gaming

report:-sony-stops-producing-psvr2-amid-“surplus”-of-unsold-units

Report: Sony stops producing PSVR2 amid “surplus” of unsold units

gaming, headset, PlayStation, PlayStation VR, ps5, psvr, Sony, tethered, virtual reality / /

Too many too late? —

Pricy tethered headset falters after the modest success of original PSVR.

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PSVR2 (left) next to the original PSVR.

Enlarge / PSVR2 (left) next to the original PSVR.

Kyle Orland / Ars Technica

It looks like Sony’s PlayStation VR2 is not living up to the company’s sales expectations just over a year after it first hit the market. Bloomberg reports that the PlayStation-maker has stopped producing new PSVR2 units as it tries to clear out a growing backlog of unsold inventory.

Bloomberg cites “people familiar with [Sony’s] plans” in reporting that PSVR2 sales have “slowed progressively” since its February 2023 launch. Sony has produced “well over 2 million” units of the headset, compared to what tracking firm IDC estimates as just 1.69 million unit shipments to retailers through the end of last year. The discrepancy has caused a “surplus of assembled devices… throughout Sony’s supply chain,” according to Bloomberg’s sources.

IDC estimates a quarterly low of 325,000 PSVR2 units shipped in the usually hot holiday season, compared to a full 1.3 million estimated holiday shipments for Meta’s then-new Quest 3 headset, which combined with other Quest products to account for over 3.7 million estimated sales for the full year.

The last of the tethered headsets?

The reported state of affairs for PSVR2 is a big change from the late 2010s when the original PlayStation VR became one of the bestselling early VR headsets simply by selling to the small, VR-curious slice of PS4 owners. At the time, the original PSVR was one of the cheapest “all-in” entry points for the nascent market of tethered VR headsets, in large part because it didn’t require a connection to an expensive, high-end gaming PC.

In the intervening years, though, the VR headset market has almost completely migrated to untethered headsets, which allow for freer movement and eliminate the need to purchase and stay near external hardware. The $550 PlayStation VR2 is also pricier than the $500 Meta Quest 3 headset, even before you add in the $500 asking price for a needed PS5. Sony’s new headset also isn’t backward compatible with games designed for the original PSVR, forcing potential upgraders to abandon most of their existing VR game libraries for the new platform.

Even before the PSVR2 launched, Sony was reportedly scaling back its ambitions for the headset (though the company denied those reports at the time and said it was “seeing enthusiasm from PlayStation fans”). And since its launch, PSVR2 has suffered from a lack of exclusive titles, featuring a lineup mostly composed of warmed-over ports long available on other headsets. An Inverse report from late last year shared a series of damning complaints from developers who have struggled to get their games to run well on the new hardware.

Put it all together, and PSVR2 seems like a too-little-too-late upgrade that has largely squandered the company’s early lead in the space. We wouldn’t be shocked if this spells the end of the line for Sony’s VR hardware plans and for mass-market tethered headsets in general.

Report: Sony stops producing PSVR2 amid “surplus” of unsold units Read More »

“you-a—holes”:-court-docs-reveal-epic-ceo’s-anger-at-steam’s-30%-fees

“You a—holes”: Court docs reveal Epic CEO’s anger at Steam’s 30% fees

epic games, gaming, Tim Sweeney, valve / /

Not just for show —

Unearthed emails show the fury that helped motivate Epic’s Games Store launch.

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Epic Games founder and CEO Tim Sweeney.

Epic Games founder and CEO Tim Sweeney.

Epic CEO Tim Sweeney has long been an outspoken opponent of what he sees as Valve’s unreasonable platform fees for listing games on Steam, which start at 30 percent of the total sale price. Now, though, new emails from before the launch of the competing Epic Games Store in 2018 show just how angry Sweeney was with the “assholes” at companies like Valve and Apple for squeezing “the little guy” with what he saw as inflated fees.

The emails, which came out this week as part of Wolfire’s price-fixing case against Valve (as noticed by the GameDiscoverCo newsletter), confront Valve managers directly for platform fees Sweeney says are “no longer justifiable.” They also offer a behind-the-scenes look at the fury Sweeney and Epic would unleash against Apple in court proceedings starting years later.

“I bet Valve made more profit… than the developer themselves…”

The first mostly unredacted email chain from the court documents, from August 2017, starts with Valve co-founder Gabe Newell asking Sweeney if there is “anything we [are] doing to annoy you?” That query was likely prompted by Sweeney’s public tweets at the time questioning “why Steam is still taking 30% of gross [when] MasterCard and Visa charge 2-5% per transaction, and CDN bandwidth is around $0.002/GB.” Later in the same thread, he laments that “the internet was supposed to obsolete the rent-seeking software distribution middlemen, but here’s Facebook, Google, Apple, Valve, etc.”

Expanding on these public thoughts in a private response to Newell, Sweeney allows that there was “a good case” for Steam’s 30 percent platform fee “in the early days.” But he also argues that the fee is too high now that Steam’s sheer scale has driven down operating costs and made it harder for individual games to get as much marketing or user acquisition value from simply being available on the storefront.

Calculating.... calculating... profit maximizing point found!

Enlarge / Calculating…. calculating… profit maximizing point found!

Getty / Aurich Lawson

Sweeney goes on to spitball some numbers showing how Valve’s fees are contributing to the squeeze all but the biggest PC game developers were feeling on their revenues:

If you subtract out the top 25 games on Steam, I bet Valve made more profit from most of the next 1,000 than the developer themselves made. These guys are our engine customers and we talk to them all the time. Valve takes 30% for distribution; they have to spend 30% on Facebook/Google/Twitter [user acquisition] or traditional marketing, 10% on server, 5% on engine. So, the system takes 75% and that leaves 25% for actually creating the game, worse than the retail distribution economics of the 1990’s.”

