 2024, youll see how much monetization methods have changed. It wouldn't be a stretch to say there was almost no monetization back then. :) Peoples understanding in this area also varies greatly some know the basics, since we all visit stores and see red price tags, while some readers are more advanced in this topic.And yes, I mentioned red price tags for a reason the methods used by giants like Amazon and Walmart are not much different from those used in Candy Crush Saga, Royal Match, or Diablo IV.Moreover, the sales market is one of the oldest out there, with real user data filling vast data centers, while millions of specialists work daily to find ways to sell you just a bit more. Strangely enough, many of their techniques work well in games too. Why? Because the foundation of any market, whether it's virtual swords or real goods, lies in the same principles human psychology. Some like a discount, some buy out of habit, and some simply can't resist a limited offer.Isnt it remarkable that, with the right approach, even a simple game can become a source of income for you over the next few years? The secret lies in the right choice of monetization tools, skillful combinations, and a deep understanding of your player.Popular Currency Systems in GamesLets start with the basics again: what currency will be used in your game?Money/GoldMany game designers choose not to reinvent the wheel and simply implement the most standard system, where player earnings are represented by gold or precious stones. Imagine gold that players can earn in battles or purchase for real money what could be simpler or more effective? This approach is universally understood, which is why it's so widespread.Interesting fact: Why do hard currencies (typically crystals bought with real money) exist in games? The answer lies in player psychology and behavior. Using virtual currency reduces the psychological barriers associated with spending real money. Studies show that players are more willing to spend virtual currency as its perceived as less valuable than real money. [10] That's why stores encourage you to top up your in-game wallet first and then make purchases.ResourcesSome games go further, offering more complex currency systems based on resources or personal items, adding depth and diversity to gameplay. For example, in strategy games, resources like wood or iron are used for building and development. These aren't simply lying in a wallet but are an active part of the game process.Dreamdale resources for saleNFTs and CryptocurrenciesWith the advent of blockchain technology and cryptocurrencies, were witnessing a new wave in the gaming industry. Blockchain-based games offer players the chance not only to play but also to earn real money by buying and selling virtual assets.Imagine a game where each sword, armor, or even piece of land is a unique digital asset that can be auctioned or exchanged for cryptocurrency.Example: Illuvium, an Ethereum-based RPG where players compete for ETH.This topic is speculative, so I wont delve too deep here, but the idea of using a currency that can be converted into real money is certainly inspiring. We all saw the viral success of Hamster Kombat with its 4045 million daily active users (DAU).Monetization ModelsNow that weve figured out currencies, lets move on to how we can make money from a game. Monetization models are the heart of your games financial health.Choosing the right monetization model is fundamental to a games success, and this decision needs to be made early in development. If you think you can tackle this later, you risk serious issues when the game launches. Your revenue strategy should be defined at the earliest stages, as it influences many aspects of the game: from UI and level design to features and meta elements. [16]Perhaps the worst thing a game designer can do is to ask, "What are we going to sell?" when the mechanics are already complete and implemented. All monetization methods should be considered in the design documentation stage.Developers want to earn as much as possible, while players want to enjoy games for free.Many developers pursue profit to the point of neglecting their players. They ruin the user experience, players get frustrated, and end up deleting the game. How to avoid this is discussed in Chapter 4, Game Economy and Balance.Players understand that developers need money, and thus expect monetization elements in mobile games. The key is to avoid going overboard, allowing you to retain and convert players into paying users.IAP (In-App Purchases)In-app purchases are the leading monetization model for mobile games. According to Business of Apps, 79% of mobile games monetize through IAP. This model forms the foundation of the so-called freemium economy, combining free and premium content in F2P (Free-to-Play) games.In freemium games, players can install and play for free, but if they want a premium experience, they can make in-app purchases. These can include additional lives, in-game currency, weapons, boosters, and more.What to Sell and Where?At the center of nearly every game economy is the in-game store, where players can purchase various items. There are two main types of goods:Consumables: The most common purchases, such as in-game currency, boosters, or health packs. Once used, these items disappear, and the only way to get more is to make another purchase.Non-Consumables: Items that are purchased permanently. For example, access to a new level, character, or cosmetic item. These items dont disappear after use.In IAP, time-limited offers and bundles are also popular different goods packaged together for a special price.IAD (In-App Ads)In-game ads are the second most popular monetization model, where developers earn money by showing ads to players. In this model, players get all game features for free but must watch ads during gameplay.Main Ad Formats:Interstitial Ads: Full-screen ads that often appear during natural gameplay pauses, such as between levels.Rewarded Video Ads: Players can voluntarily watch an ad to receive rewards, such as in-game items or currency.Banner Ads: Static rectangular ads that appear in designated areas on the players screen.Ads are when your game adventure turns into a show featuring sushi restaurants and microloan offers. Nothing disrupts an epic battle like an ad for a new carpet-buying plan. In Budget Adventure, ads replaced the final victory scene with a promo code for free pizza.Its important to remember that ads can be an effective way to monetize, but its essential not to overdo it so as not to annoy players.Advertising is generally viewed negatively, both by players and developers, for some valid reasons. We discussed this in Chapter 3: Player Psychology Game Difficulty and Ads. Most players dont want to see ads in the middle of an engaging gameplay session, right?Throughout my career, Ive often encountered developers who refused to include ads in their games. But after implementing ads in minimal areas, project revenue increased by 20%, and players received a non-forced (only optional) way to earn desired bonuses.In other projects Ive worked on, like Dreamdale with $20 million in revenue, ads made up a significant portion of the income. Without ads, the project would have earned much less.Does this mean every project should incorporate IAD? Not necessarily.In fact, according to recent studies by AppMagic, games that rely solely on ad placements (mostly hyper-casual games) are shifting toward the IAP monetization model. This is due to rising user acquisition costs; acquiring users in the U.S. for $0.05 per install is now more myth than reality, something left behind in 2020. To recoup user acquisition costs, ranging from $1 to $20, relying on ads alone is insufficient.SubscriptionsSubscriptions are a powerful monetization tool in game stores, generating steady revenue and increasing player retention. Lets explore the different types of subscriptions and why they are so successful.Types of SubscriptionsBattle Pass: A Battle Pass is a subscription model that encourages players to keep playing to earn unique rewards. This model is widely used by giants like Brawl Stars from Supercell, where the Battle Pass has become a major revenue source. Players pay for access to exclusive missions and rewards, motivating them to spend more time in the game and return regularly. [16, 1]Remove Ads: This simple yet highly effective monetization method often serves as a first payment with a low entry barrier, converting free users into paying ones. In casual and hyper-casual projects, removing ads can contribute up to 80% of total revenue. [18, 19]VIP Subscription: VIP subscriptions offer players exclusive benefits and bonuses unavailable to regular players. This model is especially attractive to whales players willing to spend significant sums on the game.Below are the main pros and cons of using subscriptions. [20]ProsBetter Commission Rates: Subscriptions offer more favorable commissions after the first year on iOS (increased by 50%) and immediately on Google Play.Recurring Payments: The primary advantage of subscriptions is the recurring payments that provide a stable income stream.Trial Periods as a Conversion Tool: A trial period is a powerful tool for attracting users.High Retention Rates for Subscribers: Subscribers generally stay active longer than regular paying players, contributing to stable revenue.Multi-Tier Subscriptions: Offering different subscription levels allows you to reach a broader audience by providing various packages and bonuses for different player categories.Increased Player Retention: Subscriptions motivate players to stay in the game longer as they receive regular bonuses and exclusive offers.ConsRisk of Cannibalizing Other In-App Purchases (IAP): Care must be taken to ensure that subscriptions do not start replacing other in-app purchase types.Examples:In the game, its often best to have both a subscription and a battle pass theres no reason to forgo one or the other.Hybrid MonetizationHybrid monetization combines multiple monetization models simultaneously. This helps developers leverage different income sources and monetize more players.For example, you might combine in-app purchases and ads to make money from both paying and non-paying players. This approach is especially common in mobile gaming.Which Monetization Model is Best?Unfortunately, there is no one-size-fits-all answer. However, I can help guide you.When choosing a monetization model, first consider your game genre. Different genres require different monetization approaches.For example, hyper-casual games rely almost entirely on ads. On the other hand, mid-core and hardcore games primarily depend on IAP.You can also observe how your successful competitors monetize games similar to yours. Just play their games and pay attention to how you feel as a player; this can help you understand what might work for your game.Proven Strategies for Increasing Game RevenueGame monetization is a relatively new industry and, as in any evolving field, new discoveries are constantly being made. Companies regularly A/B test new features; most fail, but some increase product metrics these are considered successful tests.Successful tests are then adopted by other companies, who learn about them through manual monitoring of competitors or through analytics services like Game Refinery, data.ai (formerly App Annie), or SensorTower. If these strategies are successful in other games, they are considered proven strategies.Ill now share some truly proven monetization strategies. These monetization improvement techniques form a base that works in almost all projects.Monetization expert Mikhail Khripin discusses these strategies in more detail in his new book, Best Practices for In-Game Shops, which I highly recommend. In this article, Ill only touch on my favorites and a bit more.Now, lets go from simple to complex.First Purchase BonusOne of the most effective and simplest strategies for increasing initial conversions is to offer a substantial one-time bonus for the first purchase. Imagine offering players up to 600% bonus on their first or second purchase. This is a powerful incentive thats hard to ignore.!img25.jpgExamples of Successful First Purchase Bonuses:Offer Buy 1, Get X Free: A compelling offer that increases the value of the first purchase, making it very attractive for players.Exclusive Starter Packs: Offering exclusive items or resources that cant be obtained elsewhere encourages players to take advantage of the offer for unique benefits.Discounts and Coupons for Future Purchases: Significant discounts (up to 600%) after the first purchase create a sense of limited-time benefit, prompting players to act immediately.Segmentation and Personalization: A Targeted ApproachAn advanced way to increase in-game store revenue begins with segmentation.Depending on the players status, the game adapts to themThe first step is to segment players dividing them into groups based on various parameters like behavior, preferences, activity level, and spending potential. This allows you to offer products and services most relevant to each group.For example, its worth offering beginners starter packs to help them get settled into the game, while experienced players might be offered exclusive high-level items.Segmentation can be based on data such as:Payment Amount and Frequency: This allows you to determine a players spending potential.Purchase History: Helps you understand a players preferred items.Game Progress Level: Allows you to offer more complex and valuable items for experienced players.Personalization: Offer Whats NeededAfter segmentation, the next step is to personalize offers. This means that