After the aesthetic elegance of Dots, prepare for another injection of minimalist puzzle game beauty. Blip Blup is the new game from London-based design house and app studio ustwo — maker of Whale Trail, a mobile game that snagged an e-book deal, plus a raft of other interesting apps including most recently Rando (random photo-sharing) and Honk (visual messaging).

Blip Blup has just launched on iOS for iPhone and iPad, either free with ads, or $1.99 ad free. It’s also available free with ads on Android (upgradable to ad-free via in-app purchase). The basic gameplay involves triggering pulses of light so that they fill in all the empty space in each level. Light pulses can be blocked by walls, and won’t travel around corners but will travel diagonally. There are also other elements introduced as your progress, such as arrows that force the direction of the light and explosive tiles to avoid. The fewer light pulses (blips) you use to fill in a level, the higher your score.

The first thing that stands out about Blip Blup is that ustwo has gone for a minimalist, abstract design aesthetic, rather than a skeumorphic look and feel — despite apparently experimenting with the latter. Too much realism just didn’t fit the puzzle gameplay, says ustwo. “Getting to the final treatment was an exercise in finding a balance between our love for beautiful design as a studio and simple graphics that allow the puzzle-solving to be centre-stage,” it explains in a blog.

“Skeuomorphic design in this instance would have stifled the complex puzzle solving nature of Blip Blup,” adds ustwo co-founder Matt Miller. “The puzzle and the solution needed to be at the front and centre stage with nothing getting in the way of that focus. We believe in the core gameplay of Blip Blup and feel that the minimal design supports that without overwhelming it with unnecessary graphics.”

Miller says Blip Blup is designed specifically to appeal to people who are also interested in visual design, and who therefore might not be turned on by traditional gaming aesthetics. “Over the past decade and as a direct result of mobile app-based gaming, gamers have increased in terms of numbers and diversity. This shift has meant that creators, who previously had to appeal to large and ‘safe’ audiences, can instead cater to more specific and targeted audiences. For example appealing to players who are interested in interacting with great visual design, rather than those who prefer cartoon characters and fantasy locations,” he tells TechCrunch.

“Minimalist design in game visuals presents interesting challenges. In a way, you are reducing your available visual toolset, to a few essential tools. But with these tools, you still need to convey success and failure, important objects, objects that are on or off, and so on. 

The mass audience definitely reacts favourably to matching shiny gems together, or seeing projectiles strike a tower of glass and wood blocks. But there’s an audience out there that love the cleanliness of a grid, or the satisfaction of filling an abstract space completely with colour even more.”

“We see visual design and interaction design as one area in gaming and this means we can ultimately create new experiences and potentially speak to a new audience,” he adds.

Blip Blub’s minimalist design certainly brings to mind betaworks’ Dots (not least because ustwo wanted to call it just Blip, before realising that name had been taken), which also recently caught our eye. Or even Peter Molyneux’s Curiosity. But with so many mobile games still opting for a cartoon aesthetic — a la Angry Birds — taking a different tack by stripping back the visuals feels refreshing — likely making these puzzlers stand out more than they would have on gameplay alone. It also seems to echo the wider digital design trend that’s been flattening graphics and decluttering visuals all over the web and mobile, doing away with realistic bells and whistles and replacing them with plain blocks of colour to allow shapes to shine through.

Blip Blub doesn’t feel entirely flat — the light pulses move via subtle colour gradations — but it’s certainly minimalistic. Its look is complemented by an ambient soundtrack that weaves in gameplay actions, with each light pulse adding a few more notes to the soundscape. (In fact ustwo says the sound is “50% of the Blip Blup experience”.) The overall effect is reflective, meditative and very relaxing. This would be a great game to play to destress after a hard day.

The slow, relaxed paced is matched by the gradual gameplay progression, with basic tutorial puzzles leading you step by step to proper levels and from there  turning the screw to up the difficulty by adding new elements to the mix. There are 120+ puzzles in the free game distributed across nine levels, and 140+ across 10 levels in the paid game.

Jawfish Games, a Seattle-based startup run by a former professional poker player and the engineering team that built the Fult Tilt Poker site, launched a gaming platform that can host more than 100,000 simultaneous players in real-time tournaments across iOS, Android and the web.

While asynchronous, turn-based games have done well on mobile platforms and Facebook over the last five years, pure, real-time multiplayer games haven’t caught on as quickly partially because data connections haven’t been fast enough and because a game developer would need a critical mass of players to match them synchronously.

But Jawfish, which has raised $3.65 million in funding from firms like Founders Fund’s angel fund, Right Side Capital and other angels, says it has built a platform to do just that. Their platform can support more than 100,000 simultaneous players and host 1 million tournaments for less than $10 in bandwidth.

They initially came out with a few games in partnership with Seattle’s Big Fish Games, but now they’re bringing out more of their own titles.

Because Jawfish’s CEO Phil Gordon is a championship professional poker career who has hosted The World Series of Poker and published five books on the game, the company is doing a poker game (of course). The poker game is designed to have the look and feel of a broadcasted game with Gordon’s running commentary throughout play.

They’ve also launched a basic word search game, called Jawfish Words, that lets players compete on the getting the highest scores, finding the longest words or the most diagonals. There more obscure goals too, like finding the most words with a single vowel. They launched that game last month through a partnership with Amazon. The company has pointed out some promising stats: the average player spends 21 minutes and plays 10.7 tournaments a day. Each tournament is about 60 to 90 seconds long.

They plan to building out a suite of classic games, from casual to casino titles that make use of the platform. “Basically what we’re looking to do is to take games that people know and love and reinvent them for multiplayer real-time tournaments,” Gordon said. “That’s exactly what we’re going to do across a wide spectrum of games.”

While Jawfish hasn’t opened its platform up to third-party developers, there are other gaming networks that add multi-player mode to indie titles that are blowing up. Nextpeer, an Israeli startup, went from having just a few games in its network to well over 1,000 developers in the last several months.

“Barring a top 10-kind of franchise wanting to use our platform for multiplayer mode, it’s incredibly unlikely that we’re going to work with other studios,” Gordon said. “Certainly not for anything but the top tier. We know that our platform is the only one of its kind in the world and we think that it’s in our interest to keep the platform close to the vest and develop our own games.”

No, we still don’t have any word from Amazon on where it stands with a smartphone, but it’s definitely making its mobile ambitions clear anyway. Today, the e-commerce giant took two more steps in its strategy to scale up its Kindle Fire tablet business. It announced that it will now sell the two higher-end versions of the device, the Kindle Fire HD and Kindle Fire HD 8.9″, in 170 countries. And it also said that its Amazon Appstore will now be available in 200 countries.

Pre-orders in 170 countries begins today with the first models shipping out June 13, priced at the local equivalents of $284 for the 8.9″ model and $214 for the 7″ model.

Up to now, the Android-based Appstore, which works both on Amazon’s Fire tablet range but also other Android devices, has only been live in the UK, Germany, France, Italy, Spain, China and Japan, with Brazil next in line. It makes sense that Amazon will have opened it up at the same time as it’s ramping up its Fire tablet distribution.

“We are thrilled to be expanding the reach of our global app distribution to nearly 200 countries,” said Mike George, VP of Apps and Games at Amazon, in a statement. “By further expanding the distribution of apps to millions of customers around the world, we are continuing to make it easy for customers to enjoy their Amazon apps on Kindle Fire and any Android device.”

Amazon will be kicking off with a couple of free games — a tradition of Amazon’s when it opens up a new store front to focus on some bestsellers. In this case, it will be “Fruit Ninja” and “Cut the Rope: Experiments,” which will be free respectively on May 23 and May 24.