Based on experience with Fortnite and Paragon, Sweeney estimates that the true cost of distribution for PC games that sell for $25 or more in Western markets “is under 7% of gross.” That’s only slightly lower than the 12 percent take Epic would establish for its own Epic Games Store the next year.

“Why not give ALL developers a better deal?”

The second email chain revealed in the lawsuit started in November 2018, with Sweeney offering Valve a heads-up on the impending launch of the Epic Games Store that would come just weeks later. While that move was focused on PC and Mac games, Sweeney quickly pivots to a discussion of Apple’s total control over iOS, the subject at the time of a lawsuit whose technicalities were being considered by the Supreme Court.

Years before Epic would bring its own case against Apple, Sweeney was somewhat prescient, noting that “Apple also has the resources to litigate and delay any change [to its total App Store control] for years… What we need right now is enough developer, press, and platform momentum to steer Apple towards fully opening up iOS sooner rather than later.”

To that end, Sweeney attempted to convince Valve that lowering its own platform fees would hurt Apple’s position and thereby contribute to the greater good:

A timely move by Valve to improve Steam economics for all developers would make a great difference in all of this, clearly demonstrating that store competition leads to better rates for all developers. Epic would gladly speak in support of such a move anytime!

In a follow-up email on December 3, just days before the Epic Games Store launch, Sweeney took Valve to task more directly for its policy of offering lower platform fees for the largest developers on Steam. He offered some harsh words for Valve while once again begging the company to serve as a positive example in the developing case against Apple.

Right now, you assholes are telling the world that the strong and powerful get special terms, while 30% is for the little people. We’re all in for a prolonged battle if Apple tries to keep their monopoly and 30% by cutting backroom deals with big publishers to keep them quiet. Why not give ALL developers a better deal? What better way is there to convince Apple quickly that their model is now totally untenable?

After being forwarded the message by Valve’s Erik Johnson, Valve COO Scott Lynch simply offered up a sardonic “You mad bro?”

GameDiscoverCo provides a good summary of other legal tidbits offered in the (often heavily redacted) documents published in the case file this week. Wolfire is now seeking a class-action designation in the suit with arguments that largely rehash those that we covered when the case was originally filed in 2021 (and revived in 2022). While Epic Games isn’t directly involved in those legal arguments, it seems Sweeney’s long-standing position against Valve’s monopoly might continue to factor into the case anyway.

“You a—holes”: Court docs reveal Epic CEO’s anger at Steam’s 30% fees Read More »

google’s-new-gaming-ai-aims-past-“superhuman-opponent”-and-at-“obedient-partner”

Google’s new gaming AI aims past “superhuman opponent” and at “obedient partner”

AI, deepming, gaming, Google / /
Even hunt-and-fetch quests are better with a little AI help.

Enlarge / Even hunt-and-fetch quests are better with a little AI help.

At this point in the progression of machine-learning AI, we’re accustomed to specially trained agents that can utterly dominate everything from Atari games to complex board games like Go. But what if an AI agent could be trained not just to play a specific game but also to interact with any generic 3D environment? And what if that AI was focused not only on brute-force winning but instead on responding to natural language commands in that gaming environment?

Those are the kinds of questions animating Google’s DeepMind research group in creating SIMA, a “Scalable, Instructable, Multiworld Agent” that “isn’t trained to win, it’s trained to do what it’s told,” as research engineer Tim Harley put it in a presentation attended by Ars Technica. “And not just in one game, but… across a variety of different games all at once.”

Harley stresses that SIMA is still “very much a research project,” and the results achieved in the project’s initial tech report show there’s a long way to go before SIMA starts to approach human-level listening capabilities. Still, Harley said he hopes that SIMA can eventually provide the basis for AI agents that players can instruct and talk to in cooperative gameplay situations—think less “superhuman opponent” and more “believable partner.”

“This work isn’t about achieving high game scores,” as Google puts it in a blog post announcing its research. “Learning to play even one video game is a technical feat for an AI system, but learning to follow instructions in a variety of game settings could unlock more helpful AI agents for any environment.”

Learning how to learn

Google trained SIMA on nine very different open-world games in an attempt to create a generalizable AI agent.

To train SIMA, the DeepMind team focused on three-dimensional games and test environments controlled either from a first-person perspective or an over-the-shoulder third-person perspective. The nine games in its test suite, which were provided by Google’s developer partners, all prioritize “open-ended interactions” and eschew “extreme violence” while providing a wide range of different environments and interactions, from “outer space exploration” to “wacky goat mayhem.”

In an effort to make SIMA as generalizable as possible, the agent isn’t given any privileged access to a game’s internal data or control APIs. The system takes nothing but on-screen pixels as its input and provides nothing but keyboard and mouse controls as its output, mimicking “the [model] humans have been using [to play video games] for 50 years,” as the researchers put it. The team also designed the agent to work with games running in real time (i.e., at 30 frames per second) rather than slowing down the simulation for extra processing time like some other interactive machine-learning projects.

Animated samples of SIMA responding to basic commands across very different gaming environments.

While these restrictions increase the difficulty of SIMA’s tasks, they also mean the agent can be integrated into a new game or environment “off the shelf” with minimal setup and without any specific training regarding the “ground truth” of a game world. It also makes it relatively easy to test whether things SIMA has learned from training on previous games can “transfer” over to previously unseen games, which could be a key step to getting at artificial general intelligence.

For training data, SIMA uses video of human gameplay (and associated time-coded inputs) on the provided games, annotated with natural language descriptions of what’s happening in the footage. These clips are focused on “instructions that can be completed in less than approximately 10 seconds” to avoid the complexity that can develop with “the breadth of possible instructions over long timescales,” as the researchers put it in their tech report. Integration with pre-trained models like SPARC and Phenaki also helps the SIMA model avoid having to learn how to interpret language and visual data from scratch.

