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EA says half of Ultimate Team players spend money on the F2P mode

“Of those 75 percent of the people, about half of those people actually spend some money and the other half just play without spending. But in a free-to-play world, that’s a fantastic balance of spenders and non-spenders.”

– CFO of Electronic Arts Blake J. Jorgensen speaking at the 37th Nasdaq Investor Conference 

During the 37th Nasdaq Investor Conference which took place on December 5th, CFO of Electronic Arts Blake J. Jorgensen spoke about the percentage of players who spent money on EA Sports’ Ultimate Team mode.

According to Jorgensen, “about 70-75 percent of all the people that buy the sports games join Ultimate Team.” He goes on to say that of those 75 percent, about half of those players end up spending money on Ultimate Team microtransactions.  

While the conversion rate provided is unusually high for a free-to-play game, it’s not EA’s first success with Ultimate Team. Former Bioware dev Jesse Houston cited FIFA Ultimate Team specifically when designing Mass Effect 3‘s loot box system. 

To hear more of his comments, check out the full recording on EA’s website here.

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Some RPG insight from the ex-Witcher devs behind Seven: The Days Long Gone

If you’re in the business of making role playing games, you should probably have an eye on Seven: The Days Long Gone. It’s a fascinating isometric stealth RPG with a gonzo setting and interesting traversal mechanics from studios IMGN.PRO and Fool’s Theory, whose founders have a history at Witcher developer CD Projekt Red. 

Over on the Gamasutra Twitch channel today, we were lucky enough to be joined by lead developer Jakub Rokosz and quest designer Karolina Kuzia-Rokosz (both late of The Witcher 3), who were eager to share stories about the game’s development process, and dive into the technical and design decisions that went into this unique RPG. 

It was an illuminating chat, which you can watch in its entirety up above, but in case you’re creeping around the island of Peh as we speak, here’s a few key takeaways from our conversation. 

Stealth games are about “idiot npcs”

When asked to quickly sum up what they feel makes a good stealth game, Rokosz and Kuzia-Rokosz talked about a need for players to feel smarter than AI characters. Of course, since the computer literally knows where the player is at all times, it then becomes necessary to make your AI really, really stupid, so that the player doesn’t feel discouraged or outmatched. 

When asked for what kind of stealth games inspired the sneaking mechanics of Seven, Rokosz and Kuzia-Rokosz tossed out a few familiar names like Dishonored and Thief, but excitedly pointed to the interactions in Fallout 2 where players could sneak up on NPCs and leave grenades in their pockets (Rokosz said a similar feature almost made it into Seven, but was killed to manage scope).

What makes a good RPG quest

Since Kuzia-Rokosz was the game’s quest designer, we asked her to sum up what makes a good quest in an RPG like Seven. Her first response was that it’s important for quest designers to think about enabling different playstyles, especially in a game like Seven, where there’s a range of options on the speaking—>brawling spectrum. 

Then Rokosz chimed in to remind her of one of the reminders she gave him constantly during development: that every quest needs to be clear about “what to do, where to go, how to do it,” even when it’s trying to be open-ended. This was apparently advice that Kuzia-Rokosz would badger him with constantly while implementing quests in gameplay. 

How to make a good “detective vision”

In Seven: The Days Long Gone, players can use the protagonist’s robotic eye to scout the environment around them and highlight loot and hiding places useful to completing missions. This feature is similar to the “detective vision” features seen in titles like Arkham Asylum and Assassin’s Creed. It turns out that Rokosz and the rest of the team were worried players would leave such a feature on all the time, so they tried to have their mechanic “gamify” the main character pausing to take a look around, help him gather information in a similar way that the player wants. 

Kuzia-Rokosz also pointed out to us that when they let players toggle this vision mode on and off, it quickly led to information overload since too many icons would pop in to the screen at the same time. 

For more developer interviews, editor roundtables and gameplay commentary, be sure to follow the Gamasutra Twitch channel.

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Valve licenses Portal to Headup for new Bridge Constructor game

Headup Games has revealed its next installment to the series will be utilizing elements from Valve’s Portal. Titled Bridge Constructor Portal, the game features GLaDOS and various other trademarks from the series.

As Headup’s announcement points out, the new game (which they’ve reportedly been working on for a year or so) makes full use of the Portal license.

It’s an interesting move by Valve, which has a history of licensing out characters from its game franchises but has never really allowed another dev to make a full standalone Portal game.

The studio is best known for creating Bridge Constructor, where players create and design constructions and watch as vehicles pass over them to see how the structural integrity of their creation holds up against the laws of physics.

The game is set to release on December 20 2017 for Windows, MacOS, Linux and mobile. The console versions will follow in early 2018.

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Now Available on Steam Early Access – RIOT – Civil Unrest, 10% off!

