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Will the gaming industry clutch up in 2019? – TechCrunch

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2019 promises to be a great year in games. Innovation and competition will elevate the industry’s offerings and drive more inclusivity among a broader range of audiences.

Cloud gaming emerges as the new frontier and brings about unlikely partnerships.

Collectively, gamers will serve as the canary in the coal mine as large tech companies look to introduce new technologies to mainstream consumer audiences. Companies like Amazon, Tencent, Google and Microsoft already own and operate massive data centers that virtually run enterprise applications. In 2019, we will see continued investment in infrastructure and content acquisition as these billion-dollar companies seek to claim the consumer market.

Cloud gaming is a massive market opportunity that extends beyond just interactive entertainment. Microsoft already generates significant revenues from cloud-based services, and doubling down on gaming will open the door to broader adoption by consumers and a bigger piece of the market.

It also comes with significant competition, each player with their own motivations. Tencent, for one, got hit hard with a slowdown in mobile game approvals by the Chinese government, causing its share price to drop. Since then, things have started to improve somewhat, but it has incentivized Tencent to reduce its exposure in gaming and look for other non-content business segments that generate steady revenue and require less government regulation. For the first three quarters of 2018, Tencent’s cloud operations generated $864 million (RMB 6 billion) in revenues and more than doubled year-over-year.

Google has also been trying to wiggle its way into the cloud gaming business. Its cloud operations make about $10 billion annually, and recently appointed a new CEO likely to expand Google Cloud’s vertical product capabilities in non-tech categories.

And there is, of course, Amazon. With currently more than 50 percent market share in cloud computing and a strong user acquisition and engagement channel with Twitch, Amazon is uniquely positioned. But its previous efforts around interactive entertainment have so far not produced any real tangible results despite it ramping up expenditure. This makes it more likely that Amazon will become a third-party infrastructure provider for companies like Sony and Nintendo instead.

As these titans double down on cloud gaming initiatives, we can expect to see some surprising partnerships. For instance, Tencent and Google are currently working together in China. This gives the latter an entry point into a market that has long been out of reach. Meanwhile, incumbents like Sony, Nintendo and legacy game publishers will have to decide on going at it alone, as is the case of Electronic Arts, or buddying up and surrendering a piece of revenue.

Gamers win as the PC games market breaks into pieces.

It’s not a bad thing. But after more than a decade of a virtual monopoly held by Valve, new contenders have emerged. We already saw how Valve tried to get in front of Epic’s announcement that it was lowering its platform fees. And not long after, Discord popped up with an even better rate.

Breaking with the standard 30 percent cut, which is what most platforms (Apple, Facebook) claim in exchange for their services, Valve announced a few major changes. Two key sentences from the announcement. First, Valve’s new revenue distribution: “when a game makes over $10 million on Steam, the revenue share for that application will adjust to 75%/25% on earnings beyond $10M. At $50 million, the revenue share will adjust to 80%/20% on earnings beyond $50M.” Succinctly, make more and keep more.

Part of what is driving this is consolidation at the top. In the PC market the top-line firms have been growing at an incredible rate. Between 2013 and 2017, Activision grew its PC operations at +10 percent compound annual growth rate. EA’s was +30 percent, and Bethesda’s +36 percent. Meanwhile, the share of the top four public companies, based on PC gaming revenue, grew from 44 percent to 60 percent in that same period. It’s getting less crowded at the top and digital stores will have to compete.

The big publishers like Activision, Ubisoft and EA already have their digital storefronts and distribution platforms. Different from the brick-and-mortar space, publishers managed to build their own rather than rely on third-parties. For years, the big guys have had no interest in putting their content side-by-side with a growing number of small and medium-sized game companies.

Epic’s wild success with Fortnite has afforded it a much broader range of strategic options. So far it has lowered its store fees and retroactively paid developers on its platform. And now it is budding into the digital PC market by using its vast financial resources to compete head-on with Valve. Finally, Discord’s entry should be noted, too. Adding a content offering to an existing community, rather than the other way around, Discord is the new hot thing. Certainly, it has yet to lay claim to a hit title of its own. But it has both the expertise and critical mass to become an important next store front. It raised an additional $150 million right before the holidays.

