Show me the MMOney

Making money in when making games used to be a simple equation. Make the game and then sell the game. You allow for money for people to do the mechanics, the art and the publishing and distribution but the remainder is yours. And so the world continued in peace for millennia. Then the world changed. … Continue reading “Show me the MMOney”

Making money in when making games used to be a simple equation. Make the game and then sell the game. You allow for money for people to do the mechanics, the art and the publishing and distribution but the remainder is yours. And so the world continued in peace for millennia.

Then the world changed. It didn’t start there but the largest and most noteworthy of the change was World of Warcraft from gaming stalwarts Blizzard. World of Warcraft quickly dwarfed the other Massively Multiplayer Online games in terms of scope and sheer weight of numbers, building on an audience who had succumbed to Warcraft I, Warcraft II and Starcraft. World of Warcraft adopted elements from their other successful IP, Diablo and mixed it all up into one tasty morsel which soon developed a population dwarfing several real world nations.

The players didn’t pay up front for this game, the MMO, they paid for it and the online services associated with it with a monthly subscription. Every month, small amounts of money, which amounted over the months to many magnitudes higher than they could have sold the game for, would be processed into Blizzards bank accounts.

In response to this, other MMOs would begin to compete on several levels. They would reduce prices, adopt (expensive) third party licenses to attract users and attempt other ways to differentiate themselves from the Blizzard juggernaut.

The problem was not that people would not buy games, the problem was that there’s a finite number of hours in a day and humans have a finite amount of time free from family, sleep and career with which to play the game. Getting someone to part with a small monthly subscription is just one part of the the puzzle. There’s also getting them to spend more. Blizzard also manages this with premium items (such as their sparkly rainbow pony).

So, when making a game and planning to be around long enough to make a second game, you have to think carefully about the sources of revenue you have available. Zynga has shown that it is possible to offer a game free of charge, while nickel-and-diming customers with pre-pay options and affiliate deals and make a heap of money (while at the same time screwing over early risk-taking employees).

In order to attract people to your game, especially if you’re aiming for a longer term revenue model (because, you’re not EA or Activision and can’t make $775M within a week of release), you’re going to adopt a Free 2 Play model. But if it is free to play the game, then how do you make enough money to keep your servers running never mind making enough to afford all of the sex workers and illicit drugs that your game designers are accustomed to.

Do you lock out features such as chat? Or upgrades such as the BFG? Or maybe lock out normal features like the ability to heal? Is it better to allow people with money the ability to progress quicker? Gain more experience? Heal quicker? Do they get better rewards or easier quests? Is your game a sunken investment trap (like Magic: The Gathering, or World of Warcraft)? Do you have an active secondary market for your premium items? Do you even want one?

People who don’t pay something are not just a drain on resources. You have to consider whether their presence in the game is enough to attract more people to play the game and whether paying something offers enough of a competitive advantage for players to consider it. This can be an edge against AI elements in the game or against other players in a competitive game.

Do you offer features to the player or the character? Each has a separate set of needs and wants, even though they are the same person. Selling experience points to make the character better has a different game effect to selling energy points to allow the player to pay more often.

In conclusion: when creating a game, there is a careful balance in implementing not only purchase price, in-app purchase and advertising models. And there are a dozen other ways to monetize a game. Make sure you’ve considered all of them.

Special thanks to @bkgStatus for his wisdom when compiling this blog post and to Gamasutra for their recent article on payment models.

Natural (Language) Interfaces

This blog post is not about Siri, sorry. I remember when the best way to control a games console was like this: But over the years, controllers started to look like this: From a single red button to a plethora of buttons, triggers, D-pads, joysticks, joysticks which act as buttons and switches, it’s no wonder … Continue reading “Natural (Language) Interfaces”

This blog post is not about Siri, sorry.

I remember when the best way to control a games console was like this:

But over the years, controllers started to look like this:

From a single red button to a plethora of buttons, triggers, D-pads, joysticks, joysticks which act as buttons and switches, it’s no wonder that there was a bit of a “revolution” when this hit the market:

But everyone has been a little fascinated with this for the last couple of years. And not surprisingly – this is one of the interfaces that we use to control the world. It seems natural to use it for direct manipulation.

