Share on FacebookShare on TwitterShare on LinkedinShare via Email Share via Shortlink 90 William Street (Google Maps; iStock)UPDATED November 4, 2020, 12:19 p.m.: New York City condo investors may increasingly find themselves having to dig into their wallets to pay for any construction defects, according to a new court ruling.The Appellate Division of state court upheld a ruling last week that a condominium board does not have to prove a fiduciary or confidential relationship between itself and the building’s sponsor when suing over construction defects.The ruling, if it stands, will make it easier for condo boards suing over construction defects to claw back money that investors earned from the project, according to condo attorneys.Read moreTish James, Louis Greco reach $100K settlement over lack of disclosure at 11 condo projectsDevelopers, investors hustle for bulk condo dealsFor struggling condos, the pandemic proves the ultimate test The ruling came as part of years-long dispute over construction defects between the condominium board at a Financial District building and Louis Greco’s Second Development Services and other sponsor entities involved in the development.Located at 90 William Street, the condo, dubbed [email protected], has 113 residential units and two commercial units. The building was completed in 2008 with a projected sellout of $97 million.But the condo board began complaining about construction defects as early as 2010. The board’s initial suit alleging shoddy work, filed in 2013, led to last week’s Appellate Division ruling.“This is a critical decision,” said Steven Sladkus, a partner at Schwartz Sladkus Reich Greenberg Atlas, which represented [email protected]’s condo board in the case.“Investors must now be extremely cautious about the quality of the developers with whom they work as the investors are liable for shoddy construction,” he continued in a statement.The decision reverses a 2013 ruling, made in the same court, that a condo board needed to prove a connection to investors to recoup funds from them for shoddy construction.That is difficult because in many cases in New York, a condominium is developed by a single-purpose entity formed to construct the building, sell units and then distribute the proceeds to investors. Once the entity sells out the building, it pays the investors and closes up shop.That leaves condo buyers with few options to seek damages for shoddy work because the entity, even if it still existed, would typically have no money left. If the board tried to go after a project’s investors, under the 2013 ruling, it would have to prove there was a relationship, which was often impossible.“Since there was never a relationship between the board and investors … those claims would hit a dead end,” explained Jared Paioff, a partner at SSRGA, in an interview. “It’s like squeezing blood from a stone.”Now that the 2013 ruling has been reversed, Paioff said there’s an opening for any claims over the past seven years that were stymied because condo boards could not prove a relationship with investors.“We now have the option to ask a court to reconsider that holding, and, based on this new case that came down last week, reverse its decision,” he said.Not all attorneys agree, however. “The reach of this case is probably not as far as one would think because the affirmative and absolute language in the [email protected] offering plan is not very common,” said Leni Morrison Cummins, an attorney at Cozen O’Connor who focuses on representing condominium and co-op sponsors and boards.At the FiDi project, [email protected]’s condo board is seeking $3 million in damages from investors in the project, which included Greco, his wife and his firm, Second Development Services. The amount the board can recoup from the investors will be decided at a trial, which has yet to be scheduled, according to Paioff.Lawyers representing [email protected] investors and SDS did not immediately return requests for comment.Update: Comment from Cozen O’Connor’s Leni Morrison Cummins was added to the story. Contact Erin Hudson Email Address* Message* TagsCondominiumsFinancial DistrictNew York City Share via Shortlink Full Name*
