How ‘Atlas Reactor’ Is Like Nothing You’ve Played Before

One often hears the phrase, “you’ve never played anything like this,” but rarely is it true. However, Atlas Reactor turns out to be one of those rare gems by mixing turn-based action with a competitive online element. Published by Trion Worlds (famous for massively multiplayer online games [MMO] such as Rift and Defiance), the game recently entered into Early Access on Steam, and is in its final days of an extended free-to-play period. There is currently a healthy roster of about 19 characters, with a new one added each month.

Peter Ju, executive producer for Atlas Reactor, spoke with [a]listdaily and described the game as “a team-based PvP game that is also a strategy tactics game. What is interesting about our core setup is that we use simultaneous turns. It’s 4v4, and everyone on your team and the enemy team are all making decisions at the same time during the decision phase. Then, during the resolution phase, you see how those moves play out.”

William Cook, lead designer for the game, sums it by jokingly saying, “It’s 20 seconds of making a plan and 20 seconds of watching it all fall apart.” He continues by saying, “We started this project with the question: ‘how do you make a multiplayer turn-based game fast and fun?’ We came away with the answer: it’s always got to be your turn!”

“Simultaneous turns reward fast thinking,” Ju adds. “but it doesn’t require twitch reflexes to become an expert at the game.”

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Joining The Competition

Unlike many other competitive titles, Atlas Reactor is a premium game that goes for $20, but it will offer a way to play for free.

“Soon, we’re going to introduce a free mode, which can be played using a free rotation of the characters,” said Ju. “If you like the game, you can pay $20 to get access to all the characters. We didn’t want to give piecemeal access to stuff because when we started developing ranked mode, we felt it was really important that everyone have access to all the characters. The one way to guarantee that was to have one flat fee. We didn’t want to figure out how to monetize people correctly in a competitive game and be overly concerned with monetization.”

Cook also explained that Atlas Reactor started out as a free-to-play game until the company decided that purchasing, similar to Overwatch, would be a better model. Ultimately, the games progression system will follow Overwatch‘s style by offering cosmetic items for players to earn through gameplay.

So how do you get the word out about a game that’s as unique as Atlas Reactor? “We’ve been in closed beta, and we’ve had an open (free-to-play) weekend so people can just try out the game,” said Ju. “It’s a different game that’s hard to describe, so we let people try it out to see if they like it. The people who have been playing it have been great in trying to get the word out.”

“It’s been amazing,” said Cook. “The community has been so positive in trying to push it, and they give us a lot of pressure to push it harder too. We’ll be at Gamescom and PAX this year as well.”

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Making Games People Can Play Together

When asked why Trion Worlds, a publisher that specializes in MMO games, decided to develop Atlas Reactor, Ju explained that, “what Trion wants to do is make games that people can play together. We’ve focused on online multiplayer games and this kind of falls into that.”

“Trion is pretty good about fostering new ideas. Trove was not a traditional MMO; it was more about bringing people together in different sandboxes. That came out of the Trion Labs projects, and this is another one of those,” said Cook.

Cook described how getting early feedback from players guided development decisions. “Funny story, we put custom games in much earlier than we thought we would due to player feedback. Once players started jumping into the game, the first thing they wanted to do was run their own tournaments, and they needed custom games to do that. The next thing they wanted was the ability to spectate, so we built that a lot sooner than we anticipated. Finally, we added replays because they wanted to analyze games in post-game style.”

Given that positive reaction, it seems like Atlas Reactor might have a future as an eSport. “We can always hope,” said Cook. “We’re trying to make a competitive game that’s eSports compatible. We put in a lot of tools that make it easier to watch and set up tournaments so users can push that agenda on their own.” Ju added that “our primary goal is to make a fun game. Any fun, competitive, game that people like will have an audience for people to watch.”

Part of the challenge is in getting people to play competitively. “There is a certain type of personality that enjoys competitive play,” said Ju. “We do have matches vs. AI, so there’s a smooth transition over. One thing that’s really nice about this game is that if you play with friends, that friend can quickly teach you how to play well compared to other games. Sessions are relatively short—around 20 minutes or less—and when something goes wrong, you know exactly why and what you should have done, and that’s a helpful learning tool. Losing isn’t that bad because you can learn from every loss.”

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We also asked if the Early Access process, where players purchase and play the game early and provide feedback, helped to promote the game. “Definitely,” said Ju, who explained the pros and cons. “We get early feedback, and that helps a lot. People get to hear about the game and try it out organically. But I think that one of the challenges of Early Access is that people feel like it’s a full game already and get upset at changes. Another challenge is maintaining momentum. It’s something you need to be aware of with Early Access. When something first comes out, people think it’s interesting. Spread that out over months, and you have to maintain that enthusiasm by adding new stuff.”

Cook also added that offering new characters, maps, mods balance updates and features will help keep the game fresh by offering new ways to play. There are also unique rewards to playing in ranked games.

The Challenge Of Being Unique

So, how does Trion promote a game that’s not quite like any other game that’s out now? “I think one of the challenges is that the game is familiar, but at the same time, it’s not,” explained Ju. “I feel like people have a grasp of what it is, but once they start playing, they see it’s different from other games out there.”