RIOT – Civil Unrest is Now Available on Steam Early Access and is 10% off!*

As civil crisis deepens and inequality tears the very fabric of society the discontentment of the masses manifests itself in violent public disturbances and civil disorder. Play as the police or the angry horde as RIOT – Civil Unrest places you in some of the world’s most fractious disputes.

*Offer ends December 13 at 10AM Pacific Time

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Xenoblade Chronicles 2: Message from Director Takahashi

Xenoblade Chronicles 2: Message from Director Takahashi

Hi, this is Tetsuya Takahashi, executive director of Xenoblade Chronicles 2 which finally made it safely to launch!

Young-Adult Fiction & Boy Meets Girl
The basic story of this game revolves around a feeling similar to a novel told in first-person. While many countries and factions appear in the game, information such as scheming between countries or political sagas have been omitted from the narrative as much as possible because this information is not directly available to the protagonist, Rex. We wanted to create a story that follows his perspective.

Once this axis has been determined, we next worked on what direction the story would take. While we considered a story with many actors that involves a lot of interpersonal conflict, in which you can’t even trust your allies, we thought that now and then it would also be nice to have a story where you can trust your allies to watch your back without any reservations. This is the direction we took for this story.

Even so, an old guy like me born in the Showa era can’t possibly write a modern story, and it’d come across as awkward if I tried. So I gave up and decided to just accept the challenge with my outdated Showa sensibilities. I felt that, even if the tone is Showa and the plot points that players feel are sympathetic or moving may differ between cultures, the core of human emotion should not differ that much between regions and time periods. Because we’re all Homo sapiens. And in that sense, I can say that the story direction is the same as that for Xenoblade Chronicles.

For those who are already playing the game, you might have noticed that Rex’s catchphrase is “Let’s go!” As these words suggest, he will always keep moving forward. And he won’t turn back to the past. His characterization is probably due to the fact that I was born and raised in the Showa era. This is just the reminiscence of an old man, but I felt that it was a good thing that we always looked forward in the past. Even if there were individual differences in how well your life turned out, we had the hope of achieving a bright future so long as we worked hard for it. Of course the world around us was still gloomy, but society flourished because we could avoid looking at it. That is why we all worked hard and kept looking forward. The world feels more constrained now, even with all this information flying about. We’re forced to observe the dismal world around us regardless of whether we want to or not. Corny old words like “hope” aren’t popular in the current times. But I thought, wouldn’t it be better to have a character like Rex precisely because we live in such an era?

Rex is a salvager. While he has some physical prowess due to his occupation, he’s not a hero’s son or the prince of a major country. He’s just a normal kid that you might find anywhere. Of course, he’s not in the military either, so he won’t be leading armies or fighting courageously against legions. His reasons for fighting are very personal, and it’s because he’s fighting for a single girl (and their friends). There are limits to what one boy can do even if he acquires supernatural abilities. But if a boy were to race to his limits for the sake of a single girl, what kind of future would await them? And even if I can fight for myself (to some degree), can I fight for someone else? These thoughts are collected within Rex, and this is what I mean by the themes of young-adult fiction and boy-meets-girl. This is the basic concept behind the game, and the root theme throughout the story. While most people probably expect many buried hints and hidden information from the Xeno series, the story for this installment is a lot simpler and straightforward, and covers more well-worn territory. And that’s because this is Rex’s story.

The Climbing Down Game
The Titans offer a wide variety of scenery. While map design and the level design for those maps is something that Monolith Soft excels at, we have changed some of the designs for this installment compared to our previous games. While players found enjoyment in climbing up mountains in Xenoblade Chronicles X, the gameplay for this installment can be summarized as climbing down them. There are sort-of pathways that lead downward at many locations. Even if it first appears that you can’t climb down a certain location, there may be routes where you can walk across girders or fences, or hop across boulders to get to a new location.

However, in this installment, it’s dangerous if you fall from a high place, so make sure to think carefully about whether you can make it before you resolve yourself to make jumps. In the locations you descend to, you might find some adventure waiting for you, such as landmarks or Secret Areas, super strong unique monsters, unexpected rare items or quest objectives.

Rare Blades
While there are a fair number of Rare Blades, encountering them is completely random. Although it’s interesting to wonder who you will encounter, some players may also become anxious about whether they will actually meet one. I will make a firm statement. You will definitely (probably…if you’re lucky?) always encounter every single Rare Blade. (I found the last Rare Blade at 220 hours of playtime. There are still many things to do in the game at this point.)

While there are initially few opportunities to get Core Crystals, you’ll get more of them than you’d ever want later on (laugh). Although there are three types of Core Crystals: Common, Rare, and Legendary. Common and Rare Core Crystals can be maxed out by just playing the game normally. Even the valuable Legendary Core Crystals will be dropped in abundance if you Launch a unique monster of level 100 or greater and then Smash them down.