PlayStation games hit Humble BundleLatest Capcom package offers PS3 and PS4 games at pay-what-you-want priceBrendan SinclairManaging EditorMonday 29th August 2016Share this article Recommend Tweet ShareRelated JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games PlayStation gamers are getting their first crack at a Humble Bundle. The Humble Capcom PlayStation Bundle has gone up, offering interested players in the Americas a selection of PlayStation 3 and PlayStation 4 titles at prices determined by the purchaser.Those paying at least $1 get access to a quartet of Capcom digital releases, as well as a 45% off coupon to buy Street Fighter V from the PlayStation Store. Those who choose to pay more than the average purchase price ($12.32 as of this writing) will get six more Capcom games, including games that had physical retail releases like Remember Me and Lost Planet 3. Finally, those who pay $15 or more for the bundle will get two more titles and a 50% off coupon for the PS4 version of Mega Man Legacy Collection. As always with Humble Bundles, purchasers can choose how much of their money goes to the publisher, to Humble, and to a selection of charities like Save the Children and the American Red Cross.This is not the Humble Bundle’s first foray onto consoles. Last year, there was a Humble Nindie Bundle featuring games from indie developers on the 3DS and Wii U. Shortly afterward, Humble Bundle cofounder John Graham told GamesIndustry.biz he saw the promotion’s performance as a signal that console bundles could work, and hoped to do more of them in the future. Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Publishing & Retail newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesEA leans on Apex Legends and live services in fourth quarterQ4 and full year revenues close to flat and profits take a tumble, but publisher’s bookings still up double-digitsBy Brendan Sinclair 7 hours agoUbisoft posts record sales yet again, delays Skull & Bones yet againPublisher moves away from target of 3-4 premium AAA titles a year, wants to build free-to-play “to be trending toward AAA ambitions over the long term”By Brendan Sinclair 10 hours agoLatest comments (6)Daniel Trezub QA Analyst, Ludia4 years ago I see what you are doing here, Capcom. Well played! 4 years [email protected] Herbert: Its very easy to set up a US PSN account and have it share the same PS4 as your EU account. Not sure if that works for PS3 or Vita though. 3Sign inorRegisterto rate and replyLuke Herbert Game Designer 1Sign inorRegisterto rate and replyLuke Herbert Game Designer 0Sign inorRegisterto rate and replySign in to contributeEmail addressPasswordSign in Need an account? Register now. 1Sign inorRegisterto rate and replyShow all comments (6)Alan Blighe Research Associate 1Sign inorRegisterto rate and replyChris Payne Managing Director & Founder, Quantum Soup Studios4 years ago Can’t believe Okami HD didn’t merit a mention – highlight of the bundle IMHO. 4 years [email protected] Blighe: thanks for tip, but I’ll hang on until they do a EU version of this humble bundle. 🙂 0Sign inorRegisterto rate and replyAlfonso Sexto Lead Tester, Ubisoft Germany4 years ago You know you have a “backlog” problem when you eagerly click on the ling and notice that you already own all of them… ouch!Very good initiative, anyway 🙂 4 years ago Sadly you need an American PSN account to redeem the codes. I should have read the small print. >_<
1Sign inorRegisterto rate and replySign in to contributeEmail addressPasswordSign in Need an account? Register now. 0Sign inorRegisterto rate and replyJoshua Hagood Moderation Project Manager, Metaverse Mod SquadA year ago Dr Mario being their best game? Wow, that is quite a hot take. I was under the impression overwhelmingly popular opinion is that it was a total mechanical flop with absolutely 0 fans but I guess there’s at least 1. A take that hot, however, makes it kind of hard to take the rest of the article seriously when it’s about how to design a game. 1Sign inorRegisterto rate and replySamer Abbas Co founder & COO, Play 3arabiA year ago I think two major hurdles for Nintendo’s mobile growth are 1. its unwillingness to globalize its services by sticking to its traditional Japan/America/Europe market approach, and 2. its unwillingness to have a tiered relationship with its customers based on their value. Can Nintendo learn from its mistakes with Mario Kart Tour? | OpinionAll eyes are on Mario Kart Tour, Nintendo’s most important mobile release so farFranco SpinaFriday 13th September 2019Share this article Recommend Tweet ShareIt’s less than three years since Super Mario Run heralded Mario’s smartphone debut. Yet despite much fanfare at launch, largely positive reviews and revenues pushing the $100m mark, Nintendo president Tatsumi Kimishima felt the plumber’s performance “did not meet our expectations”. Given the huge affection that gamers have for Nintendo’s most-prized IP, Mario’s journey from console to smartphone was always likely to ruffle some feathers amongst his most ardent fans. Franco Spina, DeltaDNANext month, Mario returns to mobile with the much anticipated launch of Mario Kart Tour. As one of the best-selling game franchises in history, Nintendo’s investors will be hoping