the in-game store starts adapting to each player, offering exactly the items they need at that moment. This approach significantly increases the likelihood of purchase.Real Game Example: In a recent Florescence update, the in-game store was set up to adapt to each player's in-game needs. For instance, if a player was short on soil and fertilizers, they would find these items in the store. This personalized display helped increase store revenue by 41%. The development team also implemented segmentation, new price categories, and added thematic sections, including a daily discounts section, where players could buy items at a reduced price once a day. These improvements led to a 46% increase in the stores share of total purchases and a 26% increase in overall revenue. Additionally, daily offers became the leader in terms of purchases, overtaking the previous leader by 1.5 times in sales and doubling in revenue. [20]Key Personalization Principles:Tailored Offers: The store automatically offers the player items they genuinely need. For example, if a player frequently buys boosters, they might be offered a special booster pack at a discount.Activity-Based Segmentation: Active players receive more offers and discounts than those who play less frequently.Dynamic Offers: In Hunt Royale, the system automatically creates and updates offers weekly based on the players behavior and inventory. This led to a significant increase in in-game purchase revenue.Sequences of OffersAnother proven strategy for increasing game revenue is offer sequences a method of presenting players with a series of offers that gradually adapt based on their buying behavior. This approach helps maximize conversions and revenue, while keeping players interested in in-game purchases.Key Principles of Creating Offer SequencesPrice Anchoring: Start with a low-price offer (e.g., a starter pack for $2) to attract attention and establish a baseline for subsequent offers.Adaptive Offers Based on Purchases: If a player buys the starter pack, they are offered the next higher-priced offer (e.g., $10). If they dont buy the starter pack, theyre offered a discount or cheaper alternative (e.g., $1).Stepwise Price Increases: After purchasing the $10 offer, the player might be presented with higher-priced offers, like $20 and $50. In case of refusal, intermediate options (e.g., $2 and $5) are offered.Iteration and Testing: Regular A/B testing of different price levels and offers to determine the most effective options. Iteration using content, prices, and discounts to optimize offers.Applying Machine Learning (ML)Modern game monetization approaches are increasingly incorporating machine learning (ML) often referred to as AI especially for user segmentation and optimizing offer sequences. ML allows automated adaptation of offers for each player based on their behavior, preferences, and likelihood of purchase.Machine Learning in Game MonetizationMachine learning (ML) has become indispensable in game monetization, especially in user segmentation and customizing offer sequences. ML algorithms help to automatically tailor offers based on player behavior, preferences, and purchase likelihood.How It WorksML algorithms use a point system assigned to each user based on multiple factors, such as location, activity, purchase history, and demographics. These scores range from 0 to 100 and indicate the likelihood of a player becoming a high-spending customer (often called whales).User Segmentation Based on ScoresEach user is assigned a score (from 0 to 100), reflecting their potential value as a customer. These scores are calculated based on several factors, including:Location: Geography can impact spending habits and affordability.In-Game Activity: Time spent in the game, frequency of play, and activity levels.Purchase History: Frequency and amount of previous purchases and preferred items.Social Parameters: Engagement with other players, participation in clans, or tournaments.Example: A player who spends 2-3 hours in the game daily and has made prior purchases may have a score of 60, placing them in Tier 3.Determining the Initial OfferEach tier has a base offer tailored to what players in that group are likely to spend.Tier 0 (0-10 points): Minimum offer a $1 package.Tier 3 (50-70 points): Mid-level offer a $10 package with bonus items.Tier 6 (90-100 points): VIP offer a $50 package with exclusive content.Example: A Tier 3 player might be offered a rare item for $10.Adaptive and Personalized OffersBased on user response (purchase or decline), the algorithm adjusts further offers:If the offer is accepted: The player is offered a higher-priced, more valuable offer, such as $20.If the offer is declined: The system may lower the price or present an alternative, cheaper offer to encourage a purchase.Example: A player accepts a $10 offer, leading to a $20 package suggestion. If they decline, they are shown a $15 intermediate offer.Using ML to Optimize OffersThe ML algorithm learns from all users, predicting which offers are most likely to succeed for each player.Example of the Algorithm at Work:The algorithm analyzes behavior across Tier 3 players and finds that 70% prefer time-limited discounts.Based on this, all new Tier 3 players receive time-limited discount offers instead of standard deals.This example is simplified; the number of parameters and complexity can vary based on a companys investment in ML development. ML models can continually improve with data, using reinforcement learning for real-time adaptation based on player actions and revenue impact. For example, if a player repeatedly declines a $20 offer but buys a $15 one, the algorithm will optimize future offers around this preference.Example ML Algorithm: Random ForestDecision Trees are simple structures that make decisions by asking questions that lead to data splits. For example, a tree might first ask: "Does the player spend more than 2 hours a day in the game?" If the answer is "yes," it could follow up with the question: "Did the player make any purchases last month?" Depending on the answers, the tree classifies the player and suggests an appropriate offer.Random Forest creates hundreds or thousands of such trees, each making its own decisions based on random subsets of data. The algorithm then gathers "votes" from all the trees and makes a final decision based on the majority. This algorithm can be used for complex analyses of player behavior and identifying the factors that most strongly influence their purchasing decisions.Example: In a game, data from many players can be analyzed to identify key indicators that predict successful purchases. For instance, activity in the game's social features (participation in guilds, chats) may be a strong indicator of a player's tendency to make purchases.Risks: Imagine this scenarioyou have already set up the model and rolled it out to all users, with thousands of bundles and special offers being sent to players' devices. But after two weeks of testing, you find that you earned 30% less revenue compared to not using ML. What went wrong?This was a real case faced by a game design colleague of mine, which led to their company abandoning the use of ML. As you might have guessed, the problem was that the system was making offers that were too attractive for players. Items that were hard to obtain naturally were being offered at extremely low prices. The mistake lay in the configuration. Therefore, it is crucial to thoroughly test such systems, and they may not always function correctly without competent specialists overseeing them.There is much more to be said on this topic, but that is a story for another time. If you are interested in learning more about ML algorithms suitable for game monetization, you might want to read about XGBoost and K-Means. Feel free to leave comments if you'd like me to elaborate on this.Now that we have set artificial intelligence into battle mode and taught it to segment players and offer the best deals, can we relax? Not quite! If the world were that perfect, we would have already launched Skynet for monetization, and the game would be making millions by itself. But, unfortunately, things are not that simple. No matter how well we train our algorithms, classic issues will still arise that test the resilience of any game economy.Common Challenges in Game MonetizationFighting Purchase CannibalizationOne frequent issue developers face is cannibalization, where a new paid item reduces sales of existing ones without increasing overall ARPU (Average Revenue Per User). For example, introducing a new booster that renders older ones less effective could lead to lower sales for existing items without increasing spending.How to Address This? Ensure that new elements complement rather than replace old ones. In a balanced ecosystem, even boosters have their place.HyperinflationHyperinflation happens when in-game currency becomes so abundant that it loses value, leading players to lose motivation to earn it. In Diablo 2, for instance, gold became so devalued by the end of the game that players stopped using it, instead trading items like the Stone of Jordan.Solution: In Chapter 2s Resource Sources and Spending Points section, we discussed managing resource flows. Analyze resource sources and spending points carefully to correct issues here, as its often the root of in-game economy problems.Example: In the game Whiteout Survival, currency thats abundant early on becomes necessary in large quantities for late-game land purchases. Initially, players might wonder why they have so much money, but later they find they cant get enough of it.Introduction of new, more valuable resources or currency that is harder to obtain and/or can only be acquired through other mechanics. This creates new goals for players and additional incentives.Sometimes this is the only way to combat hyperinflation. For example, in the idle game genre, where prices increase exponentially, players eventually stop comprehending the numbers on the screen, making hyperinflation commonplace. After 1k (1,000), 1m (1,000,000), and 1b (1,000,000,000), the system moves to 1aa, 1ba, 1AA, and so forth (all shorthand for larger numbers).Exponential rise of idle game currency pricesCheatersUnfortunately, every large economy eventually has to deal with bad actors. In games, these troublemakers are known as cheaters.Scenario: Cheaters found a way to generate unlimited amounts of in-game currency (crystals, coins, and other resources), allowing them to acquire items and upgrades without real expenses. Analytics showed a sharp increase in activity players started massively spending crystals and other resources, creating the impression of a highly active game economy. Based on this data, developers decided to raise the prices of in-game items and services, assuming players were willing to pay more. However, monetization revenue didnt grow, as honest players couldnt afford purchases at the new inflated prices. This led to user attrition and a damaged game reputation.How would you restore fairness for regular players and correct the misguided decisions based on cheater activity?Data Filtering: Adjust analytics systems to exclude suspicious data from cheaters or players with abnormal activity in the future. This will prevent similar errors in decision-making.Automated Anomaly Monitoring: Implement a system to track suspicious spikes in activity and automatically alert the development team. This will help detect cheater problems early, before they cause serious damage.Anti-Cheat Mechanisms: Introduce advanced anti-cheat technology to detect and block cheaters in early stages. Use machine learning systems to identify suspicious patterns in player behavior.Conclusion to Chapter 5: MonetizationAfter exploring key monetization aspects from currency systems to machine learning its clear that successful monetization is about balance. You need mechanics that generate revenue without driving players away.Questions for Reflection:Which monetization model is most subtle to players, and why?Why might it be risky for developers to apply ML to personalized offers without fully understanding the algorithms?How much of your game are you willing to give players for free?Which monetization tool works best?Your game can become a significant revenue source by using advanced strategies: player segmentation, personalized offers, and careful resource management within the game economy. But monetization comes with risks. Pushing players too hard, hyperinflation, and cannibalization are just a few of the challenges.Thats why each element of monetization requires not only careful planning but also regular adjustments based on analytics and data. How can this be done?Chapter 6: Leveraging Data and Analytics"Ignorance is the night of the mind, a night without moon or star."Marcus Tullius CiceroIf monetization is the heart of a game that determines its financial health, then analytics is its nervous system. Without understanding how players interact with your product, which strategies succeed, and which fail, building a sustainable long-term economy is impossible.Why is Analytics Important?Games are more than just cool mechanics and great graphics. Todays successful projects are built on data. Analytics allows you to understand player behavior, identify weaknesses, optimize the economy, and increase revenue. This is crucial, as without insight into how players interact with a game, monetization success becomes a matter of chance.Without data, you are like someone trying to defeat an opponent blindfoldedyou dont see where youre hitting and cant understand why youre losing.In this chapter, well dive into the role of data and analytics in game development