Google’s new gaming AI aims past “superhuman opponent” and at “obedient partner” Read More »

lost,-circa-2008-timesplitters-4-prototype-discovered-on-ps3-dev-kit

Lost, circa-2008 Timesplitters 4 prototype discovered on PS3 dev kit

Free Radical, gaming, PS3, Sony, Timesplitters / /

A historic find —

Redditor paid a reported $670 to rescue the unit and archive the game for posterity.

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Timesplitters 4 available to the public until this month.” height=”238″ src=”https://cdn.arstechnica.net/wp-content/uploads/2024/03/ts4monkey-300×238.png” width=”300″>

Enlarge / This image from a 2007 teaser was one of the only remaining bits of Timesplitters 4 available to the public until this month.

Longtime readers and first-person shooter fans might remember how excited we were for the announcement of Timesplitters 4 in late 2008. Unfortunately, an intriguing trailer was the last we saw of the game before the project was killed amidst Free Radical’s bankruptcy later that year.

Today, though, we actually have a chance to see and play what we missed over 15 years ago. That’s thanks to an eagle-eyed eBay trawler who grabbed an aging PlayStation 3 development kit that happened to have a prototype of Timesplitters 4 sitting on its hard drive.

Reddit user Flimsy-Zebra3775 posted about the find earlier this month, asking the PS3 subreddit community for guidance on what looked like a working prototype of the long-lost game. After reportedly asking the seller “a lot of probing questions” and confirming that the prototype could be booted, Flimnsy-Zebra reportedly paid 525 pounds (about $670) for the dev kit, saying, “for history and my collection, it’s worth it.”

Footage from the now-archived prototype, running on an actual PS3.

Once the dev kit was in hand, Flimsy-Zebra shared the prototype files with the Timespliters subreddit and Hidden Palace, a site devoted to archiving these kinds of prototypes for posterity. While the incomplete build doesn’t work on PS3 emulator RPCS3, fans have uploaded a few videos of the game running on actual PS3 hardware, showing off battles with computer-controlled bots outside a gothic castle (and some incredibly kick-ass music, to boot).

Free Radical founder (and noted GoldenEye/Perfect Dark developer) David Doak confirmed the footage’s authenticity on social media, reminiscing that “this is exactly the kind of nonsense that [insert any publisher name] wasn’t interested in back in 2008. You’re welcome.”

After Free Radical closed for good in 2014, a studio with the same name was re-formed under publishing conglomerate Embracer in 2021 to once again try to make a version of Timesplitters 4 a reality. Ironically enough, that Timesplitters 4 project was also shuttered amid massive layoffs at Embracer late last year. Who knows, maybe in 2040 a prototype version of that completely different Timesplitters 4 will turn up on some random dev kit, ready for archiving.

Lost, circa-2008 Timesplitters 4 prototype discovered on PS3 dev kit Read More »

here’s-how-the-makers-of-the-“suyu”-switch-emulator-plan-to-avoid-getting-sued

Here’s how the makers of the “Suyu” Switch emulator plan to avoid getting sued

Emulation, emulator, gaming, lawsuit, legal, Nintendo, Switch, yuzu / /
Is a name like

Enlarge / Is a name like “Suyu” ironic enough to avoid facing a lawsuit?

Suyu

Last week, the developers behind the popular Switch emulator Yuzu took down their GitHub and web presence in the face of a major lawsuit from Nintendo. Now, a new project built from the Yuzu source code, cheekily named Suyu, has arisen as “the continuation of the world’s most popular, open-source Nintendo Switch emulator, Yuzu.”

Despite the name—which the project’s GitHub page notes is “pronounced ‘sue-you’ (wink, wink)”—the developers behind Suyu are going out of their way to try to avoid a lawsuit like the one that took down Yuzu.

“Suyu currently exists in a legal gray area we are trying to work our way out of,” contributor and Discord moderator Sharpie told Ars in a recent interview. “There are multiple plans and possibilities for what to do next. Things are still being organized and planned.”

Doing things differently

The Suyu project arose out of “a passion for Switch emulation” and a desire not to see “years of impressive work by the Yuzu team go to waste,” Sharpie said. But that passion is being tempered by a cautious approach designed to avoid the legal fate that befell the project’s predecessor.

After consulting with an unnamed “someone with legal experience” (Sharpie would only say “they claimed three years of law school”), the Suyu development team has decided to avoid “any monetization,” Sharpie said. The project’s GitHub page clearly states that “we do not intend to make money or profit from this project,” an important declaration after Nintendo cited Yuzu’s profitability a few times in its recent lawsuit. Other emulator makers also told Ars that Yuzu’s Patreon opened the project up to a set of pesky consumer demands and expectations.

The Suyu devs have also been warned against “providing step-by-step guides” like the ones that Yuzu offered for how to play copyrighted games on their emulator. Those guides were a major focus of Nintendo’s lawsuit, as were some examples of developer conversations in the Yuzu Discord that seemed to acknowledge and condone piracy.

Xenoblade Chronicles the day before its release.” height=”626″ src=”https://cdn.arstechnica.net/wp-content/uploads/2024/03/yuzuleak-640×626.png” width=”640″>

Enlarge / In a blog post cited in Nintendo’s lawsuit, the Yuzu developers discuss compatibility with a leaked copy of Xenoblade Chronicles the day before its release.

Suyu, by contrast, is taking an extremely hard line against even the hint of any discussion of potential piracy on its platforms. The Suyu GitHub page is upfront that the developers “do not support or condone piracy in any form,” a message that didn’t appear on Yuzu’s GitHub page or website.