“Personally, I found that the hardest thing is also the thing that allows us to survive,” Cook added. “There are a ton of character-based third-person shooters. But for us, we play completely differently, and there’s never been a competitive game quite like this in the turn-based team space. You can say that to people, but they either don’t believe you or they think turn-based means one thing, so it’s very hard to pitch: ‘Try this, it’s new. You’ve never tried anything like it.’ So being unique is both a challenge and a merit.

“You’re getting the teamwork [aspect], but this is 20 seconds of that plan and then 20 seconds of watching it happen. There’s this anticipation that’s almost similar to watching American football. There’s the 20-second huddle, then 20 seconds of the announcer building hype while people make predictions about what the teams should do, and then everyone watches as anything can happen in the resolution phase.”

“And you see who made the right choices,” continued Ju. “You watch poker, and you hear people asking, ‘Did they make the right choice?’ every single time. Same thing for football; did they make the right choice?”

Having unique gameplay and being a new IP presents two challenges that Trion must work to overcome. We asked how they were working to overcome them.

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“Being on Steam offers a lot of visibility,” said Cook.

“Once we implement free mode, people can try it out whenever they want,” Ju said. “That’s a nice barrier that’s removed. I think a lot of news outlet exposure will explain what type of game it is, and there’s word-of-mouth from our players. This is definitely a game that will grow over time.”

“Much like the start of a lot of these competitive games,” said Cook. “Just think of how long it took to get from DOTA to Overwatch in terms of character-based competitive games being a thing. It took seven years before League of Legends took over the world. It wasn’t huge overnight because it was an incredibly dense subject matter, and a lot of people didn’t even understand why it was fun. This year is a rash of games featuring character-based competitive genre. And as far as the new IP is concerned, we have a glorious new trailer that we’re releasing next month at Gamescom that will bring people into the action.

“There are challenges, but they’re also the stuff you dream about doing as a game developer—a new game with a new IP. And how often do you hear, ‘you’ve never played anything like this’? This is actually true.”

Jaunt Exec Explains What Virtual Reality Opens Up For ESports

Jaunt has launched its first 360-degree eSports documentary, CLG: Win Everythin’, as part of a multi-year deal with ESL and Intel, which sponsors the Intel Extreme Masters (IEM) global tournament. The first documentary focuses on the League of Legends team, Counter Logic Gaming, and was shot at the IEM World Championship in Katowice, Poland earlier this year.

Jaunt has a team in Shanghai, China this week to shoot a second 360-degree documentary at IEM Shanghai. David Anderman, chief business officer at Jaunt, said the plan is to film content at each IEM global stop this season.

“We are focused on shooting the compelling stories surrounding the teams competing at IEM as they hopefully succeed, and sometimes fail, as well as the competition and games themselves,” Anderman said. “The Jaunt team has a great relationship with ESL and Intel via the events we shot in San Jose and Poland, and we can now tightly integrate VR content into the stories that will be told around the season.”

Anderman said the goal of these docs is to give fans a feel of the athletes’ lives behind the scenes, including how they train, what it’s like in their hotel rooms as they mentally prepare, witnessing interactions and attitudes on the bus ride to the venue and overall getting a feel for what it’s like to live life as one of these championship gaming teams.

“We believe that through VR, we can bring fans an experience they simply could not have before, in addition to the experience of what it’s really like to be on stage and in the arena while they are competing,” Anderman said.

Kevin Kelly, manager of content and communication at ESL, said IEM fans have always enjoyed being on the cutting edge of PC gaming, which is also where many early adopters of the VR scene have come from.

“Expanding the VR experience to cover eSports feels like a natural place for the medium to go,” Kelly said. “If you have never attended a full-scale, stadium-sized match in person, the VR experience from Jaunt will put you front and center into the action. And even if you have attended an event, living the experience in VR with the Jaunt app provides a front-row VIP ticket for everyone who watches.”

Jaunt supports all major VR headsets, including Oculus Rift, HTC Vive, Playstation VR and mobile viewers such as the Gear VR, Homido and Figment.

Kelly said it’s likely sponsorships will become a large part of how ESL delivers new virtual reality experiences in the future.

“With the Jaunt content shot at IEM Katowice, you will see the IEM logo on the ground under the camera,” Kelly said. “This could be great visibility for brands while maintaining our commitment to retaining the core experience we seek to provide to fans. We will be watching closely to see what other opportunities in this space might arise, and innovate to always bring the most legendary eSports moments for IEM fans.”

While the documentaries focus on 360-degree footage that was captured months ago, 360-degree livestreaming offers the next evolution of “being there” for an audience that watches most eSports content digitally.

“VR livestreaming allows brands to reach consumers in a very personal way,” Anderman said. “VR is the first entertainment medium that’s native to smartphones and the dedicated headsets that are based on smartphone technology. With the wide adoption of the smartphone, it becomes an opportunity for brands to reach their consumers with an unbelievable experience that’s truly an IMAX theater right in your pocket.”

Anderman said the short-term goal is to tell the stories of these teams and IEM tournaments, while introducing ESL to a new audience via the VR experience.

“In the future, we’d like to incorporate game content footage directly into the VR experience, so fans can accompany the teams directly in the games as they are playing it,” Anderman said. “The general idea is to cut between what the teams are doing real world in the tournaments and what the gameplay actually looks like in VR. As games get ported to VR, it’s going to be a simplified process, and the result is going to be an awesome, incredible experience—you’re going to be watching the competition as if you’re inside the game.”

