Broadway’s Imperial Theatre (Getty)For theatre lovers waiting to get tickets to Broadway’s most in-demand shows, the wait just got even longer.The Broadway League announced Monday that theatres will remain closed until at least the end of 2020, with some uncertainty over when shows will reopen. People who have tickets for performances up to January 3 will receive refunds, according to the New York Times.“Returning productions are currently projected to resume performances over a series of rolling dates in early 2021,” the League, a national trade association, said in a statement.The news comes after Gov. Andrew Cuomo announced last week that gyms, malls and movie theaters would remain closed past the state’s fourth phase of reopening. New York City is currently in phase 2, which allows for outdoor dining and real estate services to resume.Read moreHere’s what won’t reopen in New York’s phase 4Hotel distress could strip NYC of $1.8B in tax revenue Share on FacebookShare on TwitterShare on LinkedinShare via Email Share via Shortlink Share via Shortlink Because of Covid-19, the industry is weighing how to implement “screening and testing, cleaning and sanitizing, wayfinding inside theaters, backstage protocols and much more.”Charlotte St. Martin, the League’s president, told the Times she was “cautiously optimistic” about protocols the industry was developing.“As long as they hold up, I do think that after the first of the year, a rolling rollout of shows reopening is possible,” she said.Broadway shows were halted on March 12, before the state shutdown was implemented on March 22.Of the 31 shows that were running, the Disney musical, “Frozen,” Edward Albee’s “Who’s Afraid of Virginia Woolf,” and the Martin McDonagh play, “Hangmen,” have all said they will not return to the stage after Broadway reopens.The pandemic has frozen New York City’s travel industry, leading hotels and other tourism-dependent businesses to suffer. The loss of tourism alone could drain the city of $1.8 billion in tax revenue from hotels, according to a recent report. [NYT] — Sylvia Varnham O’Regan TagsCoronavirus
LisbonPortugal’s capital Lisbon is a few months into a program meant to bring units in the city off the short-term rental market and into its affordable housing stock.Landlords so far have been slow to embrace it, but that could change if the coronavirus pandemic continues to hammer tourism in the city, according to Bloomberg.The city’s Safe Rent program requires landlords to commit to long-term affordable renting for at least five years. Lisbon’s government pays a guaranteed 1,000 euros per month in rent for units in the program.The average monthly revenues for some Airbnb listings, including four-bedroom units, has fallen well below that figure since mid-March or so, when the coronavirus pandemic began to impact cities around the world. Last year during this time, average monthly revenues for a four-bedroom listing hovered around 3,500 euros per month.The number of reservations in the second quarter were just 10 percent of reservations in Q2 2019.Most short-term landlords are holding out for now, hoping that that reservations would pick back up in the typically busy summer months, according to Eduardo Miranda, head of the Association of Local Accommodations in Portugal.“This hasn’t happened yet and many of these owners may be considering other alternatives at the moment, including the safe rent program in Lisbon,” he said.There are also concerns among landlords that they’ll have to pay a load of taxes upon transfer of units from short-term rentals to traditional long-term leasing. [Bloomberg] — Dennis Lynch TagsCoronavirusEurope Share on FacebookShare on TwitterShare on LinkedinShare via Email Share via Shortlink Share via Shortlink
Share via Shortlink Share on FacebookShare on TwitterShare on LinkedinShare via Email Share via Shortlink (iStock)New York’s real estate market has become a tale of two fortunes.There is Brooklyn and the suburbs, where new contracts surged in August, according to the latest market report from Douglas Elliman.Then there is lonely old Manhattan, where real estate executives are leading the charge for companies to return to work; where the business community is taking every opportunity to tout the city’s unshakable foundation; and where home sales continue to tumble.Contracts for condos in the borough fell almost 38 percent last month from the same period last year, while new listings went up 30 percent, the report showed. Co-op contracts fell 26 percent.The ultra-luxury market was particularly slow, with no condo contracts signed above $20 million and four between $10 million and $19.99 million. Most deals were between $1 million to $4 million.ADVERTISEMENT“That urban-to-suburban story has to be recast as Manhattan-to-suburban,” said