The Entertainment Software Association has released its Power of Play report, which presents a snapshot of who is playing video games, and why, all around the world. There are a lot of interesting data points here from more than 24,000 respondents, all of whom are older than 16 and play at least weekly. The doubters who think gaming is just for kids may be surprised to learn that the average age of the respondents is 41 years old, and the gender split is nearly even between men and women.
One of the most intriguing aspects to the report were the benefits people said they received from playing games. The top answer was that games offered mental stimulation, which 81 percent of the respondents said. Eighty percent said games provided stress relief, 73 percent said games made them feel happier and 64 percent said games connected them with other people which helped them feel less isolated or lonely.
ESA Power of Play 2025
(ESA)
And although having fun was the top reason respondents gave for playing (66 percent), they also said gaming could improve their skills. Seventy-seven percent said gaming increased creativity, 76 percent said it improved problem-solving and 74 percent said gaming upped both cognitive skills and teamwork or collaboration.
The report also points to how popular mobile gaming still is. Overall, 55 percent of the respondents said mobile was their favorite gaming platform. Half of the respondents under age 35 play on mobile, and an impressive 61 percent of the over 50 gamers also play on mobile.
EA Sports and Nike announced yesterday that, at some point in the “future”, games like FIFA and Madden will feature integration with .Swoosh, which Nike describes as its “new digital community experience”.
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Despite this, and a wider public reaction to the concept that landed somewhere between ambivalence and condemnation, there are still some companies willing to stick it out. Partly because they’ve got one eye on the future, and also maybe because they signed a bunch of contracts in 2021 and now have to see them through.
Nike Virtual Studios and EA SPORTS are today announcing a new partnership aimed at enhancing and personalizing the virtual sports experience for fans all over the world. This collaboration brings together two of the biggest names in sport and entertainment and will lead to all new ways for members of .SWOOSH, Nike’s new digital community experience, and EA SPORTS fans to express their personal style through play.
What’s funniest about the announcement, perhaps, is that even Nike and EA are embarrassed by (or intentionally obfuscating, you pick!) the truth, which is why you won’t find mention of the term NFT in the news, or even a reference to Web3. Instead EA simply says the partnership will make “.SWOOSH virtual creations available allowing members and players unique new opportunities for self-expression and creativity through sport and style.”
EA Sports games offer that already, of course, sometimes in the form of free unlocks, others that you have to pay for using in-game (or real-world) currency.
With the wind at their back, Sony Interactive Entertainment CEO Jim Ryan and head of PlayStation Studios Hermen Hulst recently presented the state of the PlayStation 5 ecosystem to investors and hinted at what’s coming in the near future. Among other things, the company promised new IPs, more live-service games, and a big push behind cloud gaming.
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While Sony’s big gaming showcase will offer specific details on new game announcements, release dates, and potential hardware refreshes, the investor presentation was a broader look at the current state of the PlayStation business and where it’s headed next. We got a pretty granular breakdown of some interesting sales data as well as cryptic teases of upcoming initiatives, like Sony’s rumored cloud gaming handheld, Q Lite [Update 5/25/2023 11:07 a.m. ET: the devices was revealed in the showcase and it’s wild looking]. Here are some of the biggest takeaways from the company’s latest business meeting.
PS VR2 is already outselling the first virtual reality headset
Sony’s new virtual reality headset is a comfortable but pricey bundle that requires users to already own a PS5, but initial sales numbers show it’s actually tracking ahead of the first PS VR headset. PS VR2 sold 600,000 units in its first six weeks, while the PS VR1 sold closer to 550,000. Whether that momentum will build the platform into something more than an expensive accessory for enthusiasts remains to be seen.
Image: Sony / Kotaku
Analysts previously called for a price cut to fuel sales, and it’s unclear if big new games will arrive without a larger install base, especially as companies like Meta lay off VR developers amid cutbacks.