All this takes place against the backdrop of a declining physical games market. It’s been a tough few months in meat space. In its recent earnings, GameStop came in at $2.08 billion and +4.8 percent in global sales, but Wall Street was not impressed. GameStop blamed Call of Duty and “sports titles.” With the recent sell-off of Spring Mobile to lower its debt, the specialty retailer continues on the hunt for new leadership, either in the form of a new CEO (unlikely) or new owner (likely). Whoever is going to scoop up GameStop is probably waiting for 19Q1 when sales dip and its valuation will be lower.

The breaking up of Valve’s dominance is good for players and companies that make games. Consumers will get better prices and more choice, and the various digital stores will compete over functionality and improved user experience. This is a win-win for all.

Walled gardens will be broken down, enabling cross-platform play with anyone, anywhere.

Despite digitization, the bulk of interactive entertainment has remained within one of the various walled gardens. That is going to change. Like telecom networks that allow people to speak to each other irrespective of their phone provider, so, too, will online gaming break down silos. In 2019, cross-platform play will become ubiquitous. The end of 2018 has already shown the potential of this as Fortnite’s success resulted in each of the platforms agreeing to play nicely with one another.

Legacy publishers like Activision Blizzard have also tasted what cross-platform play can do for their franchises: Hearthstone has continued to dominate the collective card game category, because it works seamlessly across PC and mobile, and offers a smooth integration with live-streaming platforms like Twitch.

Cross-platform play should be at the top of every studio’s design agenda in 2019.

Subscriptions and bundled content will drive sales in 2019.

After seeing the initial success with subscriptions enjoyed by Twitch and Microsoft’s GamePass, more companies will adopt this monetization model. Large platform holders like Sony and Apple are looking to grow their revenues by offering content subscriptions. Both of these companies have indicated they have plans to increase services revenue as a direct response to reaching the limit of how much hardware they can sell.

Game publishers have been experimenting with micro-transactions to great success. Tentpole franchises like FIFA, Hearthstone and GTA V Online have made a mint from what they call “recurrent revenues.” Beyond up-selling their audiences on a regular schedule with content updates, they will explore subscription models that will provide massive discounts and unique content to players in exchange for a more predictable revenue flows.

Video games will face more and new regulation with a focus on kids.

Now that gaming has emerged as a mainstream form of entertainment, the industry can expect more scrutiny. In addition, there will be sharper focus on kids and technology in 2019. Data companies will be increasingly under the microscope. Similar to the loot box scandal that resulted in various governments speaking out, we will see an effort focused on protecting children. This means that game companies will be held to a higher standard with regards to how they handle data on minors. Against the background of a festering trade war between eastern and western economies, data ownership, in particular around children, will emerge as a political topic and strategic business challenge.

It also means that titles like Fortnite will be fingered as culprits in narratives around an erosion of culture and well-being (although this is largely driven by misinformed industry critics). The title’s appeal to younger audiences will make it a likely scapegoat as the usual choir sings its disdain for video games. This year’s congressional hearing in the U.S. more than satisfied our need for examples of how disconnected government representatives are from technology used by literally everyone else. Different from previous generations, however, I expect the companies currently at the top of the food chain to know exactly how to respond. They will push titles that offer a safe, pleasant space for kids to play, uninterrupted by broader challenges found everywhere else.

Next year will, however, not be a continuation of exuberance as we’ve seen previously. Trends in related industries suggest that gaming, too, will move toward a more concentrated competitive landscape and closer government monitoring.

Image: Bryce Durbin/TechCrunch

Further consolidation is imminent for the games industry.