appraiser Jonathan Miller, who compiled the report.Read moreJuly contracts tumble in ManhattanManhattan home of late rock star Ric Ocasek goes into contractEvictions banned through December for most US tenants Since the pandemic hit, much has been made of the so-called “death” of cities. However a recent report from Zillow showed that urban and suburban residential real estate markets have mostly fared the same — the Northeast being the exception.In the Hamptons, contracts for single-family homes climbed 109 percent in August from the same period last year, to a total of 278. New listings also doubled. In Norfolk, home deals went up 76 percent.The pandemic is a huge driver, of course — but not only because it sparked a rush of interest in homes with privacy and outdoor space.“A lot of this unusual surge isn’t just outbound migration from Manhattan but it’s the fact that there wasn’t a spring market — it was locked down — and the summer ended up being a release point for all this pent-up demand and pent-up supply,” Miller said.But now, there are potential signs that the frenzy may be leveling off. In some suburban areas, including Westchester, Fairfield and Long Island, the month-over-month figures seemed to plateau or peak, Miller said. Whether that’s a temporary easing or the sign of something bigger remains to be seen.Deals in Brooklyn have mostly followed the upward trajectory of the suburbs. Co-op deals climbed 181 percent last month to a total of 138, the report showed. Most of them were in the $500,000-$999,000 range, followed by the second-largest bracket, under $500,000. There were zero co-op deals above $4 million.Condo deals in the borough also climbed, however the 33 percent increase was markedly more modest than the co-op figures. Just three of the condo contracts were above $4 million.Single-family home contracts totalled 128 in August — up from 50 in the same month last year.“[Brooklyn] didn’t take the hit that Manhattan did, and it continues to show that,” Miller said, noting that demand appeared to be outpacing supply.“If you look at the two of the three property types, there was larger growth in signed contracts than there was in new inventory coming on.”Write to Sylvia Varnham O’Regan at [email protected] TagsDouglas Ellimanhome salesjonathan millerResidential Real Estate
Share via Shortlink Houlihan Lawrence CEO Liz Nunan and COO John CanniffeReal estate brokerage Houlihan Lawrence has made some big changes to its C-suite.President Liz Nunan has been named CEO, replacing Chris Meyers, who retired in March, the company announced in a release. Nunan has spent 20 years with the firm and in 2018 was made COO, then president in 2019.John Canniffe, who most recently helmed the Real Estate Board of New York’s Residential Listing Service, has joined Houlihan Lawrence as COO. Before that he was with brokerage conglomerate Realogy, the parent of Coldwell Banker, Sotheby’s International Realty and the Corcoran Group.Houlihan Lawrence has 1,300 agents and serves areas north of New York City, including Westchester, Fairfield and Dutchess counties. Those areas have seen a surge in demand since the coronavirus pandemic. —Dennis Lynch Share on FacebookShare on TwitterShare on LinkedinShare via Email Share via Shortlink TagsBrokeragehoulihan lawrence
Ex-Halo devs find fault with big studio practicesHighwire Games’ Jaime Griesemer and Marty O’ Donnell critical of planned layoffs, “auteurs” on large teamsBrendan SinclairManaging EditorThursday 3rd March 2016Share this article Recommend Tweet ShareWith resumes that include decade-plus stints at Bungie each, designer Jaime Griesemer and composer Marty O’ Donnell have plenty of experience working in AAA game development. But speaking with Playboy recently, the developers said there were some aspects of working on large teams they were happy to leave behind when they went indie to form Highwire Games.”It’s really easy to get into a situation we call feeding the beast, where there’s this enormous production team that isn’t allowed or isn’t capable of making progress on their own, so creative directors are always just trying to generate something for those guys to do,” Griesemer said. “And you come in every day and you’re like, ‘OK, there’s a line of like seven people waiting for me to tell them what to do, I guess I will just–as fast as I can–make something up.’ And that’s crisis mode… I don’t want to ever put myself in the position where I’m just kind of making it up as I go along, because otherwise we’re paying people to sit around and twiddle their thumbs–or worse, talk shit about the direction of the game and the team.”Right now Highwire actually has its development planned out further than the team has been able to keep up with, so the studio is actually looking to increase headcount a little. However, they’re intent on keeping the core of full-time developers at Highwire small, with reinforcements coming from freelancers and contractors as needed.”I think it’s going to turn out to be similar to the movie business, where you have the stakeholders of the film, the director, the producer and a few core people, writers and whatever,” O’ Donnell said. “And then they hire in to finish pre-production, bring in all sorts of experts for production and then they go way down [in staff] again and go into the editing room in post-production. And they put it in the theater.”Griesemer added, “And to be honest, that’s kind of how the industry works already. [Companies] just are not up front about it, so they get to the end of the project and lay off half the team. And it’s always the sort of mainline art production staff that they lay off, because they just don’t want those guys sitting around for the next nine months or year while they figure out what game they’re making next.”Studios might plan to simultaneously run post-production on one game and pre-production on the next, O’Donnell said, but it doesn’t really happen in practice “because as you’re screaming to the deadline of post-production on a game you keep sucking all these people in that should be on the next project already. Then at the end, it’s like, ‘Oh, now we need to fire you because we have nothing for you to do. We never spent the time figuring it out nine months ago.'”It’s a common enough failing that Griesemer suggested studios are actually counting on it happening.Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games “They plan–the layoff is part of the budget,” Griesemer said, “I mean, it happens before the game even is out the door. So they know it’s coming, they just don’t tell their employees until the game is in the box. And to me, that’s kind of treating people like cogs, like a resource. It’s not respecting them as professionals. If you bring somebody in and say, ‘Look, we’re not going to be able to pay you after the project ships, so you should be reaching out [to find future projects], but please do stay and help us ship the game,’ 95 percent of the industry would do the right thing and stay until the game is shipped. And then they’d already have something lined up.”Both Griesemer and O’ Donnell stressed the importance of having someone with a vision at the helm of a production making decisions to keep development on track and ensuring everything worked together, but they weren’t ready to embrace the “auteur” model of game development.”I’ll be honest,” Griesemer said. “I think the auteur version of game development works really well if you’re making a game by yourself. And actually a lot of those guys got started that way. You know, the first Metal Gear was-I think the team was like 10 people. I think once you get to bigger teams, ‘auteur’ almost always means ‘I’m not disciplined enough to plan ahead,’ so I just have to react to everything and tell you I don’t like it. And a lot of those games end up going way over-budget and way under-delivering or just being a kind of a disorganized mess…”Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Daily Update and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesAdopt Me developers unveil new studio, Uplift GamesTeam behind hit Roblox game has grown to over 40 employeesBy Danielle Partis 15 hours agoDeveloper wins against Grand Theft Auto DMCA takedownTake-Two loses claim to reversed-engineered source made by fansBy Danielle Partis 19 hours agoLatest comments (4)Alan Wilson Vice President, Tripwire Interactive5 years ago Grim, if not surprising, reading really. But it is handy for those of us committed to running sustainable studios – we keep getting opportunities to recruit great staff! Shameless promotion time: http://www.tripwireinteractive.com/jobs!0Sign inorRegisterto rate and replyHugo Trepanier Senior Game Designer, Ludia5 years ago The other option is to do work for hire in the down times to make sure everyone keeps busy and motivated. This way people get to work on a variety of projects and they keep their job stability. It’s a win-win for everyone involved. 