that mobile kart racer delivers on the revenue promises that its predecessor could not. While Mario’s loyal fanbase will be expecting a player experience on a par with the console version. With a handful of mobile games now under its belt, what game design and monetisation lessons can Nintendo learn from its existing smartphone portfolio to ensure that Mario Kart Tour crosses the line in winning style? Back to the free-to-startTo answer this, we need to go back to the start. Or the free-to-start, to be specific, which was the unconventional monetisation mechanic that split player opinion. Asking players to cough-up £10 to unlock the rest of the game after only playing a few free levels, was the nail in the coffin that ultimately led to Super Mario Run becoming a revenue reject for Nintendo. Next came Fire Emblem Heroes in 2017. Minus the harsh free-to-start paywall mechanic. In fact, none of Nintendo’s subsequent mobile releases featured the paywall, despite still referring to the games as free-to-start in the marketing materials. A tacit recognition of the mechanics failure? Maybe.Despite being Nintendo’s most successful mobile release to date, generating nearly $300 Million in revenue in the first year (ten times more than Super Mario Run), Fire Emblem Heroes has issues. Lots of issues. For a start, the game is clearly not optimised for players in the West, evidenced by the fact that only 28% of game’s first year revenues were generated in the US. It feels like the game is set up for a core audience, meaning that players new to the franchise or genre will find the going tough. Players are left to discover the various screens by themselves and are not properly exposed to key areas of the game. This lack of optimisation must have had a significant impact on the early retention of casual/mid-core players.The game is bursting with content and features an endless amount of options for players to spend money on. However, its poor on-boarding and overwhelming UI design have limited its potential to be a dominant top-grossing/chart-topping game.Fire Emblem Heroes is the highest-grossing Nintendo mobile game by a long wayPositive progressThe release of Animal Crossing: Pocket Camp in 2017, definitely ticked a lot of boxes when it comes to free-to-play best practice. But it still felt like the game was missing a trick. The game does have charm but its retention, monetisation and social mechanics feel like too much of a safe bet. Worryingly, after just a few sessions it seems like you have seen all that the game has to offer. When designing free-to-play games, early stage retention is everything. But unless you are a die-hard Animal Crossing fan, it’s hard to see why casual players would be compelled to stick around. Poor sessionisation (players can burn out too easily with long sessions), excessively “grindy” gameplay and a lack of social features — both co-op and competitive — to support long-term retention (and ultimately justify monetising) are clear areas for improvement. The right formulaFor me, Dr Mario is by far Nintendo’s best free-to-play game so far, with a solid core loop that is fun and compulsive.Unlike Animal Crossing Pocket Camp, Dr Mario has a much softer approach to monetisation, with an energy mechanic that promotes monetisation but in turn helps prevent burnout. Players that are unwilling to pay to continue in the main campaign can continue playing by engaging in multiplayer.That being said, the difficulty curve is quite steep and multiplayer elements are challenging from the get-go for the casual player, so potential churn due to difficulty is present.Dr Mario World is the lowest grossing Nintendo mobile title so farNot fully invested in mobile free-to-play?It’s fair to say that Ninendo’s approach to mobile thus far has been confusing at best. It is evident that there is a division across Nintendo’s mobile games in terms of following the best practice approach when it comes to designing free to play games. In fact, Nintendo appears to be at odds with the free-to-play model. The late Nintendo president Satora Iwata told investors that the company’s mobile strategy wouldn’t be focused on chasing ‘whales’. Hence why Nintendo refers to its mobile games as being free-to-start, rather than free-to-play. It just feels to me that Nintendo has been holding back on mobile. To date, it has only experimented with core IPs are used the blueprints of successful free-to-play genres and mechanics.We all know what Nintendo is capable of when it comes to solid game design so, when it comes to mobile, why should this be any different? This could be because unlike its console games, Nintendo’s mobile free-to-play games aren’t developed entirely in-house. While