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Epic Games, the creator of Fortnite, banked a $3 billion profit in 2018 – TechCrunch

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Epic Games had as good a year in 2018 as any company in tech. Fortnite became the world’s most popular game, growing the company’s valuation to $15 billion, but it has helped the company pile up cash, too. Epic grossed a $3 billion profit for this year fueled by the continued success of Fortnite, a source with knowledge of the business told TechCrunch.

Epic did not respond to a request for comment.

Fortnite, which is free to play but makes money selling digital items, has popularized the battle royale category — think Lord of the Flies meets Hunger Games — almost single-handedly, and it has been the standout title for the U.S.-based game publisher.

Founded way back in 1991, Epic hasn’t given revenue figures for its smash hit — which has 125 million players — but this new profit milestone, combined with other pieces of data, gives an idea of the success the company is seeing as a result of a prescient change in strategy made six years ago.

This past September, Epic commanded a valuation of nearly $15 billion, according to The Wall Street Journal, as marquee investors like KKR, Kleiner Perkins and Lightspeed piled on in a $1.25 billion round to grab a slice of the red-hot development firm. However, the investment cards haven’t always been stacked in Epic’s favor.

China’s Tencent, the maker of blockbuster chat app WeChat and a prolific games firm in its own right, became the first outside investor in Epic’s business back in 2012 when it injected $330 million in exchange for a 40 percent stake in the business.

Back then, Epic was best known for Unreal Engine, the third-party development platform that it still operates today, and top-selling titles like Gears of War.

Why would a proven company give up such a huge slice of its business? Executives believed that Epic, as it was, was living on borrowed time. They sensed a change in the way games were headed based on diminishing returns and growing budgets for console games, the increase of “live” games like League of Legends and the emerging role of smartphones.

Speaking to Polygon about the Tencent deal, Epic CEO Tim Sweeney explained that the investment money from Tencent allowed the company to go down the route of freemium games rather than big box titles. That’s a strategy Sweeney called “Epic 4.0.”

“We realized that the business really needed to change its approach quite significantly. We were seeing some of the best games in the industry being built and operated as live games over time rather than big retail releases. We recognized that the ideal role for Epic in the industry is to drive that, and so we began the transition of being a fairly narrow console developer focused on Xbox to being a multi-platform game developer and self publisher, and indie on a larger scale,” he explained.

Tencent, Sweeney added, has provided “an enormous amount of useful advice,” while the capital enabled Epic to “make this huge leap without the immediate fear of money.”

LOS ANGELES, CA – JUNE 12: Gamers ‘Ninja’ (L) and ‘Marshmello’ compete in the Epic Games Fortnite E3 Tournament at the Banc of California Stadium on June 12, 2018 in Los Angeles, California. (Photo by Christian Petersen/Getty Images)

Epic never had a problem making money — Sweeney told Polygon the first Gear of Wars release grossed $100 million on a $12 million development budget. But with Fortnite, the company has redefined modern gaming, both by making true cross-platform experiences possible and by pulling in vast amounts of money.

As a private company, Epic keeps its financials closely guarded. But digging beyond the $3 billion figure — which, to be clear, is annual profit not revenue — there are clues as to just how big a money-spinner Fortnite is. Certainly, there’s room to wonder whether analyst predictions this summer that Fortnite would gross $2 billion this year were too conservative.

The most recent data comes from November when Sensor Tower estimates that iOS users alone were spending $1.23 million per day. That helped the game bank $37 million in the month and take its total earnings within Apple’s iOS platform to more than $385 million.

But, as mentioned, Fortnite is a cross-platform title that supports PlayStation, Xbox, Switch, PC, Mac, Android and iOS. Aggregating revenue across those platforms isn’t easy, and the only real estimate comes from earlier this year when Super Data Research concluded that the game made $318 million in May across all platforms.

That is, of course, when Fortnite was fresh on iOS, non-existent on Android and with fewer overall players.

