Windows 8 Sees Support for Xbox Service

Microsoft announced that their Xbox service will receive support from numerous developers on Windows 8. Studios supporting the service will include multiple mobile developers, including Rovio, Miniclip, Gameloft, ZeptoLab, Glu Mobile and Halfbrick Studios.

“Wave one of our portfolio will bring you many of the games you already know and love; and will include 29 titles from Microsoft Studios, some of which will be exclusive to Windows 8,” wrote Larry Hryb. “Many games will be available starting October 26 with ongoing new releases coming through holiday and beyond. This growing portfolio spans genres and delivers an innovative mix of fun-to-play titles that will be playable on any Windows 8 PC, laptop, or tablet.”

“Xbox games will be easy to find in the pre-installed Windows 8 Xbox Games app and available in the Windows  8 Store,” he continued. “In addition, all Xbox games for Windows 8 will have Xbox Achievements, and many will also take advantage of other Xbox features, including leaderboards, multiplayer modes, and connecting with friends, and more. Have a look at wave one of our portfolio:”


Apple’s Small IPad Reportedly Has 7.85 Inch Screen

Apple is reportedly using a 7.85 inch screen for its new smaller iPad from AU Optronics and LG Display and that it is planned for an October release. Regular iPads currently clock in at 9.7 inches.

The new smaller iPad offering is designed to head off new devices from and Microsoft. The new device is expected to be revealed Apple has a press event scheduled for 12th September – it likely won’t be long until we hear the details officially.

Source: Bloomberg

Rovio Talks Managing The Angry Birds Brand

Angry Birds is one of the most played games worldwide, having somewhere around a billion downloads. While the franchise is on almost innumerable pieces of merchandise now, Rovio’s EVP of games Petri Jarvilehto acknowledges that Rovio still feels obligated to make sure the brand stays relevant.

“I think it’s our responsibility and duty to keep the brand fresh,” said Jarvilehto. “If you look at how, earlier this year, we launched Angry Birds Space, where we introduced a completely new gameplay mechanic and environment to play with. We need to be constantly reinventing our games and ourselves, bringing new gameplay experiences, new experiences for the fans out there around the Angry Birds franchise.”

“If we were complacent and didn’t do that, that would be dangerous. Complacency kills. There are several great examples of that in the gaming sphere, as well as the wider entertainment industry. Look at how Nintendo has managed to keep Mario fresh for over 20 years – they keep bringing new types of gameplay experience to the players, that’s something we feel we have to do with Angry Birds as well – we need to always surprise and delight the player.”

“I’d say that we’re fairly confident that Angry Birds has become such a mainstream brand and phenomenon that we can’t foresee a future where can’t base a very solid and sustainable business on Angry Birds. Especially as we’ve also diversified to so many areas,” adds Rovio CEO Mikael Hed. “In addition to that, the business that we’ve built around Angry Birds means that it’s very easy to build up new franchises as well.”

The Angry Birds games have built a certain level of expectations for Rovio products, and Hed says that they’re keen to make sure that their upcoming game Amazing Alex also “caters to the entire family.”

“We certainly have a very clear vision on what we feel is right for a Rovio game, how we approach games” notes Jarvilehto. “With Alex I think you can see a lot of common elements with the way that Angry Birds was presented. We aim to have extremely high accessibility, anyone should be able to pick up and play the game instantly, yet there should be more depth to the experience than first meets the eye. Then, as you can see with what we did with Alex – we spent a huge amount of effort thinking about how we could make that sort of game with the minimal use of text. That’s one of the components which affects accessibility in a big way, especially when you’re operating in a global market.”

Moving forward, Angry Birds has plans for 30 theme parks around the world, showing an ambition for the company that goes far beyond toys and games. “We have big ambitions. We’re constantly thinking about what, from our starting point, is the biggest thing we can do. Who knows how far we can take that I don’t think Walt Disney knew, when he created Mickey Mouse, just how popular that would become. I think every company should have very high ambitions,” concluded Hed.

Source: GamesIndustry International

China Now Top Smartphone Market: Report

IDC estimates that China will make up for 26.5 percent of global smartphone shipments in 2012 compared to 18.3 percent in 2011. This will make the country the largest consumer of smartphones, ahead of the 17.8 percent share for the U.S. which is smaller than the 21.3 percent share last year.