Nintendo is invested in mobile, it doesn’t yet feel in tune with the rest of the market. All eyes on Mario Kart TourThere’s no question that Mario Kart Tour is one of, if not Nintendo’s most important mobile releases to date. Its huge appeal among casual and core players will guarantee huge download numbers upon release. But what are the key design and monetisation lessons Nintendo should adopt to ensure Mario Kart Tour succeeds where Super Mario Run failed? Firstly, Mario Kart Tour will have to possess a solid core loop that doesn’t deviate too far from what players know and love from console/handheld versions. The gameplay also has to be deep and engaging, but easy to understand. That sounds obvious, but many racing games on mobile suffer from having overly complex systems (e.g. Asphalt, CSR, NFS and Real Racing series). However, Mario Kart Tour doesn’t need to get bogged down in complexity. A light touch approach to monetisation would also be in Nintendo’s best interest, such as collectable and purchasable vehicle customisations to let players stand out on the race course (Think of it as a more granular and expanded version of the customisation options available in Mario Kart 8 Deluxe). This could be serviced through a rotating store or a tiered reward system similar to Fortnite, rewarding both paying and free players.One red flag from the Mario Kart Tour closed beta is its use of the energy mechanic to restrict gameplay. Restricting a game of this calibre behind an energy mechanic could make Mario Kart Tour an easy target for negative press. There are far better ways to limit gameplay than locking players out. If its a mechanism to balance progress in an offline campaign/PvE environment that feeds players into multiplayer, then fine. But if it’s to push players out of the game before they are ready to leave it might feel a bit harsh.A far better way to monetise players would be to reduce the reward pool over a set period of time each day, to offer a more natural break-point for players and to promote monetisation when these rewards dry up. Instead, sessionisation could be managed by recurring daily challenges. As the challenges dry up, it becomes less compelling to stick around due to reduced rewards. As the game evolves new tasks could then be fed into the system to facilitate late game content/updates.Perhaps a simpler approach would be to adopt something similar to Clash Royale, where timers and limited reward slots play into restricting rewards over time.The main learning from these two examples is that players never feel pressured to spend nor leave. They can continue to play as they were, except they just won’t earn as many rewards. This can be resolved by spending or coming back at a later point in time.At its core, Mario Kart Tour has to be accessible, easy to master, and hard to put down. The matchmaking will need to be solid and getting players into races quickly will be imperative to its success. Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games The same competitive and social nature of the console game needs to be carried over to mobile. As it currently stands, multiplayer info has not been made clear. We can only hope that Mario Kart Tour includes PvP friendly races and tournaments, local multiplayer, competitive battle mode, time-limited tournaments, and local leader boards and team/clan competition mechanics.All of these would ensure that Mario Kart Tour crushes it on mobile, but is Nintendo going to finally going to start being bold on mobile at the risk of devaluing its hardware business? Probably not.Franco Spina is a senior game designer for Edinburgh-based deep-data analytics and player management company, DeltaDNACelebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Mobile newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesEpic vs Apple – Week One Review: Epic still faces an “uphill battle”Legal experts share their thoughts on the proceedings so far, and what to expect from the coming weekBy James Batchelor 10 hours agoEpic Games claims Fortnite is at “full penetration” on consoleAsserts that mobile with the biggest growth potential as it fights for restoration to iOS App StoreBy James Batchelor 13 hours agoLatest comments (3)Neil Young Programmer, Rebellion DevelopmentsA year ago It’s not just risking the hardware business; if anything, they are probably more concerned about the IP. The switch title is still reliably charting at full RRP despite being a 2 year old conversion of a 5 year old game, they would probably rather the mobile title made a loss than risked damaging the parent franchise.The point about reward throttling is good; seems to be a successful mechanism elsewhere that would fit mario kart well.