and examine how to use this information to enhance monetization and overall project success.Analytics for Game DesignersTo start, lets look at what kind of data we need to collect, the types of metrics in games, and then move on to analyzing them.Identifying Key MetricsUnlike typical materials that merely mention metric names, this article provides specific examples and explains why they are so important for you as a developer. Some go deeper than standard definitions to help you better understand how to work with data.Key Metrics CheatsheetWhat to track?DAU/MAU (Daily/Monthly Active Users) Indicates the number of unique users per day/month and their ratio, helping to measure player activity and engagement.LTV (Lifetime Value) LTV shows the total revenue a player brings throughout their interaction with the game. This fundamental metric is crucial, as it determines a games profitability. A successful game follows the standard rule: LTV > CPI (Cost per Install). If the average revenue from a player exceeds the acquisition cost, the game is considered profitable. LTV can range from a few cents in hyper-casual games to hundreds of dollars in titles like Genshin Impact or Lineage M. For instance, in Lineage M, LTV per player can reach $448!RpD - Revenue per DownloadRetention Rate The percentage of players returning to the game after a set period (e.g., Day 1, 7, 30), a key metric for user retention analysis. Low retention can indicate gameplay issues.Churn Rate The percentage of players who stop playing over a specific period. A high churn rate signals engagement issues.Session Length The average game session duration. Long sessions suggest high engagement, while short ones may indicate weak interest or design issues.Session Frequency The number of times a player returns to the game within a period (e.g., daily). High frequency suggests good engagement and monetization potential.ARPDAU (Average Revenue Per Daily Active User) The revenue per active user daily, showing how effectively the game monetizes its active audience.ARPU (Average Revenue Per User) The average revenue per user over a set period.Example: If your game has 1,000 active users and total daily revenue is $1,000, then ARPU would be $1. If only 50 out of those 1,000 players made purchases, ARPPU would be $20.ARPPU (Average Revenue Per Paying User) The average revenue from paying users, helpful for assessing how well the game motivates players to make purchases.Example: In Budget Adventure, there are few paying players, but those who remain spend enough to cover others. TommyTheTapper spends a few hundred dollars a month in the game. However, 99% of players dont buy anything. ARPPU skyrockets, but ARPU remains low as most players choose to leave rather than pay.TommyTheTapper controls the entire economy of Budget Adventure a common situation for small-scale games.Conversion to Payment Rate The percentage of users making a purchase, an essential metric for monetization analysis.There are various types of this metric, such as conversion to second or third purchases. Even when a project is doing well and players make their first purchase, work on this metric never stops.Progression Rate the speed at which players progress through game content and when they make purchases. This helps to understand player behavior at different points in the game cycle.Analytics and Data Visualization ToolsNow that weve identified key metrics, how do we gather all this data and, more importantly, make sense of it? This is where data analytics and visualization tools come in. Lets be honest: data analytics is a separate profession. And, most likely, game designers wont handle it themselves (although, who knows, maybe youve always dreamed of becoming an analyst at heart?)."I hope we wont have to dive into complex formulas and endless tables But a little knowledge never hurts, especially for a game designer!"What does this mean for us?Teamwork: Usually, teams have designated data analysts who collect and process information.Ready-made dashboards: We receive pre-made dashboards and reports. Our main task is to interpret the data correctly and make decisions.How to Work with Analytics Tools?Tableau, Power BI, Looker: These tools help visualize data, turning raw numbers into comprehensible graphs and charts.Firebase, GameAnalytics, Mixpanel, Unity Analytics: These tools collect real-time user behavior data.Practical Example: How Data Helps Decision-MakingImagine a real situation: youre examining the level completion funnel (Churn rate) in your game:Level 1: 100% of players completed it great!Level 2: 95% completed still good.Level 3: 90% completed a small decrease, but nothing critical.Level 4 ("Spiders Den"): Only 70% completed it. <p><code class="excel language-excel">BAM! You see a significant red drop.</code></p>Questions to Consider:Why do 20% of users leave the game precisely at this level?Could it be that the level is too difficult?Are there technical issues?However, you notice an interesting fact: "Spiders Den" brings in $80,000 from in-game purchases and $75,000 from ads the highest of all levels!What to Do?Dive deeper into data analysis: Its possible that the remaining 70% of players are so engaged that theyre willing to spend money to pass the level.Balance the difficulty: Perhaps you should slightly lower the levels difficulty to retain more players while preserving the incentive for purchases.Test changes: Run A/B testing by creating two versions of the level and comparing the results.How would you handle this scenario? Is it worth sacrificing part of the revenue to increase retention? Ill leave these questions open for your reflection but suggest a framework for tackling such issues.How to Analyze Data and Make DecisionsStep 1: Identify the ProblemObserve a significant player drop-off at a specific stage.Step 2: Gather Additional DataAnalyze player behavior: How long do they spend on the level? What actions do they take?Collect player feedback: Is the level too challenging or uninteresting?Step 3: Generate HypothesesIs the level too hard?Are there bugs or technical issues?Is the level design unsuccessful?Step 4: Implement Changes and TestMake adjustments to the level and track how it affects metrics.Continue monitoring data and adapting the strategy.Tip: Continuous interaction with data enables informed decision-making and quick problem-solving.How Can Data Help Increase Revenue?As discussed earlier in Chapter 5: Monetization, "whales" are a unique category of players willing to spend significant sums in a game. We highlighted the importance of creating tailored offers and personalized options for these players to enhance their engagement and spending.Research in "Out of the Box Thinking: Improving Customer Lifetime Value Modelling via Expert Routing and Game Whale Detection" shows that early identification of high-spending players can significantly improve LTV prediction models. These players often exhibit behavior patterns distinct from the general user base.What Does This Mean Practically?Collect Detailed Data: Use analytics tools to gather data on player behavior, track session frequency, in-game time, purchases, and social interactions.Audience Segmentation: Divide players into segments based on their activity and spending capacity. This helps you focus efforts on your most valuable users.Personalized Offers: Create special offers for different segments. For instance, for "whales," you might offer exclusive items or VIP status.Analyze and Adapt: Constantly review the effectiveness of your strategies and make adjustments based on the data.Example in PracticeImagine that in your game, you notice a player, "DiamondKing", who has spent $3,000 over a week. Analyzing his behavior reveals that he actively participates in PvP battles and values rare collectible items. Data analysis shows that if he doesnt log in for more than two days, his likelihood of leaving permanently increases sharply.Your Actions:Offer him an exclusive PvP gear package.Invite him to a private community of top players.Send reminders about new premium content or simply notify him of fresh updates.Interesting Fact: In some games Ive worked with, "whales" accounted for less than 0.001% of the total player base but contributed over 50% of the revenue.Example of Data-Driven Practices at SupercellLets see how Supercell segments its players in the popular game Hay Day.How It Works:Ads for Non-Spenders: Players who reach level 10 without making purchases gain access to the "Night at the Movies" section, where they can watch up to four ads daily for random rewards.Bonuses for Paying Players: Once a player makes their first purchase, ads are disabled for them. Now, they can just visit this section and collect rewards.This approach monetizes all types of players, including non-payers, while paying players feel rewarded, encouraging further purchases.Key Rules of Analytics in Economic Game DesignRule #1: Test the Economy Before LaunchImagine its 3 AM on a Saturday, and by chance, only very wealthy players are in your gameFew games are ready to leverage and handle such situations. Data from tests lets you see how players spend their resources and identify potential bottlenecks in game mechanics before the main release.Rule #2: Identify Your Economys Control PointsThere are "sensitive points" in a games economyparameters that greatly influence balance. Its like playing Jenga: the very block that, if removed, makes the entire tower fall.Your job is to identify which parameters are control points and which are not critical.Rule #3: Constantly Monitor the Economy Post-LaunchOnce the game goes live, the real work begins! Its like keeping a pulse on a patientthe analytics will indicate if the game economy is healthy or if it needs urgent "treatment." Without ongoing monitoring, you may miss moments when players start leaving due to unbalanced pricing or high difficulty.Questions to Consider:If you could only track one game metric, which would it be, and why?Suppose unexpected data shows that where 5% of players used to drop off, now 30% are leaving. Would you change gameplay, the economy, or the analytics setup?If one player generates more revenue than 1,000 others, how would you alter the game?How would you react if players started completing a new level twice as fast as planned? Is this a design success or a signal for changes?Do you think its worth sending a personalized offer to a player who leaves after a short session, or will it just reinforce their decision to quit?Here we conclude our exploration into the world of data and analytics. If analytics once seemed like boring work for graph lovers, I hope you now see that without it, a project is like a ship without a compass, drifting blindly in a turbulent ocean. Remember: data is not just numbers; its the story of your playerstheir choices, journeys, victories, and defeats.Now that you have all the metrics under control, lets move forward and look to the future. Are you ready for whats ahead? The next chapter, Trends and the Future of Game Economy, will answer this question...Chapter 7: Trends and the Future of Game Economics0 Comentários 0 Compartilhamentos 17 Visualizações
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WWW.GAMEDEVELOPER.COMThe Splinter Cell movie is no longer moving forwardJustin Carter, Contributing EditorNovember 15, 20242 Min ReadImage via Ubisoft.At a GlanceThe Splinter Cell adaptation was first announced back in 2005, and saw little progress.The Splinter Cell movie has been quietly terminated, according to a producer on the would-be film.During a recent promotional event for John Wick (and spotted by TheDirect), producer Basil Iwanyk said production company New Regency "just couldn't get it right, script-wise, budget-wise. [...] We had a million different versions of it, but it was going to be hardcore and awesome. That's one of the ones that got away, which is really sad."Ubisoft announced a film adaptation for the stealth game series back in 2005, then re-announced it in 2013, this time with actor Tom Hardy locked in to play series lead Sam Fisher. In the years since, the project saw no substantial progressHardy has spent the past decade playing Venom or starring in dramas, and the only director attached was Doug Liman, who was hired in March 2014 and exited the project a year later.Video game adaptations in development hellBefore transmedia ventures became a major fixture of entertainment, game adaptations often got locked into development hell. Some notable examples include Gears of War, BioShock, Infamous, and fellow Tom Clancy sub-series The Division. In some cases, those adaptations managed to push forward, others remain unmade to this day, often with no real confirmation on their status.Previously, Ubisoft appeared to ditch its transmedia plans after the critical and commercial failure of the 2016 Assassin's Creed movie. More recently, it teamed with Netflix on the animated Captain Laserhawk serieswhich brought various Ubisoft properties together into a single universeand plans to release a Watch Dogs film that wrapped production in September.Outside of the film, Ubisoft plans to bring back Splinter Cell with a remake of the original 2002 game. It will be the first installment in the franchise since 2013's Splinter Cell: Blacklist.Read more about:UbisoftTransmediaAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 32 Visualizações