“Near-term prices in the low-end segment will come down to $100 and below as competition for market share intensifies among smartphone vendors,” said IDC analyst Wong Teck-Zhung. “Carrier-subsidised and customized handsets from domestic vendors will further support the migration to smartphones and boost shipments. Looking ahead to the later years in the forecast, the move to 4G networks will be another growth catalyst.”

More affordable smartphones means that growth in countries like China, which have less disposable income than in markets like the U.S. and the U.K., will continue to grow rapidly. By 2016, IDC believes that China will remain the world’s leading smartphone market, though emerging countries like Russia, Brazil and India will be cutting into that lead.

PlayStation Europe President Says Siloed Platforms Are ‘Breaking Down’

Consoles have traditionally been closed places for outside development, with development only officially approved by the platform makers in a very formal way. However, the digital world is changing, and Sony Computer Entertainment Europe president Jim Ryan knows this.

“It’s definitely the case that the old model of these very siloed platforms is breaking down a bit. And it is function of now having proper connected devices. PS2 was not a connected device. PSP was not really a proper connected device. PS3 is and PS Vita most definitely is. So we have the ability now to have devices talk to each other,” said Ryan, who added, “There are obviously lots of people, whether it is on a tablet or a smartphone, playing games. Sorts of people who a number of years ago were simply not doing that. We see it a real opportunity to take that constituency and offer them a PlayStation experience, whether that is with an emulated virtual dual shock, or whether it is the use of PSN functionality, which will come in the future.”

“We think there is a great opportunity to offer consumers a place where they will be assured of a certain level of quality of Android game, presented with a gaming format that is similar to what they’ve experienced in the past,” he said. “This is new ground for us. It didn’t seem it at the time but these walled gardens are actually nice, cozy places, and we are now going out into the big bad world where there are no rules. We are trying to set those rules.”

“We are having to reset a lot of our thinking. And I am enjoying that. But it is a challenge, because we’ve been pushing PS1, PS2 and PS3, basically the same way, and then all of a sudden we are like ‘You have to forget that and think differently’. It is great that the industry evolves and goes in different directions. No entertainment industry can just carry on the way it was. For our industry to thrive and prosper it has to evolve and it has to innovate,” he concluded.

Source: MCV

EA Labels President Talks New Console Hardware Plans

EA Labels president Frank Gibeau recently teased that he’s seen the successors to the PS3 and the Xbox 360. He clearly has some insider knowledge, and he spoke openly on changes in the console market coming over the next year.

“We’re into the sixth or seventh year now of this generation of hardware and so it’s a mature market. In terms of [software sales] fatigue, I consider it more of a mature market, a stable market. [Sales] flatten out a bit towards the end [of a console cycle]. Typically a transition year before new hardware comes out you see that flattening effect inside of the business,” said Gibeau. “The new hardware is going to be coming out in about a year’s time, so we’re right around this period in time when the market’s going to slow down and then you have a new game changer coming with all new technology, all new hardware, and another growth period.”

When pressed for details, like if the new consoles will be called Xbox 720 and PlayStation 4, Gibeau responded, “I don’t know what they’re calling them, I’m under non-disclosure so I can’t comment too much about what they’re specifically doing.”

Source: Bloomberg

Kindle Fire Sells Out At Amazon announced that it has sold all of its existing inventory of the Kindle Fire. This announcement fueled expectations that the online retailer will soon roll out a new model of their popular tablet.

There is a major press conference scheduled for next Thursday in Santa Monica, California for Amazon. The revelation that the retailer has sold every copy of its tablet suggests that they are no longer producing it, instead opting to design a new model for this holiday season.

Amazon launched the Kindle Fire $199 tablet last November. Amazon says that it captured 22 percent of U.S. tablet sales over nine months, putting it second behind the iPad and matching estimates of 6.7 million Fires sold.

ABI Research said in a note that dedicated e-readers should be down in 2012 to 11 million in 2012 from 15 million in 2011. While tablets are expected to outsell e-readers nine to one this year despite the increased cost, e-readers aren’t to go away completely.

“We believe there will always be a niche market for the dedicated reading device for voracious readers, business travelers, and educational segments, particularly ones that are low-priced,” said ABI analyst Joshua Flood.

Source: AP


Exclusive: Guaranteed To Earn – A New Way To Deliver Earned Media Performance

Read more about this issue in this Ayzenberg white paper.

