Assassin’s Creed Origins Sales Are Way Up Compared To The Last Game

Ubisoft has released its earnings report for the first half of its fiscal year. Although it didn’t launch until after that period, perhaps the most striking result the publisher had to share was a major boost in sales of Assassin’s Creed Origins compared with the previous game, Assassin’s Creed Syndicate.

On a “comparable basis,” which in this case looks at units sold during their first 10 days, sales of Origins are double that of Syndicate. Ubisoft unfortunately didn’t provide specific sales figures, but this is an encouraging sign for the company after it gave the franchise a year off. Despite a generally positive response, Syndicate sales were down in 2015 due to the notoriously buggy launch of Assassin’s Creed Unity in 2014. During a post-earnings conference call, CEO Yves Guillemot declared that the series is “officially back.”

Ubisoft’s total sales during the second quarter were €264.2 million, while during the first half overall, they were up 65.7% year-over-year to €466.2 million. The company attributed the growth to Mario + Rabbids: Kingdom Battle and sales of its older games: Rainbow Six Siege, Ghost Recon: Wildlands, and For Honor.

CFO Alain Martinez said Wildlands in particular has a “bright and exciting future” and boasted about the strong continued performance of Siege. He also noted that Mario + Rabbids sold better than expected and should have a “stronger than usual” sales tail as more people get their hands on Nintendo Switch. As revealed previously, Kingdom Battle is the Switch’s best-selling third-party title.

The industry-wide shift toward digital continues to go well for Ubisoft. Digital revenue was up 69.1% year-over-year to €342.6 million. And with the publisher so heavily focused on keeping its existing games such as Siege and Wildlands alive, player recurring investment (a category that includes things like DLC and subscriptions) was up 82.9% to €174.5 million.

Ubisoft’s earnings call is ongoing. We’ll report back with anything else notable it has to share.

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Why Haven’t We Seen Sequels To Blizzard’s Biggest Games?

The “games as service” concept isn’t new, but 2017 is the year that it has really taken hold. Instead of jumping straight from sequel to sequel, developers across the industry seem to have shifted more to creating updates for their games and extending the time you spend with each title to its absolute maximum. And few companies take advantage of that system better than Blizzard.

Famously, Blizzard doesn’t move on to sequels quickly. Diablo III launched five years ago. Starcraft II started ten years ago. And World of Warcraft began back in 2004. But while the online modes for Blizzard’s big franchises get constant updates, and there’s a new expansion for the other games almost every year, why have we yet to see games like Diablo 4 or World of Warcraft 2?

At Blizzcon 2017, I was able to talk to representatives from almost every Blizzard game about sequels. For some games, a follow-up obviously doesn’t make sense. An Overwatch 2 or a Hearthstone 2 would run contrary to experiences those games have created. Overwatch has sidestepped traditional character-driven FPS boundaries by telling its narrative through media outside the game. And Hearthstone is built around leveling-up your chosen classes and carrying your cards and decks over from year to year.

But there is a precedent for companies producing sequels in the other types of games Blizzard develops. Square Enix rebooted its MMO Final Fantasy XI with FFXIV. And, obviously games like Starcraft II and Diablo III are sequels themselves. So what’s the philosophy behind Blizzard’s iteration process? When does it decide it’s time to move on to either a sequel, or a new project entirely?

Overwatch

Scott Mercer (principal designer): “That is a difficult question. Saying,’It gives us all sleepless nights,’ might be a little too strong, but it’s a lot of soul searching. A lot comes down to what the team wants to do. What do they feel passionate about? What do they want to work on next? And for every team, that’s different. I worked on Warcraft 3 after which I was like, ‘Hey, what is that team going to work on next?’ We didn’t just want to make Warcraft 4 afterwards we work on something different.

“As humans, we’re looking for that next challenge. So that’s why I think a lot of times you’ll see, in some cases, us going to new places like on Overwatch. I mean, that’s one of the things that brought me to the team. I was excited about a new IP and a new world. For all the different Blizzard teams and for us it’s that sort of question: What are we jazzed to work on? And the answer’s different for all the different teams.”