On a more long-tail note, it’s important for Amazon to make its Appstore as globally available as possible as a way of enticing more developers to the platform. In addition to giving them the promise of wide audiences, Amazon has also turned on features like in-app payments, subscriptions and even its own virtual currency, Amazon Coins, to give developers more flexibility in how they make money on its plaform (and, taking a page from Apple’s book, tie them and users further into the Amazon ecosystem in the process). It comes also on the heels of the company previewing the global Appstore availability in April, when it began to invite developers to start submitting their apps.

The company, as usual with Amazon, has remained tight-lipped on how many tablets it has sold since launching the Kindle Fire range in 2011. Today, however, Dave Limp, VP, Amazon Kindle, noted that the Kindle Fire HD (the 7″ model) has been the company’s “#1 best-selling item in the world” since being launched.

Although the HD is available with an optional LTE component in the U.S. it looks like this rollout is WiFi-only: to improve range and service, it comes with dual-band Wi-Fi capability for both 2.4 GHz network and 5 GHz network services. As with other Kindle Fire products, the two models going on sale today will work with Amazon’s existing and wide range of content, including apps, films, TV, games and 300+ books “exclusive to the Kindle Store.”

The move comes two months after Amazon dropped the price on the bigger two tablets, with an 8.9″ screen, to $269. At that time, it started selling it in Europe and Japan.

To date, Amazon has been selling the two HD tablets in the U.S., UK, Germany, France, Italy, Spain and Japan. For a company like Amazon, which operates on a basis of competition-beating prices and low margins, it’s important for it to add as much scale as it can to its operation, so expanding Fire HD sales globally is an essential part of that strategy.

OK Go (the band behind hit music videos like “This Too Shall Pass” and “Here It Goes Again”) launched its very own game for iOS and Android earlier this month.

You can play the game, titled Say The Same Thing, with one of your friends or with a randomly chosen player. (If you sign up now, you can also participate in a temporary promotion where people are randomly selected to play with a band member.) Each player types in a word, then you see what the other player said, and you use that as prompt for another word. As the game’s title implies, you win when each of you enters the same word.

It helps if you understand the other player’s interests. For example, I was playing with Graphicly‘s Micah Baldwin — after several rounds, I entered “Perry White,” he entered “Smallville,” and we won by both entering “Lana Lang.”

I also got a chance to play the game with OK Go’s lead singer and guitarist Damian Kulash. (Like how I just dropped that in casually?) I don’t want to give away exactly what happens in the video, but I will say that we totally nailed it.

This isn’t just an app that OK Go stuck its name on, either — Kulash said it was programmed by the band’s guitarist Andy Ross. Apparently band members play a live version of the game together, so eventually they decided to turn it into an app:

At some point we realized, hey, there’s no reason why we need to just put out songs. We can put out everything we want — we make videos, we make shows, why not make apps. … We’ve always been interested in tech as a sort of canvas. We try to make art for the world we live in, and this is where we live now. We live on Skype, we live on our laptops and on our phones.

Traditional recordings of music live in this space really well. Like, we’re making an album right now that will be finished sometime this summer, and we’ll probably put it out in the fall or maybe in the winter, and it’s great to listen to on your phone, it’s great to listen to on your laptop, but there’s all these other things that your laptop and your phone can do that musicians 30 years ago couldn’t imagine and artists 30 years ago couldn’t imagine. I think working in these spaces has always been exciting to us, and we’re just lucky that we have a programmer in our band, because it means that we can test things out like this.

Wall Street apparently wanted something more revolutionary out of the Xbox One that launched today, as Microsoft’s stock is down 0.66 percent. In turn, investors on news of a potential spin off, pushed Sony shares up 9 percent, coincidentally just after Microsoft announced its answer to the Sony Playstation.

Microsoft’s debut of the Xbox One today touted features including live TV, Skype group video chat, split-screen multi-tasking, voice command, social recommendations, a more sensitive Kinect, and stronger hardware for next-generation graphics. A deep partnership with Electronic Arts, Steven Spielberg’s involvement in a Halo TV series for Xbox, and exclusive early access to downloadable content for the new Call Of Duty game were all announced as well. Still, there wasn’t one thing that left people saying “PlayStation is screwed.”

The complexities of integrating with live TV and the lack of an obvious killer feature contributed to $MSFT staying flat on the day, closing down 0.66 percent, or $0.23, to $34.85. AMD, maker of the bits inside the Xbox One, also ended slightly down today, closing at 4.02, down 1.95% on the day. Both Microsoft and AMD are on an upward swing, most notable since the beginning of May when the invite for today’s announcement went out.

At the same time, Sony’s stock rose 9.25 percent, or $1.94, to reach $22.91. According to Nikkei, Sony is considering spinning off its entertainment division — a part of the company oddly left out of  CEO Kazuo Hirai One Sony initiative.

But Sony wasn’t quiet on the eve of the new Xbox reveal, either. The company tried to hijack gamers’ attention to updates on Twitter and Facebook this morning with ads touting the June 10th reveal of its new PlayStation console at E3. PS4 ads told viewers they could “See It First” by RSVPing to watch Sony’s event, and offered a teaser video hosted on both Sony’s site and YouTube.

Some of what Sony has in store for the PlayStation 4 was debuted at an event in February, but details were scarce. The corporation will need a hit, though, as Sony has been hemorrhaging money with a $5.74 billion loss in its 2012 fiscal year.

The real duel will go down at E3 where both Sony and Microsoft will spill more of the beans on their new consoles. Xbox One’s incremental updates could certainly be outshined if Sony can unveil some significant advancements, not just lifeless game demos and endless specs.

[Image Credit: Spill]

Gaming has evolved from single-player to head-to-head to massively multiplayer, but it’s also retreated from public arcades to isolated homes. Today’s launch of the Xbox One makes the whole console experience social, not just the gaming itself. You’ll still be battling other humans, but how you communicate with them and choose what to play is about to change.

Think back 20 years ago, before home gaming devices became the powerhouses they are today. You’d go to an arcade, and the way you’d discover what was fun and popular was looking for which game cabinet drew the rowdiest crowds. I remember discovering Street Fighter 2 in a hotel arcade while on vacation. I couldn’t even see the machine, as it was surrounded by older boys swearing like sailors at every Haduken and thousand-hand-slap.

I knew I wanted to play that game. And when I finally got my turn to get beaten mercilessly as the mob swelled around me, it didn’t feel like I was doing anything nerdy. I was partaking in a new culture, a new community.

That’s the promise of the new Xbox One’s trending section. It surfaces games, apps, video on demand, and other media popular with your friends and the whole Xbox user base. Gamers won’t have to go searching for reviews to see what’s the hot new first-person shooter. The wisdom of the crowd will clue you into what game has captured the zeitgeist, even if you’re playing alone in your basement. Microsoft also hopes to turn word-of-mouth recommendations into an algorithm that shows you what to play next. Because the suggestions come from friends, you might trust them enough to buy a new sports game like NBA Live ’14, listen to a classic album, watch Firefly, or try out a fresh app like Hulu.

Microsoft is also bringing these custom recommendations somewhere that was never really social: television. Live TV can be piped into your living room through the Xbox One; its TV guide features a trending section too. While we’ve gotten used to intelligent suggestions for video-on-demand thanks to data crunchers like Netflix, Xbox one could show you what sports match or awards show your friends and the whole world are watching right now.

Microsoft will have to figure out who your real friends are, possibly through social network integrations, and how to use other factors like geography to massage the trending picks. There will also be privacy design challenges to face, as not everyone wants to share what they do with their controller. But if Xbox One Trending succeeds, it could make games and television viral in a whole new way.