Source: Altimeter Group

Video games and their highly engaged consumers are showing the greatest potential in maximizing returns on earned media investments. That’s what Ayzenberg Group is discovering after running integrated programs for some of the biggest game brands. It’s led the agency to develop an entirely new approach to partnering with companies on these types of campaigns, where potential impressions are forecasted and the results guaranteed. Ayzenberg calls it the “Earned Media Performance Guarantee.” At its core, the program addresses what the agency bills as “the vagueness of virality.”

Speaking to [a]list daily, Ayzenberg’s Chris Younger, Principal, VP of Strategy, Keith Pape, VP Social, Mobile & Emerging Media, and Simon Ward, Director of Strategic Development, discuss the genesis of the program and how it works.

Describe what you mean by “Earned Media Guarantee.”

Simon Ward: To be specific, we are predicting and then guaranteeing an ‘earned media multiplier’ — that is the additional performance from earned media generated by our approach and actions across all activities in an integrated 360 campaign. We’ve seen that our most successful campaigns have been the most integrated, combining paid, owned and earned media. This highlights a very important trend towards the power of converged media to get better results. But successfully bringing them together is a highly challenging and complex task. It demands skill in each technique, as well as an additional skill in how they all interrelate. This is over and above our core craft of generating relevant and compelling creative strategy and execution across these different media.

When you get it right, you achieve a very powerful multiplier on your investment. So we’ve decided to take our in-house expertise and methodology on how to deliver this and work closely with our clients to predict what a multiple should be. And then we put our money where our mouth is to share risk and reward on the outcome of that multiplier. It underlines our fundamental belief in the effectiveness of our approach. This is based on a foundation of expertise and experience, and really in our view pushing the boundaries of how agencies can work with their clients, and of what agencies can and should be able to deliver going forward.

What are you measuring, and what are the exact values that you’re putting the guarantee on?

Keith Pape: This is about impressions and reach. It’s the most common metric still used by both parties -agency and brand marketer. What we want to do is resonate the effect of social media and this earned media guarantee by something that they’re used to working with as a baseline for everything they do. Like all campaigns, there are many KPIs [key performance indexes] and ROIs for success, but this guarantee is really based on reaching the audience and the CPM they’re used to dealing with.

How do you forecast impressions for a campaign?

Simon Ward: We use our methodology but we work very much hand in hand with the client. To ensure that the prediction is valid, we do some initial work with the client — you can call it an audit. The length and detail of that very much depends on the client. Working with their data and our data, the formula might involve looking at number of video views, influencer outreach impressions, Facebook or Twitter impressions, but then not just impressions, actual engagement activities that may lead to passing on and ultimately pushes prospects through the funnel. We do that with forecasting the initial investment in paid media, the multiplier effect, and then obviously come to a view where we agree what the end result target should be. We then have a separate conversation about the degree to which we can guarantee that, underwrite it, and share risk and reward.

How did Ayzenberg develop this approach?

Chris Younger: I can tell you that our clients over the years have really driven their relationship based on accountability. Those campaigns, those measurements are benchmarked against sales. It’s hard to be in the business today and not be accountable to working all the way through the sales funnel. One of the most powerful vehicles that has come into play is the relationship with the consumer in context to earned media. That is the earned media that comes with the owned and paid investments you’re making. As an agency, we need to be structured in a way that delivers against what we’re seeing as an evolution by our clients. That’s not only understanding the social relationship, it’s understanding the content, the brand, the positioning, and tying that together where we’re able in very unique situations to provide a guarantee against our work that goes beyond just the one-to-one dollar relationship you have with paid media. Each client is certainly unique on this, and it’s a challenge that I don’t find many agencies raising their hand to take on. It’s one that we spent many years working on here and feel quite confident in our abilities to do it for those people who are willing to partner with us.

Is there anything unique about this program?

Chris Younger: What’s unique is an agency that’s willing to put their skin in the game. We’ve done dozens of these programs on different scales and with an understanding of the different types of analytics that are in play. And probably the most important element is most of that work, all of the relationship, all of the thinking is done within the scale of the agency. Having social, having digital, having branding, media, strategists, and partners all built on behalf of our clients within the walls of this agency is actually part of the unique package in itself.

What are key starting points that a brand manager or product marketer needs to understand before signing on?