Wargaming experimented with this type of virtual reality gameplay experience at the World of Tanks Grand Finals in Poland earlier this year.

Intel Exec Explains Importance Of ESports

The Intel Extreme Masters (IEM) launches its 11th season on July 28 with its stop at ChinaJoy in Shanghai. The global tournament, which is run by ESL, has awarded over $5.5 million in prize money at IEM events in the last decade. Over $500,000 was given out at the IEM World Championship in Katowice this past March alone. That event also attracted over 113,000 attendees.

IEM has visited five continents with 58 events in cities such as New York, San Jose, Dubai, Los Angeles, Hanover, Chengdu and Katowice over the last decade. The first season of the eSports tournament attracted over 500,000 video sessions, while Season 10 exceeded 132.3 million video sessions.

With a new season and new countries, George Woo, worldwide marketing manager at Intel, explains how the tech giant has benefitted from its investment in eSports.

“The key lesson we’ve learned from the growth of IEM and eSports over the past 10 years is that we have to continue to evolve, scale and deliver an amazing experience for gaming fans worldwide who are now accustomed to the world class experience that IEM delivers,” Woo said. “By working with ESL we have accomplished that with great results year-over-year. For instance, we’re now hosting our tournaments in sports arenas; we’ve added CS:GO to our tournaments; we’re adding new locations like Oakland and Gyeonggi (South Korea) for this season and we’re continuously raising the bar with our overall event and broadcast production.”

Since IEM is publisher-agnostic, Intel has the ability to use different game titles in its tournaments. Each season, the game titles are recommended by ESL. Woo said the plan for season 11 is to continue the use StarCraft II, League of Legends and Counter-Strike: Global Offensive.

IEM is a global tournament series and Woo said the goal is to have an event stop in key geographies like the Americas, Europe, China and Asia Pacific. The locations are selected based on the size of the eSports community in the region, Intel’s top enthusiast countries per territory, logistical hurdles, strong local partnerships and cost of venue and local government support.

“We are very excited about the addition of IEM Oakland and IEM Gyeonggi for this upcoming season,” Woo said. “Both markets have strong eSports communities, and we’re thrilled to host IEM events in these cities to further extend our reach by delivering an amazing eSports experience. Gyeonggi will be IEM’s first-ever stadium event in Asia.”

According to SuperData Research, pro gamers won $53.8 million through eSports tournaments and events around the globe. Woo said prize pools have always played a significant role in eSports tournaments, and they will play an even more important role as the overall eSports landscape continues to grow and get more congested with more leagues starting up.

“Prize pools have always been important in IEM, but they will never be a top priority,” Woo said. “We put our main focus on delivering a consistent world class tournament experience, which the players and gaming communities have expected from IEM over the years and can expect for upcoming IEM events in the future. With enough money, anyone can always top another’s prize pool, so that has never been what solely defines the value of IEM.”

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Beyond the prize pool numbers, Intel is involved with team sponsorships that can help with player salaries, travel, providing the latest Intel-based gaming PCs to practice on, as well as PR/social opportunities. The company also takes care of hotel accommodations for players at IEM events.

New this year is the ESL eSports TV channel, which will broadcast IEM events. Woo sees this development as a natural move for ESL.

“Expanding eSports coverage is good for the entire industry, as well as for IEM,” Woo said. “We want to strengthen the current community and reach new audiences to continue to push the growth of eSports, and ESL eSports TV will help with that.”

The new ESL content partnership with Pilgrim Media will also open up new opportunities for IEM in the future.

Creating unique eSports content to drive awareness and reach new audiences is the goal,” Woo said. “There are no immediate plans that directly impact IEM at the moment, but we are very open to unique and fresh ideas to grow the IEM brand and eSports in general.”

Both of these initiatives open IEM to a broader audience, which introduces new opportunities for non-endemic brands.

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“ESports is a key passion point for millennials, where there are an estimated 225 million eSports viewers worldwide,” Woo said. “So there is a huge opportunity for non-endemic brands to reach that demographic through eSports.”

Woo said Intel measures its IEM ROI through surveys and sales programs, and the value the tech giant gets out of its involvement in the eSports community is enormous.

Intel has been involved in eSports for more than 15 years. The company sponsored other leagues prior to IEM.

“Gaming is very important to Intel, and we’re proud to be involved with the evolution of eSports by providing an amazing eSports experience where gamers around the world can enjoy and learn about our newest gaming product offers to support their gaming passions,” Woo said.

IEM will run through March 2017 and once again culminate in Katowice, Poland for the world championship.

How ‘Prison Architect’ Became A Breakout Hit

Introversion is known for creative and quirky games such as Uplink, Defcon and Darwinia, but the independent developer struck a chord with fans with the development of Prison Architect. As the title implies, it’s a game about constructing the perfect prison that keeps the inmates contained and in relatively good shape.

“Build and manage a maximum security prison. That’s our tagline, but I think it actually sums up the game pretty well,” said Mark Morris, founder of Introversion, while describing the game. “You start with an empty plot of land and a bus full of prisoners heading your way. You need to get a holding cell built pretty quickly followed by cells and a kitchen/canteen. After that, things get interesting. Do you build a yard or solitary confinement cells? Do you add visitation rooms or install CCTV? Every action you take will have an impact on your prisoners’ behavior and also on your bank balance, but fundamentally you are free to make your own decisions in pretty every aspect of the penal system.”