Sony plans to invest a ton in new franchises
Since the PS5 launched, fans have been waiting to see what new IPs would grow out of the latest console generation. So far it’s been mostly sequels to series that already existed or got their start on the PS4 like God of War, Horizon Zero Dawn, and Spider-Man. But Sony revealed that new franchises are planned. PlayStation Studios’ investment in new IP will hit 50 percent in 2025, compared to only 20 percent in 2019. However the lag in production means we might not end up seeing the results of that spending until late in the PS5’s life cycle.
Live-service games will be over half of that spending
Sony’s first-party single-player games have been setting the bar for story-driven blockbusters for years now, from The Last of Us to Ghost of Tsushima. It’s clear the company now wants to do the same for live-service multiplayer games as well, and will be leveraging its recent acquisition of Destiny 2 maker Bungie to achieve that.
Image: Sony / Kotaku
The breakdown of total spending on content this year will be 55 percent on live-service business models vs 45 percent on “traditional” ones. The difference will be even more stark by 2025, when live-service spending will reach 60 percent of seemingly all production costs. It’s possible some of those games will still have a traditional single-player emphasis and just include cosmetic shops, like Ubisoft’s Assassin’s Creed Valhalla. Others are sure to be multiplayer-focused affairs more like Destiny 2.
PS5 owners spend a ton on microtransactions
Prestigious exclusives might help sell consoles, but it’s not what makes the most money once players are locked in. Sony revealed that PS5 players are spending over $100 more than PS4 players were at a similar point in the console cycle. That extra money isn’t coming from more games sold, however. It’s coming from spending on add-on content, meaning paid DLC and microtransactions.
Full game sales actually dropped by 10 percent on the PS5, while add-on content grew by 210 percent. Although Sony collects a 30 percent commission on all in-game purchases in Fortnite, Call of Duty: Modern Warfare II, and Apex Legends on the platform, it would stand to make a ton more if those purchases were made inside its own first-party exclusives.
Spider-Man sold great on PC while The Last of Us Part I is off to a slower start
2018’s Spider-Man didn’t arrive on PC until last year. In the eight months since it hit PC, the game sold an additional 1.5 million copies on the platform. The Last of Us Part I, meanwhile, has sold 368,000 copies since it arrived on Steam in March. That’s not bad considering it’s a remaster of a decade-old game many people have already played on PS3, PS4, and PS5. But it’s not exactly God of War numbers, which sold nearly a million copies in its first two and a half months on PC.
Image: Sony / Kotaku
It’s not clear how much The Last of Us Part I’s rough performance and poor optimization at launch hurt its initial momentum, compared to the overall increase in sales of the game across all platforms following the success of the hit HBO adaptation. It seems like the port was in part a learning exercise for Naughty Dog, potentially as Sony eyes bringing the rest of its games to PC.
Half of all game releases won’t just be on PS5 by 2025
In the past Sony seemed afraid to cannibalize console sales by releasing its games on PC. Now it’s clear the company is ready to do just the opposite, porting its exclusives and investing in potential mobile spin-offs. The company plans for 50 percent of its releases in 2025 to be either PC or mobile games.
A lot of players are paying for the more expensive PlayStation Plus subscriptions
When Sony unveiled its overhauled PS Plus program, creating three separate tiers and folding its PlayStation Now streaming service into the priciest one, it seemed needlessly complicated. The highest tier, Premium, also didn’t seem worth the extra price in exchange for a slim selection of PlayStation Classics and cloud gaming features that are still a work-in-progress.
Image: Sony / Kotaku
It turns out a lot of people were willing to upgrade, however. Sony says 14.1 million subscribers joined the higher tiers in the first 10 months, which now represent 30 percent of all PS Plus users. And Premium actually accounts for the majority of those with 17 percent of total subscribers, while the middle-tier, Extra, only has 13 percent.