In addition, while most of the common Blades that you can get with epics are 4-star, the combination of stats and skills is completely random, so you might find a Blade that is even stronger than a Rare Blade. Therefore, we encourage you to use resonance as much as possible.

The Driver stats are also low in the beginning, so it’s enough to just resonate with Common Core Crystals instead of forcing your characters to use Rare or Legendary Core Crystals. In addition, the “Unnamed Core Crystal” that Gramps gives you at the start will always contain a Wind-element Blade with Knuckle Claws, so note that there’s no point in trying to reroll this item.

Enjoy playing!

For more information about Xenoblade Chronicles 2, visit the official site.

My Nintendo™ is celebrating with a special December calendar and wallpapers featuring imagery from the Xenoblade Chronicles 2 game. Redeem your points for these rewards today!

Game Rated:

Language
Suggestive Themes
Use of Alcohol and Tobacco
Violence

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To promote Okami, Capcom tries an uncommon path: Dota 2

Capcom and Clover Studios have submitted an Amaterasu courier to Dota 2‘s Steam Workshop for a chance to make an appearance in the massively popular MOBA. 

Coinciding with the the upcoming December 12th re-release of Okami (as Okami HD) for PlayStation 4, Xbox One, and PC, Amaterasu could appear as a courier if enough Dota 2 players vote for her inclusion.

As Polygon points out, this isn’t the first time a developer has submitted a Dota 2 courier to promote its game; Coffee Stain Studios (Goat Simulator), Adult Swim Games (Rick & Morty), and Square Enix (Final Fantasy Type-0 HD) have all done so in the past.

In Dota 2 couriers are entities used as support, carrying items and buying items from the shop. Custom couriers can be created and submitted to be considered for inclusion in the game if they receive enough votes from the community.

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Video: Reliving the horror: Taking Resident Evil 7 forward by looking back

The Resident Evil franchise is a critically acclaimed third-person survival horror classic but its most recent installment, Resident Evil 7: Biohazard stands out among the rest for several reasons. 

In this 2017 GDC session, Capcom’s Koshi Nakanishi and Peter Fabiano cover the new direction they took in developing Resident Evil 7: Biohazard. They cover everything from changing the camera angle to first person, and the intent on keeping a strong focus on survival horror. 

Nakanishi and Fabiano also go over the positive reception that the new direction garnered, where the team took inspiration, as well as questions the designers had to tackle early on in development: “How are we going to take the brand forward?” 

Devs interested in learning how Resident Evil 7: Biohazard revitalized a franchise while still maintaining its roots may appreciate the fact that you can now go back and watch the talk completely free via the official GDC Vault YouTube channel!

In addition to this presentation, the GDC Vault and its new YouTube channel offers numerous other free videos, audio recordings, and slides from many of the recent Game Developers Conference events, and the service offers even more members-only content for GDC Vault subscribers.

Those who purchased All Access passes to recent events like GDC, GDC Europe, and GDC Next already have full access to GDC Vault, and interested parties can apply for the individual subscription via a GDC Vault subscription page. Group subscriptions are also available: game-related schools and development studios who sign up for GDC Vault Studio Subscriptions can receive access for their entire office or company by contacting staff via the GDC Vault group subscription page. Finally, current subscribers with access issues can contact GDC Vault technical support.

Gamasutra and GDC are sibling organizations under parent UBM Americas

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Don’t let your game’s ‘brand’ limit your creativity, argues Far Cry 5 dev

“A lot of the times when you’re working on a brand […​] you’ll have a lot of people who will tell you ‘this is what Far Cry is so this is the box you can build it in.’ The moment you think like that, the moment you’re doing a disservice to what it could be.”

– Far Cry 5 game director Dan Hay shares the number one lesson he’s learned while working on Far Cry.

Rather than set Far Cry 5 in a far-off country, Ubisoft’s latest game in the longrunning series takes place in a fictional county in Montana. The decision to set the game a little closer to home builds on one of the major lessons Far Cry 5 game director Dan Hay says he has learned during his time with the series.

Speaking to the Telegraph, Hay explains that it can be easy to cave in and keep your game development ideas contained within a ‘brand box’, limited by the kinds of games that may have preceded your current project.

However Hay, who got his start with the series on Far Cry 3, says that it’s important to keep brands flexible because otherwise developers risk limiting themselves and doing a disservice to the worlds they’ve created.

“I think, if I had to take away one thing, it’s that a brand that has the ability to be flexible, and has the ability to say yes to ideas that people might say other games wouldn’t support is powerful, I think there’s real stuff there,” explains Hay. “I think that this brand has an opportunity to have new creative ideas and go in directions that are surprising and amazing, and do stuff that we haven’t thought of yet, and that excites me.”