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WWW.GAMEDEVELOPER.COMRuckus Games raises $19 million in funding for debut title, 'Project Bobcat'Justin Carter, Contributing EditorNovember 15, 20241 Min ReadAt a GlanceKrafton and Hypergryph were among the firms that provided funding to Ruckus to develop its co-op RPG-shooter.Indie developer Ruckus Games recently secured $19 million in funding for its unannounced debut project.Two years ago, the studio secured $5.5 million in a round led by Transcend Fund to build its "high-quality prototype." This new round was led by Krafton, with additional contributions from Transcend, BitKraft, and Hypergryph.In its statement, Ruckus highlighted that prototype as proof its development costs "remain much lower than triple-A, while the team still delivers that same level of quality and fun of titles with exponentially bigger budgets."Speaking to its contribution, Krafton's Maria Park said it "believes in the future of co-op games, and the Ruckus team has demonstrated incredible progress with a small team in a short period of time. Theyve crafted something so on-trend, with stylish action and humor, that it not only entertains but also connects players in memorable ways - a vision that strongly resonates withKrafton."Ruckus was founded in 2021 by former Riot and Gearbox developers, including Borderlands 3 creative director Paul Sage. The studio's debut titledubbed "Project Bobcat" by Hypergryph's investment headis described as a session-based co-op RPG-shooter it hopes to "disrupt the multiplayer landscape [...] anddeliver a unique blend of style, humor, and explosive action."Both Park and Transcend GP Andrew Sheppard sit on the board of directors for Ruckus, and Sage said the contributing firms "bring not only a global reach, but as developers themselves, they bring a unique perspective to our team. [...] This level of support is a great show of confidence that bodes well as we search for the right publishing partner going forward."Development on "Project Bobcat" is said to be continuing "at a rapid pace," and Ruckus Games is currently hiring for various positions.Read more about:FundingAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 31 Visualizações
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WWW.GAMEDEVELOPER.COMEmbracer attributes continuous 2024-2025 declines to a lack of substantial new releasesFinancials for the second quarter of Embracer's 2024-2025 fiscal year went out, and the Swedish company saw several dips across its games and entertainment businesses.As of September 30, 2024, net sales decreased to 8.6 billion SEK (or $783.7 million), down 21 percent from 2023-2024's second quarter. Its interim report shows the Entertainment/Services and Games divisionsand the latter's individual PC/Console, tabletop, and mobile sub-segmentshad downturns across the board.PC/Console games had the biggest decline: net sales fell to 2.12 billion SEK ($193.2 million), down 46 percent year-over-year. CEO Lars Wingefors contributed that decline to the lack of new releases: whereas 2023-2024's second quarter had Payday 3 and Remnant II, the 2024-2025 quarter mainly saw a re-release of the original Epic Mickey and the 1.0 launch of Satisfactory.According to Wingefors, Epic Mickey: Rebrushed had "slower than expected" digital sales, despite its positive reception, while Satisfactory reportedly performed above expectations and saw a "solid inflow" of new players. The Entertainment/Services division also had a sizable tumble of 35 percent, which was attributed to "few new releases."Embracer cited 'few new releases' as reason for declines in its PC/Console game sub-segment.Mobile games had less of a fall at 1.36 billion SEK ($123.9 million) in net sales, which translates to a roughly 8 percent decline compared to 2023-2024's Q2. Wingefors believes the improved market conditions that drove player activity and improved revenue growth for this quarter will continue through the fiscal year's second half.In the interim report, Wingefors also commented on Embracer's recent $1.2 billion sale of mobile developer Easybrain, which he hopes will "put us in a much stronger position to drive value, both in the short- and long-term."Despite a 5 percent dip in net sales, Asmodee (or the tabletop sub-segment) was commended for having a "strong execution" between July and September. Asmodee's decrease in publishing partners was said to be balanced out by a growth in the games published during the quarter.Looking ahead, Embracer expects growth in earnings for Entertainment/Services during the third quarter, along with lower earnings for the larger 2024-2025 fiscal year. Growth in the Entertainment division is expected to come from the Lord of the Rings: War of the Rohirrim anime film, which arrives on December 13.As for the losses, that can be owed to adjusted expectations for the first half of the fiscal year, and several PC/Console games that have already been (or are expected to be) delayed, such as Kingdom Come: Deliverance II, Deep Rock Galactic: Rogue Core, and Hyper Light Breaker. Some of these titles will come out during the second half of the fiscal year, while others are expected for the 2025-2026 period.Speaking of losses, Embracer's report also shows it now has 128 game projects in development (-36.3 percent year-over-year), and employs 6,250 game developers (-41.3 percent year-over-year). This past May, the company revealed it had eliminated over 4,500 employees and cancelled 80 projects during its year-long restructuring process, which involved laying off staff and closing (or selling off) studios it'd previously purchased.As of this past April, the company is being split into three standalone companies. In the report, Wingefors confirmed it's on track to spin off Asmodee by the end of the fiscal year.Embracer's full financials for 2024-2025's second quarter, and the first half of 2024-2025 overall, can be read here.0 Comentários 0 Compartilhamentos 19 Visualizações
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WWW.GAMEDEVELOPER.COMSAG-AFTRA's newest agreement secures protections for video game dub actorsJustin Carter, Contributing EditorNovember 15, 20242 Min ReadImage via Atlus.At a GlanceSAG-AFTRA has struck another deal to support voice actors while continuing to strike for more protections.SAG-AFTRA has locked down another deal, this time for the benefit of video game localizers.The actors union established an Independent Interactive Localization Agreement (IILA), which covers localization of games first made in a non-English language. Its terms are similar to the budget-based tier agreement for indie developers established back in February: under the IILA, localizers have AI protections and expanded voiceprint and session options for "both principal and atmospheric roles, as compared to the original Localization Agreement."Per the IILA rate sheet, off-camera performers are paid $1,023.75 per session for up 12 voice prints in a four-hour day, or $512 for 2 voice prints in a one-hour day. As shown below, this rate runs from now until the end of 2024: from January 1, 2025 to the end of that year, the fees go up to $1,102 for four-hour day performers and $551 for one-hour performers.Rate sheet for SAG-AFTRA's Independent Interactive Localization Agreement.Over the years, games made by non-U.S. studios have released at a greater cadence and become more popular. Titles like Metaphor: ReFantazio and Black Myth Wukong have been among the year's largest releases, and SAG-AFTRA hopes IILA will provide more job opportunities to performers working in game localization."Many brilliant, beloved games come to market in the U.S. from other countries, projects which need highly skilled localizing performers, and those performers absolutely deserve robust, enforceable A.I. protections," said Interactive Media Agreement's negotiating chair Sarah Elmaleh. "We hope that the updated terms in the Independent Interactive Localization Agreement will create even more opportunities for them to collaborate with U.S. union talent."Since July, SAG-AFTRA voice actors have been striking against game companies to secure better work conditions and AI protections. The strike was recently paused so the union could resume talks with studios (including Disney, WB Games, and Insomniac Games), then resumed at the end of October.Before and during the strike, the union has managed to strike several deals with various AI-powered voice companies and indie studios like Lightspeed LA. According to SAG-AFTRA, there are now over 130 game projects currently signed to its interim and independent agreements.More information on the IILA can be read here, and its rate sheetwhich also covers atmospheric voices, on and off-camera singers, and additional compensation per sessioncan be read here.Read more about:UnionizationLaborAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 29 Visualizações
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WWW.GAMEDEVELOPER.COMRemedy creative director Sam Lake to receive NY Game Awards' Andrew Yoon AwardSam Lake, the creative force behind Remedy Entertainment, is the winner of the New York Game Awards' Andrew Yoon award for its ceremony on January 21, 2025.The distinction has previously gone out to "game changers" in the industry, including Naughty Dog's Neil Druckmann, Xbox head Phil Spencer, and Hideo Kojima. Lake has been recognized for being a "true visionary whose work continues to pave the way for narrative-focused game design and visually striking universes.""You know a Remedy game when you see it, largely due to Sam Lakes impact on the worlds he creates," wrote NYVGCC president Harold Goldberg. "Its really cool to see how his 20-year career at Remedy has touched so many of our members and interns at the Circle, and we are thrilled to have him join the roster of esteemed game changers previously recognized with the Andrew Yoon Legend Award.Lake joined Remedy as a writer for its debut title, 1995's Death Rally. Over the years, he's written or been the creative director (or both) on nearly every game developed by the studio, from the original Max Payne games to Alan Wake, Quantum Break, and the Remedy-made story campaigns for Smilegate's Crossfire X. He most recently wrote, directed, and acted in 2023's Alan Wake II, which became Remedy's fastest-selling title and saw critical acclaim.Of the sequel, NYVGCC executive director Ryan Callahan remarked how it "[isn't] often you see a video game studio deliver a superb sequel to a title a decade later, but its even rarer to see how it resonates with fans and spawns a whole connected universe comprised of its past franchises. I dont think anyone expects anything less from someone like Sam Lake."In addition to games, Lake also co-wrote two Alan Wake books and a Max Payne comic book. This past summer, Remedy struck a deal with Annapurna to adapt Alan Wake and Control for TV and film, but his involvement in those projects is currently unknown.The New York Game Awards will air on Tuesday, January 21, 2025. Ahead of Alan Wake II's release last year, Game Developer with Lake about its co-lead Saga Anderson (and having two protagonists in general), and going all-in on live-action video.0 Comentários 0 Compartilhamentos 18 Visualizações
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WWW.GAMEDEVELOPER.COMEpic Games is officially cool with the Internet Archive preserving early Unreal gamesEpic Games has given the green light for the Internet Archive to host installation files for Unreal and its immediate follow-up, Unreal Tournament.According to a post within the OldUnreal Discord server (and spotted by ResetEra), the archiving website now hosts images of the two games' original discs. Players can download those disc image files (which are here and here) individually, or use OldUnreal's previously released Windows-only installers for the games (Unreal here, Tournament here) to automatically download and install the Archive's files, in turn making the two arena shooters fully playable again.Both games were pulled from sale years ago, but with Epic's approval, get to live on as a part of video game history. The arena shooter franchise helped establish Epic as a developer, and its various sequels and spinoffs were used to showcase the game engine of the same name.Epic and Unreal's long, complex historyHowever, Epic's overall relationship with Unreal is...complicated. Officially, the series came to an end with Unreal Tournament 3 in 2007, as Epic put its then-full attention on the Gears of War series and its MOBA Paragon. An attempt was made to revive the franchise with a new installment made in Unreal Engine 4 (and simply titled Unreal Tournament), but that was later canceled as Epic elected to focus on Fortnite, and the series was officially shelved.In 2022, Epic officially killed the Steam servers for several older games, including the Unreal project's alpha and Unreal Tournament 3. The latter was meant to be revived on Steam as the free-to-play Unreal Tournament 3X, but that appears to have been quietly canceled last summer.Still, this new development provide a win for the series, along with game preservation and historians of the medium, which is always a plus.In 2000, then-Epic programmer Brandon Reinhart wrote a post-mortem on Unreal Tournament's development, which you can read here.0 Comentários 0 Compartilhamentos 31 Visualizações