Snap back to the arcade, and 10-year old me is learning all the naughty four-letter words. Each time someone sees their health bar go red, they let out a stream of angry obscenities while onlookers let loose cuss-modified cheers for the victor. But it wasn’t just the sounds. You can hear kids swear at each other all day on Xbox 360 Live. It was the look of anguish in a defeated combatant’s face, the relieved body language of the winner whose reward was one more game and “a new challenger!”

Xbox One’s new Skype group video chat feature means you can play face to face with friends around the world. It’s infinitely more vivid than the audio and text chat capabilities of the Xbox 360. Smile at each other after a successful dungeon raid, or dance around as you brag about your touchdown in Madden. Skype for Xbox goes beyond games so you can watch TV, use apps, and more while having a conversation. Social doesn’t even need to be banished to a second screen. Xbox One “Snap Mode” lets you use voice commands to open video chat in a slide-out, overlaid window on the edge of your TV.

Skype for Xbox takes video chat and puts it in your comfiest chair. Rather than hunching over your laptop, leaning back on your couch could inspire long conversations over your console. You might – *gasp* – even pause your game to chat full screen with your little brother back home. Or it could usher in a new era of simultaneously consumed content, where you having distributed viewing parties for sports and movies rather than cramming your friends in the same room.

Xbox One also comes equipped with automatic, background matchmaking that lets you watch TV or play another game while you wait for a new opponent with a gaming DVR so you can record and share videos of your greatest triumphs or most gruesome game-overs. More people posting those videos to Facebook and Twitter could push serious console gaming ever further into the mainstream.

Of course, some gamers might not want social invading their safe space. Some may use it as a safe space to turn off their good graces, be a bit more primal, and just relax. Pings from friends wanting to Skype chat might be an interruption. Fighting alongside or against other people is all the social interaction they want. But the occasional eye-to-eye encounter could make gaming more fulfilling. If you’ve ever stayed up late playing only to feel a bit empty afterwards, you see the hole a more social Xbox could fill.

Gaming has become a bigger industry than movies. Mobile phones and social networks are bringing games to a wider audience than ever. Yet there’s still a stigma that it’s the realm of unwashed shut-ins and anti-social misfits. The Xbox One and the next generation of social consoles could change that, so even if you play games alone, you’re not a loner anymore.

The Xbox One was just unveiled at Microsoft’s Redmond campus and, true to multiple reports that circulated before the official reveal, the new console will indeed come with a Kinect.

And what a Kinect it is! The rumors of a vastly improved Kinect sensor array were right on the money — this next-generation model is capable of tracking motions as minute as wrist rotations, and Microsoft’s Marc Whitten said the new Kinect would even be able to read users’ heartbeats when they’re exercising or when players shift their weight. The new Kinect’s main camera is capable of recording 1080P RGB video at 30 frames per second (for a bit of perspective, the original model could only capture VGA video). Perhaps most importantly, the Xbox One will be capable of chewing on all the data the newfangled Kinect (no one has dropped an official name for the thing yet) captures at a rate of about 2GB of per second, which is probably partially why the onstage demos looked so brisk.

We got a brief glimpse of the new Kinect in action when Microsoft SVP Yusuf Mehdi called out commands and used minute hand gestures to manipulate content on the Xbox One — commands like “Xbox on” and “go to video” allow for near-instantaneous switching between running applications, and the Kinect is apparently also able to differentiate between users based on their voices.

In short, it’s a massive, massive upgrade compared to the venerable original model, which often exhibited issues with basic limb and motion tracking. Granted, demos we saw today were carefully staged, but the Kinect reacted to Mehdi’s commands and inputs without a hint of technical hesitation — if the new Kinect works in the living room as well as it did onstage, Microsoft may really have something here. And frankly, that’s saying something considering Microsoft managed to move 10 million of the original camera/sensor arrays between November 2010 and March 2011.

Now leading the pack in gaming consoles, Microsoft’s future growth lies outside the gaming sphere. We’ll surely see tons of games at E3 in a few weeks, but at the big reveal of the Xbox One, the company chose to focus on non-gaming features, such as media streaming and Skype conversations.

But what makes streaming and entertainment a true upgrade on the Xbox One, which already has access to almost all streaming platforms? Instant Switching. It allows you to switch between inputs, games, menus, Internet Explorer, and almost anything else almost instantly. And what’s more, it lets you layer the power of Microsoft partnerships and information across live TV.

The Xbox responds to the voice; saying “Xbox On” turns on the console to the homescreen. The UI is familiar, and lets you see what you were doing last, along with trending content from friends, and other panels like games, TV, etc. But then you say “Xbox watch TV,” and live TV pops on. “Xbox show Guide,” and the guide pops up letting you see what’s available on Live TV. “Xbox watch ESPN,” and bloop, ESPN is on. Instant Switching at its best.

And here’s where it gets interesting:

“Xbox show Fantasy,” and instantly, along the right side of the screen showing a Knicks vs. Celtics game you’ll see a run-down on your fantasy league, letting you access further information and even make alterations in real time, right alongside the game itself.

The company also announced a new partnership with NFL that will offer exclusive content and access to Fantasy leagues in Snapmode in real-time.

This is thanks to a feature called Snapmode, which will offer new interactive experiences for Live TV. This includes social, applications, and more.

Because Xbox is now tapping into your live TV, it offers a more targeted and complete entertainment UI, with favorites showing all of your favorite content in a single destination.

And it’s all powered by your voice, should you like. What’s that? Is that the voice of Microsoft telling the hundreds of thousands of Xbox 360 owners out there, who proudly revel in their ownership of what’s considered the most popular gaming console out there, that they should maybe think about upgrading?

Of course, Microsoft wouldn’t upgrade software without hardware (which you can read more about here), and that includes the addition of a Blu-ray player.

Alongside announcing the Xbox One, Microsoft also announced a partnership with 343 Industries and Steven Spielberg to develop a live action TV show about Halo. They didn’t go into much detail, but how much you want to bet there’s some awesome Snapmode features and Xbox SmartGlass features?

The barrier to entry for the Unity game rendering engine for developers on iOS,  Android and BlackBerry 10 has gotten lower, as use of Unity tech is now free on both mobile platforms. Unity CEO David Helgason announced the changed terms today during the Unite Nordic trade conference, according to Pocket Gamer’s Keith Andrew. The dropping of licensing fees for the engine’s basic tier means that features which once cost $800 now carry no charge at all.

The change in pricing structure is all about building momentum for indie game creators and studio, according to Helgason. Unity has shifted to a free licensing structure on the web and on desktop platforms, and has long hoped to bring the same model to its mobile platform products, according to Pocket Gamer. Later on, the same deal could be made available to Windows Phone 8, the company says.

Unity 4 on mobile offers a number of impressive features, including real-time shadows and multi-screen AirPlay support for building unique game experiences. For Unity, offering the basic license free to game devs is essentially also lowering the barrier to their revenue-generating paid tiers and offerings, including assets for in-game use and Pro and Basic add-ons, team licenses and more.

For mobile devs, it gives them a level of access to tools used by some of the biggest and most successful gaming studios on Android and iOS, including Rovio (which uses Unity for Bad Piggies), as well as those used by hit indies like Year Walk, The Room and more.

This is a good thing for the independent games development community, and hopefully it means we’ll see even more top-tier titles coming out of brand new places. The iOS and Android mobile software stores aren’t quite the Wild West of new and exciting indie content they once were, but they still provide small developers more exposure and opportunity than other platforms, and maybe this will help that continue to be true in the face of increasing investment in mobile software from big name game studios.