5 years ago He doesn’t differentiate between a true auteur and a prima donna.Steven Spielberg is an auteur. He has total control. But he stays on time, on budget, doesn’t throw temper tantrums, etc. Edited 1 times. Last edit by Tim Carter on 4th March 2016 10:49pm 1Sign inorRegisterto rate and replySign in to contributeEmail addressPasswordSign in Need an account? Register now. 0Sign inorRegisterto rate and replyShow all comments (4)Tim Carter Designer – Writer – Producer 3Sign inorRegisterto rate and replyBenjamin Solheim Sole Shareholder, ESPN5 years ago The problem with that approach is it is just people who got laid off at the end of the project and had to work for minumin wage wanting every one else to do what they did.When a project ends there is not another project magically starting right then. The teams of people being laid off are almost always the people who have no idea what is going on because they are numbers game. There is so much work that has to be done in order to complete a milestone or loss the production investment because the people paying for the game don’t want the lead developers sitting around and playing other games… instead of working.Some one will eventually realize that the reason people sit around doing nothing is because most studios are working on one game starting with pre-pro or the visualization and scripting out the concept. They have to get that to a point that it can be funded. A smart studio would simply separate the concept team from the project teams. That way the concept team is creating multiple projects to try and get funding. Once the teams get funding for complete pre-pro, they turn it over to a production team instead of expecting people to sit around waiting for concept art that may or may not get approved. Then those teams can be spun as they hit mile stones and if the game goes gold, paid them to two weeks off while you find out if the game sells well. If it does give the whole team a new project while every one knows what to do. If it sells badly let the other projects steal who ever they want from the team and lay the rest off. That way you retain the quality and not the drones…Most studios collapse because they hire their friends and some of their friends simply think being there friend they are entitled to a job… those are the ones that instigate the problems but no one ever wants to fire them in case they spread rumors.So basically indie who want to AAA studios need to figure out spending six months to year training some one to do a job then laying them off because they did not get another project funded… that is just silly they will go to work for your competitors and laugh when you offer them a job again unless your competitors did the same thing but at that point both studios have shown no loyalties to their workers so if someone bribes them to tank the project you have all ready built into your development plan the means for your competitors to prevent you from releasing a game in the same window as they need to make money on a game to fund their other projects.So smart studios know that they have to become the production studio running smaller studios to keep making money. Indie development may be agile but usually is too busy trying to figure out how to save money for that next project they forget they have an investor all ready looking and spending money. If they simply spin up teams to sort people to where they are best suited, which means playing people to just sit around all day and make sure the projects have people on them, well that is why hollywood is more profitable than game per project. They simply don’t take some one with years of creating art and make them trying to figure out how to manage a team. The indie part of the game industry still for the most part assumes that management is simply a senior designer who micromanages every part of a project… which why when it gets to crunch mode and they teams are running around doing things with only one or two people over seeing them directly things get done.You pay people to create assets, you then pay some one to make sure they are getting those goals complete before they are needed for the milestone. You pay some one set up focus testing to tell you if it is appealing. You pay some one build an engine, that covers licensing and modifying another engine. You pay someone to get stuck with making the hard decisions. Usually that is the studio heads go to to people. The final person is the person you pay to sit there and make sure if something comes up that no one has an answer you simply get paid to make those decisions, or you toss possibilities at your investors, either way the number of decisions increases the further down the chain from your position you look.Indie development stay that way no matter how many games they make because they never hit critical mass to fund their own development form their own profits. So you can keep wasting money because you want to make every decisions and have cogs with no opinions or creativity… or you can simply remember your employees skill set is the greatest asset you have when talking to an investor. If you expect an investor to fund you repeatedly when you have changed the studios name five or ten times because no one wants to work for a studio that maintains a skeleton crew and plans on laying off the majority of the people because they assumed the game would fail, well then keep doing what your doing as an indie studio.