The No. 1 rule listed on the Suyu Discord is that “piracy is prohibited.” That includes any talk about downloading games or “asking for system files, ROMs, encryption keys, shader caches, and discussion of leaked games etc.” Even a mention of the word piracy with regard to legal questions is enough to earn a warning on the Discord, according to those rules.

Here’s how the makers of the “Suyu” Switch emulator plan to avoid getting sued Read More »

sixty-four-is-a-beautiful-system-design-toy-that-reveals-something-rather-dark

Sixty Four is a beautiful system design toy that reveals something rather dark

gaming, idle clicker, idle game, idle games, macOS, sixty four, Windows / /

What is an idle clicker, really? —

Please do not load up this game if you have real tasks to accomplish, I beg you.

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Your author is eight hours in and only recognizes roughly 50 percent of the objects and resources in this provided screenshot. It gets deeper—and weirder.

Enlarge / Your author is eight hours in and only recognizes roughly 50 percent of the objects and resources in this provided screenshot. It gets deeper—and weirder.

Playsaurus

There haven’t been many times in my life where I’ve wondered if this feeling I have is something that oil barons must have felt at the height of their Gilded Age powers.

But Sixty Four got me there. I’m still not sure I’ve ever played a $6 game that had me so fully engaged while also deeply disquieted about the nature of humanity.

Sixty Four (Windows and Mac, on Steam) has been running for more than seven hours on my computers. “Running” isn’t quite right, though. Early on in Sixty Four, you’re actively clicking, upgrading, and figuring out what’s going on. As the game goes on, and you figure out some virtuous loops, you can technically leave it running in the background while you do other things, checking in occasionally to fuel a machine or start a conversion. I write “technically” because while the game is capable of working in the background, indifferent to the human need to build, refine, and expand, you very well may not be.

Trailer for Sixty Four.

What are you building, and why? Where are you? It’s not clear. Sixty Four starts you in a blank white space, with a single machine, an Extracting Channel. Push it down, and you’ll see big black cubes emerge from the ground. Click on those cubes many times and they break into 64 smaller cubes, then eventually burst and collect in your inventory. With enough black cubes (Charonite) stashed, you can build machines that make cubes easier to break and faster to extract. Eventually, you can keep your extractor pressed down with a pressure pump and have an “Entropy resonator” click the cubes for you.

Your job shifts from cube-clicker to system-builder to optimizer. You set up machines to do things, machines that improve those other machines, machines to feed those machines that improve those other machines, machines that help you recover more resources from machines you later discard. At one point, the blocks cover so much of your screen that you build a radio tower that turns them into tiny lines, blowing like dandelion fluff from source to storage.

  • All I need is this extraction channel. And these fans to speed it up. The fans, a pressure pump, and some destabilizers. That’s it.

    Playsaurus

  • Well, okay, maybe I’ve built out a few more things, but it’s only because the resources changed.

    Playsaurus

  • The game’s forced isometric perspective can be a bit stifling, but you can peek through stuff with a keypress.

    Playsaurus

  • Resources don’t just get collected, they fly out from origin point into your upper-left inventory. It’s fun to watch.

    Playsaurus

  • The game’s night mode is perfect, doing just enough shading while not obscuring things too much.

    Playsaurus

The resources flow at mesmerizing rates, with a beautifully chaotic, percussive sound. There is literally no reason you are doing this except that you can, in fact, do it. It gets more expensive to build another Extracting Channel, but you have to, because you need the Elmerine for your desablizers and pump stations, and we’ve dug way past Elmerine now. It only seems excessive if you don’t know how elegant this system you’ve built is, and how, with the next machine, it works even better.

Meanwhile, your friend keeps messaging you. You were supposed to head to their house, but you started messing with these machines. They can’t find you, and your messages about putting yellow stones inside machines, and how you can use the “Q” key to clone or destroy machines, are making them worry. The last few messages sent in my game regard Hell Gems, rare green cubes that show up very deep into … whatever it is from which we’re extracting. At this point, the friend is more bemused by my plight than worried. You can hide the friend’s messages, so you have more room for the important stuff.

From screenshots and glimpses in the trailer, you can glimpse how Sixty Four will go beyond mining (there’s a dev commentary video, too, but I’ve yet to watch it). I’ve seen some things, like Hollow Fruit and fission. The trailer suggests players will “Face the darkness” and “Find the light.” Is it going to get a bit meta? Probably, but that’s fine by me.

Each new object is a marvel of Sim City 3000-era micro-design, including a kind of unexplained but consistent numbering scheme for your machines. The isometric view can block your view sometimes, but there’s a transparency button to help, and (also like classic Sim City) you can make design choices specifically to address this, putting your less needy devices behind the resources. I dig the sounds the game makes, especially when your setup is semi-automated, but you can, of course, turn off the sound. There’s also a night mode toggle, too, which doesn’t crudely inverse the colors, but dulls the white background quite a bit.

Update: I’m now at eight hours in. Since I started writing this, I’ve spent another hour feeding my machines. I just need 32 Hell Gems to feed the Hell Gem Injector, which ups their occurrence in blocks. Once I’ve pulled 128 Hell Gems, I can swing an Excavating Channel, which puts me back into Elmerine and Qanetite, so I can feed the smaller devices. If I’m not expanding, I’m failing, and we can’t have that.

Sixty Four is a beautiful system design toy that reveals something rather dark Read More »

devs-left-with-tough-choices-as-warner-bros.-ends-all-adult-swim-games-downloads

Devs left with tough choices as Warner Bros. ends all Adult Swim Games downloads

adult swim games, gaming, steam, warner bros. discovery, Warner Brothers, wb discovery / /

Game preservation is important —

Some can relist games on Steam or consoles—but without reviews or fan content.

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A plucky, likable creature under the looming threat of consumption by an interconnected menacing force of nature in one of Adult Swim Games' titles.