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WWW.GAMEDEVELOPER.COMWhy Animal Well's home-brewed engine was key to its successFor most of his development career, Billy Basso has attended gaming conventions on a work and promotional capacity. He'd stand near an incomplete game demo kiosk, watching people play it, taking notes, figuring out if he's on the right track. Analyze, focus, guess, and hope.In September, he finally got a taste of the other side of the booth."PAX West was the first show that happened after Animal Well's launch," Basso says weeks later from his home studio in Chicago. "I was looking forward to taking, in a way, a victory lap." He describes a crowd of people lining up at the Seattle exponot to play a new game, but to greet Blasso and share "all of these stories" about their positive experiences with his months-old title.As Animal Well's sole coder, artist, and designer, Basso deserves the lap. Since its April 2024 launch on consoles and PCs, the indie "Metroidvania" game has amassed nearly universal acclaim. Sales estimator Gamalytic points to sales figures exceeding 300,000 copies on Steam alone. During its launch month, Animal Well at one point outsold every first-party Nintendo game on Switch's eShop.In a chat with Game Developer, Basso and his business partner, Dan Adelman, reflect on Animal Well's development, launch, and success. What worked? How did surprising fare, like a Wisconsin tourist attraction and the 3D adventure Shadows of the Colossus, inspire and guide the game's unique spin on Metroidvanias? And what might come next?Related:Opting out of battles with pre-made enginesThe Animal Well journey began in two phases, Basso says: a quick stab at a Metroidvania-styled prototype in 2012, and a bespoke engine project that he took more seriously, which he began coding alone in 2014 during his day job's off hours. That day job, to clarify, was programming work at the video game studio Phosphor Games."I was typically working on mobile games with live service elements that were heavily dependent on network infrastructure," he says. "We were using off-the-shelf game engines that had a lot of bloat and were laggy." Having his own bespoke, offline engine was a priority for whatever kind of game he would eventually make on his own, to avoid the "sour taste" of inefficient tools and workflows.But Basso's work on a "general purpose, 3D game engine" dragged on during nights and weekends for three years before he came to a tough conclusion: the engine-focused project had been too focused on "preemptively solving problems," instead of "having enough direction to actually turn into a game."It was 2017, and some of the design ideas from his 2012 Metroidvania lark had continued pulling on him, so Basso "wrote off" his 3D engine as "a learning experience" and started anew with 2D search action as a priority. Like before, off-the-shelf solutions weren't going to cut it, but at least this time, he had a genre and some design directives in mind.For his new game, he wanted pixels to scale perfectly to a variety of common screen resolutions, along with visual effects that meshed well with his integer-scaled pixel art. He disliked "built-in lighting effects" that developers had to "fight against quite a bit" in engines like Unity: "they have point lights and stuff, they have a smooth gradient, and that clashes with pixel art."Build your own technology, then let it set the toneWith that baseline in mind, Basso's early project took shape, but roughly one year in, he found it "looked like an NES game, where the art wasn't that striking." Thanks to his full control of the engine and rendering efficiency at the fore, Basso had more wiggle room at this point in development to add what he describes as a crucial technical upgrade: a rim light shader."Everything was now kind of in shadow, but the edges were highlighted, and your character sprite in the bushes got blended in with the foreground tiles in a way that tied it all together," Basso says. "Immediately, when I got that shader working, I'm like, 'This is a unique look."The inspiration dominos began falling. Basso noticed that his effects' shadow-and-light interplay "informed the stylistic direction" of the game's environments and animals. Newly inspired, he built a "full screen Navier-Stokes fluid simulation" to power the game's smoke and water effects for more haziness and dreaminess, along with more lighting and particle-effect systems, painting more highlights and posterization effects over backgrounds and sprites.Image via Billy Basso/BigMode."This is interesting," Basso recalls thinking, "where I have this high-fidelity physics simulation working, but it's being paired with this, in some ways, primitive pixel art." As Basso's work bounced between design, art, and engine development, "the richness of the game got layered on, and I found the game's tone and identity gradually over that process." Despite his earlier hiccups with a 3D engine, he still recommends an engine-first mentality for new game development: "That opens up a lot of unique creative avenues. Once I get a cool system working, then I can play around with it and see what it allows for."Digging the well with Adelman's aidWith his 2D game in full swing, Basso inadvertently learned about Adelman, a business- and marketing-focused industry veteran, through a pair of interviews in late 2017 and early 2018. Basso appreciated hearing how Adelman had transitioned from revolutionizing Nintendo's digital distribution channels to dedicated support for indie devs, particularly for the breakout Metroidvania hit Axiom Verge. "I'm naturally a pretty introverted person, so having someone like him to work with sounded very appealing to me," Basso says. He sent a cold-call email.In hindsight, Adelman admits that his near-instant email reply turned out to be a bit disingenuous. "What was special enough about [Animal Well] that made me think, 'oh I want to work on this,' versus what it eventually became, were actually very different games," he says on the PAX West 2024 show floor. "I really like both games." The game he originally envisioned landed somewhere between VVVVVV and You Have To Win The Gamesince both eschewed combat in favor of exploration, puzzles, and hardcore platforming. For Adelman, the cherry on top was the early game's emphasis on nooks and crannies, which might otherwise be hidden in shadow or other Basso-developed effects: "I really loved finding secret passageways that I walked past, like, four or five times before I noticed them," Adelman says. "Like, oh, this opens up into a whole new area!"With Adelman on board, Basso's more richly developed prototypes started getting in front of industry players, and Animal Well's first major reveal came in a small booth at the inaugural Summer Game Fest in June 2022, an in-person event in the wake of the defunct Electronics Entertainment Expo (E3). That event's biggest Animal Well payoff came one week later, as a six-second blip in a wrap-up video made by popular YouTube creator Jason "Dunkey" Gastrow.A big leap with BigMode"Jason, in his normal style, basically shit on the whole event, but he did give us a positive shout-out," Adelman says. "Just from that one mention, our wishlist numbers had a big spike." Shortly after this, Gastrow and his wife Leah traded follows with the Animal Well team on Twitter, which led to a series of DMs between Adelman and Leah during that September's Tokyo Game Show. Leah requested a playable build of Animal Well; Adelman asked that it not be used as YouTube or Twitch content. Leah replied that she had something else in mind: "We're starting a publishing label, called BigMode," Adelman recalls her saying. "Would you have any interest in talking about that?"Adelman had not planned to add a formal publisher to the Animal Well development period; after all, he didn't need one for Axiom Verge. And the Dunkey YouTube channel's reputationfull of curse words and overt trolling in online gamesgave Adelman some pause: "is [Gastrow's] real-life persona the same as his online persona?" (The past few years have seen other YouTube and Twitch creators take huge missteps in their own game-publishing efforts.)Image via Billy Basso/BigMode.But Adelman and Gastrow's initial conversations were polite and promising. Game promotion and marketing were changing in the years since Axiom Verge. Jason's online reach and the couple's genuine enthusiasm filled an information gap for Animal Well at this point in development. Jason had made a career out of tapping into a modern gaming audience's attention spanhow people engage with new games and pick favorites out of a deluge of indies. If Gastrow saw something special in Animal Well, he could convince a lot of people to do the same. In short, what a good publisher does."This could be a disaster, or it could be a really good fit," Adelman recalls thinking.(When asked for comment on Animal Well's development and success at PAX West 2024, Jason Gastrow replies by repeating the same sentence twice: "I feel like one hundred penguins." It is unclear whether this statement was in line with Gastrow's humorous YouTube persona, or whether he was offering a hint about an undiscovered Animal Well secret, since the game prominently features penguins.)"Layers" workbut they need to be distinct and appealingAnimal Well wastes no time hinting at its range of secrets. With no plot or narration, players begin running-and-jumping around a dark, eerie cave. In one direction, players can pick up an "egg" from a treasure chest with no indication of what it means or does. In the other direction, a squirrel runs away, and a rabbit is seen hiding in a seemingly unreachable corner of the screen. Neither of these hints is borne out with prompt clarification, and the mysteries and layers keep coming.But that opening beat is nothing compared to Animal Well's "layers" of deeper puzzles. Some required dozens of players' collaboration to figure out, and others required connecting specific hardware to a PC while playing the game. Layers found their way into Animal Well in a few ways:With a publishing deal in place and budget settled, Bigmode, Adelman, and Basso agreed not to rush the game's launchand to let Basso ultimately lead on the development, implementation, and difficulty of the game's crisscrossing puzzles. Basso would often hand a new build to Adelman and the BigMode team without spoiling its four "layers" of puzzles, though the deepest layer was so obtuse that its puzzles simply couldn't be tested by Bigmode's tiny team without cheat codes.This part of the game's development never exceeded Adelman's "scope creep" bandwidth, as he found the deeper puzzle additions never added "bloat" to the development process. Basso would review feedback after each build was turned in and accept "maybe half" of the suggestions. "It wasn't so much like I was asking permission ever to do something," Basso says. "I kind of just did it."For Basso, Animal Well's deeper layers would have no value unless players connected with Animal Well's surface-level content. He drew inspiration from an unlikely 3D-adventure game: 2005's Shadow of the Colossus, whose online community eventually began hunting for a "hidden" 17th "colossus" boss (which never existed)."It was almost like a religious conviction that they wanted to find this missing part of the game," Basso says. "But then you realize that that's only true because Shadow of the Colossus is one of the most finely crafted games ever made, and people care that much because the base game is so compelling."Early on, Basso committed to one principle in particular: none of its items could be considered "staples" in other Metroidvania games. Midway through development, Basso inadvertently realized he'd leaned on children's toys as the game's foundation, including a Slinky, a yo-yo, a bubble wand, and a frisbeewhich gave him immediate reference points for their designs, plus the freedom to add clever surprises to each (particularly the bubble wand's unique "climbing" system). Basso likes the "safe bet" nature of the popular toys he picked out: "That's already a proven interaction."Inspiration from The House on the RockThe last step was to coalesce Basso's artistic and design leanings in a way that would make his mysterious world inviting and exciting to explore, not confusing. Basso had his vision catalyzed after visiting The House on the Rock in Wisconsin. "It's this ramshackle collection of weird objects that the original owner of the house collected, and he built all these expansions to store them all," Basso says. "You can go in any direction and find cool stuff to look at. It's always surprising, and you can't really predict what the through line is between all of them, but it still feels consistent."Basso says he wanted to make "the video game version" of the tourist attraction, though his version would include an unspoken mythology defined by "all the weird, Midwestern lawn ornaments I was seeing in my neighborhood." This explains some of the game's atypical animals standing amongst overgrown, lawn-like weeds (hello, pink flamingos), but Basso also describes an effort to keep his game's animals as unique as its items.Basso admits leaning towards a cast of animals in the game because he finds them "more enjoyable" to draw than humans, and that he can have more creative license since people on average are "more forgiving about the [visual] details, about what they look like." His initial impulse was to draw "more zoo animals," Basso says. "There's a zebra in the [early versions]. And there's just some, like, bears."Image via Billy Basso/BigMode.As the game's more mysterious tone took shape, Basso began watching nature documentaries on YouTube, then found himself compelled by the weirder, less popular animals he saw. "I remember learning that the beluga whale can imitate the sound of children underwater," Basso says. "They trick a lot of divers into thinking there's a child drowning." He might have otherwise picked a better-known creature to fit whatever biome he needed (water, forest, cavern, etc.), but documentaries shaped his excitement: "Oh, I like this detail. That's scary and creepy and interesting." He thus filled out the Animal Well.Community matterswith a pre-release twistAdelman admits that before