Home / Technology / Charlemagne – The Incomplete Launch of “Cyberpunk 2077” | Europe

Charlemagne – The Incomplete Launch of “Cyberpunk 2077” | Europe

IT is easy Be optimistic about Europe’s future when it comes to running through hell, dystopia, police using machine guns and executing pedestrians with samurai swords. The opportunity arose from “Cyberpunk 2077,” a Polish video game released just before Christmas after decades of development, selling 1

3 million copies for up to $ 60 per volume in the first ten days, with buyers being lured by the “best of the best”. A mix of intense violence, inexplicably a few clothed women, and the only armed terrorist played by Keanu Reeves, the pre-launch ad has changed its creator from Warsaw. CD Projekt is the nation’s highest-value listed company and is a rare example of a successful European business in the 21st century industry, rather than sticking to a reputation built in the previous century. Even the in-game currency has something to cheer on for Europhiles: In Cyberpunk lore, the main currency is the “eddies” based on the Euro. Society may collapse into a living nightmare, but at least ISingle living currency

However, what was supposed to be a rare technology victory for European businesses soon became a joke. The game was released while still littered with bugs like the real euro. The performance of older consoles was so bad that Sony, the world’s largest console maker, took the rare step to get the game out of the store. One scene gave the unfortunate commenter a seizure. CD Projekt issued a heartbreaking apology. The share price was halved on the back of a surge of complaints and demand for a cashback.Paper billionaires created among Polish company executives became paper millionaires again. The strange cocktail of Cyberpunk 2077’s infamous success and failure is a hallmark of the European video game industry as a whole. It also mentions the European economic place in the world.

Let’s start with the positive. If a Polish film studio released the best-grossing $ 1 billion in just a few weeks while “Cyberpunk 2077” could, it would be boring to complain that some of the shows didn’t look. Well, and the plot is vulnerable. CD Projekt is far from alone.Ubisoft, a French colleague, is behind popular series such as “Assassin’s Creed,” which allows players to vent their bloodthirsty vibes across historic European rooftops. Other small developer groups were scattered across groups ranging from Bucharest to Helsinki through Berlin. Game designers in Poland and France found their efforts on the bestseller list for the same reason that Swedish pop stars do: they have a knack for knowing what people like. In a $ 140 billion-a-year industry that’s roughly three times the global box office for movies, this is a handy skill to have.

Europe’s success in this sector is limited, and European companies have been slumped by both American and Chinese competitors. Two of America’s biggest competitors, Electronic Arts and Activision Blizzard, are roughly three and six times larger than Europe’s biggest rivals, respectively. Any company showing signs of growing up to serious scale will be hit by an American rival? China is rapidly gobbling up. Microsoft bought Mojang, the maker of “Minecraft” for $ 2.5 billion, in 2014. Tencent took control of Finnish mobile game company Supercell in 2016 with a group value deal of $ 10 billion. Difficult compared to America But especially when it comes to video games, points out Matti Littunen at Bernstein who was the broker. Often times, continental investors have no interest in this kind.

Just as Europe failed to produce its own Amazon or Facebook, it failed to control platforms that dominate video games. These are controlled by hardware vendors like Microsoft and Sony, or American distributors like Valve, the world’s largest owner. PC –The Steam Game Store, previously land-grabbing companies such as Microsoft, Google and Amazon, may be ambitious in ways that European rivals cannot match. These giants are set to dominate new markets such as the rise of cloud-based games with game streaming –Go to Spotify, a rare technological achievement in Europe, instead of buying them individually as they are now. People’s interest is a profitable and limited resource, and one that European companies are unsuitable to mine due to previous failures.Younger European technology companies will atone for their ancestors’ sins.

Stable edge

Perhaps Europe should be happy that its business is a niche player in a world dominated by American and Chinese companies. Owning by others is not the end of the world. Stripping assets in the creative industry is a silly idea: There’s little point in buying a creative company and then chasing everyone. Granted, the quality of the gaming work can be overstated. (At worst, it can work hard to ensure a horse’s digital testicles wither in the right manner on a cold day.) But video games are a growing industry and are especially important for the group. With different economic trends Rather spread across the continent As long as some work and investments persist, why would anyone care about it?

The attitude is aimed at European leaders, who are desperate to make the union the right superpower. I Has proven to be able to control the business But cannot help build these businesses It should start by paying more attention to the industry that is protecting the future. Instead of cherishing a sector like video games, it has been forgotten: overshadowed by traditional industries with national politicians origins. Being viewed as too stupid by the luvvies that made the creative sector more influential, if any. dirigiste Europe is inevitable. I It should at least be more focused on efforts in a promising industry rather than helping older people hold on. As with the accidental release of “Cyberpunk 2077”, the European video game sector remains a success. But it has the potential to be much better. Unfortunately, in the minds of European lawmakers, the 20th century industries in which the continent generated wealth – automobiles, chemicals, banks – were still king. Unless there is a change in the year. 1977, nothing might happen again.

This article appears in the European section of the print edition under the heading “Cyberpunked”

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