Enlarge / A plucky, likable creature under the looming threat of consumption by an interconnected menacing force of nature in one of Adult Swim Games’ titles.

Adult Swim Games

Warner Bros. Discovery seems set to remove at least 16 games from its Adult Swim Games subsidiary from games markets and has told the affected developers that it will not transfer the games back to them nor offer other means of selling them in the future.

Ars reported Wednesday on the plight of Small Radios Big Televisions, a Steam and PlayStation game made by a solo developer who received a notice from Warner Bros. Discovery (WBD) that it was “retiring” his game within 60 days.

In a comment on that Ars post, Matt Kain, developer of Adult Swim Games’ Fist Puncher, noted that they had received the same “retired” notice from WBD. “When we requested that Warner Bros simply transfer the game over to our studio’s Steam publisher account so that the game could stay active, they said no. The transfer process literally takes a minute to initiate (look up “Transferring Applications” in the Steamworks documentation), but their rep claimed they have simply made the universal decision not to transfer the games to the original creators,” Kain wrote.

Kain noted that his game’s players “have 10+ years of discussions, screenshots, gameplay footage, leaderboards, player progress, unlocked characters, Steam achievements, Steam cards, etc. which will all be lost.” In addition, Kickstarter backers of the game will lose access to a game in which they have a cameo, and his firm, Team2Bit, would likely face backlash if they re-released the game under their own account, forcing a second purchase from some customers.

“It seems like more and more the videogame industry is filled with people that don’t like and don’t care about videogames. All that to say, buy physical games, make back-ups, help preserve our awesome industry and art form,” Kain wrote on Ars early Thursday. Kain also posted about the predicament on the Fist Puncher discussion page on Steam.

Adult Swim Games has not published a game since 2020. Its parent company has said it was due for a “tough” quarter, and perhaps year, as its tentpole game Suicide Squad: Kill the Justice League failed to find a sustaining audience. On a broader level, WBD has been conspicuously culling titles and removing access to its content, sometimes in pursuit of tax advantages. The firm has killed and hidden away films including Batgirl and Coyote vs. Acme, removed canceled shows and well-regarded animation and kids’ content, and, just this week, closed down gaming and anime studio Rooster Teeth.

Ars has reached out to Warner Bros. Discovery for comment and has yet to hear back.

“It takes literally three clicks”

Polygon received confirmation from the developer of the rhythm/bullet-hell game Soundodger+ that they received a delisting notice. Michael Molinari told Polygon that he, too, requested his game be transferred—and “explained clearly that it takes literally three clicks to transfer ownership to me”—but a WBD representative rejected his request.

Molinari said the rep cited “logistical and resource constraints” and “the limited capacity of our team,” referring to Adult Swim Games. Molinari said he was told he could republish his game—but without any of its community content, reviews, patch notes, or other accrued content. Molinari also said he was required to remove all mention of Adult Swim Games from any future release, which struck him as erasing due credit.

Steam lists 16 games (and individual soundtrack purchases) in an Adult Swim Games bundle on Steam. The Delisted Games site lists 18 Steam games still published by Adult Swim Games, six games now under different publishers, and two mobile games.

From 2011, it feels important to mention.

From 2011, it feels important to mention.

Adult Swim Games

Devs left with tough choices as Warner Bros. ends all Adult Swim Games downloads Read More »

amd-stops-certifying-monitors,-tvs-under-144-hz-for-freesync

AMD stops certifying monitors, TVs under 144 Hz for FreeSync

AMD, gaming, Monitors, Tech, TVs, VESA / /

60 Hz is so 2015 —

120 Hz is good enough for consoles, but not for FreeSync.

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AMD's depiction of a game playing without FreeSync (left) and with FreeSync (right).

Enlarge / AMD’s depiction of a game playing without FreeSync (left) and with FreeSync (right).

AMD announced this week that it has ceased FreeSync certification for monitors or TVs whose maximum refresh rates are under 144 Hz. Previously, FreeSync monitors and TVs could have refresh rates as low as 60 Hz, allowing for screens with lower price tags and ones not targeted at serious gaming to carry the variable refresh-rate technology.

AMD also boosted the refresh-rate requirements for its higher AdaptiveSync tiers, FreeSync Premium and FreeSync Premium Pro, from 120 Hz to 200 Hz.

Here are the new minimum refresh-rate requirements for FreeSync, which haven’t changed for laptops.

Laptops Monitors and TVs
FreeSync Max refresh rate: 40-60 Hz < 3440 Horizontal resolution:

Max refresh rate: ≥ 144 Hz
FreeSync Premium Max refresh rate: ≥ 120 Hz < 3440 Horizontal resolution:

Max refresh rate: ≥ 200 Hz≥ 3440 Horizontal resolution:

Max refresh rate: ≥ 120 Hz
FreeSync Premium Pro FreeSync Premium requirements, plus FreeSync support with HDR FreeSync Premium requirements, plus FreeSync support with HDR

AMD will continue supporting already-certified FreeSync displays even if they don’t meet the above requirements.

Interestingly, AMD’s minimum refresh-rate requirements for TVs go beyond 120 Hz, which many premium TVs currently max out at, due to the current-generation Xbox and PlayStation supporting max refresh rates of 120 frames per second (FPS).

Announcing the changes this week in a blog post, Oguzhan Andic, AMD FreeSync and Radeon product marketing manager, claimed that the changes were necessary, noting that 60 Hz is no longer “considered great for gaming.” Andic wrote that the majority of gaming monitors are 144 Hz or higher, compared to in 2015, when FreeSync debuted, and even 120 Hz was “a rarity.”

Since 2015, refresh rates have climbed ever higher, with the latest sports targeting competitive players hitting 500 Hz, with display stakeholders showing no signs of ending the push for more speed. Meanwhile, FreeSync cemented itself as the more accessible flavor of Adaptive Sync than Nvidia’s G-Sync, which for a long time required specific hardware to run, elevating the costs of supporting products.