Editor’s note: Tadhg Kelly is a veteran game designer, creator of leading game design blog What Games Are and creative director of Jawfish Games. You can follow him on Twitter here.

One of the memories that sticks with me most about the launch of the Xbox 360 was a silly analogy about inhaling. I can’t remember who said it, but the general idea was that it had a concave body to convey breathing in, perhaps a precursor to exclaiming joy. It was as daft as it sounds, but for a while there the 360 was indeed a breath of fresh air.

Xbox 360 had a lot going for it, from online connectivity to a much simpler architecture that developers preferred over the PlayStation 3. In its first few years it maintained the position of being a very games-focused console. Xbox 360 was the home of indie games, for example, and digital distribution. It widely popularized the notion of achievements.

But three, maybe four, years ago Microsoft started to push bigger ideas. It left a lot of the gamer-ish stuff behind and redesigned the console’s dashboard toward a media focus. Over a series of updates, Xbox slowly went Metro, became about Netflix, avatars and Kinect. Most of these innovations didn’t stick so well, and the cost they incurred was significant. Xbox 360 went from being a clear proposition to a complex and all-over-the-place machine.

Many Kinects were sold, but few people actually used them for long. Many channels of TV content were brought into the fold, but finding room for them essentially killed its indie games market and lost a lot of credibility with that group. Ultimately, the successes of these divergences were generally mute. (18 billion hours of video sounds like a big deal until you break it down per unit over a year.)

This is the problem with long hardware cycles (Xbox 360 is 8 years old). Lacking annualized releases of better technology (for some reason the console industry still believes it has to carry on this way), the platform story grows old after a couple of years, leading to the urge to accessorize. Often in so doing it loses itself in the ensuing cruft, and then needs a big reset. All of which leads up to Tuesday’s news: the big event in Redmond to unveil the next Xbox. And boy does the company need it to go well.

Perception-wise, Microsoft has had a bad couple of years. Windows Phone may have won a number of plaudits for its looks, but nobody really went for it. Windows 8 sold a ton of copies, but most users sort of hate it. Surface had a glitzy launch, but people are still buying iPads. That leaves Xbox as Microsoft’s one remaining big consumer push. This one has to go right, or lots of talking heads will start to ask if there’s any market that Microsoft can get right any more.

The reason the company has had a lot of these issues, I think, is that it’s bad at listening. Microsoft consistently gets lost in grand visions, visions that only it can afford to develop, and produces super-complicated propositions that nobody loves. All those years spend trying to convince the public about Windows Live services. All that time spent trying to bring us around to using Bing. All that wasted effort trying to unify user interfaces with Metro (which at its heart is just a bit broken, as has been said over and over) and who really cares? Grand visions that lose the plot are Microsoft’s forte.

Yet, gaming folks are pretty excited about the next Xbox. Will it feature new horsepower? Guaranteed. Will it have Kinect baked into the box itself? Probably, but they don’t care. Will it require an Internet connection? Maybe, and they’re not sure what they think about that. Will it have lots of content partnerships? Undoubtedly. Will it copy Sony’s idea of a Share button on the joypad? Perhaps. Will there be a Halo game on it? You know it.

Will it actually be anything fundamentally different, though? It doesn’t sound like it, but that may not be a bad thing. There is often an assumption in tech blog circles that the audience wants permanent revolution, but often it doesn’t. Often it just wants the thing that it knows works, and if that thing gets that job right then it’s happy. The console gaming audience generally doesn’t want consoles to do anything fundamentally different. It tends to embrace features that are additive to its core desires, like online multiplayer or achievements, but all it wants are big TV games with joypads and mad graphics. Everything else is optional.

There are maybe 150 million console gamers around the world, judging by platform sales over the last few generations, and they love their expensive splashy videogames. They’ve never particularly cared for the frilly extras, like avatars, but that doesn’t stop them buying in. They like that their consoles have ESPN on them, but those are not crucial purchase decisions. They’re not convergence customers in the way that some PowerPoint deck in the depths of Redmond probably drew a few years ago to justify unified interfaces, but again they don’t mind as long as it’s not going to get in the way of playing Dishonored. For those people, the next Xbox is exciting because of the prospect of an even more-lavish Call of Duty and an even more-next-generation Skyrim. All they really want is a box that they believe can deliver that experience.

The risk for Microsoft is if it screws that message up.

When videogame platforms live too long, their platform holder often loses sight of its core competency. When the PlayStation 2 was over it had explored so many areas of the market that it was impossible to convey all of them in one coherent story. Sony tried, with the PlayStation 3, but the result was so confused that developers only really heard “it’s over-complicated” while consumers heard “it’s $599 for Ridge Racer.” This is a business built on razors-and-blades thinking.

A similar thing is happening to Nintendo with the Wii U. The Wii was a wonderfully simple device with a couple of very smart accessories (like the Wii Fit) and a raft of dumb ones. By the time the Wii U came around Nintendo seemed to have lost its sense of focus that drove Wii, instead releasing a very confusing machine. Now it’s paying the price.

The biggest risk for the next Xbox is if Microsoft departs so far from its core audience that the audience feels turned off. If the company comes out only talking about transmedia, television tie-ins, movies on demand, instant messaging, Internet Explorer, phone syncing, emailing from your couch, holographic avatars, Spotify subscriptions, Twitter integration, Facebook integration and party gaming then I fear for Xbox’s survival. The gamers will ask “Yes, but, where’s the games Steve?”

At its heart, the next Xbox needs to simply be about the games the games the games. Will Microsoft actually listen this time?

If you were among the select few that signed up for NVIDIA’s Shield newsletter then you’ve been able to pre-order the company’s curious handset for a few days now. The remainder of the gaming masses originally had to wait until Monday for their own turn, but that’s no longer the case — NVIDIA’s retail partners have jumped on the pre-order bandwagon too so you can now stake your claim on a Shield from Newegg, Gamestop, and Canada Computer starting today.

MicroCenter will also sell the Shield in June but it hasn’t yet gotten its pre-order page set up. Get yourself together, MicroCenter.

I’m still not convinced that the Shield will find a foothold outside of the geekiest mobile gamers, but our own Darrell Etherington recently took the thing for a spin and came away rather impressed. He even went as far as calling it “the way Android games should be played,” a sentiment I don’t completely disagree with — we’ve seen the quality of mobile games surge by leaps and bounds these past few years, to the point where they easily eclipse consoles of years past. While those mobile games have slowly come into their own, the control schemes that are forced upon us thanks to the advent of the touchscreen leave much to be desired. There’s still something limiting and unsatisfying about effetely pawing at a piece of glass (or worse, a resistive display — yuck), a sentiment that others have championed, too. Early reactions to the Shield are generally positive, at least where the hardware and control layout is concerned, so at least there’s that to look forward to.

But in the end, will the Shield sell? And what does NVIDIA hope to get out of it? As it happens, NVIDIA may not care all that much about pure sales volume anyway. Time’s Jared Newman spoke to NVIDIA GM of mobile games Bill Rehbock at I/O, who pointed out that the Shield was designed to highlight the sorts of high-end gaming experiences developers have crafted for Android, not to mention the power of the company’s Tegra 4 chipset. There’s little question that NVIDIA’s newest system-on-a-chip has got plenty of horsepower to play with, but it’s still hard to see the Shield as much more than an incredibly niche device that raises more questions than answers.

