Multiplayer game subscriptions are a good future for gamers

  • Total videogame content (non-hardware) sales totaled $16 billion in 2010, ~25% new digital categories such as downloads and subscriptions
  • New digital categories growing steadily, and will likely be the majority of the gaming market within 5-10 years
  • Subscription businesses are a significant opportunity for publishers, however, they must manage this passionate and vocal consumer segment carefully

With the videogame industry turning the big 4-0 this year (the first videogame Computer Space launched in 1971), publishers are becoming full-fledged media companies.  Part of this maturation has been moving from a single sales window and physical channel dependency to multiple revenue streams and digital distribution platforms.  Another increasingly important component is the shift from single purchase customer relationships to more complex customer management via subscription businesses — the future of multiplayer gaming.

Digital consumer behavior driving the evolution of videogame business models

The growing “anywhere, anytime” consumer media usage across new mobile devices and apps is extending to all forms of media – music, videos, written content and games.  Consumers are increasingly expecting to be able to research, shop, compare, download, use and share their preferred media experience on-demand, and future digital native generations will not be able to conceive of any other way of living.  These new digital behaviors accounted for ~25% of total videogame sales in 2010 (ESA, June 2011), and helped offset declining physical software sales, which totaled $16 billion across all gaming content (software, subscriptions, downloads, etc.) in the U.S. (NPD Group, January 2011).

Videogame subscription models are not new, having been around for almost 15 years, and are currently dominated by massively multiplayer games (MMOGs) like Activision/Blizzard’s World of Warcraft, where millions of consumers pay a monthly fee to play with thousands of other players simultaneously.  However, the next wave of subscription businesses are expanding beyond MMOGs to include premium multiplayer services and digital platforms including retail distribution and cloud-based gaming.  Activision’s Call of Duty Elite is a paid multiplayer service for the multi-billion dollar Call of Duty franchise with additional in- and around-game content and features.  New digital platform efforts include Electronic Art’s Origin which expands upon Valve Software’s highly successful Steam retail platform model with additional membership benefits.  Finally, with U.S. broadband speeds slowly increasing, cloud-based gaming services like OnLive are becoming viable and offer considerable consumer and publisher value.  For consumers, cloud-based gaming is a lower cost high-end gaming experience, due to simple remote operation technology which streams the video feed from the games running on the company’s servers to the consumer’s TV.  For content owners like videogame publishers, cloud-based platforms are an end-game solution offering: recurring billing, upselling additional content directly to consumers via digital distribution, advertising, and DRM.

Videogame publishers winning is not a zero-sum game for consumers

The upside for publishers are clearly the revenue opportunities from drawing consumers deeper into the brand halo of major franchises.  However, this particular consumer segment is among the most passionate and engaged brand consumers of any media.  This includes a very vocal minority that that are resistant to anything that affects their perception of how games and the medium should evolve.  For example, there was considerable pushback when Xbox Live’s pricing was announced in 2002, and now nearly half of Xbox Live’s 30 million subscribers are paid subscribers, not to mention the over ten million people pay to play World of Warcraft each month.  What this means is that any paid service targeting a franchise’s most active players will require publishers to be even more responsive, as these consumers are paying an additional amount to be closer to their favorite game and will feel even more entitled.  This quasi-freemium model requires standard gameplay to be accessible to all after an inital purchase, and ancillary benefits should be part of the upsell; special community, better competition with serious gamers, access to additional related content, higher chance to participate in testing the game, special status indicators, integrated capabilities for tracking game stats, and group/guild management tools.

Developing a paid multiplayer subscription service is no small challenge, this can’t just be a fancier website with some extra screenshots and logos.  Publishers will have to continue to innovate — these are arguably the most savvy and rabid fans in existence and they have never shied away from making their opinions known.

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Activate Redefiners: Capturing Media Growth Dollars

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EA’s new Star Wars MMOG will decide the fate of the galaxy for AAA MMOGs

It is a dark time for major MMOGs; All Points Bulletin’s developer/publisher Realtime Worlds went bankrupt late in 2010; SOE recently shuttered development of The Agency and traction for DC Universe Online has been slow; Hi-Rez Studios has shifted Global Agenda to a free-to-play model.  This could signal the beginning of a moratorium on new AAA MMOGs titles.

