29Aug/140

Interview with Daniel KAPLAN, Business Developer Mojang, Stockholm, Sweden

Published in COMMUNICATIONS & STRATEGIES No. 94, 2nd Quarter 2014

Video game business models and monetization

 

Daniel-Kaplan-Business-Developper

Daniel KAPLAN, Business Developer at Mojang

Conducted by Peter ZACKARIASSON, University of Gothenburg, Sweden

 

 

C&S:  Minecraft is, by any standard, a very successful game. How much of this success do you ascribe to your business model?
Daniel KAPLAN: I think it played quite a big role since it was discounted for quite a long time. The game was discounted from day one, since it was “released” during very early development. The whole idea was to release it early to see if there was an interest and to see if the project could bear fruit. A lot of people who bought it initially, I think, felt that they had somewhat invested into the project and the ones who were on from the beginning made quite a good deal.

C&S: Do Minecraft exploit any specific previous business model, or has it paved its way with a unique model to generate profit?
D.K.: There are other games that were the inspiration for this model, Mount and Blade from TaleWorlds for instance. They also released their game before it was finished for a discounted price and continued the development with the community.

C&S: Today Minecraft has become a phenomenon that is not only tied to the game itself, but there are many physical product spin-offs. How important is this brand extension for Mojang?
D.K.:We are still a game company but it definitely helps. I think there is a fine line in between how much you can do with a brand before it feels too stretched. We try to create merch/products that we would like to have ourselves, rather than try to fill gaps with our brand with various products. It is sure a fine line and I think a brand can be too exposed and become too stretched.

C&S: Is it possible to become too successful? That is, having produced Minecraft – is it possible to repeat that success? What about the next game of Mojang?
D.K.: I think the problem with becoming too successful is that you will always be compared with your success, regardless of what you produce after that. It is important to not lose focus and continue to deliver things regardless of what they are so you don’t stagnate.

I think that it is almost impossible to create a success like Minecraft again. A lof of the “cred” Mojang got was because it was an up and coming company/person during the initial development of Minecraft, and the whole story around Notch (the founder of Mojang) was a classic David and Goliath story, which we can’t reproduce anymore. We have a whole different starting point now in comparison from where we started.

The next game we are working on, Scrolls, is already profitable and was released in a similar manner to Minecraft. We are super happy about the game being profitable even though it is not close to the success of Minecraft. It is a bit silly to try to compete/compare our projects with Minecraft to be honest.

C&S: What directions do you see the video games industry taking when it comes to generating sustainable business models? Last year Minecraft was one of the two pay per play games in the US top 20 mobile games. Not adopting a free to play business model, is it a conviction or the best way to be different within a serious competitive framework?
D.K.:
I don’t know what will happen in the future. You see different trends all the time and you see companies not following the trends and they are successful. I think that the mobile business will continue growing and will continue to have different business models for various types of games or apps. I think it is hard to say that everything will be x or y. Considering the widespread presence of mobile devices, it allows for more niche products too which will let you create products that don’t follow the trends and can still be successful.

Biography
Daniel KAPLAN is Mojang's business developer since October 2010. He was born and raised in Skövde, Sweden. He founded ludiosity.com

For more information about our activities: www.comstrat.org

Contact
COMMUNICATIONS & STRATEGIES
Sophie NIGON
Managing Editor
s.nigon@idate.org

Discover our issue Video Game business models and monetization on this subject.

 

 

25Jun/140

[ITW] Yves GUILLEMOT, Co-Founder and CEO Ubisoft, Paris, France

Published in COMMUNICATIONS & STRATEGIES No. 94, 2nd Quarter 2014

Video game business models and monetization

Yves-guillemot-Ubisoft

Interview with Yves GUILLEMOT Co-Founder and CEO UBISOFT

 

Conducted by Philippe CHANTEPIE
French Ministry of Culture and Communication;
Associate researcher, Innovation & Regulation Chair, Paris

 

