DTH
The History Channel’s ‘Great Battles of Rome’ to be adapted as a video game
MUMBAI: US video game developers Slitherine Software and Black Bean Games have partnered with US broadcaster The History Channel to deliver a gaming experience, The Hustory Channel Great Battles of Rome.
Combining gameplay, historical footage and battle simulation, the product allows players to fully immerse themselves into history as never before. The game will begin to roll out worldwide in the second quarter of this year.
Merging action and strategy in a setting that replicates the atmosphere of the period, the game allows players to take control of a series of campaigns against Barbarian hordes, while carving out the Roman Empire.
Over 100 battles are available for play including the Punic and Samnite Wars, and Julius Caesar’s conquest of Britain. Players can customize and control massive armies with an array of soldiers including legionaries, archers, cavalry and even mighty war-elephants. The game delivers battle realism in various environments, including steppe, forest, desert and coastline, with both day and night lighting.
Players can also choose to either plan their own battle tactics by selecting an army to suit a gameplay situation, or they can leave strategy decisions to the AI, freeing them to be involved in nothing but action.
The game also features 3D special effects and instant control response.
In addition, 30 programme clips from the archives of The History Channel have been specially blended and narrated to match the game and guide the player through the greatest story of all time.
Black Bean marketing head Marco Minoli says, “We are proud of this collaboration between The History Channel, Slitherine and Black Bean enabling us to publish a licensed video game with excellent graphics and realism. The endorsement of such a prestigious brand, reinforces and confirms Black Bean’s global credentials as one of the most innovative and respected publishing houses in the business.”
Slitherine’s Iain McNeil says, “We have been working with The History Channel and our partner Black Bean to bring the highest quality and exciting historical video games to our audience. Our relationship with The History Channel has enabled us to use material from their archives that we could only dream about. This builds on our previous range of historical strategy games and brings a new dimension to the genre”
The History Channel director licensing Carrie Trimmer says, “We are very pleased to be working with Slitherine and Black Bean on the development of The History Channel Great Battles of Rome, the first international console game to be released under our brand. The History Channel is always looking for ways to make history experiential for our viewers, and by giving them the power to build their own armies and plot battle strategy, this game truly allows players to be a part of the building of the Roman Empire.”
DTH
Prasar Bharati’s WAVES earns Rs 2.9 crore in first year
Platform scales content, users but monetisation gaps limit revenue growth.
MUMBAI: Big waves, small ripples at least for now. When Prasar Bharati launched its OTT platform WAVES at the 55th International Film Festival of India in November 2024, it pitched a bold vision: a homegrown rival to global and domestic streaming giants, blending video, audio, gaming and commerce into a single digital ecosystem. Five months into FY2024–25, however, the platform’s revenue stands at just Rs 2.90 crore, a figure that underscores the gap between ambition and monetisation.
On paper, WAVES looks anything but modest. The platform has ingested 13,608 titles, totalling 9,495 hours of content, with over 13,000 titles already live. It has streamed more than 575 live events from the Mahakumbh Amrit Snan and the 76th Republic Day parade to the Hockey India League, Kabaddi World Cup and Mann Ki Baat while offering 74 live TV channels and 12 radio channels. With over 10 lakh registered users and more than 200 content partners onboarded, the scale resembles that of a fully operational streaming service rather than a pilot project.
The architecture supporting this scale is equally robust. Built under Prasar Bharati’s Central Archives vertical, WAVES runs on a cloud-based infrastructure with DRM, encryption and an integrated analytics dashboard. It includes dedicated units for content ingestion, quality control, publishing, graphics, marketing and billing, and is distributed across platforms such as OTTplay, Tata Play and BSNL. The offering extends beyond video to include audio-on-demand, e-games and even e-commerce via ONDC integration.
Yet, the numbers reveal a core disconnect. Despite its scale, WAVES generated just Rs 2.90 crore in a market where India’s OTT industry crossed Rs 23,000 crore in 2024. A key bottleneck lies in monetisation infrastructure: subscriptions cannot currently be purchased within the app and must be completed via an external website. In a mobile-first country where over 95 per cent of OTT consumption happens on smartphones, this extra step creates friction that most users are unlikely to overcome.
Ironically, content is not the problem, it is the platform’s biggest strength. Prasar Bharati holds one of the world’s richest broadcast archives, including 45,154 hours of digitised Akashvani programming and 35,723 hours from Doordarshan. For WAVES alone, over 3,800 hours of archival content have been made OTT-ready, including classics such as Ramayan and Shaktimaan, alongside rare cultural recordings and historical broadcasts.
There are early signs that this library holds commercial potential. Revenue from archival content licensing rose sharply to Rs 3.38 crore in FY24, up from Rs 67 lakh the previous year. Meanwhile, free digital platforms continue to drive massive reach, the PB Archives Youtube channel clocked 119.78 million views and added 4,02,000 subscribers in FY2024–25, crossing 1.7 million in total, while DD News has over 5.84 million subscribers.
That, however, presents a strategic dilemma. While free distribution builds scale, it also conditions audiences to expect content at zero cost making it harder to transition to paid models. WAVES, designed as a hybrid AVOD-SVOD platform with advertising and subscription layers, is yet to fully crack this balance.
The broader challenge is not technological but strategic. In an ecosystem dominated by platforms offering seamless payments, aggressive pricing and high-budget originals, WAVES is still bridging the gap between being a content repository and a commercially viable product.
For now, the platform reflects both promise and paradox. It has the scale, the content and the infrastructure but until monetisation catches up, WAVES remains less a revenue engine and more a digital showcase of what India’s public broadcaster could become.