NVIDIA brought its new Shield handheld gaming system to Google I/O this year and showed off a near-production device. The Shield made its debut at CES this year, surprising most since it’s a consumer handheld device from a company that generally makes internal components. But it has some neat tricks up its sleeve, including a Tegra 4 chipset, 2GB of RAM, a 5-inch 720p display and 16GB of internal storage.

The Shield units available at I/O this week were all running Android and showing off Android games with hardware controller support, and none were demoing the PC game streaming that NVIDIA said would be coming to Shield as a beta when it comes to retail in June.

My experience with the NVIDIA was limited to just a few games, including the Epic Citadel demo that always gets trotted out to demonstrate amazing graphics capabilities on mobile devices. There were also a couple of playable cart racers in action, and all of the above performed well and really showed that the hardware is capable of rendering high-quality video smoothly and without any apparent effort. For a device that’s essentially a smartphone without the actual phone powers, but with more physical buttons for $349, that’s an important achievement to be able to claim.

Shield does its Android job well, and the hardware feels great to these gamers’ hands. Buttons are slightly clicky and the ergonomics are solid, and the thing doesn’t take up too much more space than an Xbox controller when the screen is folded down and it’s in travel mode. There’s mini-HDMI, which was outputting gameplay to a small HD television, and a micro-USB slot for charging. The onboard screen boasts “retinal” quality 294 PPI pixel density, which means video and games look silky smooth.

Maybe the best part is that NVIDIA has gone for a pretty near stock Android Jelly Bean experience, which a rep from the company told me was a conscious choice they made after first trying a more involved widget overlay that ended up making for a much less pleasant experience. Navigating the stock Android with hardware controls (you can also always use the touchscreen) is also surprisingly intuitive.

All that said, this is a strange device with a market that’s probably going to be pretty niche. Really, it almost seems like a reference device designed to show off the power of Tegra, but NVIDIA is actually shipping the thing, so those of us like me who actually have a hankering for this kind of hardware will really be able to buy it even if it doesn’t become a runaway success.

Rovio Entertainment, maker of the popular line of “Angry Birds” games, announced today that its expanding its business to include third-party titles, which it will publish, distribute and market to consumers. The new program is being called “Rovio Stars,” and makes available the company’s expertise as well as its marketing teams to other publishers. The first title to be released under the new effort is “Icebreaker: A Viking Voyage,” by Nitrome Ltd.

The Icebreaker game, which follows the adventures of a lone Viking, will be followed by medieval adventure and puzzle game “Tiny Thief,” made by 5 Ants.

This is the first time Rovio has included third-party titles in its lineup, the company announced this morning via a blog post and press release.

“We want to help the developers to give these games that last coat of polish, publish the games and find their audience,” said Rovio’s Director of Development Kalle Kaivola. “We’re focusing on a small, select number of games, and each Rovio Stars launch will be an event of its own.”

That “last coat of polish” means Rovio will actually assist its partners in finalizing game production and with post-production, the company explains. Rovio notes that it’s looking for titles in “an advanced stage of production” – that is, in either alpha or playable format.

Rovio’s experts will specifically help to mentor developers in order to “turn their games into blockbusters,” as well as market them, provide PR, and help publishers distribute titles to all the relevant app stores.

Developers can now apply for consideration as one of Rovio’s next picks on the Rovio Stars dedicated website, where the company provides a submission form. Interested parties can attach screenshots and/or video alongside a description of their game. For now, only mobile titles are being considered. Expecting a high volume of submission, the company says it can’t promise that everyone will receive a response.

Rovio has long since moved beyond being only a games publisher, and is now more of media company offering cartoons, toys, and other merchandise like t-shirts, books, and even soda. It has debuted an “Angry Birds Space Encounter” at the Kennedy Space Center, and Angry Birds-themed parks. It also recently partnered with Dreamworks to release “The Croods,” a game based on the animated film.

These expansions have been working well for the company so far. In April, Rovio announced its 2012 sales were up 101 percent to $195 million, and net profit was up to $71 million. 45 percent of Rovio’s revenue now comes from “consumer products,” versus 30 percent the year prior. The company also has 1.7 billion downloads across its properties, and sees hundreds of millions of active users per month.

Details regarding how Rovio Stars will generate revenue – through a revenue share, perhaps, or other fees, were not immediately provided. We’ve reached out to the company for more information and are waiting on a response. (Update to follow).

Update: Per Rovio, the projects will be chosen depending on their individual merits, and right now the company is planning on publishing a select few games per year under Rovio Stars. As for other considerations, Rovio’s level of involvement in the project depends on what makes sense in the given situation. As for the marketing and polish, it can mean different things for different projects. Just to give an example, Rovio can help with the game’s QA process. As for marketing, Rovio has a wide and dedicated fan base around the world, strong on-line presence and a reputation for publishing polished, quality games. This is certainly a great asset for an independent game developer.

Remember NVIDIA’s kooky Project SHIELD tablet? The one it unveiled to an unsuspecting public at back CES? Well, it’s officially not just a “project” anymore — it’s a full-fledged product, and NVIDIA is aiming to get the SHIELD out the door this June complete with a $349 price tag.

To help manage demand for the curious gaming portable, NVIDIA is also preparing to take pre-orders. If you’ve been eagerly devouring what Shield details you could and have subscribed to the Shield newsletter, you’ll be able to lock down your unit starting today — the rest will have to wait until next Monday to get their pre-orders in.

To help manage demand for the curious gaming portable, NVIDIA is also preparing to take pre-orders. If you’ve been eagerly devouring what Shield details you could and have subscribed to the Shield newsletter, you’ll be able to lock down your unit starting today — the rest will have to wait until next Monday to get their pre-orders in.

In case you haven’t been keeping tabs on what the Shield has to offer, here’s a quick rundown on what to expect. The thing runs Android Jelly Bean MR1, and manages to cram NVIDIA’s speedy new Tegra 4 chipset, 2GB of RAM, a 5-inch multi-touch display running at 720p, 16GB of internal storage, and a microSD storage slot into a controller body that’s awfully reminiscent of the venerable Xbox 360 controller. Throw in the ability to stream certain PC games from a computer and you’ve got yourself a neat little gizmo.

The Shield is an ambitious little gadget, and the ability for players to stream PC games to the thing is sure to win it some fans, but is this thing really going to sell? Let’s just consider the price tag for a moment: selling the Shield at $349 means it’s more expensive than buying an XBox 360 or a PlayStation 3. Granted, those consoles will soon be superseded by a new batch of hardware from Microsoft and Sony, but I suspect people would still rather get one of those more traditional consoles than an ambitious niche device like the Shield.

That’s to say nothing of the fact that the Shield is a device meant for on-the-go gaming. These past few months have seen both Nintendo and Sony slash the prices of their respective handheld gaming consoles in an effort to life sales, maneuvers that seem to have succeeded for now. The market may not be ready for a $349 handheld, but that hasn’t stopped NVIDIA from trying — now we’ll just have to wait and see what happens.

As a fourth generation venture investor, Adam Draper was pretty much predestined to work with startups. The son of Tim Draper, the founder of global VC firm Draper Fisher Jurveston, Adam has made it his mission to do everything in his power to help entrepreneurs bring their ideas to life — without relying on his family name to do so. After taking the plunge as an entrepreneur himself, co-founding a capital raising and trading platform and an equity crowdfunding portal, the 26-year-old again finds himself back in the Draper wheelhouse: Early-stage finance.

In the summer of 2012, Draper launched his third venture, Boost.vc, a San Mateo-based accelerator that offers housing (in an on-site hotel), office space, mentorship and seed funding as part of its 12-week incubation program. But by today’s standards, considering the glut of startup accelerators that have emerged over the last two years, what was once an attractive model now almost sounds run-of-the-mill. I’d argue, and Draper would agree, that accelerators can provide more value for startups over the long-run by focusing on a particular vertical.