In response to the slowdown in consumer spending, some game companies will go out of business and others will gobble up the failing ones to strengthen their market positions. Nothing new here, but it does leave room for speculation as to who will buy whom. I previously speculated that Amazon would buy GameStop and still think they might. Only it will happen when GameStop reaches its wits end, probably at the end of Q1 2019.

Across Europe there have been a series of smaller acquisitions throughout the year, some of which are now turning sour. Starbreeze had its offices raided (which I’m told sounded worse than it was). Even so, this year the ambitious portfolio approach of buying up smaller studios and leveraging their IP against efficient distribution networks became, perhaps, too popular.

Finally, I expect companies like Tencent to continue satisfying their appetites for foreign assets. If nothing else, this year has cemented Tencent’s need to diversify as they look to mitigate some of its recent stresses by lowering its exposure to games revenue and further investing in western companies and platforms. Over the past two years its success with this strategy has greatly lowered competition across PC and mobile, the two most innovative categories.

This does not mean that innovation itself is at risk. It just means that the stakes will be higher for any firm that does not make a billion or more in revenues.

Courtesy of Feodora Chiosea/Getty Images

The coming winter brings a slowdown in growth, and possibly in revenue and innovation.

I’ve been writing about this for a while now. But don’t misunderstand: I want to be wrong about this. While I would like to predict that 2019 will bring even more growth and more money for everyone, the supporting evidence simply isn’t there.

For one, mobile gaming is showing saturation across different markets, including in China. It has evolved from insignificance to become the biggest games market worldwide and is now starting to slow. We are also at the end of the current console cycle. This simply means that the platforms are going to discount their hardware and the bulk of consumers looking to spend are disproportionately price conscious.

Overall economic indicators suggest that consumer spending, especially in the U.S., is headed to a slowdown. Following the tax breaks earlier in the year, overall spending surprised even the retailers. But that party is going to end soon. Finally, as gaming has become mainstream, its underlying economics have shifted. In broad terms this means that where previously the games industry may have seemed “counter-cyclical” it is going to follow suit with whatever happens to consumer spending at large. In addition, investors have become savvier and are starting to trade aggressively against game stocks. This means game companies are less inclined to take risks on content innovation (as in the case of EA).

The long-term silver lining here is that this imminent stagnation is the precursor of the industry’s overall transition. But before spring comes winter.

Live-streamers and influencers embark on a drama binge.

Yes, newfound fame will get the better of them and stupid things will be said. This is still the very first generation that suddenly finds itself thrust into the mainstream spotlight — they don’t have the benefit of the intense vetting that other industries have subjected their rising stars to before sending them on the main stage. With many still amateurs and competing against one another to win the favor of audiences and aggregators alike, the stakes are substantially higher.

In their hunger for attention, aspiring streamers will sacrifice their authenticity and some will undoubtedly ruin their careers before it even starts. Mounting pressures from growing competition will drive this new generation of tastemakers to “keep it real” and remain authentic. Twitch and YouTube will do what they can, I’m sure. But for many, this authenticity will be too much.

EA takes a hit in 2019.

Among the Big Three, Electronic Arts will have the toughest year. Despite its aggressive expansion effort illustrated by the acquisition of GameFly’s streaming division, EA is going to face the music with investors. This is somewhat undeserved, because financial investors insist on continual growth and generally can’t see past the next quarter. And, to be fair, EA has a few weaknesses: its revenue and its margin are highly dependent on the continuing success of FIFA Ultimate Team. In addition, it has relatively little new IP in the pipe, which makes it even more difficult for investors to care about the longer-term future. Simply put, EA can’t free itself from Wall Street’s needs as several analysts have already started to lower their expectations for the year ahead.

Photo courtesy/Getty Images/Guido Krzikowski/Bloomberg

GameStop sells, but it’s not a party.

