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Kristoffer Touborg is the lead designer on hugely ambitious and massively successful Icelandic MMO EVE Online. His company is also set to push the boundaries this year with the release of a free-to-play FPS MMO - and it's launching it on a console.Kristoffer hopes Dust 514 will do its part in dragging the console world up to speed with digital distribution, and away from what he calls the "deflating" boxed retail experience. http://www.computerandvideogames.com...ng-them-again/
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Ubisoft's Tom Clancy's Ghost Recon: Future Soldier has knockedMax Payne 3 from the UK all-formats top spot, debuting at number one. Ubisoft's tactical shooter has enjoyed the best week one sales of any game in the Tom Clancy series to date.
Rockstar's Max Payne 3 slips just one place to two, while two new entries occupy the third and fourth spots: Capcom's Dragon's Dogma and Codemaster's Dirt Showdown, respectively.
Despite becoming the fastest-selling PC game of all time on its release last week, Diablo III takes a resonably drastic tumble from two to nine.
Outside of the top ten, Nintendo's Mario Tennis Open enters the charts at number 11, while Sony's Doctor Who: The Eternity Clockdebuts at 34.
01. Tom Clancy's Ghost Recon: Future Soldier (Ubisoft)
02. Max Payne 3(Rockstar)
03. Dragon's Dogma (Capcom)
04. Dirt Showdown (Codemasters)
05. FIFA 12 (EA Sports)
06. Sniper Elite V2 (505 Games)
07. Call Of Duty: Modern Warfare 3 (Activision)
08. Prototype 2 (Activision)
09. Diablo III (Blizzard)
10. FIFA Street (EA Sports)
LG has unveiled a new smartphone, which the firm claims has the world’s first Full HD smartphone screen.
Featuring a display with a 1920 x 1080 pixel resolution and a 440ppi pixel density, LG’s newest offering includes a display based on Advanced High Performance In-Plane Switching technology. LG claims it’s this AH-IPS technology that provides high colour fidelity, wide viewing angles and rapid response speed.
“As smartphones become increasingly valued for how well they do multimedia and with the rapid growth of LTE enabling faster large file transfers, our new 5-inch Full HD LCD panel is certain to prove a significant asset to the mobile market,” commented Sang-Deok Yeo, CTO and executive vice president of LG Display.
The introduction of Full HD will put the new smartphone ahead of the iPhone 4S in terms of pixel density, but with Apple looking set to announce the iPhone 5 at its WWDC conference in June, we wonder for how long.
The gaming world was a much simpler place back in 2009 when cloud-based gameplay streaming couldn't possibly work - at least not to anywhere near the degree of the claims being made at the time. And yet, despite falling short of the local experience and indeed the scant quoted metrics on performance, OnLive could be played. It was sub-optimal in many ways, but it was playable. It delivered a viable first-gen end product which was ripe for improvement, and just three years later we are seeing workable solutions being introduced that could change everything.At the recent GPU Technology Conference, NVIDIA set out to do exactly that with the unveiling of its new GeForce GRID, an important innovation that potentially solves a lot of problems, both client and server side. Up until now, it's believed that cloud gaming has been achieved by connecting the user to a single PC inside the datacentre with its own discrete GPU. This is hardly power-efficient and it's also very expensive - however, it was also necessary, because graphics cores could not be virtualised across several users in the same way that CPUs have been for some time now. GRID is perhaps the turning point, offering full GPU virtualisation with a power budget of 75W per user. This means that servers can be smaller, cheaper, easier to cool and use less energy.GRID also targets the quality of the client-side experience, too, in that NVIDIA believes it has made key in-roads in tackling latency, the single biggest barrier to cloud gaming's success. So confident is the company of its technology that it has even committed to actual detailed metrics. So let's have a quick look at the gameplay streaming world as viewed by NVIDIA.
"GeForce GRID is all about minimising server and encoding latency, bringing the Cloud closer to console levels of input lag."
NVIDIA's outlook on Cloud. Perhaps we're seeing best-case scenarios being compared to worst-case as our OnLive measurements only match 'Cloud Gen I' when the service is running poorly. In other cases we see a good 50ms advantage over what is posted here. However, other metrics like 'console plus TV' do tally with our experiences.