What sets Prison Architect apart from most other games is how it was crowdfunded without the use of services such as Kickstarter. Instead, the company sold pre-orders of the game and used those funds to develop it. It then spent about three years on Steam Early Access before officially releasing last October and becoming a phenomenal success.

The developers stated earlier this month that Prison Architect sold over two million copies, generating more than $25 million. The announcement came days after the console version, developed by Double Eleven, released for the PlayStation 4 and Xbox One.

Morris discussed the success of the crowdfunding effort with [a]listdaily, and whether Introversion would consider doing something similar with its next project. “Yes and no,” said Morris. “I’m not a fan of Kickstarter, because I don’t believe it’s possible to accurately predict the cost or time required to make a game. Our approach was to run a campaign with no stated end date, but always deliver value to the backers. Right from the beginning, PA delivered a good 4 or 5 hours of gameplay, and over the following years we have continually updated and enhanced it.

“Not every game concept is going to be amenable to those kinds of regular updates and replayability. More narrative based forms can only really be played through once, so the idea of iterative content delivery just doesn’t fit as well.

“For us, it’s always about making great games, and the business strategy will always follow the game concept rather than trying to conceive an idea based on a business model. We’ve recently announced our next title, Scanner Somber, but that will be delivered in a very different way.”

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Prison Architect spent a long period of time in Early Access, and when we asked how the game was being promoted during that time, Morris said, “We started out with a mail to four or five journalists from some of the big sites to cover the very first launch of Alpha 1. The response from players was just enormous, and I think that really got the ball rolling. We produced monthly YouTube update videos which now receive about 100 thousand views. The biggest change in recent times has been the huge YouTubers covering us. These are often totally out-of-the-blue, and suddenly we see a big sales spike and find that Sips or Markiplier or some other massive video maker has dropped a video.”

When asked what he learned about promoting independent, crowdfunded games while developing PA, Morris replied, “YouTube is massive. It’s the only channel that we have ever been able to track against a change in sales. Static ads make no difference. I’m not sure that any single review really contributed that much. Twitter was pretty much irrelevant and Facebook was like pouring a glass of water into an ocean. When we launched v1.0, we did manage to get over one million hits to our Steam page, but we didn’t have a major uplift in sales on that day. Perhaps the price was too high.”

We also asked how Morris imagined the game would continue to grow. “Honestly? We don’t know,” he replied. “We are shortly going to launch v2.0 which will be our ‘feature complete’ version. We’ll still keep the game current with the latest hardware and fix bugs, but it’ll be the last of our monthly updates. As a creative business, it’s time for us to be creative and put out a new game, but we have no idea how that will affect the background sales of PA. We do still have some cool ideas for some pretty major features that we may decide to implement at a later date, but at 2 million players, we’d be happy if PA never sold another unit on PC.

“That said, we’ve just dropped the console versions, and early indications are that PA is going to do well on the PlayStation 4 and Xbox One. I’d love to be able to get some title updates and new features in for the console audience, but we’ll have to see. We’ve also got a tablet version in the pipeline that we’re really excited about.”

Mark South, COO of Double Eleven, spoke to [a]listdaily about promoting the console version of Prison Architect. When asked if there were significant differences in promoting the console edition compared to the PC version, he said, “Promoting the console editions of the game was its own unique challenge, that Double Eleven worked relentlessly on.

“It’s pretty safe to say that, broadly speaking, at present, PA sits in its own genre—strategy, simulation, builder or any combination of those words. At the same time, we didn’t take it as a given that it would be as known of a quantity on console as it was on PC. That ‘known quantity’ factor on PC also presented its own challenges, as we needed to give something to our media partners that was fresh, especially when they had previously reviewed the PC version. In short, we operated on the basis that no one on console had heard of it and that we’d have an uphill struggle making it known—despite all the success and accolades PA has been fortunate enough to attract.

“Double Eleven’s key message for the console editions was more focused on the broader thematic elements of the game, more akin to someone’s favorite TV prison series. With that more familiar context, we could introduce them to the simulation heart of the game. To that end, the messaging was more to do with the lives of the inmates and the emergent behavior that could occur. For console players, PA would provide all the stuff they need to explore how they would build and run a prison and see the outcome of their designs on their prisoners.

“Double Eleven ticked the normal boxes carrying out interviews, previews tours and sponsored YouTube content but also engaged in smaller, more personal projects. This included activities like creating a web tool that would allow anyone to create a prisoner, becoming immortalized in the game as well as a number of videos focused on the heart of PA and what it had to offer.”

One outcome releasing Prison Architect on consoles was that there was no, in effect, two versions of the game with differing features. We asked South whether there were any plans to bring match the console release with the PC edition’s features.

“Double Eleven ultimately created their own edition of PA and introduced it to a new audience,” said South. “Although the versions play the same with the same core mechanics, they’ve made hundreds of changes, improvements, and tweaks to their editions in line what they believe a console gamer would want from PA. So to that end, we see the console edition not as a port but as a uniquely different experience on its own path.

“Given that we see both editions as being on separate paths, they were promoted independently but with a shared awareness of each other.

