How many subscribers does the the video montage maker have

#How many subscribers does the the video montage maker have software#

This is where the Netflix analogy really stacks up. Really, subscription platforms appear to be a precursor for the shift to streaming than an end in their own right.

In this scenario, the content of independent studios will be evaluated simply on its ability to drive and maintain subscriptions.

#How many subscribers does the the video montage maker have software#

If profitability isnвЂ™t even the end goal for the subscription services of big tech companies then games might simply become loss-leaders for wider software ecosystems and services. Operating at such economies of scale, the creative output of major video subscription services has felt increasingly and eerily homogenized, the fear being that the same could happen to video games. Game Pass appears to follow this seemingly inverse financial rationale-вЂњnot a big profit playвЂќ right now according to Xbox marketing head Aaron Greenberg. Netflix has proven that racking up an eye-watering $15 billion in debt to fund content is no obstacle to chasing dominance of the video-streaming market. So to what extent is this shift sustainable, and does it even matter? The answer may in fact be no. вЂњAnd if they donвЂ™t have enough subscribers or theyвЂ™re not making enough profit, theyвЂ™re going to look at budgets.вЂќ вЂњSomebodyвЂ™s going to look at the burn,вЂќ she suggests. Saltsman predicts developers will curtail their budgets down the line precisely because of such costs. All this while video games remain expensive to produce. One play on a subscription platform isnвЂ™t equitable to that of a premium sale, and so the player numbers that could have traditionally been counted on to bring in sufficient revenue are now far greater. Rebekah Saltsman, cofounder of Finji, the developer and publisher behind Apple Arcade title Overland, suggests that subscription platforms are distorting the value of games and that this is having a knock-on effect for budgeting. In this new configuration, their customer is the subscription service itself rather than the player. While subscriptions appear to be a no-brainer for gamers, the benefits arenвЂ™t as clear cut for developers. This in itself-the shift from sales to subscription-based revenue-is seismic, especially for independent studios. For game makers, the draw is two-fold: a built-in audience hungry for new content and a launch where the risk of actually having to sell the game is removed. (PlayStation Plus, by comparison, offers a small, refreshed selection each month.) The choice is huge plus, itвЂ™s an affordable way to enjoy a notoriously expensive hobby.

Today, Game Pass and Apple Arcade are the most robust, and opening either of these services for the first time is a head-spinning experience.

Like music and film before it, the subscription model is arguably on the cusp of transforming video games. The promise is one of convenience and value Microsoft would stress itвЂ™s putting customers first. Xbox players could look forward to sustained investment in a library of well over a hundred titles, all for a monthly subscription fee far below the cost of a $60 blockbuster title. Ownership is an old-fashioned idea, he and the company appeared to say, echoing the sentiment of subscription and streaming giants such as Netflix and Spotify. As Microsoft gaming head Phil Spencer drummed up hype for the new Xbox consoles last year, his focus appeared to be less on the next generation of consoles than the companyвЂ™s subscription service, Game Pass.