Chris Younger: They need to know what paid media and owned media is currently doing for them, and also need to have an understanding of the definition of earned media in today’s marketplace. If we can work from that baseline, that general understanding of the moving parts that are at play for marketing and advertising in today’s market, then we’re in a great situation for something like an earned media guarantee to be deployed against.

Second to that is an understanding of their organization and what they’re capable of, or willing, to do. This is a concert, and it’s a heavily orchestrated process. It is not without risk, but the reward is far greater, we’ve found, in this relationship of really driving the performance on all platforms.

Does this only apply to video game campaigns or is it suited to other brands or products?

Simon Ward: This is definitely of high interest beyond the video game sector. We’re working with or talking to companies in the beauty, electronics and toy sectors as well as a very large music retailer. Across all those different types of categories, this is a trend, the importance of earned media, and accountability is very important point. In general these categories can get intrigued by some of the great learnings that are coming from the video game sector, and this is one of those learnings.

What are requirements on the client end in terms of company or marketing department infrastructure that need to be in place to participate in a program like this?

Simon Ward: Two words come to mind, one is data, and the other one’s culture. With data, the availability within companies of the right data and the ability of the client to access that data is really key. And then with the cultural one, there’s a positive side to that, which is that if the client can break down silos then it leads to more collaboration. Invariably they may need to do that to be able to have a more converged approach, and an approach that can be measured. Actually having a client taking this on and challenging the company internally to do it could have a powerful cultural benefit of working collaboratively. It’s a side benefit but it could actually be a very strategic one.

Keith Pape: The last word on that is that this is an opportunity for clients and brands that are trying to get there but don’t have the systems built in. The nice thing about Ayzenberg being more than just a social media shop or a video shop, but rather being a holistic integrated shop, is that we can bring all the pieces in, help clients build internal systems, and execute and get that full 360 approach.

Any final thoughts?

Chris Younger: Clearly a process by which a client receives an earned media guarantee is not for everyone. However, having unified paid, owned and earned media approaches is where companies need to be going. As an agency, that is absolutely where we’re going. Those who are interested, we’d love to have a further conversation.

Exclusive: Bigpoint On Taking Browser Games To The Next Level

While PCs have lead the way as a medium for free-to-play games, it’s actually more complicated than that. Some of these free-to-play games have used Facebook as a platform, some have implemented their own launchers and some are integrated into the web browsers themselves. In is in the latter realm that Bigpoint has made it’s name, perhaps most famously in the U.S. for BattleStar Galactica Online. The company has a portfolio of dozens of titles which has evolved a great deal over the past decade. We talked with Daniel Norcia, Director of Performance Marketing at Bigpoint, about the company’s latest moves.

Talk to me about Drakensang Online and why you think it will be an important title for Bigpoint.

Daniel Norcia: Drakensang Online is a free-to-play hack-n-slash MMORPG based on the popular Drakensang PC series. We took the core IP and similar style of game, and translated it into a browser title that makes it easy for gamers to access without download or installation. We’re very excited about Drakensang Online because it has incredibly engaging PvP and PvE gameplay and impressive graphical detail, built atop our own “Nebula3” engine. The game is approaching its first anniversary and has already won numerous awards with nearly 10 million registered users. It’s proven to be a very high-caliber title for Bigpoint’s portfolio. With this momentum, we see Drakensang Online making an even greater impact and being successful worldwide because it has limitless possibilities for expansion and there are many features about the game that players will find appealing.

What regions of the world have been most important to Bigpoint and where is the company looking to expand to next?

Daniel Norcia: Since Bigpoint’s founding in 2002, we’ve established ourselves as a leader and pioneer in the free-to-play sector of the Western world. The European market has been our home-base, but our goal is to also grow internationally. We consider every region to be important because there are gamers and potential opportunities all over the world. We recognize that each market is different so that’s why we’re committed to taking a local approach in each territory. Two years ago, we set up a North American office in San Francisco and have been aggressively pursuing business and development here. Last year, we also opened up multiple new locations in Sao Paolo, Paris, London and Rome — core markets that we’d like to expand further in.

What sort of continuity or social elements do you hope to promote between Bigpoint published titles and would you look to increase such connections in the future?