“Of course, it’s still early days for the console editions so we will continue to support the game with updates and content right for its community, not necessarily to mirror it to the PC version.

Finally, when asked about what he thought about Prison Architect‘s appeal, Morris explained, “I think everyone’s interested in prisons. I think everyone has an opinion on whether they are too lenient or not tough enough, and I also think people enjoy exploring their creativity in video games. I think we did the topic justice, but I guess a better answer to this question can be found in the pages of the Steam user reviews!”

Mobile Devices Becoming The New Favorite For Web Shopping

When it comes to shopping on the web, more people prefer the mobile route.

A new study by Demandware indicated that smartphones made up 45.1 percent of web shopping traffic for the first quarter of this year, just barely squeaking past the 45 percent that prefer desktop computers, per Bloomberg. Demandware was quick to note that the numbers for mobile will continue to be on the rise, as phones are set to reach 60 percent of eCommerce visits by the end of 2017.

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The chart above breaks down just how much mobile phones have grown with eCommerce over the past few years, going from $7 billion in the second quarter of 2013 to $22 billion for the fourth quarter of 2015. That’s triple the amount of increase in just over two years.

That said, it’s just a matter of retailers finding a way to make the most out of the format, and doing away with problematic issues that would prevent sales on their site, including checkout times that last longer than usual (a turn-off for those that are into impulse buys) and payment procedures with potential security issues.

Demandware made note of this, indicating that completion of orders on mobile is actually 11 percent lower than the combined rate through all other devices, including desktop computers.

“If they can get it right on mobile today and tomorrow, that’s where they’re going to see a lot of value going forward,” said Rick Kenney, who put together the study and serves as head of consumer insights for Demandware.

ECommerce continues to be a big deal for retailing partners, with sales reaching an estimated $92.8 billion for the first quarter of 2016, which makes up 7.8 percent of total retail sales. While this is a small percentage, it’s grown exponentially from 1.3 percent in 2002.

With that, more people prefer mobile shopping as a convenient way to buy the things they want. A comScore report noted that mobile sales have managed to double the amount from 2013 to 2015, and Demandware added that shoppers will use their devices now more than ever, leading to its projected increase by the end of 2017.

More companies are grasping ways to make mobile shopping more convenient, including PayPal with its quick transfer system, and devoted payment set-ups for iOS and Android devices, through Apple Pay and Android Pay, respectively.

Poonam Goyal, senior retail analyst for Bloomberg Intelligence, noted that bigger retailers are seeing the biggest boost, thanks to devoted apps like Target’s Cartwheel, which offers shoppers discounts on the fly. “Retailing today is more about the customer experience than it is about anything else,” she noted.

As for where the market will go from here, the report noted that a “mobile only” space could be coming in the next few years. eMarketer added an estimate that indicates around 71 percent of US consumers will have some form of smartphone to utilize for shopping in just a couple years’ time—a leap from the current 59 percent estimate. Demandware was aware of this, and noted that by the end of 2018, phones will zip past computers for online orders by a margin of 13 percent.

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Square Enix Expands ‘Final Fantasy’ Brand Beyond Gaming

Square Enix is kicking off the fall season with a new entry in its long-running Final Fantasy series. The company has already begun promoting Final Fantasy XV, set to release in September for Xbox One and PlayStation 4. Square announced the release date and provided a first look at the game in March on a special Final Fantasy Uncovered event, and a playable demo was released shortly afterwards to provide players a taste of what’s to come.

However, the game is part of a bigger picture, as the publisher will also be releasing a new CG-animated film to help tell story and build anticipation. Final Fantasy XV: Kingsglaive will mark the first animated film from Square Enix since its 2006 release of Final Fantasy VII: Advent Children, which ties in with the 1997 video game of the same name.

Square Enix heavily promoted Kingsglaive over the weekend by releasing a new trailer for the film, which features the voice talents of Aaron Paul (Breaking Bad), Sean Bean (Legends) and Lena Headey (Game of Thrones). It’s set for a limited theatrical release on August 19, followed by a home video release on October 4—which is less than a week after Final Fantasy XV launches.

A film coinciding with the release of a video game is a bold idea, although Square Enix is no stranger to filmmaking. In 2001, the publisher released the film Final Fantasy: The Spirits Within to theaters. Despite its stunning visuals, it ended up being a financial disappointment, resulting in the closure of Square Pictures. However, Square later took a different approach by releasing Advent Children directly to the home video market in 2006, which was a big hit.

Director Takeshi Nozue assured fans that the release of a film like Kingsglaive is vital to the success of the Final Fantasy brand. “The current generation consoles haven’t necessarily taken off around the world,” said Nozue, speaking with Polygon. “We wanted to be able to reach a wider audience. A film gave us a lot more opportunity to reach more people.”

So far, response to the film has been off the charts. “We can’t believe the scores that we’ve got,” noted Nozue. “It’s been great. We’re really happy about it. Some people are saying it’s 100 times better than Advent Children. That feels really gratifying.”

Square has spared no expense pushing both the film and the video game, with everything from in-store campaigns for Final Fantasy XV to tie-ins with popular talents, including the voice actors for Kingsglaive and Florence + The Machine, which covered Ben E. King’s “Stand By Me” for the game’s soundtrack.