The slide on the left, seeking to put latency into context, is perhaps a bit of a red herring on first reading, certainly for a core gamer - perhaps for any console owner. The difference in response between Modern Warfare 3 and virtually any 30FPS shooter is obvious and is a defining factor in why it is the top-selling console shooter. However, there does seem to be a perceptual threshold at which latency actively impedes gameplay or simply doesn't "feel" right - hence GTA4 feeling muggy to control, and Killzone 2 attracting so much criticism for its controls (fixed in the sequel). And we'd concur that this does seem to be around the 200ms mark, factoring in input plus display lag.The slide on the right is where things get interesting. The bottom "console plus TV" metric is actually pretty optimistic for standard 30FPS console gameplay (116ms to 133ms is closer to the console norm based on our measurements), but, on the flipside, the 66ms display lag feels a touch over-inflated. The "Cloud Gen I" bar tallies with our OnLive experiences - or rather, OnLive operating generally below par. At its best, and factoring in NVIDIA's 66ms display lag, it would actually be closer to 216ms rather than the indicated 283ms, and just a frame or two away from typical local console lag in a 30FPS game.The top bar is NVIDIA's stated aim for GeForce GRID - a touch under 150ms, including display latency. Now, that's an ambitious target and there are elements in the breakdown that don't quite make sense to us, but key elements look plausible. The big savings appear to be reserved for network traffic and the capture/encode process. The first element of this equation most likely refers to Gaikai's strategy for more locally placed servers compared to OnLive's smaller number of larger datacentres. The capture/encode latency is the interesting part - NVIDIA's big idea is to use low-latency, fast-read framebuffers linked directly to an onboard compressor.Where we are a little unclear is on the 5ms video decode, down from the 15ms of "Cloud Gen I" - a useful 10ms saving. We are aware that Gaikai's association with LG for direct integration in its Smart TVs has included an aggressive evaluation of the internals aimed at reducing latency, both in decoding the image data but also in scan-out to the screen itself, which may account for this, but it is difficult to believe that this 10ms boost would apply to all devices.Manufacturer-supplied benchmarks always need to be treated with caution and there is a suspicion here that best-case scenario is being compared to worst-case scenario on some elements, but, regardless, it's clear which areas have been targeted by NVIDIA for latency reduction.
E3 organiser ESA has hit back at those who say the show has become irrelevant.
Detractors have claimed the annual event is out-dated since its primary focus is on the struggling boxed games market.
But the ESA says the appearance of Zynga and GREE at this year’s showcase is evidence of an event that is very much in time with today’s games industry.
“I disagree with broad declarations that a show which hasn’t occurred yet is irrelevant,” said ESA’s industry affairs SVP Rich Taylor.
“Folks haven’t even seen what’s going to take place. The fact that Zynga and GREE are going to be there is reflective of a show that is very much relevant. These firms are talking specifically about mobile and social.”
ESA sends a survey out after each E3 in a bid to ensure it continues to meet the demands of its attendees.
“There isn’t a better amplify for new games than E3. What happens in LA will be heard around the globe and echo around for the months to follow,” adds Taylor.
“If E3 was losing relevancy we’d be having a fire sale on exhibit space, but it is the opposite, we are packed to the gills. I think it’s going to be one of the strongest shows we’ve had in a long time.
“The industry will change and we will change with it.”
When the trade clicked open its Monday morning UKIE charts update this week, the big story was the data that wasn’t listed.
Max Payne may be a worthy No.1. But with a three day head start and a passionately connected PC audience Blizzard’s Diablo III was undoubtedly the ‘real’ No.1 thanks to combined digital and physical sales.
Next Friday this story will take a twist as Rockstar releases the game across the likes of Steam, Gamersgate and Gamefly. This will help it catch up with Blizzard no doubt.
The two games jostling for top spot, however, is just a dramatic side effect. The real impact is how the titles’ publishers will be once again reminded of the digital/physical data debate.
Max Payne and Diablo both being No.1 and No.2 from various points of view highlights a long-foreseen flaw in the official charts. As you can see below left, GfK is the first to acknowledge this. We’ll have more insight from them next week.
In the meantime, understand this. When Blizzard and Rockstar Games – two of the most revered and creatively calculating studios – wake up to how crucial this issue is, the rest of the industry should follow. And fast. NO?LESSONS?LEARNED?FROM?Q4 CRUSH
Responses to last week’s cover story calling for a better spread of release dates included one soapbox pundit attempting to debunk genuine and deep-rooted concerns retailers have about the market.
To recap: there’s too much stuff coming out in a very short window in Q4.
Since we went to press, some big games have been shifted to Q1 2013. A few say this proves the industry is learning its lesson already.
But that’s not the case. If the grand planners behind these games had any foresight, the likes of BioShock Infinite, Tomb Raider, Devil May Cry and others wouldn’t have been Q4 releases in the first place.
These games and others ambitiously wanted to be ready for Christmas – no doubt to fulfil publisher’s too-high expectations about Q4 spending. But they simply weren’t ready, a regular mistake developers make.
No matter what industry spectators say, those deep in the business know best: some habits are going to die
hard for boxed games publishers.
An editorial published at CNN is titled 'The Demise of Guys: How Videogames and Porn are Ruining a Generation.' It makes the sensationalized case that not only do game addiction and porn addiction share similar characteristics, but they're also both damaging to young men, destroying their ability to connect with women, and therefore threatening the future of our entire species. A response by IGN dissects the idea that pornography and videogames are pretty much the same thing. 'The article, by psychologist Philip G. Zimbardo and Nikita Duncan argues that young men are "hooked on arousal, sacrificing their schoolwork and relationships in the pursuit of getting a tech-based buzz."' Zimbardo, has danced this jig before. At the Long Beach TED conference last year he told a delighted audience that "guys are wiping out socially with girls and sexually with women." He added that young men have been so zombiefied by games and porn that they are unable to function in basic human interactions. "It's a social awkwardness like a stranger in a foreign land", he said. "They don't know what to say. They don't know what to do."'