SteamVR tracking technology to be free to developersComplete a special course and its all yours, royalty and licensing freeRachel WeberSenior EditorFriday 5th August 2016Share this article Recommend Tweet ShareValve is giving third party developers royalty-free licensing for its SteamVR tracking technology, allowing them to make new controllers and peripherals for VR spaces. Think VR golf club peripherals or swords – this tech lets your game and your devices know exactly where they are. “We believe that the largest value for our customers and for Valve will come from allowing SteamVR Tracking to proliferate as widely as possible. The existence of more SteamVR-compatible devices will make the SteamVR community more valuable for customers and developers,” said Valve.”Having a wide community of hardware developers pushing the platform forward will result in innovations that we Valve would never think of or pursue on our own. Also, all SteamVR devices and hardware components will become cheaper if more of them get made.”Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games The only requirement is the developers complete an introductory course on the tracking technology which costs $2975 per participant. Each course is 3.5 days long and will take 10-12 attendees and is provided by Synapse Product Development.”Valve has limited bandwidth to provide licensee support, but wants to make sure that licensees are not constrained by that limitation. To that end Valve has partnered with Synapse Product Development to provide onboarding and educational and consulting services for all SteamVR Tracking licensees.”The first advertised course starts next month and you can find out more at the official Valve FAQ.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The VR & AR newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesEA leans on Apex Legends and live services in fourth quarterQ4 and full year revenues close to flat and profits take a tumble, but publisher’s bookings still up double-digitsBy Brendan Sinclair 7 hours agoEA Play Live set for July 22Formerly E3-adjacent event moves to take place a month and half after the ESA’s showBy Jeffrey Rousseau 8 hours agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.
Uncharted series sales pass 41 millionMore than a quarter of total units sold in the the past 18 monthsJames BatchelorEditor-in-ChiefMonday 11th December 2017Share this article Recommend Tweet ShareCompanies in this articleNaughty DogSony PlayStationNaughty Dog has announced the Uncharted franchise has sold well over 40 million units to date.The milestone was revealed during a tenth anniversary panel at the surprisingly quiet PlayStation Experience this weekend, PushSquare reports. The studio confirmed lifetime sales of 41.7m units since the first Uncharted on PS3.This figure not only includes the four main games, but also this year’s standalone expansion Uncharted: The Lost Legacy and 2015’s remaster collection The Nathan Drake Collection, which brought the original trilogy to PS4.Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games Interestingly, the series’ total sales was last reported as 28 million back in May 2016, meaning 13.7 million units – more than a quarter of lifetime units – have been sold in the last 18 months.These have no doubt been driven by the huge success of Uncharted 4, the highest-rated game of last year, plus the PlayStation’s superior install base this console generation.The original game, Uncharted: Drake’s Fortune, released for PS3 in 2007. While Uncharted 4: A Thief’s End was positioned as a finale of sorts for the main storyline, it’s a safe bet there will be more Uncharted games released in future.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Publishing & Retail newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesSony charges developers for cross-platform play, court documents revealTim Sweeney claims that Sony is the only platform holder to do thisBy Danielle Partis 8 days agoNew PlayStation update adds USB storage and cross-generation Share PlayPS5 owners will be able to save game data onto an external drive, but the games won’t be playable from thereBy Danielle Partis 28 days agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.
Former King SVP appointed president of mobile developer Dots”I was drawn to Dots’ unique creative culture and diverse talent,” says Efrat. Haydn TaylorSenior Staff WriterTuesday 6th March 2018Share this article Recommend Tweet ShareFormer boss at mobile giant King, Nir Efrat, has been appointed president of indie mobile developer Dots. Before joining Dots, Efrat was senior VP and head of game franchises and studio at King, where he was responsible for successful money-spinners such as Farm Heroes, Bubble Witch, Pet Rescue, and Paradise Bay. “I was drawn to Dots’ unique creative culture and diverse talent, which has differentiated them substantially in the gaming marketplace,” said Efrat. “Now that I’m here, I am ready to jump in head first, be a part of the magic and help them take the company to the next level.” Efrat’s new role will see him take lead on business operations and expansion, while co-founder and CEO Patrick Moberg will continue leading the studio’s creative direction and brand vision.”Something truly novel tends to manifest when you combine multiple, disparate ideas,” said Moberg. “Efrat’s rich history in games provides us a wealth of knowledge to unearth what new possibilities lie ahead. I’m excited to see what kind of success we can discover with this unique mix of perspectives at our studio.”Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games Dots, the studio behind Dots, Two Dots, and Dots & Co., has over 100 million downloads since the launch of its first game in 2013. Efrat brings over 20 years of experience in product and tech leadership to the company, having begun his career in the Israeli Air-Force, developing software for the F-16 combat aircraft. Since then, he has held senior positions with Nokia and gambling company 888, before moving on to join King in 2014. Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Mobile newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesEpic vs Apple – Week One Review: Epic still faces an “uphill battle”Legal experts share their thoughts on the proceedings so far, and what to expect from the coming weekBy James Batchelor 12 hours agoEpic Games claims Fortnite is at “full penetration” on consoleAsserts that mobile with the biggest growth potential as it fights for restoration to iOS App StoreBy James Batchelor 15 hours agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.
