Online Matters Transcending the single Player Experience.

Category: Commerce


InXile’s Hunted: Sharing Dungeons, Making Matches and More


With its latest game, Hunted: The Demon’s Forge, InXile Entertainment has entered the world of AAA, next-gen game development with an Unreal Engine 3-powered title that blends over-the shoulder, Gears of War style action with old school co-op dungeon crawling. Hunted is- as InXile president Matt Fuinely remarked to Gamastura recently, in many ways, a throwback to the fantasy games that helped define Interplay back in the day – no surprise, given that former Interplay founder Brian Fargo (and many former Interplay employees) staff the InXile studio.

GameSpy Technology is proud to have provided online development tools to InXile to bring to life several of the game’s connected features.

  • Multiplayer: If you’re making a co-op game, connecting players with one another is lifeblood. For matchmaking on the PlayStation 3 version of the game, InXile turned to GameSpy Technology to provide that connection, utilizing our pioneering multiplayer services to help every Caddoc find an E’Lara.
  • User-Generated Content: InXile worked with GameSpy Technology to create an innovative feature for Hunted players who want to take their engagement with the game to the next level: the ability to create, store and share custom dungeons for the game with other players. Using GameSpy’s user-generated content and cloud data storage services, Hunted’s “Crucible” feature enables players to upload their own creations to our cloud, making them available for other players to download and explore.

    You can learn more about the feature in this in-depth video overview:

  • Redeem Codes: To reward enthusiastic players who wanted a little extra from the game, InXile worked with GameSpy Technology to provide additional content that fans can unlock with exclusive redeem codes. GameSpy’s in-game and web-based digital commerce services make it easy for InXile to create, provision and monitor consumption of these codes – giving them full control over some of their most prized incentives.

GameSpy Technology salutes InXile on the launch and ongoing success of its latest marquee title. Gents and ladies, we’re hoisting a few celebratory pints in your honor. Now, get back to work on Choplifter HD!



Crysis 2: DLC Sales, Redeem Codes and More with GameSpy Direct2Game


On Tuesday, May 17, Crytek released the first wave of downloadable content for the massively successful Crysis 2, the latest installment in the studio’s boundary-pushing Crysis first-person shooter franchise.

Releasing DLC is not, in and of itself, all that novel. But Crytek is innovating in a very important way: it’s partnered with GameSpy Technology to sell DLC directly to players via an in-game store and the official MyCrysis Web site.

Crysis 2 - In-Game Store

Crysis 2: in-game store powered by GameSpy Direct2Game

Using GameSpy’s Direct2Game digital commerce services and APIs, Crytek has “leveled up” its efforts to sell digital content on the PC, enabling the developer to control at every level how that content gets sold. It can merchandise however it sees fit, offering specials, sales, free redeemables, exclusives, and bundles at its discretion, all without worrying about its products competing against other studios’ or publishers’ content for player attention. Best of all, Crytek can sell directly to its players from within the game or via the official MyCrysis Web site, making it dead simple for players to discover, purchase, download and play the content that Crytek makes available.

MyCrysis Web store

GameSpy Direct2Game also powers DLC sales via the MyCrysis Web store

All of this leverages GameSpy Technology’s services-based commerce platform, which provides end-to-end support for account management, billing, taxation, fulfillment, and customer support behind the scenes. This leaves Crytek free to do what it does best – make and sell great online games – and frees it from the hassles normally associated with third party digital marketplaces.

Ready to take control over your digital content destiny? Sign up for a free GameSpy Technology account today to get started immediately.



Categories: Commerce / Tags: ,

Nano Nano: GameSpy Technology Powers Crysis 2


GameSpy Technology proudly congratulates our partners at Crytek and EA on the massively successful launch of Crysis 2. We’re proud to be a part of the game’s online offerings, contributing our multiplayer, community and commerce services to power the game’s PC version.

This latest entry in the acclaimed Crysis franchise hit North American stores and digital retail outlets on Tuesday, March 25 – and the response from players and critics alike has already been rapturous. You can see for yourself in IGN’s video review of the game:

Crysis 2 makes significant use of GameSpy Technology’s services to power its online featureset. Our Multiplayer & Community services enable players to create accounts, build in-game buddy lists and find dedicated servers to join so that they can play online in the game’s many multiplayer game modes. Our Cloud Data Storage services enable Crysis 2 to store and retrieve player stats and leaderboard data generated by Crytek’s homegrown statistics tracking system (a testament to our Cloud’s flexibility, in that it also works with our own Player Metrics & Rankings services for developers who do not have their own solution on hand).