There are incredible internal and external pressures on for EA/Bioware’s Star Wars the Old Republic, which is expected to launch in 2H 2011.  Despite its wide and deep consumer mindshare, SWtOR is far from a guaranteed hit.  Even if it gets 500K subscribers, it will take several years to recoup EA’s potentially hundreds of millions of dollars in development & marketing costs, which will drastically affect EA’s future and definitively end AAA MMOGs for some time.  Given the poor reception by its core audience to it’s more mass-market oriented Dragon Age Origins, Bioware faces the major ongoing challenge of balancing core user needs while attracting & retaining new subscribers.

The factors behind the challenging MMOG environment are clear:

  • Proliferation of social/casual games
  • Rise of the mobile/tablet experience
  • Continuing bottleneck at PC gaming hardware & middleware

Additionally, fantasy is the most natural mechanism for RPGs and Activision/Blizzard’s World of Warcraft has likely maxed out this subset of the potential audience already.  While Trion World’s Rift has shown there are opportunities to improve upon WoW’s highly polished experience, Rift is essentially a clone/WoW 2.0 from a gameplay perspective, and unlikely to grow the market significantly.

Despite the challenges and high profile failures, MMOGs remain an attractive investment with good margins.  This means investors will always be willing to risk tens of millions of dollars on a non-AAA MMOG, because they can be profitable with 100-200K users due to commoditized server technology & bandwidth costs and microtransactions.  However, these are maximized efforts based on smaller budgets, and do not have sufficient AAA mass appeal to get to 5-10m monthly subscribers.

The next AAA MMOG effort cannot be another WoW clone.  The consumer media & entertainment experience is coalescing around brands, and a range of compelling content exists, such as Alice in Wonderland, that could be leveraged into a next generational MMOG experience satisfying both new/casual and more in-depth users.  Building a AAA MMOG blockbuster in today’s crowded entertainment marketplace will require a long-term strategic partnership; leveraging a gaming company’s development and operational talent with a media company’s story-telling and marketing muscle, in order to dethrone the evil emperor of Azeroth.

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No Escape: Advertising in Video Games

Article in Electronic House on in-game advertising industry:

So how do advertisers feel about all this? Chris Morf, Director of Corporate Development, IGA Worldwide sees a desire from consumers for more realism in their games – with IGA able to provide this through selectively integrating advertising that is both game- and audience-relevant.

 

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IGA: Most Gamers Are OK With In-Game Ads

Article from Adweek on the in-game advertising effectiveness study IGA Worldwide did with Nielsen:

Chris Morf, IGA’s director of corporate development said it was important that IGA examined campaigns in multiple games for multiple brands, rather than presenting a single case study. Plus, because the study matched survey data with real game play, IGA was able to drill down to see the drop-off in effectiveness for ads that received minimal exposure during actual games vs. ads that received a large amount of impressions.

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Video Game Advertising: Closing In on a Billion Bucks

Article in E-Commerce News on growth of in-game advertising industry:

When distribution and marketing costs are wiped from the bottom line, game producers are making $6 to $7 in profits per game, estimates Chris Morf, director of corporate development for IGA Worldwide, a gaming advertising network based in New York City. Advertising can add another $1 to $2 to that.

“From a profit perspective, it’s adding a considerable amount,” he said.

“And if we keep this a premium medium and don’t allow it to become commodities like online advertising,” he added, “we will be able to double that on a per-title basis.”

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Oppenheimer Digital Media Conference

Oppenheimer Digital Media Conference, panel on advertising in new media:

So what we can do at IGA is with our embedded technology in games, actually measure the exact amount of advertising that consumers are viewing and experiencing on a number of levels, both the length of time, but also the angle and degree to which they viewed it, and actually deliver true value for the advertising dollar that the advertisers are spending.

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