Red Dead Redemption 2 shipments reach 17 millionRockstar’s hit game has shipped more in eight days than the original did in eight yearsChristopher DringHead of Games B2BWednesday 7th November 2018Share this article Recommend Tweet ShareCompanies in this articleRockstart2Red Dead Redemption 2 has sold-in 17 million units, Take-Two has announced.Rockstar’s parent company revealed that the game has shipped more units into stores in eight days than the original managed in eight years.This figure is the number of units sold to retail stores, as opposed to sold-through to consumers. There is currently no update on its sell-through figures outside of the $725 million the game made in just three days – making it the second fastest-selling entertainment product of all time behind Grand Theft Auto V.Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games The game is certainly selling ahead of internal expectations, as Take-Two has raised its financial estimates for the financial year on the back of it. It now expects to deliver between $2.55 billion and $2.65 billion in revenue, whereas previously it had expected between $2.5 billion to $2.6 billion.Take-Two CEO Strauss Zelnick said: “Red Dead Redemption 2 is now tied with Grand Theft Auto V as the highest rated title on PlayStation 4 and Xbox One, with a 97 Metacritic score. A massive commercial success, Red Dead Redemption 2 has set numerous records, including achieving the biggest opening weekend in the history of entertainment, with over $725 million in retail sell-through during its first three days.“As a result of our strong second quarter performance and outstanding early results from Red Dead Redemption 2, we are raising our financial outlook for fiscal 2019, which is also poised to be a record year for Net Bookings and Adjusted Operating Cash Flow.”Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Publishing & Retail newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore stories2K Silicon Valley studio becomes 31st Union and expands to Spain“We want to identify opportunities where they haven’t traditionally existed for underrepresented voices”By Christopher Dring A year agoThe GamesIndustry.biz Podcast: Rockstar’s tax returnsAlso up this week: The troubles facing Improbable and SpatialOS, and what’s the future of esports as Fortnite’s popularity declines? By GamesIndustry Staff A year agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.
Black Desert franchise tops $1 billion in revenuesPearl Abyss says multiplatform MMORPG franchise has reached milestone in less than four yearsBrendan SinclairManaging EditorTuesday 9th April 2019Share this article Recommend Tweet ShareCompanies in this articlePearl AbyssRelated JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games Black Desert has seen a lot of green. Pearl Abyss today announced that its fantasy MMORPG franchise has topped $1 billion in total gross sales since its launch in 2015.”We’re proud of what this achievement represents – the hard work and dedication from our teams over the past four years and the support from a community of fans around the world,” Pearl Abyss CEO Robin Jung said. “With over 30% of gross sales for Black Desert stemming from mobile platforms, which saw an initial release in Asia in the past year, we’re confident that sales are accelerating. Pearl Abyss is optimistic for the future of Black Desert and we look forward to launching Black Desert Mobile globally by the end of the year.” The PC and Xbox One versions of Black Desert are premium games with in-game monetization as well, while the iOS and Android games use a free-to-play business model with in-app purchases. The PC version alone has launched in 150 countries and boasts a registered user base of 10 million.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Publishing & Retail newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesBlack Desert Online has made $1.7bn in revenue to datePearl Abyss reports its five-year-old MMO has brought in around $700m in the last 17 monthsBy Alex Calvin 8 months agoKorean developer Pearl Abyss to open US officeBlack Desert Online developer announces new Manhattan branchBy Haydn Taylor 2 years agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.