Today, Boost.vc is taking its first (experimental) step in that direction by focusing on one of the hottest verticals in the tech industry: Bitcoin. About three months ago, the decentralized, ungoverned currency became “an obsession,” Draper says, and since then, it’s been the focus of his blog, meetings and now, in part, his accelerator. Boost.vc will be dedicating half of its second batch (seven startups total) to companies building products and technologies around the Bitcoin ecosystem.

When it comes to Bitcoin, Draper unabashedly wears rose-colored glasses, calling Bitcoin “one of the most exciting innovations happening in the world today.” While the kind of endorsement might give some pause, Draper isn’t alone. Last month, Lightspeed Venture Partners’ Jeremy Liew penned a post for TechCrunch explaining why VCs “love the Bitcoin market.” Liew himself has been a champion of Bitcoin and its incarnations, having recently backed OpenCoin, the developer of open source payment protocol, Ripple, for example.

Now Liew and other VCs are ready to ante up and continue to put their money where their mouths are by helping to establish the “Boost Bitcoin Fund.” The Fund, Draper exaplins, is a follow-on or “start” fund for all Bitcoin companies that graduate from the accelerator program. Each of the fifteen companies in Boost’s cohorts receives $15K in seed capital (in exchange for a 5 percent equity stake), but with the new fund, Bitcoin startups will receive an additional $50K investment upon completing the program.

The fund is anchored by Lightspeed, Rothenberg Ventures, The Bitcoin Opportunity Fund and Beluga founder Ben Davenport, all of which have begun to invest more aggressively in Bitcoin startups. Draper says that the team began to toy with the idea of a follow-on fund when the founders decided to accept seven Bitcoin startups into its summer session.

In floating the idea for a Bitcoin Start Fund to the investment community, the team was surprised by the warm reception that followed. In fact, Draper says, the capital came together in a week. With the Bitcoin movement continuing to gain steam, both entrepreneurs and investors are eagerly jumping into the space and testing new ideas in hopes of finding business models that will stick.

True to form, Draper says that the Boost.vc team is fully “committed to pushing Bitcoin toward becoming the next digital frontier.” Even if, as part of that experiment, the eight startups not focused on Bitcoin have to look on with envy as the other half of their cohort pockets an additional $50K at the end of the program.

Not only that, but as part of moving to commit (half of) itself to the vertical, Boost.vc will be bringing in “a number of Bitcoin-focused mentors,” including Davenport, who has recently dedicated himself to the space, along with additional speakers, experts and investors.

As a testament to the growing interest in the Bitcoin market, the digital currency now has its own conference, Bitcoin 2013, which is scheduled to take place this weekend in San Jose. Naturally, the conference will also play host to a Bitcoin-focused hackathon, and Draper tells us that Boost.vc plans to pick one of the seven startups that will participate in its program from the field.

As to the program: Applications for Boost.vc’s second cohort are being accepted on a rolling basis, with a final deadline of June 1st. The program will kick off June 24th, concluding in a demo day in the middle of September (the date has yet to be set). Those interested in applying can do so here.

I’m addicted to Dots. It’s betaworks‘ new game. 389. That’s my high score. No power-ups. I’m pretty proud of it. The game consumes my time. I no longer browse reddit during my “private times”; I play Dots.

Dots is simple. It’s elegant. The game has restored my faith in mobile game development. But more importantly, it’s fucking addictive. I can’t put it down.

Dots a simple game: just connect adjoining dots of the same color to clear them from the board. You have 60 seconds. Clearing dots by making squares is the way to high scores. Use your dots to buy power-ups. That’s it. That’s Dots.

Like Angry Birds and Temple Run before it, Dots demonstrates that a simple game with replay value is the key to a successful mobile game. I always want to play just *one* more game. And since the game only lasts 60 seconds, I’m assured that I won’t waste that much time. I might not best my high score, but I’ll give it another go.

Dots is simple. That’s important. The first time the game loads, the user has to connect two dots to advance to the next screen. Instructions are not presented. Just two dots. After poking the two dots, users will naturally drag a line between them. And from there, they’re hooked.

When the app launched Jordan called Dots the most beautiful mobile game she’d ever seen. I won’t argue with that statement. The game is lovely. The betaworks title is also very popular and downloaded over 1 million times within its first week.

Dots is the epitome of a good game. The barrier to entry is set very low, but yet the replay value is very high. This is the golden formula that few games have achieved.

Pacman and Tetris are classic examples. Both were massive hits because it didn’t take any skill to get hooked. Just gobble up the dots or line up the blocks. It’s that easy with Dots. My 3 year daughter gets a kick out of connecting just a couple of dots. My 6-year-old got 114 his first time.

Even Bejeweled, the hit game turned bloatware, is a great example. How many of us wasted weeks of our lives playing that game on a PDA or a feature phone?

More recently Fruit Ninja and Angry Birds proved that smartphones can be a legitimate platform for casual games. Even now, years after their release, they’re still widely popular titles. Why? Because like Dots they’re easy to play and crazy addictive.

Sadly my love of Dots won’t last. There will come a day where I’ll move it from my home screen to a folder where it will live out its time on my device next to Words With Friends, Letterpress, Angry Birds Star Wars, and Temple Run OZ. That’s just how these things work.

Eventually I’ll grow tired of connecting dots and listening to the game’s satisfying pings. And then, probably a year from now as I mindlessly clear up space on my iPhone, I’ll delete Dots, not even pausing for a second to reminisce about our time together. But right now, I’m living in the moment, hiding in the bathroom, ignoring the needs of my children and the yells from my wife while I try to best my high score. Just one more round.

SketchParty TV is a game that essentially allows a group of people to play a version of Draw Something on a big screen in a party setting, usually with between four and six players. The AirPlay component works by allowing AirPlay Mirroring to turn your Apple TV-connected television or display into the easel for the game. A player gets the word they’re supposed to draw on their iPhone or iPad, and as they draw on the screen, that image appears (without the clue words) on the TV, allowing others to join in and guess.

The app earned high praise from tech bloggers including Federico Viticci and Jim Dalrymple of the Loop nearer to its original launch back in July last year, but overall the response from the general public has been more muted. SketchParty TV’s Braun explained in an interview that to date, SketchParty TV has seen only around 5,000 total downloads, which he says still has probably put the game in front of between 20,000 and 30,000 people, given that it’s meant to be used in a group setting.

Those “aren’t breathtaking numbers,” admits Braun, but the reviews have been positive and this seems to be more an issue of consumer education and getting the feature out there than any limitation of the AirPlay tech itself, Braun suggests.

“Apple has a lot of technology in their platform to encourage developers to support, and AirPlay Mirroring is a smaller piece of the equation than something like, say, iCloud,” he explained. “There’s also a consumer education component involved – right now it seems to be up to the savvy to disseminate the wonders of AirPlay to their friends by word of mouth. Or by showing off games like SketchParty TV.”

Others like Real Racing have embraced the two-screen Mirroring experience, but even the support of a major publisher like EA hasn’t pushed it into the spotlight, and Apple isn’t exactly crowing about the feature either. They advertised that AirPlay Mirroring made it possible to see the same thing on your TV as you’re watching on the iPhone or iPad, but there’s been no formal campaign to promote the fact that gamers can get a true, Wii U style dual-screen gaming experience from current apps with the tools available now.