working on Animal Well, he'd never focused pre-release efforts on the concept of community, and he was particularly ambivalent about one popular service, which he'd seen other game developers adopt for their own games with mixed success. "I guess we've got to start up a Discord server and hope people show up," Adelman recalls initially thinking. But in the game's run-up, Basso hid a number of puzzles across the game's promotional channels, including videos and website postsall hinting to the caliber of puzzles that would eventually debut in the game's deeper layers. The resulting Discord engagement was immediately massive. "These ARGs brought a lot of people together, and friendships started to form," Adelman says. "So I was like, 'Oh, I get what [people] mean now, when they talk about building community.'"Before that full community could coalesce, Adelman elected to test one unique version of "community": a pre-release, critics-only Discord channel. In addition to giving critics a few weeks to play the final game, Adelman wanted to provide a meeting place for critics to "share information and collaborate on certain puzzles," admitting that Basso's design vision always included an expectation of community-driven puzzle solving. (In other words: it's not cheating to ask for Animal Well help!)This had two outcomes for the very small Animal Well development team: First, the developers could see in real time a miniature version of how Animal Well would be digested by a community at largesomething that couldn't necessarily be replicated by a dedicated QA team. Second, it arguably bumped the game's review scores. "I think if everyone had been playing in isolation, they might have missed out on some things," Adelman says. "Sometimes a reviewer would say, 'I just found this,' and everyone would be, like, 'What?! I gotta look for that." We might have gotten a lot of 7 out of 10s, 8 out of 10s, if people didn't seek out some of the more interesting content or didn't know where to find it."Not "niche," but "intense"The community's response to Animal Well's pre-release ARG puzzles gave Basso confidence to build complex puzzles for the final game, and that community responded even more fiercely to the final retail game. "People really appreciated the secrets in the game," he says. "I'd assumed there'd be a hardcore group of people that that appealed to. And most people would just enjoy the game. Maybe that is the case, but I think everybody that did experience those deeper, later parts of the game, they all seemed to really resonate with it.Still, when the game's deepest riddles were uncovered by the communityparticularly a cypher whose only hint is the pixel-long direction a bunny's ears are turnedAdelman and Basso admit they were shocked by how quickly it happened.Adelman suggests the internal estimate for full puzzle discovery was somewhere around ten years. "There were so many people who were so passionate about Animal Well, that there were probably, you know, ten man-years dedicated in that condensed amount of time," Adelman says. "It was just way more people working way harder on [the game's puzzles] than we ever expected." (Basso insists that "there are some things the community hasn't found" in Animal Well but has not elaborated further.)As Basso speaks to trusting his development instincts, he confirms that he's "thinking about another game" and is thus in the "very early stages of setting a new project and engine up." He intends to deliver something similar to Animal Well's scope, if not something "bigger.""I'm looking forward to releasing a game within the context of having already released Animal Well," Basso says. "I think I'll have more flexibility with how it is marketed, and it will be fun to play off, and subvert, existing fans' expectations." And he clarifies that the afterglow of Animal Well's launch, including a "victory lap" where feedback has moved from comment sections to critical accolades and real-life lines, made years of solo-development isolation worth it. He had ultimate control over its tools, engines, art, and mechanics. Now, and forever, he says that's out of his hands."Animal Well was this sort of pure side project where I could implement things in what I felt was the ideal way," Basso says. "Robust, not dependent on things. [The result was] a timeless quality that older cartridge games havethat still have, like, really intense speed running communities. I wanted to make a game that, you know, could still have a fandom around it 30 years from now."0 Comentários 0 Compartilhamentos 60 Visualizações
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WWW.GAMEDEVELOPER.COMReflections on my score for Tactical Breach WizardsWithin this article, I will be going over various aspects of my score for Tactical Breach Wizards, including my creative process, inspirations, experiences, challenges, and reflections post-release. I hope that this gives hopeful composers some behind-the-scenes insight into the production of a full game score.Creative process and visionI feel like the biggest obstacle for any score, whether its a film, game, or other type of media, is to land the vision correctly and stay true to it. When I sent my work to Tom over at Suspicious Developments when he announced the composer opening, the two tracks that helped me stand out were two trailer tracks I had written that heavily used percussion. With that in mind, I wanted to ensure that percussion was at the forefront when the game called for more serious or dramatic music mixed with orchestral and sometimes electronic elements. It helped that I was a trailer composer, so I had access to a fair bit of trailer samples to bring some punch and intensity.In Tactical Breach Wizards, there are four main acts and a prologue to start the game, showing the last mission between Liv and Zan. Along with the references Tom had sent to me, I also wanted to try to give each act a different direction while staying true to the vision of the overall score, sometimes with different instrumentation focuses, such as Act 1 (DSR) having a lot of synths and a lead electric guitar, a choir for when dealing with Chapel in Act 3 (Kalan), and using bells to put the players in a historical setting in Act 4 (Medil). The prologue is more of an opening sequence made of two more orchestral tracks with some of my favorite trailers, SFX.The two outliers with the vision of the overall soundtrack were At Mas and The Necromedic, which were Reggae and Jazz, respectively.Technical challengesWhen it came to the challenges of writing the soundtrack, at times, I was my own worst enemy, which I will talk more about later in this article. At times, my own tools led to limits I had to overcome. Sometimes, it was my production level at the time. The challenges all led me to find creative ways to overcome them, and eventually, they all went away fairly quickly. Dont be afraid to face them head-on, as you may be surprised by what you can do.InfluencesOverall, the score was meant to have different militaristic elements mixed with elements that worked well with the setting. I thought back to older game scores and developed ideas of what I liked from those scores. Some of it was the use of percussion, some of it was the use of synths, and some was the use of strings and brass, which I loved.I remember once trying to take the whimsical approach when the players were selecting their perks; however, it didnt work. There were other moments I attempted it, but it never stuck. I do know that when you think of wizards and magic, you think whimsical and fantasy, but that had no place here! We had a more gritty theme that went with this, though there was a lot of humor around them.Evolving as a composerWhen working on the score, I went through an evolution over the three and a half years I was involved with Tactical Breach Wizards. In ways, my process was all about experimentation with sounds, textures, and themes, but as time went on, my process evolved into a more methodical approach, mainly thanks to my studies with Penka Kouneva, who helped me clean up my methods, have more of a detailed plan with each cue, and most importantly, executing it. I know that has been a common issue, so it was very important for me to get it right. This also showed an evolution of the score with sometimes more complex writing in the latter half of the soundtrack.Also, I had really worked on my production skills so I could achieve great results with whatever orchestral libraries and synths I owned at any time. I should also thank developers such as Rocky Mountain Sounds (Complexity, Majestica 2, etc.) for making great libraries and expansions that really contributed to the soundtrack in various ways.With all that said, all of these changes led to an issue I hadnt accounted for, such as having to go back to a few older tracks and use what I learned to improve their quality. Keep in mind that if youre working on a score over the course of several years and are still really developing, you may be in a similar position!Feedback from players and reflectionsOver the course of the beta rounds, the feedback was great, but there was one surprise. The Necromedic stood out to many players in a good way, and it showed when looking at the feedback for the score. It was the favorite, which honestly made me chuckle because I didnt consider my jazz chops to be much to write about. This process has shown me to be open to such nice surprises.The overall reception to the soundtrack upon release had been something I was nervous about as this is one of the first times many people would hear my work, AND they know my name behind it as many other projects I worked on (trailers and films) didnt thrust me into the open like this one did, especially with that hype around it. I appreciate the great response to the game and the soundtrack, and I hope more people play Tactical Breach Wizards, as the game is awesome with great writing, level design, art, and more.When I look back at the soundtrack as a whole, I plan to keep using the knowledge gained during the experience and continue writing great scores, as this has so far been my best work. You never truly know how you will handle the challenges thrown at you at work like this until youre in the thick of it, and I urge everyone to pursue these challenges. I really hope you enjoy the score as much as I enjoyed writing it.0 Comentários 0 Compartilhamentos 47 Visualizações
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WWW.GAMEDEVELOPER.COMUbisoft finds new chief people officer in health and food exec Sbastien FroidefondUbisoft has found a new chief people officer, following the departure of previous CPO Anika Grant after a brief two-year stint. On November 20, "seasoned HR executive" Sbastien Froidefond will take over the role.With over 30 years of experience, his duties will include handling the studio's talent and leadership development and global recruiting, along with "ensuring that HR contributes significantly to the company's overall strategic objectives." As CPO, Froidefond will be a part of Ubisoft's executive committee and report directly to Ccile Russeil, the EVP who runs its communications, HR, and legal departments.In the announcement, Ubisoft notes his prior work "demonstrated his versatility and impact across diverse industrieswhether in sectors with long, innovation-driven investment cycles, or in fast-paced environments requiring operational agility." Previously, Froidefond worked in dairy and healthcare at companies such as Lactalis Americas and Sanofi, where he managed their respective HR departments across multiple countries.His hiring marks the newest executive shakeup for Ubisoft this year. In April, Russeil was appointed to her current position after previously operating as its chief legal advisor since 1995. That same month, publishing VP Brenda Panagrossi was made general manager for its larger United States team.Froidefond's predecessor, Grant, was brought on shortly after reports surfaced of harassment and other inappropriate conduct from high-level Ubisoft workers. Ubisoft then promised to improve its culture, and she was said to be "instrumental" in that process.He joins Ubisoft at an equally tumultuous time: not only is the company facing a potential buyout between Tencent and it longtime owners, the Guillemot family, workers at its France and Milan offices have recently gone on strike over its return-to-office mandates. The studio has also been twice-sued in recent times, and is in mid-development on its next big release, Assassin's Creed Shadows for February 2025.0 Comentários 0 Compartilhamentos 56 Visualizações