The first PlayStation mobile game will arrive as early as 2023
Sony said it’s currently “partnered with established teams on games,” and “bringing some of our most celebrated IP to mobile,” with the first set to release in fiscal year 2023. The company acquired mobile maker Savage Game Studios last August and Bungie has also long been rumored to be working on a mobile version of Destiny 2. According to Sony’s charts, the mobile gaming market is already bigger than console and PC gaming combined, and it only projects that gap to widen in the coming years.
Sony’s doubling-down on cloud gaming
In the most cryptic part of the presentation, CEO Jim Ryan said the company has “some fairly interesting and quite aggressive plans to accelerate our initiatives in the space of the cloud.” He didn’t elaborate on what those are, but made the comment in the context of mobile gaming and portability. It certainly raises eyebrows since Sony has also now revealed a cloud gaming handheld codenamed Project Q that would be a remote play accessory for the PS5.
PS Plus also doesn’t currently support cloud gaming on smartphones either, requiring you to use a PS4, PS5, or PC. We do know that Sony has been developing a number of patents to decrease latency while streaming games, and The Verge previously reported that the company is hiring for a number of roles to build out its cloud gaming infrastructure. Cloud gaming has been at the center of the regulatory fight over Microsoft buying Activision Blizzard, and it seems like whatever the outcome of that proposed merger, Sony wants to take back some of the video game streaming market share it previously ceded to Game Pass and xCloud.
Vibes: Slice-of-life journeys through heartache, music, and moving on Availability: 2023 Windows, Nintendo Switch, PS4, PS5
Set in Jakarta, the capital of Indonesia, Afterlove EP explores the life of Rama, whose romantic partner passes away. It’s definitely a heavy subject, but with the manga-inspired artstyle, and use of music in rhythm mini-games, Rama’s story looks like a slow, delicate tale of what it means to move on after losing someone.
Afterlove EP describes itself as a mashup of a narrative adventure, dating sim, and rhythm game, along with branching narratives and different endings.
E3 is dead. Again. Probably for good this time, given the circumstances. A lot of people have a lot of feelings—a weird thing for regular folks to have, since this was an industry trade show—but one thing we should be remembering through all the tributes and dunks is that E3 didn’t mismanage its way into oblivion. Its demise is exactly what the world’s biggest video game companies wanted.
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Yes, it had its problems that were its own doing, regardless of who was organising the show. Downtown LA sucks. The show’s industry-only focus gave it a sheen that was always a little too uncomfortable to be around. It could never reconcile whether it wanted to be a trade show for developers and retailers or an announcement fest for the world’s media. Downtown LA sucks.
What started killing the show, though, wasn’t any of those things. Those things were inconveniences for those attending, which those of you reading/watching from home could not have given half a shit about. E3 started dying when major companies like Nintendo and Sony began reducing their presence there, or pulling out entirely, and that had nothing to do with the limited dining options available around the Los Angeles Convention Center.
Those companies, from platform holders to major publishers, the real stars of the E3 experience, weren’t really presenters at a trade show. They were gladiators. At its peak—whenever you think that was across its various locations and decades—E3 ran for just a handful of days, but in that time hundreds of major announcements would be made, from new hardware to AAA reveals, and each of them would be vying for the public’s attention. If there was one thing that defined E3 beyond “press conferences”, it would be that every event, and every show, had its own list of “winners” and “losers”, drawn up by forum posters and international media alike. The “winners” could bask in the glory and leverage it for increased exposure and sales, while the “losers” might risk sinking into oblivion.
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Why on earth would any major company want to risk being a gladiator? Why would they look at a scenario where the success of their billion-dollar enterprise could be threatened by some kids deciding a game trailer or new hardware feature was “meh”? Why would they bother sitting down with games press to answer questions when they could just send out press releases?
It’s no surprise that major companies bailing on E3 killed it off. What’s surprising is that it didn’t happen a lot sooner! Like we’ve said before, there’s nothing major video games companies like more than being able to control the entire process of making a sale, from announcement to pre-order. Everything standing in the way of those sales is an obstacle to overcome, and so if E3 was presenting the risk of their games being overshadowed by their competitor’s, then of course they were going to walk away, and when enough companies walked away the show was never going to survive.