“It’s been surprising to me that there are many people who have an Apple TV and an iOS device and are aware of the ability to send a video stream over AirPlay, or mirror the device display, but not of the ability to do second-screen to the television and show different content on each,” Braun said about the conspicuous absence of hype around the feature. “Personally, I’d love for Apple to give more love to the Apple TV – whether that means improvements to the current offering or some bold new direction like an actual HDTV set.”

Rumors still prevail that Apple is planning its own HDTV set, despite the fact that this has been rumored for years now. But if it does come true, that would provide a big reason for Apple to push more of its features. The other big question mark that remains centers around whether Apple might just open the Apple TV platform to third-party apps, which might minimize, though not eliminate, the benefits of having an AirPlay-connected game.

Braun says that the addressable market is large for this type of experience, ranging between 10 to 12 million by his calculations, and with plenty of growth potential thanks to the more than 300 million strong iOS user pool. It’s a bigger potential market than that represented by the current combined sales of all major home gaming consoles, in fact, with the provision that Apple needs to blanket more of those with the AirPlay component. One way or another, that’s a market that won’t go ignored for long.

Editor’s note: Tadhg Kelly is a veteran game designer, creator of leading game design blog What Games Are and creative director of Jawfish Games. You can follow him on Twitter here.

As I am a medium-sized Song of Ice and Fire geek, I find myself thinking of the famous Cersei Lannister quote: “When you play the game of thrones you win or you die.“

The Rusty Throne

This is essentially how the games industry has behaved for the longest time. It has a history of generational prize fights, of kings and contenders and pride going before a fall. It was a place where previous winners became abject losers, from Atari to Sega, Sony, Nintendo and Microsoft. And there were many young 3DO-sized pretenders that never got out of the gate.

The real kingmakers were developers. Faced with the choice to work with one dedicated platform or another, or try their hand at PC distribution, many would evaluate based on appeal and conventional wisdom about the market’s tastes. So, depending on who courted them best, offering the best tools or the best business opportunities, developers would always choose and then become locked in. Porting costs were expensive and difficult.

A virtuous circle of audience and developers then formed, each propping up the other until such time as the platform started to feel played out. The only consistent exception to this rule was Nintendo, who developed both the platform and its games, and so needed a smaller audience to thrive.

Yet the pattern started to shift somewhere around 2005. According to the normal order of succession, Microsoft’s Xbox 360 should have become king when Sony fumbled the ball. But actually it was Nintendo, with the fresh-faced and deliberately cheap Wii, who rose to prominence and left the other two achieving a kind of détente.

A common assumption of the time had it that the industry had simply moved from a phase of monopoly to oligopoly, but there were a couple of other factors at play. One was that – outside of a couple of very big third parties – developing games for these formats became prohibitively expensive for most studios. So the platform holders took a greater hand in developing and publishing the successful games on their own platforms. This led to smaller choices.

A second factor was that, after years of sputtering, smartphones finally managed to roar into life in 2007, and in the following year the world learned what an app was. Apps started to change perceptions of value around software and games, as did social gaming. Foundational ideas like how the economics of gaming should behave, and consequently what game products should look like, raised significant questions.

The numbers indicated stagnation, or even contraction, of the console idea. The Xbox 360 was launched eight years ago today on May 12, 2005 and went on to sell around 70-75 million units. Sony’s Playstation 3 launched in November 2006 and also sold about 70-75 million units. Nintendo’s Wii also launched in November 2006 and has sold just shy of 100 million units. These are all pretty good, but none is close to the Playstation 2 (155 million units). Meanwhile the iPad has sold at least 100 million units in three short years, the iPhone is north of 250 million and the combined sales of Samsung’s Galaxy models probably dwarfs that number.

A third factor was technology. Developers don’t really have to make the choice to go with any one platform any more. At the high end of the scale, big publishers opted for Epic’s Unreal engine, which made it much easier to port between multiple game systems. And at the lower end, Unity in particular has made it much easier for game makers to get into many arenas cheaply. That in turn has affected how they think, such that making games these days is no longer an all-in business. Now the virtuous circle can, and frequently does, extend beyond the platform.

This leads me to the idea that there is no longer one Iron Throne of gaming. That the very notion that a hardware monopoly, or even an oligopoly, will continue to own the market is archaic.

Elegantly Democratic

Most of the interesting stories about games have come from non-traditional sources over the last few years. Technological innovations like mass asynchronous social gaming happened beyond the Wall, and a decline in PC sales and console software sales corresponded to a rise in tablets and apps. The Wii, despite its initial roar, faded quickly. So did products like Kinect. The market changed, becoming much more chaotic and faddish in some respect. But also much more tribal.

Here’s a small example: Five years ago I regularly bought Xbox 360 games at my local GAME store. GAME wasn’t my only source of games (Amazon was another) but I often found it the easiest to browse and the most immediate delivery vehicle. An average purchase would probably be around $30, and time from purchase-to-playing could be measured in hours.

This weekend, on the other hand, I opened my iPad and downloaded Running with Friends, Impossible Road, Oregon Settler, Ace Patrol, Paper Titans, Star Command and Year Walk. Some of these games were free (as in free-to-play), some were $2 or $3. Most of them are pretty good and some of them look beautiful. After my purchase they had all downloaded and installed in about 10 minutes, and then I was playing away.

It sounds trivial, but that kind of elegant experience and low price fundamentally undoes many of the basic precepts of the old way of looking at things. I don’t just mean that the games are cheaper and more easily accessed (although that’s a part of it). They are much more disposable. $0.99 spent on Angry Birds Friends is just a lot less of a commitment than $69.99 spent on Call of Duty, and that means players are much more likely to drop a game if it’s not instantly engaging.

It also means that players have access to vastly more games and can try tons of them before they find the one that’s right for them. This means that marketing stories, as opposed to platform stories, are more important than ever. Recognition, resonance and so on matter more because the one thing you (as a game maker) don’t have is the guaranteed attention that comes with a platform sugar daddy.

Almost all the really interesting stuff is happening anywhere but console because of access and price. It’s relatively easy to be on iOS (though hard to be successful there because of so much competition) compared to Xbox Live. It’s much easier to connect to fans through general-purpose devices that also sell games than games machines that also sell content. This applies just as much to the bingo-gaming business or the frontier of indie development.

Some would say that all this proves is that Apple became the new king, but if so Tim Cook wears a fairly disinterested crown. The iOS shift was more like the old computer revolution than a dedicated gaming movement. And while games certainly make up a huge part of that experience today, Apple (and Google and Facebook, too) operate a curation/aggregation marketplace rather than the traditional dictatorial console platform.

There is no king any more, not like we used to know anyway. And little need for him to return.

Nobody Needs The Targaryens

In the Song of Ice and Fire, Daenerys Targaryen is on an extended quest to form her armies and return to take back the crown of Westeros in the belief that this is her divine right. At some point I think, perhaps in a later book, there’ll come a moment when she realizes that she was wrong. In fact my bet is that the Iron Throne is eventually melted for scrap. I feel a similar way about games.

A common counter-argument to all the new school game thinking seems to say “Okay, okay, fine. All these touch-based games are all well and good, but they can’t do Halo 4.” In other words, phones and tablets are for casuals, but real gamers know the score. They know that the mono/oligopoly approach is right, and is where the good games come from. They are waiting for a new king.

Actually, “real gamers” (whoever they are) are actually often to be found playing indie games on Steam and funding Kickstarter projects. Many of the most significant games in that sphere get their first breaks elsewhere, such as Minecraft. Many of the big trends happen well outside official platforms, where the conversation is more connected. Meanwhile the would-be kings operate what amounts to a television model, while Valve is proposing to create a Steam Box that gets around the console problem once and for all.