And despite the fact that the hardware is obviously capable of it, games designers haven’t been making use of one of the other obvious interfaces. One that we humans excel at.

This isn’t the same as using a headset to bark commands at team-members, but using defined commands to instruct a game element. Yes, these games exist (Shouter being one of the most well-known) but the sophistication is low.

What I’m looking for is the difference between Newton and Palm, but in terms of voice. Newton tried to recognise your handwriting while Palm made you learn a certain alphabet. For games, at this stage, we need to create a basic control set that can be easily recognised by a language processor. Whether that is in understanding actual words or whether it is mapping wave patterns – it doesn’t matter. The point is to use our voice to control games.

The instructions can be short, they can be words, they can be screams and cries. When I call “Retreat”, my units should start to retreat back to base, making a tactical withdrawal. When I order “Advance”, they should use cover and opportunity to advance upon the enemy position. And when I shout “Charge”, you get the idea.

(images not used with permission)

A basic intro to Sonappa

Not talking about my next idea hasn’t actually progressed me towards my desired destination. So, I’ve decided to do a bit of the opposite. Over the next weeks, I’ll be posting more material as I generate it, including getting some screenshots put together after I’ve put together some basic sketches. And it’s all going up … Continue reading “A basic intro to Sonappa”

Not talking about my next idea hasn’t actually progressed me towards my desired destination.

So, I’ve decided to do a bit of the opposite. Over the next weeks, I’ll be posting more material as I generate it, including getting some screenshots put together after I’ve put together some basic sketches. And it’s all going up here.

Remember

I’m brought back to these videos again and again. This first one is the unreleased Oni multiplayer version. Oni was a third-person fighter/shooter which was released for Mac/PC and Playstation 2. It was unfortunately the victim of the Myth II HD bug and ended up with Myth itself mortgaged to Take 2 Interactive. If there’s … Continue reading “Remember”

I’m brought back to these videos again and again.

This first one is the unreleased Oni multiplayer version. Oni was a third-person fighter/shooter which was released for Mac/PC and Playstation 2. It was unfortunately the victim of the Myth II HD bug and ended up with Myth itself mortgaged to Take 2 Interactive. If there’s anyone reading this who knows anyone in Take 2 Interactive, I’d love to speak to them.

The second video here is the original Halo trailer. Halo seemed to be more of a squad level human vs alien 3rd person shooter. There was talk of a persistent world, of career specialisms. That was all dumbed down, which isn’t to say that Halo itself wasn’t awesome. It was.

Technical Co-Founders

From JeffreyTalajic.com One of the chief problems with being non-technical and starting a technical startup is that you can’t evaluate talent or evaluate the work that’s been done. A technical co-founder can do that for you, but recruiting one is more than just finding a tech guy with legit chops. He needs to share your … Continue reading “Technical Co-Founders”

From JeffreyTalajic.com

One of the chief problems with being non-technical and starting a technical startup is that you can’t evaluate talent or evaluate the work that’s been done. A technical co-founder can do that for you, but recruiting one is more than just finding a tech guy with legit chops. He needs to share your passion and vision and be a true co-founder, not just a hired CTO.

Technical co-founders are not there really to write code. They’re present to help put together the proposal and costings. They’re important when doing the first technical hires as they can spot bluffers and talk to the talented.

In Crucible Design, I was the “technical co-founder”. In Mac-Sys, it was the same. I was the guy who knew the bits and bobs about the product or service even if I didn’t know everything about the business. And in both cases it stood us well because I’m pretty competitively curious when it comes to things I’m interested in. For Infurious, I was no longer the technical guy and I think I felt redundant because of that.

But for the next venture (whether that is Alien Salvage, Furukontakuto or whatever), I’m likely to be the product guy and only partly the business guy. But I will need some sort of co-founder and I’m thinking they need to be more into design than code. I’m still looking.