Sony doesn’t see pandemic affecting PS5 launchDespite factory closures and downgraded profit forecast, Sony estimates no material impact on its gaming business so farBrendan SinclairManaging EditorFriday 27th March 2020Share this article Recommend Tweet ShareCompanies in this articleSonyThe global pandemic is creating uncertainty for a host of businesses, but Sony today said that it hasn’t changed too much for PlayStation just yet.As reported by Bloomberg, a Sony spokesperson said the company doesn’t expect the novel coronavirus (COVID-19) to have any notable impact on the PlayStation 5 launch later this year.Beyond that, Sony also released a statement today saying it believes COVID-19 will have no material impact on its gaming business for current fiscal year, which ends this coming Tuesday, March 31. While it hasn’t seen any issues with software delays to date, the company said it is keeping an eye on production schedules for first-party and partner studios, “primarily in the Europe and the US.”However, a number of Sony’s other businesses have already felt the pinch, with cancelled concerts and theater shutdowns affecting its music and movie businesses, respectively. Sony’s electronics products segment has also been hurt by retail closures, supply chain instability, and factory shutdowns.Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games Sony shut down its four Chinese manufacturing plants for a couple weeks in January and February, though all four have since re-opened and are ramping production back up. Two plants in Malaysia were closed March 18 and Sony hopes to reopen them April 14, while a UK plant shut down March 26 and is expected to resume operations April 20.Combined, these setbacks have been enough for Sony to revise its fourth quarter guidance for the second time. In early February it raised its forecast while noting that was not taking into account the possible impact of COVID-19. In light of events since then, Sony has said the increase it made to its guidance could be wiped out entirely.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Daily Update and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesReturnal | Critical ConsensusCritics praise Housemarque’s roguelike shooter for fast-paced combat and unforgiving, gorgeous world, but say it misses the mark on some key aspectsBy Marie Dealessandri 9 days agoSony testing PlayStation Plus film and TV offeringPlayStation Plus Video Pass will be available for a limited time in PolandBy Marie Dealessandri 19 days agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.
Twitch viewers watched 334m hours of Valorant in AprilIt was the most popular game on Twitch, and drove the rise of new streamers to the top tenRebekah ValentineSenior Staff WriterWednesday 13th May 2020Share this article Recommend Tweet ShareCOVID-19 continued to drive livestream viewership through the month of April, and Riot Games’ beta for Valorant did quite a bit of heavy lifting for viewership numbers as well.According to a monthly report from StreamElements and Arsenal.gg, livestream viewership rose 45% month-over-month for April, and 99% year-over-year.Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games Viewership of Twitch alone was up 99% year-over-year to 1.5 billion hours watched. YouTube Gaming saw 461 million hours watched in April, up 65% year-over-year, and Facebook Gaming was up 238% year-over-year to 291 million hours watched.Valorant was a major viewership driver in April as Riot provided beta invites of the game through Twitch streamers, resulting in the game seeing over 334 million hours watched in April and reaching 1.7 million peak concurrent viewers.It also drove several new streamers into the top 10 by hours watched for the month, including Anomaly at No.1, Onscreen at No.4, Myth at No.6, and Sfory at No.9.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Daily Update and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesActivision no longer working with Call of Duty actor after hateful sexist commentsA video resurfaced on social media showing Jeff Leach making offensive, sexual and threatening remarks targeting women By Marie Dealessandri YesterdayHow Women in Gaming survived its publisher’s demiseMeagan Marie explains how Crystal Dynamics stepped in after Prima Games, the original publisher of her book, shut down right after launchBy Brendan Sinclair 4 days agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.
Why Tony Robbins, tax shelters and financial advisers don’t mix 3 5 Subscribe for original insights, commentary and analysis of the issues facing the financial advice community, from the InvestmentNews team. The Gates divorce: Lessons for financial advisers 4 House committee poised to advance SECURE 2.0 retirement savings bill InvestCloud to acquire Advicent and NaviPlan planning software 1 You have read 538 of 3 free articles this week. Register now for increased access.Register for free access to this article.By registering, you can read up to 3 articles per week.RegisterAlready registered? Sign in to continue reading or subscribe for unlimited access.,MOST READ House panel unanimously passes SECURE 2.0 Newsletters 2
My.Games buys minority stake in Mamboo GamesPartnership enables Russia-based games publisher to expand hypercasual departmentJames BatchelorEditor-in-ChiefWednesday 14th October 2020Share this article Recommend Tweet SharePublisher My.Games has taken a minority stake in hypercasual developer and publisher Mamboo Games.The Belarus-based studio was founded earlier this year, but has already secured ten exclusive contracts to help other developers with their projects.It has already produced a handful of games, including the well-received Billion Builders.Terms of the deal with My.Games were not disclosed.Related JobsSenior VFX Artist Remote Spain UK & Europe Big PlanetBuild Engineer – Games – Cheshire, England UK & Europe Big PlanetSenior Unity Programmers F2P Mobile Games Turkey Turkey Big PlanetDiscover more jobs in games Hypercasual games is an area My.Games has begun investing heavily in this year. Back in April, it announced a $10m publishing programme to expand its line-up.Chief marketing officer Elena Grigoryan says the publisher has received more than 250 applications since its hypercasual department opened.My.Games is the video gaming division of Russian internet giant Mail.ru, which unveiled the new brand last year.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Mobile newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesEpic Games claims Fortnite is at “full penetration” on consoleAsserts that mobile with the biggest growth potential as it fights for restoration to iOS App StoreBy James Batchelor 2 hours agoSupercell ordered to pay Gree $92m in lawsuitJury found developer had infringed on six patents protecting Gree’s technologyBy Danielle Partis YesterdayLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.