Daniel Norcia: As we see more developers entering the space and the increasing cost of user acquisition, the ability to cross-promote between our titles becomes even more valuable for us, specifically with regard to drawing existing users to our new games. We are able to recommend other Bigpoint titles to over 280 million users in our network, based on features they enjoy about the current title(s) they are playing. We have also noticed that players appreciate our cross-promotion efforts — they are interested in new product development, and feel excited to be one of the first to gain access to a new title and provide feedback. This has strengthened the relationship we have with our community. Bigpoint continually seeks to improve our communication with our existing audience; exposing our users to new products is a big part of that effort.

What does Bigpoint consider most necessary and effective when it comes to marketing a new Bigpoint title? What is the comparative focus on their existing audience, social efforts, PR, or other tactics?

Daniel Norcia: With every new title, it’s critical for us to build pre-launch awareness with dedicated PR, updated websites, community forums, and social media efforts to grow a community of users early on. Each of our games have their own social media presence and continue to engage with the audience throughout the entire product lifecycle. When it comes to performance marketing, taking a regional approach is important because it gives us an indication of what kind of monetization patterns we will see in different countries. Based on the results, we are able to more completely formulate marketing rollout plans for those regions. We focus on every aspect leading up to a product’s launch, and even post-launch. As PR continues to inform our users and the online gaming community at large, new marketing campaigns and business development distribution begin to take place — and can potentially live on for years.

How has the Bigpoint mobile strategy evolved, now that the company is no longer producing those games internally?

Daniel Norcia: We recently announced our shift in mobile strategy to focus on publishing rather than internal development of mobile titles. We believe in the importance of mobile, but also understand that it is a different market than what we are experts in; therefore we want to concentrate on our core capabilities. With our knowledge and extensive global distribution network with over 1,000 partners, built from the ground up, we believe we can achieve greater success as a publisher of third party mobile games, and will continue to explore other opportunities beyond browser games.

Games like Battlestar Galactica Online have been significant for Bigpoint. With Game of Thrones Seven Kingdoms in the works, do you see licensed game as becoming a bigger part of your portfolio?

Daniel Norcia: Having Hollywood IP-based titles in our portfolio really adds to the diversity of the types of games we can deliver. We’re thrilled to have the opportunity to work on projects like Battlestar Galactica Online, Universal Monsters Online, Game of Thrones Seven Kingdoms, et al. and create new extensions of the IPs for fans and new enthusiasts to experience online. Additionally, as we enter new markets, we have the leverage of world class IPs, which is useful in establishing and building an ongoing connection to our community. The licensed games are significant to our portfolio, but we also like to maintain balance and shape everything forward including our organically-grown titles such as the action MMORPG, Drakensang Online, and casual farming sim, Farmerama.

Why do you think browser based games have worked so well for Bigpoint and do you see their reach increasing as time goes on?

Daniel Norcia: As a developer and publisher of browser-based titles over the past decade, we’ve witnessed an explosion of browser games within recent years. In our early days, we built simple flash-based titles, and later developed MMOs like Dark Orbit and Seafight; today we have bigger budget titles like Battlestar Galactica Online and Universal Monsters Online. Bigpoint has been able to achieve success in the browser games segment because we’ve been able to mature with- and within the market. We have always been open to innovation and adopting the latest technology such as the Unity 3D platform — this enables us to sustain the standard of high-quality browser games in this era. We also expect development of browser games to surge forward as even traditional game developers like Sony and EA are beginning to invest in this space.

Daniel, thanks.

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Exclusive: Transformers: Fall Of Cybertron Marketing Rolls Out

By David Radd

Back in May, we interviewed High Moon Studios about their efforts to turn the Transformers license into game brand. We followed up with them on the eve of the launch of Transformers: Fall of Cybertron to talk about more of the particulars in marketing the game. Marketing Manager Greg Agius was also kind enough to answer some questions about Deadpool, High Moon’s latest project!

What sort of reception did you get to the Transformers G1 pre-order trailer and is that a major reflection of the sort of audience you want to reach?

Greg Agius: For a good number of people it was like seeing our childhood brought back to life. It’s important to me that people realize that the source material for that video is sacred ground. We made that video right here at High Moon and there isn’t anyone in the building that doesn’t love the 1987 Transformers movie. For us that’s our Transformers and that’s our Optimus Prime.