They don’t need to pay for big E3 press conferences anymore, they can just film their own presentations and show them on a day when there’s no competing news. They don’t need to walk journalists around for three days answering questions that may be occasionally uncomfortable when they can just get influencers to hype their games live on Twitch and YouTube. And every time they’re doing this, an incentive to pre-order their product—often from their own online store—isn’t far away. The feeding ramp is polished to a mirror sheen.
Publishing giant Electronic Arts announced today that approximately 6% of its global workforce, or between 700-800 people, will be laid off as the company drives “greater focus across our portfolio”.
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As we drive greater focus across our portfolio, we are moving away from projects that do not contribute to our strategy, reviewing our real estate footprint, and restructuring some of our teams. These decisions are expected to impact approximately six percent of our company’s workforce. This is the most difficult part, and we are working through the process with the utmost care and respect. Where we can, we are providing opportunities for our colleagues to transition onto other projects. Where that’s not possible, we are providing severance pay and additional benefits such as health care and career transition services. Communicating these decisions began earlier this quarter and we expect them to continue through early next fiscal year.
Bethesda announced that Starfield will be coming to Xbox Series X|S and PC on September 6, 2023. Microsoft will be showing off a preview at the Starfield Direct on June 11, 2023.
The Nintendo GameCube was a weird little console, one that had all kinds of wacky add-ons and peripherals released for it over the years, from LAN adapters to Game Boy Links to bongo drums. One thing I never knew about until today, however, were the company’s plans for an official LCD screen.
Via Go Nintendo, Adam Doree has uploaded an uncut video of a presentation Nintendo made at E3 2002, featuring Shigeru Miyamoto, Satoru Iwata and Bill Trinen. In this video, after the crew had spent ages talking about Wind Waker and Metroid Prime, Iwata reveals that they have one last surprise to discuss: a first-party LCD screen, designed to attach to the top of the console and make it even more portable than it already was (the GameCube, famously, included a carrying handle on the back). I’ve set the video to autoplay at the beginning of the discussion about the screen:
I never knew this! Sure other companies have stepped into this vacuum over the years, releasing various screens of varying quality, but it would have been very cool to get an official Nintendo monitor.
It measured just five inches across, with a 4:3 ratio, and a resolution of just 320×240. Which sounds bad by 2023 standards but this was 2002, so for the time they weren’t terrible, as you can see in the footage above, where Mario Sunshine looks just fine! It’s also interesting hearing Iwata say it was peripherals like this that specifically convinced Nintendo to install digital output—itself a forgotten but amazing aspect of the hardware—for the GameCube.
Iwata even reveals that he had met with Sega’s Yuji Naka—in happier times—about Phantasy Star Online, and the pair discussed whether they could take that title and “make it a portable game” to make the most of this screen. None of which ever came to pass, of course, but it’s still neat imagining a GameCube era where you could have grabbed your console by its handle, taken it to a friends house and played Mario Kart Double Dash on your own little official Nintendo screen.
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Just because I’m only learning about this today doesn’t mean there isn’t other stuff out there about the screen; here’s a 2002 write-up on IGN about how nice it looked, for example, while its listing on Console Variations speculates that the high cost of LCD screens at the time made it too expensive to release. The video below, meanwhile, has a good linger on footage of the screen alongside some speakers, part of the most 2002 gaming setup imaginable.
E3 2002 – Nintendo Booth Footage
UPDATE: Thanks to Spindash on Twitter, there’s more! Satoru Iwata quietly revealed years later that the monitor had secret, glasses-free 3D capabilities that Nintendo “kept secret”, along with the trivia that the Phantasy Star Online figures visible in some of the display units ended up getting stolen off the showroom floor!
The organisers of the Smash World Tour have today announced that they are being shut down after Nintendo, “without any warning”, told them they could “no longer operate”.