Steam – draconian DRM that makes Apple look open

(Thanks to @vipersgratitude for sending on this link) WTIA TechNW report by Brier Dudley So, Fries asked panelists, best of times or worst? Gabe Newell, owner and president of Bellevue game giant Valve, said, “It’s a very interesting time.” “Our business is growing very rapidly both on the content side and on the service platform … Continue reading “Steam – draconian DRM that makes Apple look open”

(Thanks to @vipersgratitude for sending on this link)

WTIA TechNW report by Brier Dudley

So, Fries asked panelists, best of times or worst?

Gabe Newell, owner and president of Bellevue game giant Valve, said, “It’s a very interesting time.”

“Our business is growing very rapidly both on the content side and on the service platform side so in that sense, business has never been better,” Newell said. “The challenges we see looking forward are very rapidly evolving model for how value is created for customers.”

After broad pursuit massively multiplayer online games, the free-to-play model is emerging as “a really interesting opportunity,” he said.

But there are dark clouds forming, Newell continued, raising concerns about the closed-garden approach of platforms such as Apple’s iOS.

“On the platform side, it’s sort of ominous that the world seems to be moving away from open platforms,” he said.

Platform providers that used to use their role to enable developers “instead view themselves as more rent guys who are essentially driving their partner margins to zero,” he said.

“They build a shiny sparkling thing that attracts users and then they control people’s access to those things,” he said.

Considering that the Digital Restrictions Management system that Valve uses (as part of their Steam system) is much more restrictive than, for instance, Apple and their FairPlay system, I consider this to be at best hypocrisy and at worst, outright lies.

For instance: I can buy a single copy of a game from the Apple App Store and put it onto both my iPhone and my sons iPod touch. We can then challenge each other and play the game or, as with Dungeon Hunter II, play co-operatively and defeat all of the monsters. The cost to me, after devices, was £4.99.

On the other hand, if I try to do the same with Steam and say, play Call of Duty 2 (an OLD game so it should be cheaper, right?) I have to buy a copy for me and also for my son. The cost to me is £29.98. What’s worse – is that if I want to let him play my copy of PORTAL 2 while I play Left 4 Dead 2, I can’t. Because Steam only allows one login at one machine at a time. And god forbid you try to circumvent this and get your account banned for suspicious activity. So again, even for games I own but are not currently playing, I can’t use them while I’m playing something else.

Is Newell concerned because Steam isn’t and couldn’t be on iPad? Is this a defensive hyperbole designed to distract us from the reality that “PC Gaming is dying”

I’d considered Steam DRM to be restrictive and annoying. I didn’t realise that they were quite so concerned about their future revenue model. Investors take note.

It’s about the vision

From a conversation earlier today. If I could find a kindred spirit, I’d hire them tomorrow It’s not about charity or spare cycles It’s about the vision. It’s about making great games. There’s a style element, a gameplay element and a “put up with my hissy fits” element Related posts: Guns and Games: it’s a … Continue reading “It’s about the vision”

From a conversation earlier today.

If I could find a kindred spirit, I’d hire them tomorrow
It’s not about charity or spare cycles
It’s about the vision.
It’s about making great games.
There’s a style element, a gameplay element and a “put up with my hissy fits” element

Games Development Seminar – Belfast, 14th Sept

Last chance to register for a games technology development seminar here in Belfast. Wed, 14 September from 10:00 to 12:00 at Radisson Blu, Gasworks, Belfast The speaker is Paul Durrant, Abertay University’s Director of Business Development. He has been instrumental in developing a range of projects to support digital media IP generation, business start-up, incubation, … Continue reading “Games Development Seminar – Belfast, 14th Sept”

Last chance to register for a games technology development seminar here in Belfast.

