A Indústria dos Videojogos - Tópico Geral (notícias, artigos, opiniões, análises)

Concordo penso que o mercado se está a tornar pequenos para os exclusivos.
E se ficarem dentro da sua "bolha de exclusividade" mais dificil se torna.
Ou seja o mercado tem de se liberalizar.
 
Qualquer dia vamos ter jogos da Sony no outro lado também. A era das exclusividades vai ficando ultrapassada e principalmente para a Sony que gasta dinehiro a impedir que jogos de terceiros vão para os rivais para ter exclusividade. Financeiramente não é viável
 
As exclusividades também não são feitas apenas para darem lucro directamente. É mais para manter o pessoal no sistema a pagar subscrição online e comprar outros jogos. E claro marketing.

A Sony nem se pode queixar pois esta geração está a vender até muito bem face aos jogos que têm saído. Não sei que raio de objectivos eles definiram para estarem "pessimistas".
 
Dissectory disse:
As exclusividades também não são feitas apenas para darem lucro directamente. É mais para manter o pessoal no sistema a pagar subscrição online e comprar outros jogos. E claro marketing.

A Sony nem se pode queixar pois esta geração está a vender até muito bem face aos jogos que têm saído. Não sei que raio de objectivos eles definiram para estarem "pessimistas".
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Ou contrataram executivos da Square Enix ou estão mais Americanizados que nunca. :P
 
bobloblaw disse:
Qualquer dia vamos ter jogos da Sony no outro lado também. A era das exclusividades vai ficando ultrapassada e principalmente para a Sony que gasta dinehiro a impedir que jogos de terceiros vão para os rivais para ter exclusividade. Financeiramente não é viável
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Por outro lado podemos ter é um aumento exclusividades temporárias ou definitivas de contéudos, dlcs, etc.
 
Exclusividades existem desde que existem consolas, não é isso que está a colocar em xeque a indústria dos jogos.

O problema é que se andou anos a esticar a corda do "bigger is better" com orçamentos descontrolados que vão até à lua, até esta rebentar.
 
Aumentou-se o investimento em jogos com mais gráficos, mais tecnologia, mais realismo. Aumentou-se os orçamentos dos jogos. Mas não se aumentou, pelo menos ao mesmo nível, os consumidores.

Estive recentemente a assistir a conferência que o Satoru Iwata fez na GDC em 2011 e alguns dos assuntos falados são tão relevantes nos dias de hoje. Deixo abaixo duas partes que eu achei interessante.


 
_GM_ disse:
Aumentou-se o investimento em jogos com mais gráficos, mais tecnologia, mais realismo. Aumentou-se os orçamentos dos jogos. Mas não se aumentou, pelo menos ao mesmo nível, os consumidores.
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Ora ai está, e mantendo certos jogos dentro de um universo de consumidores ( vulgo jogos exclusivos) o nivel de consumidores ainda se torna mais pequeno.
 
Vou deixar aqui mas podia também estar na área Hardware - Novidades e Notícias.


Nvidia, a empresa sensação que vale mais que a Google e a Amazon

"Num só dia a produtora de chips valorizou mais do que a Coca-Cola inteira. Já vale mais de dois biliões de dólares, ficando atrás apenas da Microsoft e Apple.

ANvidia tornou-se a terceira empresa mais valiosa dos Estados Unidos, ficando atrás de Microsoft e da Apple e à frente da Amazon e da Alphabet (dona da Google). A empresa de chips bateu recordes na bolsa e é cada vez mais indispensável para vários setores da sociedade, desde o setor automóvel à inteligência artificial."

Continua: https://www.sabado.pt/dinheiro/deta...ensacao-que-vale-mais-que-a-google-e-a-amazon
 
Star Wars: Jedi Director Announces New Studio to Make a AAA Narrative-Driven Single-Player Action-Adventure Game

Stig Asmussen, the game director of Star Wars Jedi: Fallen Order and Star Wars Jedi: Survivor, as well as God of War 3, has announced the new studio he formed after leaving Respawn and EA last year. It’s called Giant Skull, and his new team aims to create a new, premium, AAA narrative-driven single-player third-person action-adventure game.

“I can’t underscore enough that mystery and intrigue is a huge part of what we’re doing,” he told me as we discussed the goals of his new studio. “We want our players to have a certain degree of autonomy and ownership in the game and agency as they’re playing it. We want to make a game that has a momentum to it that you want to keep on playing it. And we respect our players. We wanna create real authentic worlds that don't feel random; they feel like there's a rich history. And [that] there's thought behind them.”

But why leave Respawn, where he’d just created two massively successful Star Wars games (with a third underway in his absence despite significant EA layoffs) that were themselves AAA narrative-driven single-player third-person action-adventure games? “Honestly it’s not something that I was looking for,” he explained. “I was very happy at Respawn. Love the team, love the studio, EA was great. It was more just, I was approached with a really interesting opportunity. It started to be like a little kernel in my brain: 'Wow, what would it be like to start my own studio?'...It was something that was incredibly enticing.”