The community had similar feelings of nostalgia from what I have seen. My favorite reaction was the wonderfully sarcastic piece on Kotaku. In terms of marketing strategy we wanted to target that very core customer who is most likely to pre-order. So while it’s just a slice of the much wider Transformer fan that we hope to reach, this piece serves our most dedicated fans very well. Count me as one of them.

What has the pre-order situation been for Fall of Cybertron and how have fans reacted to the pre-order offerings?

Greg Agius: We’ve tracked substantially higher compared to our previous games for the entire campaign. Pre-orders are still play a vital role in galvanizing support for a game; so this is a big victory for us. There are a number of factors that have contributed. Foremost, War For Cybertron proved that High Moon makes fantastic Transformers games. The fans that discovered that game have been huge pillar of support. We also created a great offering for that fan base right here at the studio. Being based directly at High Moon I was able to work directly with the dev team to build the G1 Retro Pack and our other pre-order offers. The joy for me was that I got to watch our talented artist work to create the assets from concept art to finished models. The team crunched big time to get it all done in time. This is the beauty of having in studio marketing behind a really talented dev team.

Greg Agius

What has High Moon learned since it developed War for Cybertron and how has that informed the marketing for Fall of Cybertron?

Greg Agius: This is an interesting question, because High Moon had no marketing function at that time; I and my team of graphic designers headed by Matt Schiel are a direct result of learnings from War for Cybertron. WFC was a fantastic game! The success WFC achieved is testament to the quality of the game High Moon created, but it could have been even better. I think everyone learned the importance of building consumer awareness over a much longer stretch of time than the traditional ad campaign allows and the need to really equip the publishing arm of Activision with more tools to drive the game. Having internal marketing is more than just about creating support from core fans, you also need to win the hearts of everyone who can help drive your game. Activision picked just three games to feature at E3 this year; our hard work and the game’s quality helped win that featured support.  

What sort of relationship do you have with Activision that allows you some freedoms with your advertising campaign?

Greg Agius: We work symbiotically with the Activision team: they have the resources and mass market expertise, we provide assets and knowledge that bring everything close to the IP. For a licensed game like Transformers it’s critical that you be IP accurate. You need to be a fan to talk to a fan. The look, feel, & tone of all of our assets match our game perfectly. In fact in most of the time we’ve leveraged game assets to create our ads. For example, our stunning cinematic trailers are built using our amazing character models and animations.

How will Transformers: Fall of Cybertron be different from other elements in the Transformers universe?

Greg Agius: Both of our Cybertron games have created a rich new subsection of the huge Transformers universe. Our games are modern updates of the Generation 1 Transformers that we all know and love. Especially in Fall of Cybertron the team has really created a dark and emotional story that adult shooter fans expect. Favorite characters are going to get smashed, a planet is going to die; this is all epic stuff. However, we can still have a big tent for all Transformers fans, because we’re exploring a prequel story. No matter how you came to love Transformers you know they started on Cybertron — this is that story.

How will you look to apply lessons you learned from the Transformers franchise to Deadpool, another licensed property with a fervent fanbase?

Greg Agius: With Grimlock and now Deadpool we have a knack for finding very unique characters. With so many games on the market you need characters that can break through and grab mind share. What we do best at High Moon is identify what it is that we as fans love about these characters and then use that as a core part of our campaign.  

Deadpool concept art

Speaking of Deadpool how far down the rabbit hole of Deadpool elements will the game and marketing for the game go?  Fourth wall breaking? Thinking in little yellow boxes? Acknowledgment of the mechanics of a video game? 

Greg Agius: Deadpool has taken over High Moon, literally. We’re not just using that as a method for our marketing and PR campaign. The team has embraced the character fully; jokes around the office, Deadpool T-shirts, and even a few guys with all red shoes. That kind of energy is infectious and Activision along with Marvel has fully embraced it. So you can expect to see some major 4th wall breaking in everything we do.

Being accurate to the character has already paid huge dividends with Deadpool’s game announcement at San Diego Comic Con. We broke the 4th wall and took over Marvel’s panel, spray painted a Spiderman billboard, and made everything look and feel Deadpool. Just check out the press release. The reaction has been glorious insanity. It’s amazing to see all of the new people we’ve now brought into the know on Deadpool. With tens of millions of hits to, fans are informing other fans. Activision and High Moon took big risks to do something fun and creative and millions are responding to it.

Greg, thanks.

Played the High Moon Transformers games Can’t wait for Deadpool Join the discussion on Facebook.