Wed, 14 September from 10:00 to 12:00 at Radisson Blu, Gasworks, Belfast

The speaker is Paul Durrant, Abertay University’s Director of Business Development. He has been instrumental in developing a range of projects to support digital media IP generation, business start-up, incubation, and skills development particularly in the video games area. He developed Dare to be Digital and Dare ProtoPlay to become significant international events including a partnership with BAFTA to recognise talented young developers and the development of the Channel 4 Crunchtime TV series. He also raised £2m to establish a prototype fund for small games developers and has recently launched a partnership with the Technology Strategy Board to fund novel games applications.

In this seminar, Paul will describe the Scottish experience in digital content, the contribution from Abertay and the funding opportunities available through Abertay which are available to companies in Northern Ireland. In particular, he will describe the Abertay University Prototype Fund (http://prototypefund.abertay.ac.uk/) and the Future Games Contest ( https://ktn.innovateuk.org/web/future-games-contest )

Game Prototype development quote needed

I’m looking for a prototype of a RTS game on iOS developed. Just a single level, basic graphics. 2D sprites on 3D isometric plane. Happy for it to be done in Unity and/or another rapid development environment. Would be nice for combat (ranged and melee) and some pathfinding for units. Can be SP, MP or … Continue reading “Game Prototype development quote needed”

I’m looking for a prototype of a RTS game on iOS developed. Just a single level, basic graphics. 2D sprites on 3D isometric plane.

Happy for it to be done in Unity and/or another rapid development environment. Would be nice for combat (ranged and melee) and some pathfinding for units.

Can be SP, MP or 0P. For the prototype, I’m not fussy. It’s not necessary to have full functions.

Email would be lovely but you can also tweet me.

Passively Multiplayer – Massively Single Player

From Gamasutra: While Nintendo has historically hesitated to fully embrace online connectivity with its games and hardware, the company recently filed a patent for the concept of a “Massively Single-Playing Online Game.” The patent says that in this type of game, users playing a single player title could influence the characters and world of another … Continue reading “Passively Multiplayer – Massively Single Player”

From Gamasutra:

While Nintendo has historically hesitated to fully embrace online connectivity with its games and hardware, the company recently filed a patent for the concept of a “Massively Single-Playing Online Game.”

The patent says that in this type of game, users playing a single player title could influence the characters and world of another user playing the same single player title, reports Gamespot.

Based on the patent’s description, this concept hopes to capture the positive elements of online play without the need for human-to-human interaction: “Those who want to play games that are more dynamic, not-based on Al and not-pre-scripted like multiplayer games, however, don’t want to ‘deal’ with other people, appreciate the privacy it provides,” the patent says.

For some discussion of this, see this blog post and the comments. The idea of having connections between people playing the same game but not actively interacting is not a new one. (And as there’s heaps of discussion about it and a few examples of prior art, then it stands to reason that the USPTO will grant a frivolous patent.)

In truth, Nintendo are really describing the anonymity of friend codes and the ease of matching competitors in online games – where you can not only find it difficult to see who it is (through the use of Miis) but also have difficulty communicating because you have to use a set of pre-made scripted responses. And the result is genius because the last thing you want, when playing Mario Kart Wii, is some 14 year old screaming obscenities through a text chat interface while you’re trying to win an important race.

Because the best part of online gaming is, of course, everyone else. Yes, you have to put up with the noobs (people who have been playing for ages but who remain hopeless), the outraged (how dare you!) and worst of all, the TK (team killer, someone who things it’s fun to attack allies). Having one of these on your team can ruin a game. Having them on the opposing team can be hilarious but also ruin a game. The basic premise is: online people suck.

But we still want the experience of playing against humans. Where we know our win was because of luck and skill as opposed to exploiting an AI glitch which hilariously causes the boss monster to bounce like a Chinese Vampire rather than rampage through your team.

So in designing games which are ostensibly single-player – but which are online, it can be serendipitous to base some of the game events on the actions of other players. The simplest example of this? No, you can’t loot that treasure item because someone was here first. A simple idea, seldom executed.

For location-based alternate reality games, this is like a magic ingredient; being able to interact with other players in your story where a player can be in the same city, a different city or even a virtual city yet without having the hassle of finding players, timing them or even speaking to them.