C&S:  We have entered the 8th generation of consoles. Do you consider it likely that this will upset the market positions of publishers and console manufacturers?
Yves Guillemot:  This new generation of consoles brings many changes, incorporating all the innovations from parallel markets and multiplying their potential through technological power. These platforms reach an unparalleled high level of performance, immersion and opportunities which allow us to create even more powerful game experiences. Each generation of consoles has large implications for publishers who need to invest heavily to maximize power and be able to seize the great opportunities that arise.
On the other hand, the strong growth in mobile and PC markets, driven by social games, permanently connected and free access, is a challenge for traditional industry players, with new economic and editorial models that differ from more traditional games. These models started being introduced at the end of the previous generation of consoles. New platforms like the Playstation 4 or Xbox One have fully integrated these developments and allow us to put the player at the center - before, during and after the game experience - and to give him/her an increasingly active role in changing content.

C&S: Casual gaming has grown rapidly and has already started occupying a predominant position. Do you think it is likely that this will continue to increase?
Y.G.: Casual gaming is not a new phenomenon. In 2006 the Nintendo Wii had taken a big step towards attracting video games and a new audience, part of which is now plays more traditional games. The rise of social networks, mobile games and online greatly amplified this phenomenon and globalised the supply and the audience to which it is intended. The video game market today encompasses nearly 2.5 billion players, compared to 500 million previously. This is a pool of significant growth for our industry. For example, one of our flagship brands Just Dance is a dance game first released on the Wii, which has sold 49 million copies since 2009. It was particularly popular during the Christmas season.

C&S: We are witnessing significant changes in revenue models. Are these new models mature enough and able to renew the game console segment?

Y.G.: These new models are growing dynamically and also continue to evolve. Some examples or experiences have shown us the difficulty of maintaining high market shares and good consistent results. Without a miracle, renewal is necessary to adapt to a changing marketplace. Ubisoft deploys and uses these models, while consolidating and diversifying a portfolio of original brands for which we control the entire creative and commercial process. Beyond the video game, our goal is to increase the visibility and attractiveness of our franchises by being increasingly present on new media such as television, with the Raving Rabbids TV series, and soon the cinema with the adaptation of franchises like Assassin's Creed or Splinter Cell. The Raving Rabbids Futuroscope theme park attraction, open for several months, is also a success.

C&S: Do you consider that the development of competition in the video game industry will lead to transform the production system of game publishing and how?

Y.G.: In recent years, production of video games has become considerably more professional. Our industry is constantly evolving: our businesses, the technologies we use, as well as the habits and customs of the consumers, such as being permanently connected with their phones. These changes are revolutionizing the way we design our games. We must constantly renew and adapt to propose the most innovative and immersive creative experiences. For example, a game like Watch Dogs allows our players via mobile applications connected to the game console, to play anywhere and anytime; it also allows their friends who do not have game consoles to help them progress in the game. Our mission is to provide our players ever stronger and enriching experiences while finding technical solutions allowing us to reduce our costs and therefore our risk. To remain agile and ready to face these challenges, we actively invest in R & D in France and abroad.

C&S: Which factors do you think are the most disruptive of the game economy factors present or future: free to play, an actor like Steam, etc.?

Y.G.: The free-to-play model was born in Asia to circumvent the problems of piracy of the PC game business model. This model has experienced significant growth in recent years in Western markets. By removing entry barriers, it allows players to experience games and be free to invite their friends and invest if they like the content. This model has now gone beyond the sphere of casual games in which it was previously embedded to move towards more traditional experiences and platforms such as consoles. Ubisoft has been present in this segment for some years with games like Settlers Online, Howrse, and more recently with Trials Frontier, and The Mighty Quest for Epic Loot.

C&S: The Montreal studio set-up seems to be a supporting model of this industry. What elements of this support do you consider are the most strategic to strengthen the ecosystem of this sector?

Y.G.: Canada, but also other territories around the world, has been able to highlight craft, creativity and innovation as a driver of economic development. These territories were able to discern the many benefits that the digital creation industry and jobs with high added value could bring. In addition to the direct incentives, education is also specialized in these areas to form a diverse pool of talents. Two key factors in this success that are important in the eyes of the gaming industry are the unique efforts and the simplicity of public procedures.