We can deduce from Sensor Tower’s November estimate that iOS pulled in $385 million over eight months — between April and November — which is around $48 million per month on average. Android is harder to calculate since Epic skipped Google’s Play Store by distributing its own launcher. While it quickly picked up 15 million Android users within the first month, tracking that spending off-platform is a huge challenge. Some estimates predicted that Google would miss out on around $50 million in lost earnings this year because in-app purchases on Android would not cross its services.

There are a few factors to add further uncertainty.

Fortnite spending tends to spike around the release of new seasons — updated versions of the game — since users are encouraged to buy specific packages at the start. The latest, Season 7, dropped early this month with a range of tweaks for the Christmas period. Given the increased velocity at which Fortnite is picking up players and the appeal of the festive period, this could have been its biggest revenue generator to date, but there’s not yet any indicator of how it performed.

More broadly, Fortnite has undoubtedly lost out on revenue in China, which froze new game licenses nine months ago, thereby preventing any publishers from monetizing new titles over that period.

Tencent, which publishes Fortnite in China, did release the game in the country but it hasn’t been able to draw revenue from it yet. The Chinese government announced last week that it is close to approving its first batch of new titles, but it isn’t clear which games are included and when the process will be done.

Already, the effects have been felt.

Games are forecast to generate nearly $40 billion in revenue in China this year, according to market researcher Newzoo. However, the industry saw its slowest growth over the last 10 years as it grew 5.4 percent year-over-year during the first half of 2018, according to a report by Beijing-based research firm GPC and China’s official gaming association CNG.

Fortnite and PUBG — another battle royale title backed by Tencent — have perhaps suffered the most since they are universally popular worldwide but unable to monetize in China. It seems almost certain that those two titles will receive a major marketing push if, as and when they receive the license and, if Epic can keep the game competitive as Sweeney believed it could back in 2012, then it could go on and make even more money in 2019.

Epic Games is taking on Steam with its own digital game store, which includes higher take-home revenue rates for developers.

But Epic isn’t relying solely on Fortnite.

A more low-key but significant launch this month was the opening of the Epic Games store, which is aimed squarely at Steam, the leader in digital game sales.

While Fortnite is its most prolific release, Epic also makes money from other games, Unreal Engine and a recently launched online game store that rivals Steam. Epic’s big differentiator for the store is that it gives developers 88 percent of their revenue, as opposed to Value — the firm behind Steam — which keeps 30 percent, although it has added varying rates for more successful titles. Customers are promised a free title every two weeks.

Either way, Epic is betting that it can do a lot more than Fortnite, which could mean that its profit margin will be even higher come this time next year.

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Review: D&D: Honor Among Thieves is a worthy homage to the classic RPG

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Enlarge / Chris Pine and Michelle Rodriguez star as Elgin (a bard) and Holga (a barbarian) in D&D: Honor Among Thieves.

Paramount Pictures

Of all the films due for release this spring, Dungeons and Dragons: Honor Among Thieves was one of my most anticipated premieres, solely on the strength of those killer trailers. The film does not disappoint. It’s a fresh, good-humored, energetic, and vastly entertaining fantasy/action/comedy, boasting a stellar cast and solid emotional core that serves as a worthy homage to the famous RPG that inspired it.

(Some spoilers below, but no major reveals.)

Honor Among Thieves is set in the hugely popular Forgotten Realms campaign setting. The film’s official premise is short and sweet: “A charming thief and a band of unlikely adventurers undertake an epic heist to retrieve a lost relic, but things go dangerously awry when they run afoul of the wrong people.”

Said charming thief is Elgin, a bard who is played by Chris Pine. To defeat the evil that has been unleashed in the world, he’ll need the strength of Holga, a barbarian (Michelle Rodriguez); courage from Xenk (Regé-Jean Page), a paladin; and magic thanks to Simon the Sorcerer (Justice Smith). Then there’s Doric (Sophia Lillis), a tiefling druid who can transform into various animals (including a ferocious owlbear). The cast also stars Hugh Grant as Forge Fitzwilliam the Rogue, a former member of Elgin’s band of thieves who is now Lord of Neverwinter, and Daisy Head as his top adviser, Sofina, a Red Wizard of Thay.