The Facebook spending spree may be continuing as a new report says the social networking giantmight be looking to buy Norwegian company Opera Software. Now fully under the microscope of Wall Street as well as Main Street investors, Facebook is trying to solve its mobile monetizing problems and has been gobbling up various companies in recent months to increase its presence in the world of smartphones." http://tech.slashdot.org/story/12/05...g-to-buy-opera
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Another year, another cramped convention centre in Los Angeles playing host to the console business and its hangers on. It's loud, it's over-the-top, but does it still speak for the games industry as we know it in 2012? Is it a stubborn throwback to the days when consoles ruled the Earth, a show that reluctantly acknowledges the growth in mobile, tablet and online gaming but makes no bones about the preference for a publisher pissing contest? Or is it a show slowly changing with the times, like the creaking console businesses gradually facing a digital, portable future?
The E3 spectacle reverberates through the games business in June every year, but is it still representative and relevant to an industry that has changed almost entirely since the start of the current console cycle? Here, in our latest roundtable, GamesIndustry International's writers drape press passes over their shoulders and wade through the halls of the LA Convention Centre… James Brightman "E3 is beginning to feel a bit like a dinosaur, a relic of a past golden age" James Brightman
The games industry has changed dramatically since the first E3 Expo in 1995, put together by the Interactive Digital Software Association (now the Entertainment Software Association). Why, then, hasn't the annual trade fair evolved with it? The world of consoles isn't the only game in town in 2012, and yet only a handful of exhibitors at E3 are purely social/mobile focused. Truth be told, E3 is beginning to feel a bit like a dinosaur, a relic of a past golden age.
That's not to say that consoles are dead, and that E3 is fundamentally useless. E3 still serves its purpose as the grand spectacle that it is, drawing huge attention to the industry for a few days each year, and preparing journalists, retailers and retail buyers for the upcoming holiday season. But the fact is that it's misrepresenting what the games industry actually is today. Whereas GDC appears to be broadening its scope and shining a spotlight on social and mobile companies, E3 almost seems to be doing the opposite. Like an ostrich with its head plunged into the sand, the ESA seems oblivious to this. David Radd
The painful on-stage scripted banter is enough to make you cringe yourself inside out.
E3 is still a very important event to the AAA gaming industry. When it was running in a diminished form for a couple of years, it left a hole where a lot of positive mainstream media coverage usually emerged from. Sony, Nintendo and Microsoft benefit hugely from the attention on their press conferences and it's still the best place for people in the games industry to meet and hash out business.
However, E3 has not done a good job of representing the entirety of what gaming is these days. Indie, mobile and social titles are hugely underrepresented. Also, the importance of the event has been diminished by major publishers making announcements at other times of the year. Since they no longer have to represent themselves to a large number of buyers (the true reason E3 was created) they show off games on their own timetable and often at their own events. Finally, other major industry events, sort of "mini-E3s" have stolen some of the thunder of E3 (like Gamescom, Tokyo Game Show, PAX and the Eurogamer Expo) allowing publishers to have multiple touchpoints with consumers and not try to cram all their major announcements in one week in June.
E3 still represents a part of the gaming market worth billions of dollars, and it's value in the intangibles for that part of the industry is such that it will likely still occur for the rest of the decade. However, the event faces obsolescence if it doesn't include much more than the largest, most expensive titles in an industry about so much more than retail these days. Ben Strauss
I'm still iffy on why there seems to be continued discussion on the 'end of E3' as we know it. The lineup this year from all three big publishers, all three manufacturers and a goodly amount of PC and mobile developers look pretty darn impressive. I mean sure, the landscape is continuing to change, but for companies to blow off E3? That's for Valve and Blizzard to do. For everyone else, this is the Super Bowl (and Valve and Blizzard only show up when they intend to steal the show).
E3 is just going to see old hands leave and new talent come in, and on different platforms. More attention will eventually be paid to mobile titles, less (if any) attention to an utterly useless middle-market. This isn't about a drastic change - this is about ebb and flow. This talk comes up at the end of each generation it seems, and I don't see this being another early '80s scenario for gaming. Next year will more than likely kill any of this discussion. Steve Peterson
The answer is contained within the question; once you find it necessary to ask if E3 is still relevant, it is apparent that it's not as relevant as it was. More precisely, E3 is both more relevant and less relevant than it once was.
E3 is more relevant to publishers of console games, who are facing the fourth year of a declining market and the most perilous hardware transition in 20+ years. E3 is their best chance to draw attention to their products and boost their company image to the mainstream media; it's
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