Jump to content


  • Posts

  • Joined

Recent Profile Visitors

9,984 profile views
  1. PS+ and PSNow, which is what Spartacus is supposedly going to replace costs $60+$60, XGPU costs $180. I highly doubt Sony were going to be charging significantly more than what Microsoft think XGPU is worth annually, given that they are only currently charging significantly less than them for the 2 services that will be combined in some fashion going forward. I just found the maths mildly amusing. Of course, that would just be a nakedly monopolistic move which nobody in their right mind could justify (but I'm sure somebody would anyway).
  2. Given that XGPU costs $15 and you'd imagine Sony wouldn't price Spartacus at much more than this, they'd be selling it you at about the same price as they currently charge for monthly PS+, which sounds kind of a pointless exercise from their POV. Subscriptions are about increasing ARPU, not decreasing it. Microsoft should just buy up EA and Take-Two and Ubisoft, now that would sew up the traditional console market, they'd own practically the entire Top 10 yearly best selling games in most Western markets not made by Nintendo or Sony.
  3. That's because they are stupidly over-valued, pushed up by the belief that everybody and their dog is going to subscribe in perpetuity and they can jack up the prices once that is done, mega profits forever so when the 'narrative' begins to look ropey, some people head for the door. Disney suffered a similar problem and their management is now downplaying future potential subscriber growth.
  4. I'd agree with that assessment, but what is an acceptable or great result for an indie developer with fewer overheads and alternatives doesn't usually translate to Mega-Corps who think 1 Million fullprice $60 sales of a game is disappointing, it's like an old joke by Chris Rock about Oprah and Bill Gates, just replace the names with Nintendo and Shin'en and you get the idea:
  5. This was all in the heads of people, the only reason Netflix could even offer what they did in the early years was because the copyright holders thought streaming was a non-meaningful revenue generating ancillary business so they gave their content away to Netflix for fuckall. Netflix had no choice but to go down the content creation road, because otherwise, they'd just be a useless middleman.
  6. Somebody should e-mail Shin'en and ask how well their inspired by/homage to it has done over its various iterations over multiple Nintendo consoles. Both they and Nintendo know the truth, which probably explains why Nintendo haven't given them a blank cheque and the contract to do the next installment of F-Zero. Apart from the rare times when it actually is a creative decision, the usual, unwanted answer is potential reward isn't worth the risk compared to an alternative option.
  7. The Electronic Entertainment Expo has been bleeding from a thousand cuts for several years now. First Electronic Arts said no thanks back in 2016, then Activision-Blizzard did the same, then Sony said bye-bye and even Microsoft can't find some money down the back of the sofa to pay the ESA for a booth. If the two biggest third-party publishers and 2 platform holders aren't willing to give the ESA money to help fund it, it'd only be a matter of time until it was about as useful to visit as TGS is these days. The live game show business must be pretty good as both ReedPop (Eurogamer) and PAX had multiple shows going at one point, so there is a clear desire for punters to want to pay to line up for hours to play the latest games. The ESA were clearly in the process of turning E3 into something like those types of shows to keep it viable.
  8. This is of course complete PR bullshit, the only reason they say that about these failed series is because they can't justify investing in another attempt without finding some new twist to try to make it a hit again. They are perfectly fine churning out Mario Party, Pokémon, etc. If it ain't broke, companies rarely try to reinvent the wheel if they have a successful formula to milk. The really cheap way to do this would be to allow fan games to be developed by unpaid outsiders, wait until they are near completion, evaluate them and then either do a deal to make it official and polish it up for commercial release or set the inhouse lawyers on them if the game doesn't meet the quality criteria, the ROI on that would be pretty good. Square-Enix tried to go down that route officially by allowing some of their dead brands to be used, but after 6 years, the idea doesn't seem to have made much progress commercially.
  9. The ironic thing is Nintendo didn't actually pull out of E3, it's a bizarre myth caused by people's basic misunderstanding of what E3 actually is.... The press briefings are NOT E3, the trade show IS E3. Nintendo only stopped doing the live press conferences, they still spent the money to have a booth at the trade show. https://www.ign.com/articles/2019/06/14/take-a-look-at-nintendos-e3-2019-booth
  10. The biggest simulator game developers got smart and went self-published, why pay some useless publisher a cut if you can do it all yourself and keep all the profit? Both Giants and SCS are going strong with their respective games. https://www.gamesindustry.biz/articles/2021-11-30-farming-simulator-22-breaks-series-records-with-1-5m-sold-in-first-week
  11. If you look at the history of Nintendo created 'famous' game series which they no longer choose to make, they already did that part before throwing in the towel. F-Zero, started as an internal real Nintendo game, had a real Nintendo follow-up by EAD, then it started the path to oblivion with ever lower budget efforts made by mercenaries once Nintendo had better more lucrative things to do with their limited Elite-level internal talent pool. F-Zero F-Zero X F-Zero: Maximum Velocity - NDcube F-Zero AX/GX - Amusement Vision F-Zero: GP Legend - Suzak Inc. F-Zero Climax - Suzak Inc. Star Fox has the same basic trajectory also, Metroid has borderline viability as they do at least keep on trying on a regular basis with that series, even if they don't want to commit their best to doing so anymore.
  12. Apparently they are good simulation of the things game journalists have to sit through sifting for the Gold nuggets so at least they are now giving the public the access to the content we've craved all these years, but maybe we should have not wished for in the first place :P
  13. I remember that when one of their previous films went straight to the bargain bin and some of the people who worked on it lamented the fact, they got some major stick for it. This move was rumoured last year as it seems to boost subscriber numbers for Disney+ which has experienced some slow growth lately. The long term problem is the fact Disney can't keep the budgets for these Pixar films at the same level if they are going to be dumping them for 'free' onto Disney+, the numbers don't add up.
  14. The PR presentations aren't even actually E3 in the first place! as they all took place prior to the actual event. The entire thing was originally a trade show for sellers and buyers of games to meet in person to do business deals. It going digital or being in person doesn't change much for people who never went to the actual multi-day trade show as most people didn't pay much attention to that part, I certainly didn't until after it was over and people who had been to it gave you their post E3 hands on impressions of whatever they managed to see at the show, which is the part which has gone away to a large extent over the last few years with it being cancelled effectively for multiple years now. The interminably long live stream presentations which have attempted to replace it are so boring, if the real trade show was that bad, no wonder it's now dead.
  15. Keighley put out some PR for the Geoffs, whatever he is doing is apparently working pretty well: https://www.hollywoodreporter.com/business/digital/the-game-awards-record-setting-85-million-livestreams-1235064736/ While the traditional awards shows for traditional media are going in the exact opposite direction, The Oscars dropped out of the Top 100 most watched broadcast shows in the US for the first time ever last year: https://variety.com/2021/tv/ratings/top-rated-shows-2021-ncis-yellowstone-squid-game-1235143671/
  • Create New...

Important Information

We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue. Use of this website is subject to our Privacy Policy, Terms of Use, and Guidelines.