Most significantly, the game services as a showcase of GameSpy Technology’s Digital Commerce services. At launch, the game utilizes our CD Key and redeem code systems to protect the game from piracy and to provide players unlocks for pre-order or bonus perks. In the weeks to come, the game will also use GameSpy Direct2Game to power sales of downloadable content (map packs and more) and full versions of Crytek games, both in-game and on Crytek’s MyCrysis.com Web site.

We’re thrilled to have partnered with Crytek on this benchmark-setting title. Looking to power your game with amazing multiplayer, community-building, data, or commerce services? Contact us to find out how – or apply now for FREE access to our complete suite of online game developer tools.


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GameSpy Technology Powers the Blockbuster Games of 2011


Industry-Proven Cross-Platform Services Help Make Games Like Crysis 2, Bulletstorm, Homefront and Dungeon Defenders Possible

SAN FRANCISCO, CA – March 2, 2011 – During the 2011 Game Developers Conference, held in San Francisco, CA, GameSpy Technology, the leader in connected game services, will showcase several of the year’s biggest video game hits that make use of the company’s cross-platform services and tools for online games. Some of the biggest games of 2011 are “Powered By GameSpy,” including EA’s Crysis 2 and Bulletstorm, THQ’s Homefront and indie sensation Dungeon Defenders from Trendy Entertainment.

“It’s our mission to help developers bring rich online features – from flexible online commerce to deep stats tracking — to their games, whether they are working on blockbuster console titles or indie hits,” said Todd Northcutt, VP of GameSpy Technology. “The online experience for more than one thousand games has been powered by GameSpy Technology over the past decade; we’re excited to see how our online gaming services will be used by developers large and small to write the success stories of the next decade.”

Trendy Entertainment’s Dungeon Defenders is an amazing hybrid of action, adventure, role-playing and tower defense gameplay, taking advantage of multiple elements of GameSpy Technology’s cross-platform online services, including cross-platform multiplayer matchmaking and deep player data tracking. Trendy was among the first studios to take advantage of GameSpy Open, GameSpy’s newly announced initiative to make all of its services available to start-up and independent developers for free. The Open initiative is an important element of an ongoing effort by GameSpy Technology to broaden the field of game development to include up-and-coming startups and independent teams. Trendy Entertainment will demo Dungeon Defenders in GameSpy Technology’s booth during GDC (914 in Moscone Center South Hall), running a simultaneous co-op game on PlayStation 3, PC, iOS and Android-powered tablets.

EA is bringing gamers two huge multi-platform shooters in early 2011, Crysis 2, from Crytek, and Bulletstorm, from gaming powerhouse Epic Games and People Can Fly. Crysis 2 takes advantage of GameSpy Technology’s Direct2Game commerce service, allowing Crytek to make post-release game content quickly and easily available to their consumer base on the PC via an API driven storefront integrated into both the game and the title’s official Web site. Over-the-top action explosion Bulletstorm uses GameSpy’s deep Player Metrics and Rankings services to track vast amounts of game stats on the PlayStation 3, which is crucial for both immediate in-game feedback of a player’s hyperkinetic performance as well as point tracking leader boards in and out of the game. Bulletstorm was released February 22, 2011, while Crysis 2 arrives in late March.

THQ’s Homefront brings combat to America’s shores in this chilling first person, near-future invasion scenario. Like Bulletstorm, Homefront is helping their players monitor their performance in game with GameSpy’s deep stat-tracking services, including the game-to-web features that THQ has successfully integrated into their other hit franchises, WWE Smackdown vs. RAW and UFC Undisputed. This multiplatform title will be released on PC, PlayStation 3, and other platforms in early March.

To learn more about GameSpy’s services for online games and to sign up to begin using them immediately, head to poweredbygamespy.com

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About IGN Entertainment
IGN Entertainment, a unit of News Corporation, is the leading Internet media and services provider focused on the video game and entertainment enthusiast markets. Collectively, IGN’s properties reached more than 45 million unique users worldwide November 2010, according to Internet audience measurement firm comScore Media Metrix. IGN’s network of video game-related properties (IGN.com, GameSpy, FilePlanet, TeamXbox, Direct2Drive and others) is one of the Web’s leading video game information destinations. IGN also owns the leading men’s lifestyle website AskMen.com and provides technology for online game play in video games. IGN is headquartered in San Francisco, with offices across North America, Europe and Australia.