Giant Skull is based in the Los Angeles area and currently numbers around 30 people – many of whom are veterans of Star Wars Jedi and Fortnite – though how and where its developers work will be entirely up to them on an individual basis.
Giant Skull is based in the Los Angeles area and currently numbers around 30 people – many of whom are veterans of Star Wars Jedi and Fortnite – though how and where its developers work will be entirely up to them on an individual basis. “The main goal is to build an environment where people can come and collaborate and make something that’s going to ship,” he said. “It’s up to the individual. We’ll support whatever you need. We can approach people on an individual basis. If you want to work from home all the time in another part of the world, totally fine. We’ve learned how to make that operation work at a really high level [on Jedi Survivor]. If you want to come into the office every day, we’ve got a great space in a great location. If you want to come in [some days each week] for hybrid, it’s up to you. We don’t care. The most important thing is you have all the tools you need to get the job done.”

As to whether or not Giant Skull will stay fully independent or whether they might partner up with a first-party platform holder or other major publisher to get their game out to the world, that has yet to be decided, Asmussen said. “We’ve secured significant funding. It’s sufficient to support our vision, but at the same time we’ll explore partnership opportunities with global publishers when the time comes.”

I asked Asmussen if, given that he’s just walked away from working on one of the biggest brands in the world on a licensed game, if it means we should expect Giant Skull’s first game to be a new original IP. He left the door open for any possibility: “I wouldn’t rule anything out,” he said. “We have a very clear vision on the type of game that we’re going to make, and that’s playing to the strengths of myself…single-player focused third-person action-adventure, gameplay-driven that’s seamlessly integrated into a compelling narrative. Those are the main pillars of our criteria. If there was an opportunity…we have a lot of experience with licensed games obviously. But it is very compelling to make an original IP as well. We can flex in either direction.”

Check out the studio’s unique website to see what else you can learn (hint: type “culture” without the quotes into the DOS-style command prompt).
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23-year-old Nintendo interview shows how little things have changed in gaming

In light of widespread layoffs and a push away from exclusives, past comments from former Nintendo boss Hiroshi Yamauchi have circulated online, highlighting how little has really changed in the gaming landscape.

As unearthed by InstallBase user Celine (and covered by IGN at the time), Yamauchi, who was the president of Nintendo between 1949 and 2002, gave an interview to Japanese financial magazine Zaikai in early 2001.

In the interview, Yamauchi is asked about the financial downturn of the industry at the time, around the downfall of the Sega Dreamcast and a few months before the launch of the GameCube.

‘What I see right now is lots of people who look towards the game business with all these dreams in their minds about how bright the future of the industry is,’ Yamauchi said.

‘When you ask them why, they all say, ‘Oh, all these new systems are coming out that’re even more powerful than the PlayStation 2, we’ll be able to create things that’ll attract even more people to play games,’ and so on.

‘I’ve been consistently saying this is wrong, but most of them look at what I say and respond, ‘No, no, you’re wrong,’ and as a result, this is what’s happening today. There really are just an overwhelmingly huge number of people out there that know nothing about the business of games.

‘The game business is a tough one, and it’s not been around for that long, either, so there are people out there that find this industry incredibly interesting. Venture capitalists, in particular. That’s why these people are pouring money into the field right now.’​
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Yamauchi goes onto explain how rising development costs stem from the chase for ‘amazing graphics and sound’, which has led to an increasingly volatile industry.

‘The more amazing graphics and sound you put into a game, the longer it takes to finish,’ he added. ‘Not just a year, but now, more like a year and a half or two years. So then your development costs balloon, and when you finally put it out you have zero guarantee of it selling. That’s what the games industry is today.’

This is exactly the same issue the current games industry finds itself in, only on a different scale – of six years instead of two, to complete a triple-A game.

As a result, many studios have been shut down or are suffering layoffs because the high development costs have made it so that even the best-selling games are barely scraping a profit.

Spider-Man 2, for example, may have sold over 10 million copies but developer Insomniac Games is still feeling the brunt of layoffs.​
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Elsewhere in the same interview, Yamauchi also addresses the issues in pushing a multi-platform strategy, which he describes as potentially having a ‘dire effect on the marketplace’ if it becomes the norm.

‘If users can play the same game on every single system out there, then there’ll be no reason to buy one system over the other,’ he said. ‘It’ll be just like buying a TV; no matter which one you buy you’ll still have all the same channels.

‘In the game business, software is our lifeblood. If that software becomes the same everywhere then there’ll be zero difference between companies. The marketplace will just turn into a giant hardware war.’

While it’s important to remember that this is coming from the perspective of a Nintendo executive, who are famously against publishing on other platforms – it’s nevertheless an interesting, and currently very relevant, perspective considering he said all this over 20 years ago.​
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Yamauchi perhaps sums it up best when addressing the chase for games to be more like movies, a topic that is still an ongoing discussion today.

‘Up until now games have had nothing to do with movies, like I’ve kept on saying all this time, but now people are going on about how every game will be like a movie from now on,’ Yamauchi said.

‘We’ve come all this way and somewhere along the lines, we’ve forgotten that we’re supposed to be making games, and not movies. Now, as a result of that, game development is turning into a circus, costs are skyrocketing, users get bored faster than ever before, and the development of truly new games – new ways of having fun – has all but stopped. And now, because of all that, it’s getting difficult to make a profit producing video games.

‘If we don’t change the way game development is carried out, I can’t see the industry or the marketplace rejuvenating itself anytime soon.’​
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https://twitter.com/i/web/status/1770219477688529355

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