This means dedicated devices like the PS3 are actually second- or even third-string platforms now. My friend Mike Bithell, for example, released Thomas Was Alone first on a variety of small PC-download stores, then Steam, and only much more recently on PSN. He doesn’t need official sanction to go make his game, just Unity and some way to accept credit card payments. And that means Sony comes calling to him rather than the other way around.

In addition, the presumed hardware advantage of consoles is less impressive than ever. Halo 4 may weave a big song and dance, tell a story, and also put you in the game world with haptic feedback. But when I look at wonderfully stylized games like Year Walk, I remember that the actual story in Halo 4 felt largely like a re-run of bad Babylon 5 episodes.

And as for the joypad factor? Well OUYA, Gamestick, GamePop and other microconsoles are becoming more and more interesting. They’re trying to bring a lot of that app store thinking to your television at a low price, and while that idea has yet to cross the chasm into the mainstream, it seems only a matter of time. At the moment, more “royalist” elements of gaming journalism tend to think of microconsoles as 3DOs (primarily asking who are the devices supposed to be for) and evaluating their chances based on the criteria of “proper” consoles. But, as Darrell wrote yesterday, that’s probably the wrong way to look at them.

However what is apparent is just how trivial they could make the joypad-gap seem. And did I mention how they almost all work with Android and Unity?

The Republic of Gaming

It’s highly unlikely that any major console will win the Iron Throne ever again. Gaming is changing from a monarchic model to something approaching a democratic one, where a flood of formats and cross-platform solutions overcome monolithic ideas of quality and price, and of the need to choose a platform to be the king.

The old kings are still carrying on as though they’re playing the game of thrones, trying to out-maneuver one another with a raft of press events. But what you’ve got ask yourself is whether all of that is just so much noise and bluster celebrating the emperor’s new clothes?

The biggest difference from one year ago with China’s mobile startups is that the local market is actually viable.

China now has more active iOS and Android devices than the U.S., up from about 40-50 million in circulation the last time I visited in late 2011. What that means is local entrepreneurs can finally build real, scalable mobile software businesses.

iDreamSky, which started four years ago, is one of the companies riding this wave.

They started back in 2009 and have grown to about 200 people through publishing some of the West’s best-known mobile games like Halfbrick’s Fruit Ninja and Imangi’s Temple Run in China.

The Chinese market isn’t like the rest of the world. There are myriad Android app stores, run independently of Google. There are different social media channels through platforms like Tencent’s WeChat and Sina Weibo. Then there are different local tastes for music and art.

“Finding a partner that knows how to localize your game doesn’t mean just translating the game in Chinese,” said co-founder and executive vice president Jeff Lyndon. “It’s also about adding unique content.”

He said in Fruit Ninja, iDreamSky added Chinese blades for cutting the fruit and localized backgrounds.

They also changed the monetization strategy in Temple Run. The Western version of the game asks players to buy virtual gems to revive their character. But in the Chinese version, Temple Run will ask players to either buy virtual gems or directly pay 2 renminbi (about 33 cents) to revive their runner.

Lyndon said re-routing players through a separate interstitial to choose packs of gems deterred Chinese players. “It’s counterproductive to impulsive buying behavior,” he said.

While other top local developers like Chukong have revealed that they’ve been making between $6 million per month, mainly from the Chinese market, Lyndon said top foreign indie games could realistically gross $4 million to 5 million per year before iDreamSky’s take.

The company splits revenue 70-30 with the developer getting the bulk, but they graduate their take to 50-50 for better-performing games. Their network has grown to about 15 million daily actives in China.

They’ve raised roughly $10 million from Redpoint Ventures and Legend Capital and compete with companies like Chukong, which publishes games while developing its own first-party titles. Yodo1 is another publisher that recently took funding from Singtel.

“There’s a new batch of the competitors, but the market is big enough for all of us to survive,” Lyndon said.

But he said one advantage that iDreamSky has is that it doesn’t have a dual role. It only publishes games; it doesn’t make its own titles. Having a dual model can sometimes lead to conflicts of interest if a studio promotes its own games over a third-party title, or even borrows ideas liberally from a third-party studio, he said.

“We have a very strong mandate,” he said. “If we want to be a publisher, we should never be a developer.”

He added that the market is changing rapidly. Tencent’s WeChat, which blew up over the last year and grabbed 190 million monthly active users, is poised to be a major distributor of mobile games. South Korea’s Kakao has pioneered this model; games distributed by the Kakao messaging platform dominate the top-grossing charts in the country.

“WeChat is going to be one of the biggest trendsetting elements of 2013 for the Chinese market,” he said. “Once it opens up, as Kakao and Line being have already shown, WeChat will deliver the same results or even better.”

For foreigners, Lyndon said there’s a limited window to break into the Chinese mobile gaming market (which might be a bit of a self-serving thing to say.)

He said local developers are getting increasingly better at catering to the local market, and they already dominate the charts with the exception of titles like King’s Candy Crush Saga.

“The Chinese market has changed dramatically. It’s getting harder for Western developers to come in,” he said. “If you don’t come into China earlier, you might not be able to come in in after next 24 months.”

The Ouya is making its way out to backers even now (though my shipping notification still hasn’t arrived. Grrr.) and judging by early impressions, it’s no silver bullet to take down behemoths like Sony and Microsoft. The $99, Android powered console still isn’t fully formed exactly, but it’s doubtful that between now and June 25 it’ll take on giant-killer proportions. Likewise the recently-announced BlueStacks Android gaming console, which features a subscription-based pricing model, probably won’t alone topple the giants.

But combined, these and a slew of other devices including the GameStick, smart TVs from manufacturers, Steam Boxes, and even Google and Apple hardware are eating away at what was once a fairly exclusive field. It seems a lot of people are waiting for a watershed moment to signal a significant shift away from traditional console gaming to a new paradigm, but increasingly, it looks likely that what we’ll see instead is an erosion that more closely resembles glacial shift, but on a less geological time scale.

There’s evidence to suggest that console gaming is already losing significant ground, like quarterly results from Nintendo that show a dramatic decline in consumer interest in the recently-launched Wii U console. And while Sony saw its first full-year profit in half a decade, most of the good news was on the smartphone side, and PlayStation sales fell for the year. Microsoft is still doing fairly well with the Xbox 360, but growth of key accessories like the Kinect have slowed with time.

Slower Kinect sales are a good bellwether for the industry’s overall health, if only because it and devices like it are where console makers are turning to try to inject some fresh life into a market that had recently started to look fairly stale. To some extent, Kinect, Move and other gimmicks like the screen of the 3DS are an answer to incursions by mobile gaming and other alternatives. Just like point-and-shoot cameras needed differentiating features like long zooms to prove themselves relative to smartphone cameras, video games needed something new to reel in new buyers.

The new crop of challengers to the console gaming market, including Ouya and the new BlueStacks GamePop console, risks getting discounted by critics as just another round of devices like the GP2X Wiz or the Gizmondo, which had limited appeal and then faded into the background of video games history as little more than a minor footnote. But that’s taking too short-term and dismissive a view on what’s currently happening in the video game space. It’s true that, as ardent console gamers continually remind me, there will always be a demand for that type of content.

Increasingly, however, there’s a growing contingent of players that are fine saying, “if I can get it on my phone, why do I need it anywhere else?” and that’s a market that’s ripe for a living room transition like the ones being attempted by Ouya and BlueStack. It’s easy to discount these ahead of their full consumer launch, and I don’t expect them to have an immediate impact on console sales, but they are signs of a sure shift, and one that won’t go away, even if doesn’t provide the sort of bomb shock disruption that we’re so fond of identifying and championing.