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WWW.GAMEDEVELOPER.COMXbox head Phil Spencer still wants to work with mobile and Chinese devsJustin Carter, Contributing EditorNovember 13, 20242 Min ReadImage via Microsoft.At a GlanceSpencer believes Xbox still needs to enter the mobile and Asian markets, and is determined to make both happen.Microsoft has made plenty of acquisitions in recent years, and its games division head Phil Spencer believes there are still more to come.Speaking with Bloomberg, Spencer said the company is still looking at third-party studios for potential purchase. No one specific developer was cited, but he did say large-scale purchases like Activision Blizzard and Bethesda were on pause, at least for now. By his own admission, there was "a lot of time" spent acquiring the Call of Duty publisher, which became complicated by local and international regulators initially stepping in to block it.The acquisition went through last year, and resulted in Call of Duty: Black Ops 6 becoming a big success as a day one Xbox Game Pass title. However, Xbox has also seen its share of controversial layoffs and closures across its subsidiaries, with one of the most recent being 650 roles eliminated this past September.While Spencer stated no acquisitions were "imminent," he expressed interest in both non-US and mobile studios. The former interests him because of "geographic diversity:" previously, Xbox attempted to get Chinese hits like Genshin Impact on the platformwhich it will, next weekand he told Bloomberg there's a "real opportunity to partner with creative teams in China for global [reach]. Its been a good area for us to learn from creative teams that have real unique capability."As for mobile, the platform is part of the reason why Microsoft wanted to snatch up Activision Blizzard and Candy Crush creator King. In October, Tencent-owned TiMi released a mobile version of Xbox's Age of Empires series, and he said Xbox "definitely wants to be in that [mobile] market. When we can find teams, technology, and capability that add to what were trying to do in games, absolutely we will keep our heads up.""To reach new players, we need to be creative and adaptive of new business models, new devices, new ways of access," he continued. "Were not going to grow the market with $1,000 consoles.According to Spencer, Xbox's previously reported mobile store has been pushed back as the company continues researching the market. Despite recent progress that's allowed for third-party app stores to exist on iOS and Android platforms, he said Microsoft is still exploring how to get the eventual Xbox mobile store on phones. A web store would get around the problem, but he acknowledged to Bloomberg that Microsoft "still has to have a way to find the store. I think just hoping 'if we build it, they will come' doesn't work."Spencer's full thoughts on expanding the Xbox platform, and its potential hardware future, can be read here.Read more about:[Company] XboxAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 57 Visualizações
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WWW.GAMEDEVELOPER.COMSong of Nunu dev Tequila Works files for insolvencyIn a statement, Tequila Works' GM Terence Mosca said the studio is 'doing everything we can to provide support and guidance to our teams during this difficult time.'0 Comentários 0 Compartilhamentos 71 Visualizações
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WWW.GAMEDEVELOPER.COMBioWare pulls back the veil on Dragon Age: The Veilguard's magical hair techBryant Francis, Senior EditorNovember 12, 20245 Min ReadImage via BioWare/EA.At a GlanceHigh-fidelity hair can be a tricky challenge in video games. BioWare's shown off its solutions for Dragon Age: The Veilguard.Among the many, many things players and developers have praised about BioWare's Dragon Age: The Veilguard is the incredible hair options in the character creator. Players have the option of picking from over 100 styles when making their perfect version of Rook, many of them capturing the high-quality nuances that come with hairstyles not typically seen in video games, like hair for Black characters.How'd they do it? Well we got a bit of an answer today when BioWare and EA un-Veil-ed a technical deep dive into Dragon Age: The Veilguard's hair technology, which describes how the studio used the Frostbite engine to simulate up to 50,000 individual strands of hair.There's plenty of insights not shared in the piecelike the finer workings of Frostbite's toolingbut the data provided by BioWare is surprisingly robust, and offers developers a benchmark for their own hair systems in future games. As studio technical director Maciej Kurowski wrote, the system is called the "Strand Hair" rendering system (which is memory and GPU dependent) and uses a bespoke compute software rasterizer to composite hair into the frame before blending it with other opaque and transparent objects.The Veilguard hair system needed to render alongside far more transparent objects.As BioWare's post explains, Strand Hair is an existing hair system in the Frostbite engine that's been used on EA's various sports series like EA Sports FC and Madden NFL.In those games, the hair system is meant to simulate how hair works not just on the field, but often through the point-of-view of television cameras that capture depth of field. Those games however don't feature waist-length hair, hair that flows around horns on a character's head, or hair that is rendered at the same time as a billion magical particles flying out from a staff while smoke blows all around them.According to BioWare, the final result is a system where hair attachments move "seamlessly," and the simulation and render dessellation of hair had been fully decoupled. The maximum hair length has also extended from "63 points" to "255 points," allowing for those waist-length hairstyle fantasies to come to life.The technique, senior rendering engineer James Power wrote, involves splitting the hair into "two distinct passes," the first one being opaque, then one that's transparent. "To split the hair up, we added an alpha cutoff to the render pass that composites the hair with the world and first renders the hair that is above the cutoff (>=1, opaque), and subsequently the hair that is lower than the cutoff (transparent)," he wrote.Before the split passes are rendered, the depth of the transparent part of the hair is rendered first, often creating the "ends" of the hair strands. It becomes a spatial barrier between transparent pixels that are "under and on top of" the strand hair. The the game renders the opaque part of strand hair, then the transparent objects.To figure out if the shading pixel goes "under" or "on top of" the strand hair, it checks the transparent hair depth texture for information. If it's "under," the engine renders the hair and marks a "stencil bit." If it's "on top," the pixel is discarded and nothing gets rendered.After that, the game draws transparent objects again, using the "stencil bit" to see where transparent objects weren't drawn before, allowing transparent objects to be rendered "properly."All that detail gets extra tricky to manage in the in-engine cutscenes that populate the game. When lighting those scenes, the hair had to accommodate a wide range of lights like wide-angle lights, distant lights, etc. Thus, the game renders "hero shadows" for every Strand Hair object according to every corresponding light that is designated "important" to a shot by artists.As you can see in an accompanying rendering of the character Bellara, the Hero Shadows create a more natural-feeling texture and preserve some of the different shades of her hair.Image via BioWare/Electronic Arts.This does mean every single Strand Hair asset has a high memory footprint, which eats into how much memory can be allocated on other assets. The Veilguard does render fewer characters onscreen at once than most sports titles, but there's still a lot of assets vying for precious memory. Rendering the player character and the "full field" of followers has a flat GPU cost of 128mb.Luckily, hair needs "less memory" to occupy less pixels, and the cost can be dynamically adjusted depending on what's in the scene. The Xbox Sereis X and PlayStation 5 costs apparently run around 400mb, though high-end PCs can run all the way up to 600mb. The Xbox Series S and lower-end PCs can swap Strand Hair assets for "Card Hair" assets when needed, which have lower memory footprints and allow other high-fidelity assets to render properly."To ensure we meet our frame time requirements, we set a maximum frametime budget for strand hair rendering for consoles at 6.5ms for 30 FPS (33.3ms frame time) and 3ms for 60 FPS (16.6ms frame time) with eight strand hair assets on screen," Power wrote. "Our hair resolution control will adjust the resolution within a minimum and maximum resolution based on our upsampler and DRS settings and keep the hair costs proportional to those targets. This is important since hair does not go through upsampling, as mentioned earlier, and will not have its load reduced by those technologies."Hair renderings done on GPU tend to hvoer around 2ms, with some spikes to 5ms "depending on the complexity of the hair."Beauty is in the eye of the beholderBioWare's impressive hair technology spotlights how the battle for high-quality, realistic graphics has now pushed into the need for intricate solutions to render seemingly ordinary actions and objects. The average player won't think much about the fact that characters in Thedas suddenly have much longer hairbut the one who wanted to live their full Ariana Grande fantasy now have that opportunity.Though further graphical advancements may be more and more invisible to the eye, they won't require any less hard work than the kind shown off by Power, Kurowski, and their colleagues.Read more about:Top StoriesEAAbout the AuthorBryant FrancisSenior Editor, GameDeveloper.comBryant Francis is a writer, journalist, and narrative designer based in Boston, MA. He currently writes for Game Developer, a leading B2B publication for the video game industry. His credits include Proxy Studios' upcoming 4X strategy game Zephon and Amplitude Studio's 2017 game Endless Space 2.See more from Bryant FrancisDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 73 Visualizações
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WWW.GAMEDEVELOPER.COMRoblox's new safety updates keep teen players from unrated experiencesJustin Carter, Contributing EditorNovember 11, 20242 Min ReadImage via Roblox.At a GlanceRoblox Corp.'s new child safety measures begin on November 18, and address longstanding concerns about the creation platform.Roblox Corp. has finally detailed its new safety measures meant to protect its predominantly young playerbase.These new policies are intended to address concerns (and previous high-profile stories) about Roblox's lack of proper protection for its child and teen players, which has resulted in at least two lawsuits. Roblox Corp. often denied or dismissed these reports at the time of their publication, and would insist keeping its players safe was a top priority amongst its staff.The biggest change concerns visibility for user-made creations. For those aimed at players age 13 and younger, creators will be required by December 3 to complete a questionnaire for each individual experience. All information on the page (like the description and title) will have to be "appropriate for all users," and any creation without a finished form will be "unplayable, unsearcable, and undiscoverable" by 13 and under players, but still accessible with a direct link.In its blog, the company said this will "ensure parents and users have more clarity into the types of content available on Roblox and will help them make more informed choices about what they want to play."Roblox is ready to play safely with its playerbaseRoblox Corp.'s blog also confirmed that as of next Monday, November 18, social hangouts and free-form 2D creations (which lets players replicate their written or drawn 2D creations without going through the moderation process) will only be available to players over 13 years old to "address user behavior that can potentially pose a risk to our youngest users."In late October, Bloomberg reported Roblox Corp. was aiming to enact new child protection methods, such as 13 and younger players requiring parent permission to access Roblox's in-game social features. During its recent earnings call, the company reaffirmed it would "invest in technology, policies, and partnerships to pursue the highest standards of trust and safety on our platform."Going forward, the developer said it "envisions the questionnaire becoming more closely integrated into the publishing process."More information on Roblox's new safety measures can be read here.Read more about:RobloxCultureAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 71 Visualizações
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WWW.GAMEDEVELOPER.COMUbisoft sued for taking The Crew offline and 'duping' playersA pair of California-based players are suing Ubisoft for permanently putting The Crew in the garage.Ubisoft's 2014 racing game was shut down this past March due to "server infrastructure and licensing restraints." In their filed suit, plaintiffs Matt Cassell and Alan Liu (who bought the game in 2020 and 2018, respectively) claim they were were two of thousands of players "[left] with a skeleton of what you thought you paidfor."This is the second time this year Ubisoft has been sued by its players. In early October, the Assassin's Creed maker was accused of illegally sharing user data with Meta via account linking.Liu and Cassell's lawsuit condemned Ubisoft for letting players think they were buying The Crew to own and not "renting a limited license" to access the title. It also accused the developer of "duping" players with the idea of the game being playable offline, either through physical discs or its digital version. Had the pair (or any player) known the studio would shut The Crew down whenever it wanted, they say they "would have paid substantially less for the Product or not have purchased it at all.""[Ubisoft] intended consumers to relyon their representations and omissions in making their purchasing decisions.Through their conduct, [Ubisoft] have violated California state consumer protection laws," the suit reads. The duo are seeking monetary relief and damages for themselves and other players affected by the shut down.Do not go gentle into that offlineOver the past two years, countless online games have been shut down. Some have been around for years, others only a few weeks, but the issue has become so common as more and more titles have been taken offline in larger numbers. This past September, California law requires retailers to say digital items (like games or music) are merely licensed rather than actually bought, and that most online games specifically must come with a warning that they could be shut down at any moment.As this relates to Ubisoft specifically, the original Crew's shutdown was explicitly said to be the inspiration for the California law. However, this suit is further complicated by the studio already acknowledging the negative reaction to terminating the first Crew game by working to implement individual offline modes for 2018's The Crew 2 and 2023's The Crew Motorsport.Meanwhile, The Crew players have decided to just make the first game themselves. Back in June, TheGamer covered the player-made The Crew Unlimited, a recreation of the original title that will have offline functionality.0 Comentários 0 Compartilhamentos 65 Visualizações