Square also teamed up with DJ Afrojack to mix music for a special trailer for the game, highlighting its intricate battle system.

To open up the story even further, Square Enix has produced a special animated series called Brotherhood: Final Fantasy XV, which focuses on the misadventures of Crown Prince Noctis and his three comrades, the main characters for the game. Episode one released back in March, and other episodes will release over the next few months, leading up to the game’s arrival in stores and on digital.

Last but certainly not least, the action of Final Fantasy XV won’t just be limited to consoles, as Square Enix is also preparing a mobile game called Justice Monsters Five, which will also release in late September. The game will focus on a pinball-style mini-game with “role-playing elements with some of the franchise’s most iconic monsters.” It will be playable in the main console release as well, but it gives players something to do when they’re on the go. There’s no word yet on pricing, but it could very well be free-to-play.

How ‘SBK16’ Is Winning The Mobile Game Racing Audience

Motorcycle racing fans got their chance to fulfill their need for speed when SBK16 Official Mobile Game released last week for iOS and Android devices. Developed as the official game for the 2016 Motul FIM Superbike World Championship, the game is the latest addition to the SBK series on mobile, which has over 20 million downloads worldwide.

The Motul FIM Superbike World Championship is known as one of the top motorcycle racing series in the world, with over 400 million viewers worldwide. More than 100 riders, representing 22 countries, take part in the 13-event racing series. Unlike most other professional racing sports, the motorcycles are based on production models that are available for sale, which makes the motorsport series a means of showcasing vehicles manufactured by Yamaha, Honda, Kawasaki, Ducati, BMW and others—thus the mantra, “Win on Sunday, sell on Monday.”

The SBK16 Team at Digital Tales spoke to [a]listdaily about the new game’s release and how it ties with the sport.

When asked how the studio’s partnership with the 2016 Motul FIM Superbike World Championship began, Marco Boldini, sales manager at Digital Tales said, “We leveraged a previous relationship with the former WSBK licensor, the Italian FG Group, which was subsequently acquired by Dorna Sports. Our first contact with them dates back to the original Superbike games series on console and PC that was actually developed and marketed by some members of the current Digital Tales team.”

As to whether there were any cross promotions between the game and the event, Boldini said, “Yes, the game will be totally free to play through the rest of the 2016 Superbike World Championship, which is until the end of October.”

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Alessandra Tomasina, Digital Tales’ marketing manager, added “Basically, we reconnected with them [the Superbike group] a few years ago and showed them Ducati Challenge, our first license-based motorbike racing game for mobile devices, which was climbing the iOS and Android charts worldwide at the time. Luckily, that was also the time when mobile gaming was gaining ground, and the Superbike license holder was looking into expanding its audience to the younger generations. Since the Superbike brand had not received the mobile game treatment yet, they found a partnership with Digital Tales appealing and here we are!”

Tomasina also commented on the importance of catering to mobile gamers the sport. “Mobile gaming is definitely here to stay and it is slated to get bigger and bigger. The way we see it is that it is introducing a new breed of gamer, rather than simply taking gamers away from other platforms—we see a future where mobile, console and PC gaming will coexist peacefully or even complement one another.

“As a matter of fact, SBK16 is appealing to hardcore and casual gamers alike, in addition to motorsports fans: they are all brought together by the use of very personal devices with multiple purposes, including entertainment, but they have very different needs and tastes, which makes it pretty difficult to please them all! That is why, on top of offering a flexible and customizable control system, we introduced a wide array of game modes—ranging from a faithful reproduction of the Superbike World Championship for WSBK fans to Quick Races for bite-sized gaming sessions on the go.

“There weren’t many realistic motorbike racing experiences on mobile before SBK Official Mobile Game, so we think we are targeting a relatively untapped market niche.”

When asked whether Digital Tales would use influencer marketing to promote SBK16, Tomasina replied, “Definitely. We are collaborating with Dorna in order to promote SBK16 more aggressively across their official channels and through social media. The WSBK riders are an easygoing lot; they have proven to be down-to-earth professionals and some of them have already supported the game in the past.”

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We also talked to the game’s designer, Fabio Respighi, about whether the thrill of motorcycle racing can be fully captured on a mobile device. “We really hope so!” he replied. “Capturing the thrill of Superbike racing on a mobile device is definitely harder than on a home console or a PC; although mobile devices become more and more powerful every year, their performance is still limited compared to dedicated home entertainment systems, their screen is smaller, and their audio output is less immersive.”

“We have learned that you must share their passion for the sport in order to offer them a truly engaging experience,” said Respighi. “Superbike fans love speed, competition, horsepower, adrenaline, skill and challenge—and the SBK16 Official Mobile Game strives to take the above values to the digital domain while providing a slick and realistic racing simulation.”

Lastly, we asked if Digital Tales has given any thought to using virtual reality to expand the experience. Respighi said, “Not only have we given it a thought, but we have already developed a demo running on Samsung Gear VR! We are currently sharing it with selected partners and showing it at industry events around the world, as we are actively looking for gamers’ feedback and potential investors or publishing partners for a VR edition of our SBK Official Mobile Game.”

Volkswagen Races Forward With New Video Game Activation

Volkswagen of America is blurring the line between video games and reality with a new marketing activation aimed at gamers. The auto maker has released a free mobile and desktop game, Rival Road: GTI vs. GLI in hopes of connecting with millennial gamers.