Phil Spencer calls for more diverse leaders in gamesHaving “visible leaders” should be the industry’s focus, Xbox chief said, addressing the role Microsoft has to play against racial inequityMarie DealessandriAcademy WriterWednesday 4th November 2020Share this article Recommend Tweet ShareCompanies in this articleMicrosoftXbox head Phil Spencer has said both Microsoft and the entire industry should focus on increasing the number of “visible leaders” from underrepresented communities.During an interview with Kotaku, Spencer was asked to follow up on Microsoft CEO Satya Nadella’s statement from June, in which he committed to address racial injustice and inequity at the company. One of Nadella’s goals was to “double the number of Black and African American people managers, senior individual contributors, and senior leaders” by 2025 in its US offices. When asked about the lack of Black people in games, in particular in leadership positions, Spencer reiterated Microsoft’s commitment.”The area where I think we really need to focus more as an industry, including my own team, are, as you said, those visible leaders,” he said. “Because there was a generation where this didn’t happen.”He added that, looking at the people who made it to the top at Microsoft, you “get a lot of people like [him]” — meaning white men.”And we don’t need more people like me in our organisation,” he continued. “We need a more diverse team. So I’d say, for our focus right now, I think about manager representation.”Spencer also addressed the role big companies like Microsoft have to play in the industry when it comes to inclusion, saying it should be a platform for “all creators,” with different perspectives represented.”When you talk also about the representation in our games and in the industry and the role that we have as Microsoft, I think about the fact that we’re at a $1.5 trillion market cap company in the games industry,” he said. “We should be a platform for all creators […] from different perspectives, who can help each of us that are playing these games learn through the lived experience of the creators.”Spencer also discussed Milan Lee, a former Microsoft employee who left the company following its alleged failure to address racism within the management of its Mixer streaming service.”Where we start is the makeup of our teams,” he said. “What is it? And not just from ‘how are our numbers in terms of representation?,’ but the inclusion factor of our teams? How does it feel to work here? What’s your lived experience? We have work to do. I have work to do in that. You can look at the Milan Lee situation and the conversations he and I had in June. And, you know, PR won’t love that I bring those things up in conversation.”Related JobsSenior QA Engineer Gaming Studio Baltic Region UK & Europe Big PlanetLead Game Programmer – Quebec Province Quebec Big PlanetSenior Build Engineer – AAA Studio – Yorkshire UK & Europe Big PlanetDiscover more jobs in games He continued: “I think it’s important that we are forthright and open about the lived experience of everybody on our team. Are we reaching the goals that we have for ourselves? And we have work to do in that space.”The barriers facing Black professionals in games is a topic we discussed on the GamesIndustry.biz Academy recently, focusing on retention and promotion. As the UK celebrated Black History Month in October, we also spoke to developers, players, ambassadors and more about racial equality in the UK games industry.You can also hear more about the topic on the latest GamesIndustry.biz Podcast, where we were joined by USGamer’s Mike Williams, freelance writer Aaron Lee, I Need Diverse Games founder Tanya DePass, and Melanin Gamers founder Annabel Ashalley-Anthony.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Daily Update and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesApple questions credibility of Xbox testimonyiPhone maker asserts that Microsoft did not produce evidence to back Lori Wright’s claims of unprofitable consolesBy James Batchelor YesterdayEpic pushed for subscription-free multiplayer on Xbox ahead of Apple battleCEO Tim Sweeney told Xbox boss Phil Spencer that “certain plans for August” would create an “extraordinary opportunity”By James Batchelor 6 days agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.