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WWW.GAMEDEVELOPER.COMPokemon TCG Pocket has topped 30 million downloads worldwideCould it be the very best?0 Comentários 0 Compartilhamentos 60 Visualizações
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WWW.GAMEDEVELOPER.COM'Polish something that has never existed before:' Miyamoto explains how Nintendo is countering rising development costsChris Kerr, News EditorNovember 11, 20243 Min ReadImage via Nintendo / IlluminationSuper Mario Bros. and The Legend of Zelda co-creator Shigeru Miyamoto claims that rising development costs are somewhat "inevitable," which is why it's doubly important to champion singular experiences.The Nintendo representative director was responding to a question about the spiralling cost of video game production during a recent investor Q&A, and suggested it's vital developers focus on what they create over how much they spend creating it."Our research and development expenses have been increasing each year. Since our scale of development has grown, a corresponding increase in costs is, in some respects, inevitable. However, our belief is that what we create is more important than the amount spent on development," he said."We continue refining our products until we are confident that we have created something that our consumers will be satisfied with. With that in mind, what is important is to find ideas that are worth honing, and this has not changed since the era of Nintendo Entertainment System."Miyamoto refused to make sweeping statements about what ideas are worth pursuing because "everyone has different interests," but said it's important to explore concepts that feel distinct."The more you polish something that has never existed before, the more value it brings. We believe that it is important to nurture developers who take this unique concept to heart, allocate funds to development if necessary, and release games only after we are confident in the productand repeat this process over and over again," he continued.It's advice that's probably easier to follow if you're a company with Nintendo's resources, but Miyamoto suggested it's absolutely possible to create fun games with small teams and tight budgets, and implored developers "not to lose sight of this perspective."Nintendo corporate director Ko Shiota echoed that sentiment and suggested streamlining development around the Switch has been fundamental to the company's recent success. "From a hardware and system perspective, we believe it is important to provide an environment that enables game developers to work efficiently," added Shiota."As explained in today's presentation, the merging of home consoles and handheld systems allowed us to integrate what previously were two separate software development environments. Because we are already familiar with Nintendo Switch, maintaining a similar basis for development environments in the future will allow us to carry over the experience we have already built, which should lead to a reduction in research and development costs over time."Shiota reiterated that new ideas are priceless and have no relation to the size of a studio's wallet. "Bigger budgets do not necessarily equate to better ideas, so we hope to continue to focus on a process where teams of hardware an and software developers share ideas to create interesting things," he continued.Nintendo recently lowered its fiscal forecast with Switch hardware and software sales in decline, but the console has delivered a mammoth innings with lifetime sales currently standing at over 146 million units worldwide. The Japanese company has confirmed it will reveal its (backwards compatible) Switch successor before the end of the current fiscal year in March 2025.Read more about:[Company] NintendoTop StoriesAbout the AuthorChris KerrNews Editor, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, andPocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 59 Visualizações
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WWW.GAMEDEVELOPER.COMPocketpair reveals specific patents featured in Nintendo's lawsuit against PalworldPalworld developer Pocketpair has shed more light on the specific patent infringement claims Nintendo levvied against it in September.At the time of the initial suit, the studio alleged it was unaware of what, exactly, Nintendo took umbrage with. Nintendo didn't list specific patents at the time, but not long after Palworld's release in January, said it would determine if the game infringed on its own popular Pokmon series.The three patentsall filed in Japan between May and July 2024draw similarities between Palworld and 2022's 2022's Pokmon Legends: Arceus specifically. Their descriptions concern game mechanics like "riding an object" or throwing a ball to capture and possess a character in virtual spaces.Patent art showing a player character picked up by a flying Pokmon..Pocketpair added that Nintendo wants 10 million Yen ($65,450 in USD) in damages, 5 million each for itself and The Pokemon Company, plus late fees and an injunction to block Palworld's release.What put Pocketpair on Nintendo's legal radarNintendo often takes legal action against companies it believes have infringed upon or threatened its work in some capacity. The situation with Palworld was thorny enough when it was simply "Pokmon with Guns," but its subsequent success and Pocketpair's clear desire to quickly capitalize on that further exacerbates the issue.Following the suit, analyst Serkan Toto noted that Nintendo may have gone after Pocketpair on both "highly, highly technical things," and the studio's Palworld push. He speculated the latter may have truly pushed things over the line, and that Nintendo "saw these guys are getting too aggressive."Pocketpair, meanwhile, has reiterated it will not speak with press on the matter unless the situation specifically calls for it, and will "continue to assert our position in this case through future legal proceedings."0 Comentários 0 Compartilhamentos 72 Visualizações
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WWW.GAMEDEVELOPER.COMNVIDIA's GeForce service gets 100-hour 'monthly playtime allowance' in 2025Justin Carter, Contributing EditorNovember 8, 20242 Min ReadImage via NVIDIA.At a GlanceNVIDIA GeForce now users will soon only be able to play games on the service for a maximum of 100 hours per month.NVIDIA is putting a time limit on its GeForce Now cloud streaming service. On January 1, 2025, subscribers will have a 100-hour "monthly playtime allowance" for members of its paid Performance and Ultimate Tiers.After hitting the 100-hour cap, subscribers can buy 15 more hours for $3 (Performance) or $6 (Ultimate). If a subscriber has up to 15 hours of unused playtime, that time will be automatically rolled over to the following month.Subscription services for games often withhold what (or how) players have access to through their membership tiers, as we've recently seen with Xbox Game Pass. NVIDIA restricting play time is another matter entirely, particularly as other companies like Microsoft are trying to carve out a niche in the cloud game market.The cap is being set "to continue providing exceptional quality and speed, as well as shorter queue times, to members," NVIDIA explained on Reddit. It acknowledged this limit will only affect 6 percent of its subscribersthe other 94 percent "typically enjoy the service well within this timeframe," and will be "comfortably accommodated."Balancing between features and pricing will shift over time with any streaming platform, leading to a price increase (again, like Game Pass), or a change to the benefits offered by a subscription tier, similar to Amazon Prime Video. In many cases, the root cause is a desire to cut down costs, which NVIDIA may be looking to do here.Can subscription services and games still coexist?Amid all of this, there have been discussions about if subscription services are still (or will remain viable). For Microsoft, getting more subscribers has been a core focus for years, hence its acquisition of big name studios like Bethesda and Activision Blizzard and touting those teams' big titlesnamely Call of Duty: Black Ops 6 and Indiana Jones & the Great Circleas day one Game Pass titles.In the former game's case, that gambit seems to have paid off: in its recent earnings report, Microsoft called the military shooter "the biggest Call of Duty release ever, setting a record for day one players, as well as Game Pass subscriber adds on launch day."However, not every game can be a Black Ops 6-level hit. Several titles that launched on a subscription service have stumbled out of the gate (see Foamstars) or start strong before fizzling out. Add on the fact that every company is trying to get you to sign up for their service, and the ease of access such services provide can be easily drowned out by growing complications.About the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like0 Comentários 0 Compartilhamentos 62 Visualizações
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WWW.GAMEDEVELOPER.COMReport: NetEase execs and employees arrested over alleged money launderingNine NetEase developers have reportedly been arrested, including a pair of senior executives, according to Bloomberg and Chinese outlet Leifeng.According to the latter's translated story, the employees laundered what's ultimately estimated to be between 800 million to 1 billion yuan (or $111.4 million-$139.3 million). The studio is currently developing the free-to-play shooters Marvel Rivals and Destiny: Rising.Per Yicai Global, the two NetEase executives implicated are esports division head Xiang Liang and publishing head Jin Yuchen. The outlet further noted 27 unnamed companies with alleged connections to the laundering scheme have also been blacklisted following these arrests.Leifeng also reported several NetEase staff were responsible for the purchasing traffic of "multiple [top NetEase] products." Other details have not been shared at this time.Recent white collar crimes in the game industryIn 2022, several arrests were made over insider trading in the game industry. Yuji Naka, creator of Sonic the Hedgehog, was arrested over suspicions involving his time at Square Enix, where he was accused of spending 2.8 million yen to buy shares of Aiming before it and Square Enix were revealed to be teaming on Dragon Quest Tact.Naka was arrested again weeks later over buying stock in Final Fantasy VII: The First Soldier developer Ateam, then indicated weeks after that.Separately from Naka, ex-Square developers Fumiaki Suzuki andTaisuke Sasaki were accused of also buying stock for Aiming ahead of Dragon Quest Tact's reveal. Sasaki was similarly indicted along with Naka in relation to purchasing Ateam stock.Naka later admitted to trading in 2023, and was sentenced to serve two-and-a-half years in prison and fined 171 million yen.0 Comentários 0 Compartilhamentos 75 Visualizações
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WWW.GAMEDEVELOPER.COMSome Sega Classics games to be delisted in DecemberOn December 6, a number of Sega Classics titles will be delisted from Steam, Nintendo Switch, and the Xbox and PlayStation ecosystems. The publisher made the full list of delistings available in a post yesterday, noting that all owned and downloaded games will still be available in players' libraries.The list is diverse, particularly on Steam, where games as disparate as Crazy Taxi, Jet Set Radio, and NiGHTS into Dreams will fall off the radar alongside Genesis-era fare like Comix Zone, the first two ToeJam & Earl and VectorMan titles, and Ecco the Dolphin. Sonic won't escape the delisting entirely either, as Sonic Spinball and Sonic 3D Blast (as well as puzzle spinoff Dr. Robotnik's Mean Bean Machine) are on the chopping block.The select games and bundles will go dark (and unavailable for new purchases) as of December 6, at 11:59pm PST.Sega Classics still available on Nintendo Switch OnlineThe best hope for folks looking to hold on to their Sega Classics (to play, study, or hang on to for preservation efforts) is to either download all the selected games ahead of December 6, or stick with a Nintendo Switch Online subscription, where "select individual classic titles will still be playable," according to Sega.While delistings are nothing new in the industry, the breadth of retro titles (and strong reputation of many on the list) is notable here. Given that so many older games are completely unavailable, this feels like a potential blow to preservation efforts, particularly for the games launched on under-represented consoles like the Saturn and Dreamcast.You can check out the post for the full set of delistings by platform here.0 Comentários 0 Compartilhamentos 81 Visualizações
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