I already predicted this last year and was almost right: GameStop has been trying to get acquired for the past six months. Its C-suite has seen better days, most recently resulting in a letter from one of its largest shareholders, Tiger Management, to get its sh!t together (aka perform a strategic review). The company has been unable to find a buyer and now finds itself forced to essentially abandon the diversification strategy it initiated in 2014 by acquiring retail chain in parallel market segments. Just recently GameStop sold off Spring Mobile and is likely to use the money to pay off its debts and improve the likelihood of some private equity firm or a company like Amazon to buy it. No one expected it to be a great year for games retail, but it’s getting sadder.

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The Last of Us’ first PC port is riddled with apparent performance issues

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PC Shaders go brrrrr
by u/chrysillium in thelastofus

Naughty Dog says it is “actively investigating multiple issues” as complaints about graphical and performance issues continue to flood in following the PC release of The Last of Us: Part 1 on Tuesday.

The thousands of reviews on Steam—67 percent of which are negative, as of this writing—tell the tale of players facing massive problems simply playing the game they purchased. There is an overwhelming number of complaints about everything from frequent crashes and extreme loading times to “severe stuttering” during basic gameplay. Even with some positive reviews on the site supportive of the game’s underlying console versions, others complain that the PC edition is currently “stuttering, crashing, and unplayable.”

Even Joel can’t believe the amount of loading time..
by u/RuneLFox in thelastofus

Many user complaints seem to focus on the extreme amount of time needed for the game to build its graphical shader cache the first time it’s loaded. One Reddit user shared a timelapse of a 70-minute wait for those shaders to compile. Others point out that this extended loading time is particularly significant given Steam’s two-hour playtime window for requesting a no-questions-asked refund.

A “known issues” update on the Naughty Dog support site acknowledges issues with shader loading taking “longer than expected” and stresses that “performance and stability is degraded” while those shaders are loading. The support page also warns players of a “potential memory leak” (which some forum-goers are attributing to a bugged decompression library) and that “older graphics drivers” can also contribute to “instability or graphical problems.”

The Last of Us Part I PC players: we’ve heard your concerns, and our team is actively investigating multiple issues you’ve reported,” Naughty Dog wrote in a tweet Tuesday evening. “We will continue to update you, but our team is prioritizing updates and will address issues in upcoming patches.”

Joel has seen better days…
by u/can_i_see_your_cat in thelastofus

In a blog post accompanying the game’s PC launch Tuesday, Naughty Dog’s Christian Gyrling noted that moving the PS5-optimized Last of Us engine to PC involved “a large amount of tuning, tweaking, and even re-thinking, especially when it came to how we utilized the GPU.” The team was focused on “maintaining the equally high-quality bar across both PC and PlayStation consoles,” Gyrling wrote.

Nixxing Nixxes?

Some eagle-eyed fans started expressing worries about this latest PlayStation-to-PC port earlier this month when an Iron Galaxy logo appeared at the bottom of a PC spec sheet posted on the Naughty Dog blog. Iron Galaxy, you may remember, was responsible for the “seriously broken” port of Batman: Arkham Knight in 2015, which was eventually pulled from Steam amid widespread demands for refunds. Four months later, after multiple patches, players were still reporting massive resource allocation issues with that version of the game.
Iron Galaxy’s apparent involvement is especially notable given Sony’s 2021 purchase of Nixxes, which has been responsible for better-received PC ports of PlayStation titles like Spider-Man and Horizon: Zero Dawn. Then again, Iron Galaxy did work on the PC release of Uncharted: Legacy of Thieves Collection, which Digital Foundry called an “accomplished but unambitious port” upon its release last year.

TLOUP1, Anyone else having glitches like these on PC?
by u/official_tommy_boi in thelastofus

Ironically enough, this week’s PC release came after a 25-day delay that Naughty Dog said at the time was to ensure the “PC debut is in the best shape possible.” Who knows how many more days players will have to wait until the game has truly reached that “best shape possible” status.

Listing image by Reddit / official_tommy_boi

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Elemental music: Interactive periodic table turns He, Fe, Ca into Do, Re, Mi

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Enlarge / Graduate student W. Walker Smith converted the visible light given off by the elements into audio, creating unique, complex sounds for each one. His personal favorites are helium and zinc.