Focus Home Interactive is opening a Deck13 subsidiary in MontrealThe studio behind The Surge series is working on an unannounced project slated for 2022Eric Van AllenMonday 8th February 2021Share this article Recommend Tweet ShareCompanies in this articleFocus Home InteractiveFocus Home Interactive is expanding into Canada with a new studio under its Deck13 development studio.The new subsidiary, Deck13 Studio Montreal, will be working with the Germany-based Deck13 studio on an unannounced project, currently slated for a 2022 launch.Focus Home Interactive announced its acquisition of Deck13 in June 2020.Related JobsSenior Build Engineer – AAA Studio – Yorkshire UK & Europe Big Planet3D Artist – Mobile Studio – Midlands UK & Europe Big PlanetProducer Indie Game Studio France UK & Europe Big PlanetDiscover more jobs in games Deck13 had previously developed Lords of the Fallen and The Surge 1 and 2, as well as publishing games like CrossCode.”Opening a subsidiary in Canada is a logical continuation in the history and internal development of our studio,” said Mathias Reichert, Managing Director of Deck13, in a press release.”Deck13 Studio Montreal will allow us to strengthen our knowledge and integrate new visions, cultures and know-how that will undoubtedly take the studio to the next level.”Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Daily Update and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesFocus Home Interactive acquires Streum On StudioPublisher buys the creators of its Space Hulk and Necromunda Warhammer 40,000 games, reports full year revenues up 20%By Brendan Sinclair 21 days agoFocus Home Interactive buys Deck13 after strong fiscal yearGerman studio behind the surge acquired for €7.1m as full-year revenue and profits riseBy Matthew Handrahan 10 months agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.
Roblox’s strategy to focus on catering to older usersAhead of its direct listing next month, the company revealed that 44% of its daily active users are now over the age of 13Marie DealessandriAcademy WriterMonday 1st March 2021Share this article Recommend Tweet ShareRoblox’s strategy is to focus on attracting older users to the platform, the company said during its investor day on Friday.Chief business officer Craig Donato highlighted strategic growth areas for Roblox, as the company is preparing to go public in March though a direct listing.The strategy includes a focus on expanding the age demographics of the platform. In order to do so, the emphasis is going to be put on “enabling developers to build more polished experiences that will appeal to a wider range of users.”44% of Roblox’s daily active users now being over the age of 13, he added. In 2020, the platform’s 16 to 24 age group grew faster than its core under 13 group.”We’ve had tremendous success reaching the 13 and under audience. Our goal however is to create a platform and brand that appeals to all ages, from people that are six to 60,” Donato said. “Ten years ago experiences on our platform were basic and simplistic. Five years ago you can see how we improved the complexity and fidelity of what could be designed. And today we are enabling deeply immersive experiences through dynamic simulation, faster loading, and more sophisticated rendering. With these new higher fidelity capabilities, developers can increase the depth and immersiveness of their experiences.”Personalised search and discovery will have a big role to play in catering to an older audience, he continued. The company is working on content ratings to better match users with experiences that are appropriate for their age.”As more aged up content appears it will attract older users, those older users invite friends their own age on our platform and as more older users come to our platform it becomes even more attractive for developers to produce aged up content,” Donato said.Related Jobs3D Artist – Mobile Studio – Midlands UK & Europe Big PlanetProducer Indie Game Studio France UK & Europe Big PlanetSenior C++ Unreal Programmer – PC and Console Studio – Austria South East Big PlanetDiscover more jobs in games The other core areas of growth for Roblox are international expansion (most notably in China via its partnership with Tencent), platform extension, and monetisation expansion, he detailed.The company’s strategy is also heavily geared towards building a metaverse, with the emphasis particularly put on the organisation of concerts, as Roblox had great success with its Lil Nas X concert last year, gathering over 33 million attendees.Roblox filed for an IPO last November, but ended up delaying it to 2021 as the company was hoping to get a higher pricing. It announced in early January that it would actually go public through a direct listing rather than an IPO, with the company valued at around $29.5 billion.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Publishing & Retail newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesSpecialEffect joins Best Places To Work Awards as charity partnerUS event deadline is coming upBy Christopher Dring 21 hours agoResident Evil: Village is the third biggest PS5 launch so far | UK Boxed ChartsBut physical sales down over previous Resident Evil gamesBy Christopher Dring 23 hours agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.