The marketing program promotes its Golf GTI and Jetta GLI vehicles, and the object of the game is to achieve distance while dodging obstacles on a course. Fans can support #TeamGTI or #TeamGLI by choosing to race in either model, competing against players from the opposing team, and earning points for distance travelled. Points count toward individual scores, as well as cumulative scores for #Team GTI or #Team GLI, depending on the team the player has chosen to join.

The virtual rivalry culminates in live remote-control (RC) car races, pitting the two teams on a massive, custom-built, obstacle-filled track. Races will be hosted by professional Volkswagen race car drivers Tanner Foust and Scott Speed on July 26 and 27 in Washington, D.C., and livestreamed on Twitch from 5:30–11pm ET each day on the official Rival Road channel.

Players can also enter the Rival Road Contest for an opportunity to win a trip for two to the Fastivus 2016 track event in Los Angeles in August, and the opportunity to sit shotgun in a hot lap with Tanner Foust or Scott Speed.

Mike M. Awdish, general manager of digital marketing at Volkswagen of America, explains to [a]listdaily why the German auto maker is targeting gamers and Twitch viewers.

What are the challenges of marketing to millennials today?

The media landscape has changed in large part thanks to millennials. Media consumption used to be a very passive act. You watched, read or listened. Growing up around video games, millennials have come to expect and appreciate engaging experiences. They want to participate, they want to be challenged, and they want to be entertained.

Why did you decide to explore video games with this activation?

We wanted to tap into three growing trends: casual mobile games with addictive replaybility, the emergence of livestreaming platforms such as Twitch and Facebook Live and the rising popularity of eSports and team-based competitive play.

What type of crossover is there with mobile gamers and your target demographic and who is your target demo for Golf and Jetta vehicles?

The target demographic for the Golf GTI and Jetta GLI are young men in their late 20s to early 30s. While mobile gaming has proven popular across all age groups and demographics, we know that racing-inspired games are a sweet spot for this group.

What game developer did you work with on this mobile/PC game?

We worked with ISL, our social media agency. They excel at developing experiences that combine the digital and physical to create something truly unique and buzzworthy.

How deep of a video game experience have you created?

The gameplay is relatively simple—how far can you go before touching another object? Although the mechanics are simple, the challenge of beating the best score is what makes it so engaging. You’ll never encounter the same order of obstacles, so the experience is different every time.

How are you bridging the virtual with the real world through the R/C competition through voting on obstacles?

The R/C race is a way to bring the video game to life. To add an extra layer of excitement, viewers on Twitch will have the ability to select the obstacles through chat. The votes of the community will have a direct impact on the outcome of the races.

What has Twitch opened up for your company as a way to connect with the gaming audience?

Twitch is a platform that is not afraid to try new things. From thousands of gamers collaborating via chat to beat a video game to watching a Bob Ross marathon, the Twitch audience is open to social experiments. It really inspired us to create something unique that wasn’t just a pure gaming experience.

What is Fastivus? What will the winners get to do there?

Fastivus is a Volkswagen enthusiast event held on August 13 and 14 in Fontana, California. What makes it unique from many enthusiast events is that it’s held at the Auto Club Speedway, so Volkswagen fans can drive their cars on the track. For the winner of the Rival Road challenge, they will have the opportunity to ride alongside Volkswagen Andretti Rallycross drivers Tanner Foust and Scott Speed for a hot lap on the track.

What’s your planned ROI on this activation?

First and foremost, we want to raise awareness of the Golf GTI and Jetta GLI nameplates. Second, we want to create an experience that people find truly engaging. It’s our first program of this type, so the biggest value will come from the lessons we learn. What we learn from Rival Road will influence our future digital experiences.

What type of impact have you seen from featuring Volkswagen vehicles in games such as Forza and Gran Turismo over the years?

It’s no question that for many gamers, their first time behind the wheel of a Volkswagen is through games like Forza and Gran Turismo. If these experiences create a passion for the brand, then we want to embrace and be part of it.

Video Games Remain A Large Draw For San Diego Comic-Con

Despite the name, the San Diego Comic-Con (SDCC) isn’t just for comic book fans. The massive gathering has also become a hub for video game marketing, announcements and interactive fan experiences. This year is no exception, with plenty of attractions for the convention-going gamer.

Microsoft is keeping busy with various events around SDCC, including a special Xbox lounge at Nerd HQ, where players can engage with upcoming titles like Gears of War 4 and Forza Horizon 3, and register to win big prizes, such as an exclusive Gears of War 4 system bundle. Meanwhile, Nintendo is hosting an open lounge at the San Diego Marriott Marquis & Marina hotel, close to the Convention Center, where fans can play games like Yo-Kai Watch 2 and Metroid Prime: Federation Force, and interact with other exhibits.

Sega is keeping busy with its mascot, Sonic the Hedgehog, as it’s hosting a number of events over the course of Comic-Con, including a special 25th anniversary party and game demos for Sonic Boom: Fire and Ice. Limited edition merchandise is also available at a number of locations around the hall. The iconic blue hedgehog even graces the inside of this year’s SDCC program.