Starcraft 2

Tim Morten (production director): “Yeah, there’s no exact formula, obviously. There’s a balance for us between really appreciating the player base that we’ve got–as you know, we recently released a remaster for Starcraft 1, and many players are still enjoying that game that’s now almost 20 years old. Next year will be its 20th anniversary. So, we really want to service that player base. And Starcraft II has had this incredibly stable player base that we want to continue to service as well.

“I think the industry in general has evolved to a point where we are continuing to service players longer on a single title, and really let them immerse themselves in the world. From a development perspective, it gives us a chance to iterate and improve on the user experience–add new content, add new features. We don’t have a finite transition point in mind, but we do know we’ve got a really passionate audience that we want to keep providing content to.”

World of Warcraft

John Hight (production director): “I think we’ve been fortunate to have dedicated fans for 13 years. We have regular content coming out, and so it’s actually been a pretty dramatic evolution of the game. You’ll have the opportunity to do this not too far in the future with Classic coming out, but just compare us to where we were when we first released WoW to where we are now and where we’re gonna be with Battle for Azeroth.

“If you only looked at those two points, you would conclude that Battle for Azeroth is the sequel. It is ‘WoW 2.’ The evolution has happened over 13 years. It’s just that because it’s happened in bits and pieces, I don’t know that people recognize how much things have changed. How the distance of view in the game, the resolution we have and the graphical fidelity we have in our characters, all of them have gone high-resolution. The spell effects that we’ve added and the combat mechanics that have changed through every class; the way the interface has changed. For better or worse, you have to relearn a little bit each time, but we’re trying to make it a little bit easier and a little bit more fun to really get into your character and have mastery over it.

“And the storytelling that we do–in Legion alone, we had more voiceover than any of our previous expansions, and in many cases more than two or three expansions combined. It’s a phenomenal amount, and we’re gonna continue to do that because we like the richness it adds to the story.

“We can think of a million things we want to do with the game, and it’s a rich playing field to come up with new ideas, new stories, and new features for. That’s where we’re at. It’s really how much do we want to do right now versus how much we’re gonna do in the future?”

Heroes of the Storm

Kaeo Milker (production director): “Right now Heroes of the Storm is this living, breathing game. We are updating it constantly. We have patches every week. We have new heroes coming out every three to five weeks. There’s major patches with features and content every six weeks. It is just constantly growing and evolving, and it gets just bigger and better all the time.

“So there’s not really a world where we say, ‘Let’s just go in a completely different direction, it has to be new.’ Heroes 2.0 is really about going through our progression and rewards, and opening up all the game’s content. Letting people earn it by just playing the game, by leveling up all their heroes.

“Before, there was a wall. You would hit level 40 and that was it. You just stopped. Everybody who played the game at all hit 40 would say, ‘Okay, now what am I doing?’ So we wanted to uncap that, and let people just keep playing. No matter what you do, no matter what mode you play in, you’re always making progress and then you’re always getting cool rewards. We’re positioning that as Heroes 2.0 because that was a pretty dramatic shift, but the core game was still Heroes of the Storm. That’s game that we’re always building on, and always making better.

“I think it’s a different world to live in. Coming from making Starcraft and Warcraft 3, those were box games. You do the box game, and then a couple years later you have an expansion. Then at some point, you’re like, ‘Okay, now let’s move on.’ Heroes of the Storm keeps living and breathing and growing, and it’s really fun to work on something like that.”

Hearthstone

Max Ma (lead UI designer): “To me we’re making Heartstone 11 right now. I remember I joined the team back when we were just about to start designing Hearthstone for mobile. To me, that’s a brand new game by itself. As the user interface designer on the team, every screen is brand new; we were building it from the ground up. And like improving the new player experience, there are still some things we want to tackle in the future. I feel like there’s so many challenges and so many things we can do to make the game even better.”