Daisy Head plays Sofina, a Red Wizard of Thay who covets a certain mysterious artifact.
Enlarge / Daisy Head plays Sofina, a Red Wizard of Thay who covets a certain mysterious artifact.

YouTube/Paramount

D&D the game has been around for decades and has built up a rich and complex mythology over that time, but directors Jonathan Goldstein and John Francis Daley—both longtime fans—wanted their film to be accessible even for those with no familiarity at all with the classic RPG. That requires a certain amount of potentially awkward opening exposition. So we first meet Elgin and Holga as prisoners in an icy fortress, up for parole. This gives Elgin a chance to tell his tragic backstory in hopes of winning the parole board’s sympathy—and, not coincidentally, giving the audience an amusing narrative introduction to this fantasy world. It’s tricky to pull off long stretches of expository monologue without testing an audience’s patience. But Pine sells it with his cheekily irreverent delivery.

That backstory involves Elgin’s grief over his dead wife and his choice to leave his daughter Kira (Chloe Coleman) for one last heist, drawn by the promise of acquiring a resurrection tablet that could bring his wife back to life. The heist went bad, and Elgin and Holga were captured, while Simon and Forge escaped with Sofina—along with the resurrection tablet and a mysterious artifact that was clearly Sofina’s target all along. Elgin longs to return to his daughter, so he and Holga break out of prison and find Kira living in Neverwinter with the now-wealthy and respectable (but still roguish) Forge. Naturally, their former comrade in arms betrays them, and the rest of the film is their quest to rescue Kira and stop Sofina from performing an ancient ritual that would turn the good citizens of Neverwinter into her zombie slaves.

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E3, now dead, was a show for a bygone game industry

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Aurich Lawson

This year’s edition of the Electronic Entertainment Expo (E3) has been canceled. The Entertainment Software Association (ESA) and show promoter ReedPop announced late Thursday that the planned June event—which was set to be the first in-person E3 since 2019—”did not garner the sustained interest necessary” from major publishers and potential attendees to justify a massive convention.

At this point, the cancellation of the 2023 show wasn’t a huge surprise. All three major console makers had already confirmed that they wouldn’t be attending, and major publishers Ubisoft and Sega publicly abandoned the show more recently. In an interview with GamesIndustry.biz, ESA president and CEO Stanley Pierre-Louis cited economic headwinds, digital marketing opportunities, and COVID-related game development timeline changes as reasons the companies backed out.

But the decades-long decline of E3 was also apparent well before this year’s problems—and even well before COVID forced the cancellation of the 2020 show (and every show in subsequent years). Part of me will miss the glitz and spectacle of the 15 E3s I’ve attended since 2004. But a larger part recognizes that E3 is a show that was built for a very different game industry and which has utterly failed to change with the times.

The console war’s premier battleground

Back before E3’s debut in 1995, a much smaller game industry than today’s dominated a significant chunk of Las Vegas’ sprawling Consumer Electronics Show. As the game industry grew, though, its major players decided that they needed a separate event to distinguish their business from the TV sets and music players cluttering the Las Vegas Convention Center every January.

The new game-focused show started with a bang when Sony executive Steve Race famously threw out his planned press conference speech about the then-upcoming PlayStation to deliver a single phrase: “Two hundred and ninety-nine dollars.” The price, which was $100 less than the stealth-launched Sega Saturn, practically settled that generation of the console wars before it had even started.

Console makers would spend big bucks to wow the E3 crowds in an attempt to score console war points.
Enlarge / Console makers would spend big bucks to wow the E3 crowds in an attempt to score console war points.