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There’s no better place to demo a comic book-themed video game than at SDCC, so it’s no surprise that DC fans can sample Batman Arkham VR at the show. On Friday, DC also unveiled an Injustice 2 tie-in comic book that will tie-in to the upcoming video game, both slated for 2017.

Capcom unveiled DLC content for Street Fighter V during the Con, while offering demos of their upcoming titles and exclusive collectibles such as a wearable Mega Man helmet.

For those without a pass, Cartoon Network is hosting Adult Swim on the Green outside the convention center. This interactive area includes a carnival midway, show screenings and exhibits, where fans can enjoy a South Park cut-out area and check out items from South Park: The Fractured But Whole, a video game that releases this holiday. The Rick and Morty VR game demo will also be on-hand, in addition to other network-related attractions.

While E3 demos are primarily media-only, San Diego Comic-Con is a unique opportunity to steer massive convention traffic toward hands-on video game experiences. With the rise of peer-to-peer advertising in today’s marketing landscape, the ability for YouTube influencers and other attendees to sample a game can do wonders for brand awareness.

It’s Lights, Camera, VR For These TV Shows At San Diego Comic-Con

San Diego Comic-Con (SDCC) has traditionally been the place to reveal the latest film trailers, casting announcements and panels to discuss the future of a movie franchise or TV shows. Although the VR experience is far from a new activation for this thriving, yearly collection of nerd-love, this year marks a particularly strong showing by studios and networks alike.

‘Suicide Squad’

It may not be a TV show like the rest on our list, but this SDCC activation for DC is definitely worth a nod. Located at the Hard Rock Hotel, Warner Brothers’ Suicide Squad VR experience transports viewers directly into a scene from the movie that was created during filming. What began as an idea to film behind-the-scenes footage in 360-degree video turned into this interactive marketing activation at the Con. Using a Samsung GearVR headset, users step right into the movie alongside fellow characters like Harley Quinn, Killer Crock, Deadshot and Katana.

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‘Mr. Robot’

On Thursday, USA Network treated US fans of Mr. Robot to a 12-minute VR experience based on the hit show. Like any good hacker, USA’s message promptly disappeared following the event. The interactive experience, written and directed by series creator Sam Esmail took viewers “into an important flashback from [the] main character, Elliot’s past.” This one-time simulcast was available to audiences whether they were physically at the convention or not, and was touted as the largest of its kind. If you missed it, the VR flashback will be permanently uploaded next week, according to The Verge.

‘Teen Wolf’

MTV introduced the first “gaze-activated” VR experience with live action—a type of interactive “choose your own adventure” within the Teen Wolf universe. Sponsored by AT&T, The Teen Wolf VR experience plants users right in the middle of one of two scenes involving the deadly new ghost rider character. Using an Oculus headset, the viewer can explore the scene as it plays out in 360-degree views. Depending on where that person looks, the scene will play out in one of several ways.

“This is a true extension of the show with completely new technology,” said Matt McDonough, senior director of digital strategy and fan engagement at MTV. “We always try to get fans more involved.”

Those who are unable to attend SDCC but want to try the Teen Wolf VR experience can do so at an Oculus store. Non-interactive versions of the 360-degree videos will be available on Facebook and YouTube in the near future.

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‘Legends of the Hidden Temple’

Nickelodeon is going back to the ‘90s at this year and for the fourth time, the kids’ network is using VR to market a show. “We learn something new with each execution,” Jaime Dictenberg, senior vice president of Nickelodeon Consumer Marketing, told [a]listdaily. “Keeping the viewer engaged with both the story and the environment is key. We use Easter eggs, interactivity and sight and sound cues to direct the user’s attentiVRon and keep them engaged. Experiments in 360-degree storytelling are shared across Viacom so each network is free to experiment for their own audience, while leveraging best practices in technology, technique and vendors.”

This year, it’s Legends of the Hidden Temple that’s getting a new live action TV movie, along with a 360-degree experience brought to life through Samsung GearVR for those who visit the 1,800 square-foot Nickelodeon booth on the convention floor.

‘Incorporated’

Syfy has created “Welcome to the Quiet Room,” an immersive VR experience around its upcoming TV show Incorporated. Set in the not-too-distant future where oppressive corporations are in control, Syfy’s new fall program is executive produced by both Matt Damon and Ben Affleck. The VR experience takes place inside the “Incorporated Café,” a takeover of Maryjane’s Diner in the Hard Rock Hotel, and offers 360-degree immersion and spatial audio.

The experience recreates the “quiet room,” the “locale within the world of Incorporated where those that have been disloyal to the Spiga Corporation are taken to be interrogated or ‘retired.’” Viewers are interrogated by Julian (Dennis Haysbert) and will be privy to many secrets about the upcoming Incorporated world.

‘American Horror Story’

After using VR to transport fans into the world of Guillermo del Toro’s The Strain last year, FX is focusing on American Horror Story this time around. The AHS Fearless VR Experience will allow fans of Ryan Murphy’s long-running TV series to become a part of their favorite show and test the boundaries of their own fear. “VR experiences at Comic-Con allow us to attract hardcore fans of not only our shows but fans of various entertainment genres and technology as well,” Kenya Hardaway-Green, vice president of integrated promotions at FX Networks told [a]listdaily. “There is still a great deal of curiosity surrounding VR and we cater to that interest to tell our stories to a broader audience.”