The Tour, which is run by a third party (since Nintendo has been so traditionally bad at this), had grown over the years to become one of the biggest in the esports and fighting game scene. As the SWT team say:
In 2022 alone, we connected over 6,400 live events worldwide, with over 325,000 in-person entrants, making the Smash World Tour (SWT, or the Tour) the largest esports tour in history, for any game title. The Championships would also have had the largest prize pool in Smash history at over $250,000. The 2023 Smash World Tour planned to have a prize pool of over $350,000.
While this will be a disappointment to SWT’s organisers, fans and players, it has also placed the team in a huge financial hole, since so many bookings and plans for the events had already been made. As they say in the cancellation announcement:
We don’t know where everything will land quite yet with contracts, sponsor obligations, etc — in short, we will be losing hundreds of thousands of dollars due to Nintendo’s actions. That being said, we are taking steps to remedy many issues that have arisen from canceling the upcoming Smash World Tour Championships — Especially for the players. Please keep an eye out in the coming days for help with travel arrangements. Given the timeline that we were forced into, we had to publish this statement before we could iron out all of the details. All attendees will be issued full refunds.
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The move blindsided the SWT team who had believed, after years of friction, they were starting to make some progress with Nintendo:
In November 2021, after the Panda Cup was first announced, Nintendo contacted us to jump on a call with a few folks on their team, including a representative from their legal team. We truly thought we might be getting shut down given the fact that they now had a licensed competing circuit and partner in Panda.
Once we joined the call, we were very surprised to hear just the opposite.
Nintendo reached out to us to let us know that they had been watching us build over the years, and wanted to see if we were interested in working with them and pursuing a license as well. They made it clear that Panda’s partnership was not exclusive, and they said it had “not gone unnoticed” that we had not infringed on their IP regarding game modifications and had represented Nintendo’s values well. They made it clear that game modifications were their primary concern in regards to “coming down on events”, which also made sense to us given their enforcement over the past few years in that regard.
That lengthy conversation changed our perspective on Nintendo at a macro level; it was incredibly refreshing to talk to multiple senior team members and clear the air on a lot of miscommunications and misgivings in the years prior. We explained why so many in the community were hesitant to reach out to Nintendo to work together, and we truly believed Nintendo was taking a hard look at their relationship with the community, and ways to get involved in a positive manner.
Guess not! In addition to Nintendo now stipulating that tournaments could only run with an official license—something SWT had not been successful applying for—the team also allege that Panda went around undermining them to the organisers of individual events (the World Tour would have been an umbrella linking these together), and that while Nintendo continued saying nice things to their faces, Panda had told these grassroost organisers that the Smash World Tour was definitely getting shut down, which made them reluctant to come onboard.
You can read the full announcement here, which goes into a lot more detail, and closes with an appeal “that Nintendo reconsiders how it is currently proceeding with their relationship with the Smash community, as well as its partners”.
Fantasy medieval game Blacktail, Krakow-based studio The Parasight’s debut, lets you play as folktale witch Baba Yaga in her bow-and-arrow-carrying youth. You command her fate, if she’s a good witch or a bad witch, depending on how you navigate the magical, dangerous forest she roams.
“When living memories of her past return as foul, walking spirits,” Blacktail’s website says. “Yaga is faced with no other option than to hunt them down in hopes of unraveling her own mystery.”
I’m excited by Blacktail’s premise—I’m a former little kid with vivid imagined memories of Baba Yaga’s gnarled hands and battered cabin in the woods. Though, I am a little annoyed that Yaga’s voice actress sounds British despite the character growing up isolated from everyone except, like, early Belarusians. I’m hoping the game’s story is so mythic and compelling that I’m distracted by the Anglo-Saxon intrusion.
Release date: December 15
Compatible with: PC, Xbox Series X/S, PS5
What 2022 game release are you most looking forward to? Or are you keeping your sights set squarely on next year?
