“Of course, least positively of all, another angle for many publishers is in-app purchasing – why provide a feature as a hidden cheat when you can get people to pay money to unlock it?” Seavor has also noticed this trend. “Bigger publishers have now realised you can actually sell these things to players as DLC. Want that special gun? Think you can unlock it with a cheat code? Nope! You’ve got to give us some money first!”
Recent data shows 20 percent of mobile games get opened once and never again. 66 percent have never played beyond the first 24 hours and indeed most purchases happen in the first week of play. Amazingly only around two to three percent of gamers pay anything at all for games, and even more hair-raising is the fact that 50 percent of all revenue comes from just 0.2 percent of players.
This is a statistically insignificant amount of happy gamers and nothing that gives you a basis to make claims about “what people want”. I think it just as likely that mobile’s orgy of casual titles is due to simple bandwagon-ism or, in other words, not knowing what people want.
Daily active users (DAUs) in the first quarter of 2014 were 28 million, compared to 52 million in the first quarter of 2013. On a consecutive quarter basis, DAUs were up 7% from 27 million in the fourth quarter of 2013. Web DAUs and Mobile DAUs were 12 million and 16 million in the first quarter of 2014, respectively.
But if Oculus is so great, then why do people seem so surprised that Facebook has acquired it?
Partly it’s that Oculus, despite its popularity among gamers and its buy-in from the tech community, is still a small start-up. (It got its start on Kickstarter, where, in a 2012 campaign that sought $250,000 in funding, it raised more than $2 million. It remains one of Kickstarter’s most successful campaigns.) And, furthermore, Oculus has been focused on what many have seen as a niche technology for a niche demographic—hard-core gamers
In case you think you’ve read that wrong, I’ll summarise: a World War II-themed game that depicts fighting between two countries that actually fought in WWII breaks the rules. And apparently Drive on Moscow, Panzer Corps, and every single one of Hunted Cow’s other Tank Battle games don’t.
Graphics give games a visual appeal, but it’s the internal physics engine that gives the game’s world life. A physics engine is a software component that provides a simulation of a physical system. This simulation can include soft- and rigid-body dynamics, fluid dynamics, and collision detection. The open source community has a number of useful physics engines operating in the 2D and 3D domains targeted to games and simulations. This article introduces the use and basics of a physics engine and explores two options that exist: Box2D and Bullet.
Once the TCU onlining was decided, the fight just became about carnage: who could kill the most the fastest. The fleets committed by both sides represent a staggering amount of time, effort, and ISK. Each titan costs about 100 billion ISK (up to 160 or even 220b for particularly expensive fits), which can be purchased for about $3,000 USD by buying game time and selling it to other players for ISK. More than that, though, to build a titan requires several weeks and a nice quiet undisturbed area of space, something harder to find in the current climate. Supercarriers are similarly challenging. Dreadnaughts and carriers, while not as difficult to build, still represent a significant investment of effort on the part of an industrialist somewhere.
In its latest earnings statement filed Thursday with the Securities and Exchange Commission, Zynga reported the number of daily average users (DAU) dropped to 39 million in the second quarter of 2013—the lowest ever since the company began keeping track. Last quarter, the DAU fell to the then-lowest record, 52 million users. The fall to 39 million means that 25 percent of its daily user base stopped using Zynga products in just one quarter.
Video games are treated differently, though, primarily because they exist on a screen rather than a board. “A video game under copyright law is an audiovisual work, which gives a public performance right to the copyright holder,” Dallas attorney and Law of the Game blog author Mark Methenitis explained in an interview with Ars. “Under the public performance right, the copyright holder is allowed to say when, where, or whether something is publicly performed, meaning displayed in front of a group of people larger than, say, at your house.”
In other words, if you want to put on a Street Fighter tournament and charge people to watch, Capcom can make you get a license for the “public performance” of the game. In fact, that is exactly what Capcom does with for-profit tournaments.
The rise of the iPhone and mobile platforms in general, along with developer-friendly app stores, has made the idea of commercializing interactive fiction possible again. In the age of Infocom, the crude graphics on top-end hardware meant the potential market for text-only games for personal computers was in the millions, and this was enough to fund a whole company of developers. Today, people aren’t likely to pay money to sit down at a PC to play a text adventure game, but enough of them might want to play such a game on their mobile device to fund teams of one or two independent developers.