Dave Kosak (lead mission designer): “It’s about, ‘How do you give value to your player that’s invested in your game?’ With Hearthstone, there’s so much to do; there’s so much more we want to do with this game. It doesn’t give players a lot of value to suddenly switch to a Hearthstone 2. Their collection is in Hearthstone. We can still do a million new things with Hearthstone–this new single-player mode in Hearthstone, Dungeon Run, is tremendous. So, we just keep giving players value.

“It’s really the same with World of Warcraft. You saw what they were announcing here at the show. It’s amazing. World of Warcraft is still going strong because there’s just so many ways to give players value in this game world that they’ve been invested in for more than a decade. I think Hearthstone has a long, long, long future in front of it where we can still continue to give people value.”

For more content from Blizzcon 2017, check out our roundup of the biggest news and announcements here.

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Daily Deals: 1yr PS Plus for $39.99, 1yr Xbox Live Gold for $42.99, Amazon Logitech Sale

Welcome to IGN’s Daily Deals, your source for the best deals on the stuff you actually want to buy. If you buy something through this post, IGN may get a share of the sale. For more, read our Terms of Use.

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ddxboxonex5Xbox One X is out TODAY!

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Del Toro Offers Details on Canceled Pinocchio Project

Legendary director Guillermo del Toro is a man who’s always on the go. On any given day, You’ll find him linked to half a dozen films and television series. Some are real, others merely speculation. His Pinocchio passion project was one of those real films that just needed a big enough budget to get off the ground. According to IndieWire, $35 million to be exact. A large sum, but not unreasonable for your typical Hollywood film.

In a recent interview we had with del Toro discussing the upcoming season of Trollhunters on Netflix, he confirmed the sad truth that his darker version of the little wooden boy won’t be coming to a theater near you.

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The Best GeForce GTX 1070 Ti

Be sure to visit IGN Tech for all the latest comprehensive hands-on reviews and best-of roundups. Note that if you click on one of these links to buy the product, IGN may get a share of the sale. For more, read our Terms of Use.

IGN recently took a look at several of Nvidia’s freshly-minted GeForce GTX 1070 Ti cards from multiple manufacturers. We benchmarked two pretty high-end GPUs from Zotac and Asus, and a midrange card from EVGA. This allowed us to get a pretty good look at the spectrum of performance and features that are possible with Nvidia’s newest GPU, and of course we wanted to pass along our extensive findings.

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Netflix Publishing First Comic Book After Buying Millarworld

Mark Millar has announced his first comic book series for Netflix after the company’s acquisition of Millarworld earlier this year — and it will be Netflix’s first published comic book.

The comic, not a Netflix TV series, is called The Magic Order and is described as “magic meets the mob.” The story follows a group of five magical families, all consisting of sorcerers, magicians and wizards, who are sworn to protect our world for generations.

“By day they live among us as our neighbors, friends and co-workers, but by night they are the sorcerers, magicians and wizards that protect us from the forces of darkness…unless the darkness gets them first,” the official description explains.

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The Justice League That Almost Was

Although the era had its share of comic book and superhero successes, the 1990s are generally seen by fans now to be a dark time for the medium. It didn’t seem that way at the time, of course; we were still riding on the coattails of the success of Tim Burton’s 1989 ultra-smash Batman, and comic books were experiencing an intense sales spike thanks to what is now called a speculation market. There was, in the comics world, a wave of new titles, and a new industry contender called Image Comics was making headlines with its artist-owned characters. Events like the Death of Superman were featured on the news.

These ’90s spikes, however, petered out rather aggressively, and fans of the medium saw things to criticize fairly early on. The newly introduced characters weren’t necessarily good ones (insert your least favorite Image Comics character here), and the films and TV shows that were based on them were rarely noteworthy; audiences may have responded to the well-received but short-lived The Flash (1990), but this was also a decade when Steel, Spawn, Batman & Robin, Judge Dredd, Albert Pyun’s Captain America, and the ill-recalled Generation X TV pilot were creeping around in the background, stinking up the back alleys of comic books’ not-yet-salvaged reputation.

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