Sam Machkovech

This kind of jockeying for console supremacy—in front of throngs of eager media—was a central focus of E3 for decades afterward. At E3 2006, the early meme-ification of Sony’s PlayStation 3—complete with its “giant enemy crab” and “five hundred and ninety-nine US dollars” price—helped cement the system’s early reputation as overpriced and overcomplicated for developers.

By 2013’s show, though, Sony was the one with a PlayStation 4 that came in at $100 cheaper than the Kinect-powered Xbox One. Sony also used its E3 presentation that year to get in some savage digs at Microsoft, which was facing widespread controversy over its plans to restrict some used game sales on the Xbox One.

This kind of competitive bombast helped cement E3’s position as the place where the future of the console gaming market was hashed out. In the last decade, though, the major console makers seem to have realized that they didn’t need an expensive E3 booth or associated press conference to get their customers’ attention anymore.

This vintage photo, from my first ever E3 in 2004, shows you the crowds that attendees could expect to fight through for three days straight.

This vintage photo, from my first ever E3 in 2004, shows you the crowds that attendees could expect to fight through for three days straight.

When it came time to debut the Switch in 2017, Nintendo hosted its own January hands-on event in New York City rather than rushing out demos for E3 months earlier. Sony followed suit in 2019, dropping out of that year’s E3 and then the planned 2020 event (before COVID hit), despite the impending launch of the PlayStation 5. And while Microsoft still hosted a press conference and game demos adjacent to E3 in 2019, the company decided it didn’t actually need an expensive booth on the convention center floor.

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The long-rumored Starfleet Academy TV series will finally get made

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Enlarge / The crew of the Enterprise in Star Trek II: The Wrath of Khan, a film with many references to Starfleet Academy.

Paramount

There’s officially another Star Trek series on the way, and this time it’s one we’ve been hearing rumors about since 2018: Starfleet Academy.

Announced today in a press release and reported by Deadline, the CBS Studios-produced series will follow a group of teenage Starfleet Academy students as they come of age while enduring rigorous training for future interstellar missions.

The central characters will reportedly have to navigate friendships, rivalries, and romances as they face a new enemy that threatens the Federation.

Co-showrunners Alex Kurtzman and Noga Landau issue this in-universe statement in the show’s announcement:

Admission is now open to Starfleet Academy! Explore the galaxy! Captain your destiny! For the first time in over a century, our campus will be re-opened to admit individuals a minimum of 16 Earth years (or species equivalent) who dream of exceeding their physical, mental and spiritual limits, who value friendship, camaraderie, honor and devotion to a cause greater than themselves. The coursework will be rigorous, the instructors among the brightest lights in their respective fields, and those accepted will live and study side-by-side with the most diverse population of students ever admitted. Today we encourage all who share our dreams, goals and values to join a new generation of visionary cadets as they take their first steps toward creating a bright future for us all. Apply today! Ex Astris, Scientia!

The announcement didn’t specify when the Star Trek timeline the series will take place, nor did it name any characters or specific plot points.

Kurtzman is the current head honcho of Star Trek; he has overseen most of the work on all the franchise shows that have premiered in recent years. Before that, he worked on the J.J. Abrams Star Trek films and worked as a writer on the TV series Xena: Warrior Princess and Hercules: The Legendary Journeys, and on the films The Island, The Legend of Zorro, and Transformers.

Landau is a television writer who first became known as a story editor on the TV series The Magicians—another action-adventure show set in a fantastical school with coming-of-age plotlines—and who later became showrunner for The CW’s Nancy Drew series.

This won’t be the first time Starfleet Academy has been explored in works of Star Trek fiction, of course. Beyond the obvious example of the Kobayashi Maru references throughout the franchise, there were substantial plotlines about the academy in The Next Generation and Deep Space Nine, among others.

Further, there were Starfleet Academy video games in the 1990s for various platforms. While the PC game with full-motion video with original cast members had enough features to recommend it, I always felt the SNES/Sega 32X Starfleet Academy game never got the love it quite deserved.

The Starfleet Academy TV series will begin production in 2024, and it will premiere on Paramount+ at some point after that.

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