W. Walker Smith and Alain Barker

We’re all familiar with the elements of the periodic table, but have you ever wondered what hydrogen or zinc, for example, might sound like? W. Walker Smith, now a graduate student at Indiana University, combined his twin passions of chemistry and music to create what he calls a new audio-visual instrument to communicate the concepts of chemical spectroscopy.

Smith presented his data sonification project—which essentially transforms the visible spectra of the elements of the periodic table into sound—at a meeting of the American Chemical Society being held this week in Indianapolis, Indiana. Smith even featured audio clips of some of the elements, along with “compositions” featuring larger molecules, during a performance of his “The Sound of Molecules” show.

As an undergraduate, “I [earned] a dual degree in music composition and chemistry, so I was always looking for a way to turn my chemistry research into music,” Smith said during a media briefing. “Eventually, I stumbled across the visible spectra of the elements and I was overwhelmed by how beautiful and different they all look. I thought it would be really cool to turn those visible spectra, those beautiful images, into sound.”

What do the elements sound like?

Data sonification is not a new concept. For instance, in 2018, scientists transformed NASA’s image of Mars rover Opportunity on its 5,000th sunrise on Mars into music. The particle physics data used to discover the Higgs boson, the echoes of a black hole as it devoured a star, and magnetometer readings from the Voyager mission have also been transposed into music. And several years ago, a project called LHCSound built a library of the “sounds” of a top quark jet and the Higgs boson, among others. The project hoped to develop sonification as a technique for analyzing the data from particle collisions so that physicists could “detect” subatomic particles by ear.

Markus Buehler’s MIT lab famously mapped the molecular structure of proteins in spider silk threads onto musical theory to produce the “sound” of silk in hopes of establishing a radical new way to create designer proteins. The hierarchical elements of music composition (pitch, range, dynamics, tempo) are analogous to the hierarchical elements of protein structure. The lab even devised a way for humans to “enter” a 3D spider web and explore its structure both visually and aurally via a virtual reality setup. The ultimate aim is to learn to create similar synthetic spiderwebs and other structures that mimic the spider’s process.

Several years later, Buehler’s lab came up with an even more advanced system of making music out of a protein structure by computing the unique fingerprints of all the different secondary structures of proteins to make them audible via transposition—and then converting it back to create novel proteins never before seen in nature. The team also developed a free Android app called the Amino Acid Synthesizer so users could create their own protein “compositions” from the sounds of amino acids.

So Smith is in good company with his interactive periodic table project. All the elements release distinct wavelengths of light, depending on their electron energy levels, when stimulated by electricity or heat, and those chemical “fingerprints” make up the visible spectra at the heart of chemical spectroscopy. Smith translated those different frequencies of light into different pitches or musical notes using an instrument called the Light Soundinator 3000, scaling down those frequencies to be within the range of human hearing. He professed amazement at the sheer variety of sounds.

“Red light has the lowest frequency in the visible range, so it sounds like a lower musical pitch than violet,” said Smith, demonstrating on a toy color-coded xylophone. “If we move from red all the way up to violet, the frequency of the light keeps getting higher, and so does the frequency of the sound. Violet is almost double the frequency of red light, so it actually sounds close to a musical octave.” And while simpler spectra like hydrogen and helium, which only have a few lines in their spectra, sound like “vaguely musical” chords, elements with more complex spectra consisting of thousands of lines are dense and noisy, often sounding like “a cheesy horror movie effect,” according to Smith.

His favorites: helium and zinc. “If you listen to the frequencies [of helium] one by one instead of all at once, you get an interesting scale pattern that I have used to make a couple of compositions, including a ‘helium dance party,'” said Smith. As for zinc, “The first row of transition metals have very complex, dense grating sounds. But zinc, for whatever reason, despite having a large number of frequencies, sounds like an angelic vocalist singing with vibrato.”