AMD’s announcement didn’t address requirements for refresh-rate ranges. Hopefully, OEMs will continue making FreeSync displays, especially monitors, that can still fight screen tears when framerates drop to the double digits.

The changes should also elevate the future price of entry for a monitor or TV with FreeSync TV. Sometimes the inclusion of FreeSync served as a differentiator for people seeking an affordable display and who occasionally do some light gaming or enjoy other media with fast-paced video playback. FreeSync committing itself to 144 Hz and faster screens could help the certification be aligned more with serious gaming.

Meanwhile, there is still hope for future, slower screens to get certification for variable refresh rates. In 2022, the Video Electronics Standards Association (VESA) released its MediaSync Display for video playback and AdaptiveSync for gaming, certifications that have minimum refresh-rate requirements of 60 Hz. VESA developed the lengthy detailed certifications with its dozens of members, including AMD (a display could be MediaSync/AdaptiveSync and/or FreeSync and/or G-Sync certified). In addition to trying to appeal to core gamers, it’s possible that AMD also sees the VESA certifications as more appropriate for slower displays.

AMD stops certifying monitors, TVs under 144 Hz for FreeSync Read More »

apple-backtracks,-reinstates-epic-games’-ios-developer-account-in-europe

Apple backtracks, reinstates Epic Games’ iOS developer account in Europe

Apple, epic games, Europe, gaming, iOS / /

Never mind —

After EU began investigation, Apple repaves path for Fortnite on European iOS.

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Artist's conception of Epic Games celebrating their impending return to iOS in Europe.

Enlarge / Artist’s conception of Epic Games celebrating their impending return to iOS in Europe.

Epic Games

Apple has agreed to reinstate Epic Game’s Swedish iOS developer account just days after Epic publicized Apple’s decision to rescind that account. The move once again paves the way for Epic’s plans to release a sideloadable version of the Epic Games Store and Fortnite on iOS devices in Europe.

“Following conversations with Epic, they have committed to follow the rules, including our DMA policies,” Apple said in a statement provided to Ars Technica. “As a result, Epic Sweden AB has been permitted to re-sign the developer agreement and accepted into the Apple Developer Program.”

Apple’s new statement is in stark contrast to its position earlier this week when it cited “Epic’s egregious breach of its contractual obligations to Apple” as a reason why it couldn’t trust Epic’s commitments to stand by any new developer agreement. In correspondence with Epic shared by the Fortnite maker Wednesday, Apple executive Phil Schiller put an even finer point on it:

Your colorful criticism of our [Digital Markets Act] compliance plan, coupled with Epic’s past practice of intentionally violating contractual provisions with which it disagrees, strongly suggest that Epic Sweden does not intend to follow the rules… Developers who are unable or unwilling to keep their promises can’t continue to participate in the Developer Program.

A new regulatory world

Apple’s quick turnaround comes just a day after the European Commission said it was opening an investigation into Apple’s conduct under the new Digital Markets Act and other potentially applicable European regulations. That investigation could have entailed hefty fines of up to “10 percent of the company’s total worldwide turnover” if Apple was found to be in violation.

“We have the DMA coming into compliance [Thursday], so the demand of compliance is… listen, you need to be able to carry another app store, for instance, and you cannot put in place a fee structure that sort of disables the benefits of the DMA for all the market participants,” European Commission Executive Vice President Margrethe Vestager told Bloomberg TV Tuesday.

In an update on its official blog, Epic linked Apple’s decision to “public backlash for retaliation” and said the whole affair “sends a strong signal to developers that the European Commission will act swiftly to enforce the Digital Markets Act and hold gatekeepers accountable. We are moving forward as planned to launch the Epic Games Store and bring Fortnite back to iOS in Europe. Onward!”

In a social media post celebrating Apple’s move, Epic CEO Tim Sweeney said that “the DMA just had its first major victory” and called the move “a big win for European rule of law, for the European Commission, and for the freedom of developers worldwide to speak up.”

Apple’s apparent retreat on the issue preempts what would have likely been a lengthy legal and public relations battle between the two corporate giants, much like the one resulting from Epic’s 2020 decision to violate Apple’s developer agreement by adding third-party payment options to Fortnite on iOS. But that battle, which played out primarily in a series of US courts, differed in many particulars from the new conflict that was developing under the new enforcement regime surrounding Europe’s DMA rules.

Epic said last month that it plans to launch the Epic Games Store on iOS sometime in 2024.

Apple backtracks, reinstates Epic Games’ iOS developer account in Europe Read More »

apple’s-treatment-of-epic-games-draws-the-eye-of-eu-regulators

Apple’s treatment of Epic Games draws the eye of EU regulators

Apple, epic games, EU, gaming / /

We’re watching you —

Apple could face massive fines if it’s found in violation of new rules.

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Artist's conception of Apple attempting to dodge the concerns of EU regulators.

Enlarge / Artist’s conception of Apple attempting to dodge the concerns of EU regulators.

Epic Games

European Union regulators are investigating whether Apple’s recent revocation of an Epic Games iOS developer account puts the iPhone-maker in violation of the Digital Markets Act and other rules in the continent. If Apple is found in violation, the European Commission could impose significant fines as part of its effort to put some force behind its sweeping tech regulations.

“We have requested further explanations on this from Apple under the DMA (Digital Markets Act),” a European Commission spokesperson told Reuters late Thursday. “We are also evaluating whether Apple’s actions [regarding Epic Games] raise doubts on their compliance with the DSA (Digital Services Act) and the P2B (Platform to Business Regulation), given the links between the developer program membership and the App store as designated VLOP (very large online platform).”

