The new Xbox title points toward the radical changes that Game Pass will bring to the industry's commercial and cultural landscape
After years of industry discussions about what the possibility of Netflix-style subscription services could mean for games, Microsoft has gone ahead and taken the logical leap -- not just treating a subscription service as a long-tail opportunity to build a secondary revenue stream for games that have already had their day at retail, but as an entirely alternative delivery mechanism for games that would ordinarily have cost $60 up front.
This has happened in part because of the accessibility of content; because streaming has opened up vast libraries for consumers to peruse even as platforms like YouTube have given opportunities for new critical voices to come to the fore. More importantly, though, it's happened because old benchmarks have lost their meaning. Look at Crackdown 3; what do the sales figures for that game mean? Pretty much nothing. The core Xbox audience can mostly play it for free, after all. What do the Game Pass statistics mean? Well, there's some meaning in there, but not in the kind of headline numbers Microsoft will reveal; there's no equation to translate a certain number of people buying a game for free back into the old currency of actual sales.
It may be some time before games follow that pattern, but there's a certain inevitability about them doing so. As distribution diversity makes sales numbers damned-near irrelevant, critical acclaim for output (especially from platform holders) will be enormously important. We can already see that happening to some extent; Sony's first-party output on PlayStation 4 has on occasion come very close to being a play for critical acclaim, though it hasn't lost sight of good commercial sense along the way (neither, of course, did Netflix, Amazon or Hulu).
Once the time comes -- and it will come within the next few years -- when games on the scale of Spider-Man, Horizon: Zero Dawn or The Last Of Us are being launched on a subscription services rather than at retail, we will see a transition in that consumer-creator-critic relationship that will arguably dwarf any of the changes that have happened in the industry in recent decades. That future is closer than many may think; consumers are ready right now, and platform holders are gearing up.
The question, of course, is where it leaves publishers and major developers. Is the industry ready for a future where most firms act as production studios for platform holder operated "networks"? And if not, what exactly is their realistic alternative plan?
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Just some select quotes but I recommend giving it a full read.
Do you all see a possible future where this sort of thing takes over the industry and basically forces companies like Sony and Nintendo to adapt? This would be a long ways off from now but could it throw the traditional structure out of wack?
What y'all think?