Smith is currently collaborating with the Wonder Lab Museum in Bloomington, Indiana, to develop a museum exhibit that would enable visitors to interact with the periodic table, listen to the laments, and make their own musical compositions from the various sounds. “The main thing I want to [convey] is that science and the arts aren’t so different after all,” he said. “Combining them can lead to new research questions, but also new ways to communicate and reach larger audiences.”

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Why Transformers now look like a big bunch of gears and car parts

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Enlarge / How did one of the rarest 911s end up becoming a Transformer?

Stef Schrader

“I didn’t know what car Mirage was going to be at first,” said Steven Caple Jr., director of Transformers: Rise of the Beasts. “Where I’m from, in Cleveland, Ohio, I’d never even been in a Porsche before,” he continued. “My actual first introduction to Porsche was Bad Boys I, so shout out to Michael Bay—that’s all I really had.”

Caple admitted in a panel during Austin’s South by Southwest festival that the star car of the beloved action film Bad Boys inspired him to make Mirage a classic Porsche in the upcoming film. Mirage is a bit of a rebel himself, and the callback to the classic buddy-cop movie just felt right.

Fortunately, extraterrestrial Autobots won’t be tempted to pull over in any sketchy places to debate the merits of in-car snacking, but this does mean they have bigger nemeses that necessitate transforming into giant robots to handle. It can be more complicated than you’d expect to make a cool Porsche into an Autobot film star, though—in fact, Porsche has a whole team that helps Hollywood studios get just the right car on the silver screen. Here’s how it all comes together.

Character development

It starts with a character. Filmmakers have a certain look and vibe in mind when a new Transformer is “cast,” so to speak. Mirage is a bad boy with an attitude, and the film, set in 1994, is meant to be a sequel to Bumblebee. That made Caple think of the 1994 911 Turbo from Bad Boys.

“I was born in the ’80s, and I was a kid in the ’90s… this is the era when I grew up,” Caple explained. “This movie is like a time capsule to me.”

“You get to ’94, and everything started to change—from the wardrobe to the culture to the music to the cars,” he continued. “You start to step away from square-bodied cars and say, ‘hello curves.'”

You probably have to be pretty into your Porsches to spot that this is a 3.8 RS and not a 911 Turbo.
Enlarge / You probably have to be pretty into your Porsches to spot that this is a 3.8 RS and not a 911 Turbo.

Stef Schrader

The “casting” choice of the 964-era 911—a car that was dramatically smoother and more streamlined than any 911 before it—is a callback for the current Transformers series, given that Bad Boys was Michael Bay’s feature-length directorial debut. Yet Mirage has always been portrayed as an upper-crust member of Autobot society, so it makes sense that the Transformers team picked an even rarer 964-generation Porsche to portray him: a 1993 911 Carrera RS 3.8.

“When I was designing the character, it started there,” Caple said. “I talked to Owen [Shively] and the team at Porsche and said… he’s going to be an outlaw. He’s going to be a rebel. Going to be flashy. Very confident, but smooth.”

That’s when Porsche suggested looking into the 911 Carrera RS 3.8.

The Carrera RS 3.8 uses the same wider body shape as Bad Boys‘ 911 Turbo, but it was a homologation specially produced to legalize the Carrera RSR race car with a host of lightweight parts and a hardcore aerodynamic package designed for track domination. Porsche only ever made 55 RS 3.8s, according to Total 911, making it an exceptionally rare ride. In other media and toys in the past, Mirage has been a Ferrari and a Formula 1 car, so an ultra-rare Porsche feels like a solid fit.

While many of us associate the Transformers series with the heavy use of CGI, the filmmakers still need to source real cars to use for many of the shots—and Porsche has a whole team dedicated to helping filmmakers place just the right car into film and television projects.

Owen Shively, from that early ideation conversation Caple mentioned, is the CEO of RTTM Agency, Porsche Cars North America’s exclusive representative when it comes to entertainment partnership requests like this. When Porsche needs someone to arrange a specific car for a new film or TV project, Shively’s agency is where they turn.

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