More than just the DMA

Apple’s plans for what Epic calls “malicious compliance” under the DMA, which goes into effect today, have gotten plenty of attention in recent months. But the European Commission’s statement suggests its investigation could encompass other regulations as well.

The Digital Services Act, which went into effect in Europe last year, is mainly focused on transparency in algorithmic recommendations and “systemic risks” in platforms promoting misinformation. But the act also stipulates that platform moderation, including account suspension or termination, must be enforced “in a diligent, objective, and proportionate manner (emphasis added).” Whether Epic’s apparently indefinite ban from iOS development fits that proportionality standard is something the EU is seemingly interested in investigating.

The EU’s platform-to-business trading regulations, meanwhile, require major platforms like Apple to meet certain guidelines for transparency in their communications with other businesses. That includes detailed instructions for “specific preliminary steps” that have to be taken before a large platform terminates a business account.

“Listen, you need to be able to carry another app store…”

Earlier this week, the European Commission imposed a significant $2 billion fine on Apple over the company’s treatment of competing music subscription services on its devices. That penalty, which Apple is appealing, could be seen as a sign that European regulators plan to enforce violations of their major tech regulations with more than a slap on the wrist. The available penalties for DMA violations can run up to “10 percent of the company’s total worldwide turnover” for a first offense.

“The fine is there to punish past behavior and of course to be a deterrent for it not to be repeated,” European Commission Executive Vice President Margrethe Vestager told Bloomberg TV Tuesday. “We have the DMA coming into compliance [Thursday], so the demand of compliance is… listen, you need to be able to carry another app store, for instance, and you cannot put in place a fee structure that sort of disables the benefits of the DMA for all the market participants…”

In a statement Wednesday Apple cited “Epic’s egregious breach of its contractual obligations to Apple” in its decision to rescind Epic’s Swedish iOS developer account. Apple also cited US legal cases establishing its “right to terminate ‘any or all of Epic Games’ wholly owned subsidiaries, affiliates, and/or other entities under Epic Games’ control at any time and at Apple’s sole discretion.'”

Epic says it has provided a “good faith” promise to abide by Apple’s terms for creating a competing App Store in the EU and that it is being punished for criticizing the iPhone maker publicly. “Apple is retaliating against Epic for speaking out against Apple’s unfair and illegal practices, just as they’ve done to other developers time and time again,” the company said in a statement Wednesday.

Apple’s treatment of Epic Games draws the eye of EU regulators Read More »

what-a-potential-post-xbox-future-could-mean-for-sony-and-nintendo

What a potential post-Xbox future could mean for Sony and Nintendo

consoles, gaming, microsoft, Nintendo, PlayStation 5, Sony, Switch, syndication, xbox, xbox one s / /

shifting landscape —

“All signs point to the hardware becoming less and less important to Microsoft.”

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What a potential post-Xbox future could mean for Sony and Nintendo

Aurich Lawson

Microsoft’s decision to ease off its 23-year competition with Sony and Nintendo over supremacy in games hardware has opened a path for Japan’s return as the world’s undisputed home of the console.

The prospect of a new, less internationalized era of console wars has raised hopes of happier times for the Japanese survivors but has also caused analysts and investors to revisit the question of how much longer the whole genre of dedicated games machines will continue to exist.

Microsoft head of gaming Phil Spencer last month revealed plans to release what would previously have been exclusively Xbox games for use on rival platforms, as part of a new focus on cloud-based gaming.

While the US technology giant has said it is still working on a new generation of more powerful consoles, analysts think its long-term direction is clear.

“All signs point to the hardware becoming less and less important to Microsoft, so there is that possibility that we could go back to a point like we were in the 1990s where the viable choices of console were all Japanese,” said Serkan Toto, head of the games consultancy Kantan Games.

Giving up the console fight to concentrate on software could be taken as a huge victory for Japan. To many, the birthplace of Super Mario, Sonic the Hedgehog, Final Fantasy, and Pokémon is the spiritual home of the console and has featured the industry’s fiercest “golden age” 1980s and 1990s clashes of Nintendo vs Sega, and later, Nintendo vs Sony.

“It may not happen immediately because the technology of cloud gaming is clearly not ready yet, but from what Microsoft is indicating, there is a possibility that we go back to an all-Japan console industry with Sony and Nintendo each dominating their part of that market in their different, unique ways,” said David Gibson, an analyst at MST Financial.

But the return to a Japan-only industry for dedicated games hardware could more clearly define the console as a commercial cul-de-sac.

That issue, said independent games analyst Pelham Smithers, could be particularly acute for Sony, which last week announced plans to cut 900 staff from its games unit.

“It was tough enough for Sony arguing the need to investors for a PS5—and a lot of people at the time were saying that the PS5 could be the end of the line—but Microsoft’s commitment to console gaming helped,” said Smithers.

Nintendo, meanwhile, faces an issue of timing. Its Switch machine, released in 2017 and now significantly underpowered even when compared with some mobile phones, is to be replaced with a next-generation successor. But the Kyoto-based company has yet to say precisely when and what it will look like.

Analysts said Nintendo is still traumatized by the experience in 2012 when it launched a poorly conceived successor to the global blockbuster Wii console.

Sales of the existing Switch are respectable, said Toto, but more or less everyone who wanted the console has bought one by now. The market, he said, will be waiting for Nintendo’s successor and may hold back on buying games for the Switch ahead of a new machine being released.

Gibson said Sony’s problems are very different: its PS5 machine, now four years old, is popular, but its games business is now guided by “accountants,” rather than people primed to manage a creative business.

Previous generations of the PlayStation had been launched with an expectation that the machine would initially be sold at a loss, before the price of components quickly fell, allowing the company to break even and, in time, allow price cuts for customers.

By its fifth year of release the PS4 had two price cuts totaling $100. The PS5 has had none. “With the accountants in charge, Sony is not prepared to cut prices by $100 to stimulate demand because that would cost $2 billion in profits,” Gibson said.