About GameSpy Technology
A division of IGN Entertainment, GameSpy Technology is the leading provider of online services to video game developers. Founded in 1997, GameSpy has provided its connected gaming technology to the best-selling, most innovative games in the industry. Its various services-social, cloud, commerce, data and mutliplayer-are designed to make games more fun by helping players share their experiences. GameSpy’s technology is accessible on every gaming platform and has been utilized by more than 1000 titles to date, including landmark games like Rockstar Games’ Red Dead Redemption, Nintendo’s Mario Kart Wii, and Crytek’s Crysis



Categories: Commerce, Competition, Data, Open, Press / Tags: , , , , ,

Used Games: Bad For Business, Great for the Industry?


In the book Free: The Future of a Radical Price, author / Wired Magazine editor-in-chief Chris Anderson quotes Warner Music chairman Edgar Bronfman, referring to the disruptive impact of the Internet on record sales, as saying ”The music industry is growing. The record industry is not growing.” The point? The Internet, with its incredible facility for piracy and viral distribution, has created a lousy environment in which to sell records according to the traditional models that helped turn the major labels into juggernauts. But it’s also helped obliterate the barriers to entry for independent artists and labels, and it forced participants at all levels to innovate (and at every angle, from songwriting to distribution to concert ticket sales and merchandising) or perish.

Fans, as a result, have more music choices to enjoy now than ever before. Music is cheaper (if not free — whether through piracy or legitimate means like Pandora) to acquire. The artist Amanda Palmer commented of her own experiences touring recently that, “Ticket prices are getting slashed and a lot of artists are playing to half-empty rooms due to the economy and the overgutted market since EVERY band and their moms are hitting the road to make up for the shortfall in record sales.” So: not a great time if you’re a musician relying on retail record sales or stadium gig ticket sales to make a living. A GREAT time, though, if you’re a music fan who wants a constant flood of new, good music and to see your favorite bands playing small gigs for not much money. (Palmer, incidentally, has done a phenomenal job on the innovation front, releasing her last record — an e.p. of all ukulele covers of Radiohead songs — via the self-publishing site Bandcamp. She juiced physical sales by offering packages accompanied by limited edition, often handmade, items… t-shirts, hand-decorated ukuleles, even a customized iPhone).

In the last week, with both Target and Best Buy announcing their entries into the used games market, I’ve begun to wonder if the unstoppable secondary market isn’t going to trigger something similar for gaming. It will allow more people to play by offering lower price points, inspire innovation by encouraging game creators / publishers to monetize differently – and, ultimately, will help to upend the top-heavy retail model around which most of the big guys have built their businesses.

Things have been heading this direction for a long time. The Internet had a radically different impact on the games industry than on the music industry because game developers, unlike musicians, can gracefully and seamlessly interweave games with functionality and service models that incorporate online connectivity (that’s the whole reason GameSpy Technology even exists). No one ever thought to fight the internet in the gaming space. They embraced it. And while the Internet certainly facilitates a deleterious volume of game piracy, it also presents a means of salvation that the industry has gradually awakened to. Steal the game, maybe — but get access to online-dependent features to enjoy the vast majority of the game? No one will flip that bit until you pay.

Used games, though, make publishers gnash their teeth just like Napster once did to the music industry, perhaps finally kicking into high gear the inferno of disruption that other phenomenon (first the Internet, then the iPhone, then the rapid deployment of cheap, off the shelf game creation tools, then social platforms) have been stoking for several years. Everyone complained, lots of people sued, few people embraced the sea change that was happening all around them. The same thing is happening now with used games. If you look at the arguments that the major publishers levy against used games, they almost mirror the comments made by major record label executives and fearful musicians at the dawn of the Internet music revolution. And, similar to that era, if the entry of two retail giants into the used games arena doesn’t clue someone into the fact that the world has fundamentally, irrevocably changed, we’re in for a frustrating era of real pain amongst the major publishers.

We’re also potentially in for a great time to be an independent,”garage band” game creator or a voracious consumer of gaming content. That dam is already breaking, with start up developers creating a glut of new content on every platform (some of it truly amazing, most of it dirt cheap). Local gatherings like Toronto’s Hand-Eye Society or the recent Babycastles event in Brooklyn are even giving developers and fans alike chances to congregate in small, welcoming, highly participatory settings. It’s only a matter of time before a developer or studio unaffiliated with a major publishers achieves success akin to Arcade Fire’s recent #1 album debut on the Billboard charts. It could also very well be that more and more major publishers will embrace or obviate the used games market by further embracing digital distribution, dropping up-front price points in favor of charging for service-based access to some content or finding ways to innovate as much with business models as they have with graphics, player engagement and storytelling.

So, while I agree that used games may indeed be a terrible thing for the games business (as it currently exists) – it’s potentially a great thing for the games industry.


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Categories: Commerce, Other