Microsoft, which has spent huge sums on acquisitions of game studios such as the $75 billion purchase of Activision, is facing similar issues with its hardware economics. Analysts said the US company may have greater motivation than Sony to become an all-platform king.

“The state of the console market right now may not be an advertisement per se for Japan getting its mojo back. It feels more like these three very idiosyncratic businesses are doing well or not for idiosyncratic reasons,” said Robin Zhu, games analyst at Bernstein.

There is a chance that Microsoft’s new direction is a “win, win, win situation,” according to Atul Goyal at Jefferies, because of the different situation each company finds itself in.

Microsoft, he said, could pump up returns by offering its games across different platforms, while Nintendo and Sony would face “less intense competition” and benefit from having a wider choice of titles for customers.

But, as Zhu said, one factor that might keep Microsoft from killing off the Xbox entirely is the same thing that will keep Sony and Nintendo in the market—the fierce loyalty of gamers.

“The concern [Microsoft] will have is that you’ve already convinced your customers to buy the hardware; by telling them that Xbox games will be on every other platform, you risk upsetting your highest engagement and most dogmatic customers,” he said.

© 2024 The Financial Times Ltd. All rights reserved Not to be redistributed, copied, or modified in any way.

What a potential post-Xbox future could mean for Sony and Nintendo Read More »

emulation-community-expresses-defiance-in-wake-of-nintendo’s-yuzu-lawsuit

Emulation community expresses defiance in wake of Nintendo’s Yuzu lawsuit

Emulation, gaming, lawsuit, Nintendo, ryujinx, yuzu / /
Power (glove) to the people.

Enlarge / Power (glove) to the people.

Aurich Lawson

Nintendo’s recent lawsuit against Switch emulator-maker Yuzu seems written like it was designed to strike fear into the heart of the entire emulation community. But despite legal arguments that sometimes cut at the very idea of emulation itself, members of the emulation development community I talked to didn’t seem very worried about coming under a Yuzu-style legal threat from Nintendo or other console makers. Indeed, those developers told me they’ve long taken numerous precautions against that very outcome and said they feel they have good reasons to believe they can avoid Yuzu’s fate.

Protect yourself

“I can assure [you], experienced emulator developers are very aware of copyright issues,” said Lycoder, who has worked on emulators for consoles ranging from the NES to the Dreamcast. “I’ve personally always maintained strict rules about how I deal with copyrighted content in my projects, and most other people I know from the emulation scene do the same thing.”

“This lawsuit is not introducing any new element that people in the emulation community have not known of for a long time,” said Parsifal, a hobbyist developer who has written emulators for the Apple II, Space Invaders, and the CHIP-8 virtual machine. “Emulation is fine as long as you don’t infringe on copyright and trademarks.”

Other hobbyist emulator makers take more serious precautions to protect themselves legally. “I always had some fear of Nintendo’s lawyers coming after my work, which is part of the reason I still keep it private,” said StrikerX3 of his work on a Nintendo DS emulator. “I’ve only released the emulator’s binaries to a handful of people, and only two others have access to the source code besides me.”

Just a little light console hacking...

Enlarge / Just a little light console hacking…

Aurich Lawson

And others feel operating internationally protects them from the worst of the DMCA and other US copyright laws. “I have written an NES emulator and I am working on a Game Boy emulator… anyway I’m not a US citizen and Nintendo can kiss my ass,” said emulator developer ZJoyKiller, who didn’t provide his specific country of residence.

Stick to the old stuff

Some of those potential legal precautions might seem a little insufficient on further inspection—a lack of copyrighted code in the emulator wasn’t enough to protect Yuzu from Nintendo’s legal sights, after all. Still, other emulator developers pointed out a number of differences in their projects that they felt set them apart.

Chief among those differences is the fact that Yuzu emulates a Switch console that is still actively selling millions of hardware and software units every year. Most current emulator development focuses on older, discontinued consoles that the developers I talked to seemed convinced were much less liable to draw legal fire.

“There is a difference between emulating a 30-year-old system vs. a current one that’s actively making money,” Parsifal said.

In a response on the Yuzu Discord, the development team wrote, “We do not know anything other than the public filing, and we are not able to discuss the matter at this time.” Multiple developers who work on Ryujinx, another prominent Switch emulator, have yet to respond to a request for comment from Ars Technica.

“The consoles I’ve worked on [such as the Nintendo 3DS] don’t really generate much revenue anymore,” one anonymous dev said. “It would be a waste of time to sue like they did Yuzu.”

“There is a difference between emulating a 30-year-old system vs. a current one that’s actively making money.”

Emulator developer Parsifal

Systems from before the turn of the millennium also often fall into something of a different legal category, developers pointed out, if their software and/or hardware was not protected by any encryption. That means emulators for those older systems don’t have to worry about falling afoul of the strict anti-circumvention portions of the Digital Millennium Copyright Act. Developers have also reverse-engineered open source BIOS and BootROM files for some classic systems, eliminating the need to distribute that copyrighted code or even ask users to provide it.

“For most [older] emulators, users don’t have to break copyright [or encryption], at all,” Lycoder pointed out. “A lot of talented people have worked on methods to dump [copyrighted] BootROMs, firmware, etc. out of original hardware, any user that owns an original system should be able to dump these files themselves.”

Legal differences aside, emulator developers also pointed out some major philosophical differences in working on consoles that are no longer being actively marketed. “In my opinion, emulating the Switch at the moment has nothing to do with preservation,” one anonymous developer told me. “The developers might be enthusiasts and passionate but they need to be very naive to think it’ll be used for lawful preservation and use.”

Emulation community expresses defiance in wake of Nintendo’s Yuzu lawsuit Read More »