 

Biography

Yves Guillemot founded Ubisoft in 1986 with his four brothers, and was named CEO of the company in 1988.  Starting off by importing and translating video games from England, Yves and his brothers immediately used the distribution business to fund the creation of games, starting with Zombie in 1990 for Atari ST.  Yves has overseen the phenomenal growth of Ubisoft into an internationally renowned and respected creator of quality video games with 29 studios, distribution in 55 countries and with more than 9,200 employees around the globe. For the 2013-2014 fiscal year it generated sales of 1.007 billion euros.
Born in Brittany of France's west coast, Yves grew up in a family of entrepreneurs.  All five Guillemot brothers worked summers in the family agriculture supply business.  Later, Yves attended business school in Paris, formalizing his education in the creation and sustenance of an enterprise. Yves is married and enjoys playing video games with his three children.

Published in  COMMUNICATIONS & STRATEGIES No. 94, 2nd Quarter 2014

For more information about our activities: www.comstrat.org

Contact
COMMUNICATIONS & STRATEGIES
Sophie NIGON
Managing Editor
s.nigon@idate.org

4Mar/140

Next Gen Home Consoles: the Eighth and Final Generation?

MICHAUD Laurent 

Laurent Michaud
Head of Consumer Electronics & Digital Entertainment Practice 

 

 

By 2016, the segment of the home consoles share will increase to 42.6% of video game market total revenue, or 35 billion EUR.


Many are claiming that this will be the last generation for consoles as cloud computing and network technologies have shown that they could make console hardware obsolete. However, this is not going to happen in the next seven to eight years, which is the typical life cycle of a home console.

We have released our latest report, “Next Gen Consoles”, performed under our on-going monitoring service of the worldwide video games market. This report explores the technical specifications of the latest generation of home consoles, their features and the gaming and non-gaming services they deliver. It focuses on machines produced by Nintendo (Wii U), Sony (PlayStation 4) and Microsoft (Xbox One),recognised as the leading players in this still very lucrative market, and purveyors of the most spectacular gaming experiences.

Figure 1: Video game market worldwide by segment, 2013–2017 (Billion EUR)

World Videe Game market growth 2013-2017, by segments

Source: IDATE, December 2013

Console manufacturers and their publishing partners have already made the transition to dematerialization. This can be seen with the ability of next-gen consoles to use the cloud for content and data storage services, content streaming, multiplayer and social features and even remote gaming. Console manufacturers will eventually be offering their own cloud gaming offerings. In this context, console manufacturers will exploit second screens. These could be a tablet, smartphone or dedicated platform and could offer synchronous or asynchronous and complementary or substitutable use in terms of game experience.

Several 'social' features have also been added because social networks have proved to be important for the gaming experience and for revenues, as well as for loyalty. Console manufacturers have therefore integrated the ability to share game images and videos on social networks, such as Facebook and YouTube. As well as these new features, console manufacturers have retained and improved their gesture recognition devices and added or improved voice recognition.
The online services available to players generally require a paid subscription. While Sony and Nintendo offer some particularly attractive free services, Microsoft has made its online services paid only.

The catalogue of games available on each console, including exclusive games, is an important issue for hardcore gamers, who set the tone and trends in gaming. At launch, Microsoft was ahead of its competition in terms of volume of games available on physical and downloadable media.
However, according to NeoSeeker1, the trend was reversed in the weeks following launch.

Technical specifications can also distinguish one console from another. Although the Wii U is clearly behind its competitors in terms of graphics and processing power, its game library does not necessarily require high performance hardware. On the other hand, Sony and Microsoft are battling it out over the respective power of their machines, which is an important issue for early adopters.
Since the previous generation of consoles launched in the mid-2000s, there have been many new technological innovations. We have therefore seen many initiatives appear in the home console market segment, especially with regard to home mini-consoles. There are now a dozen challengers, including Valve/Steam, nVidia, Ouya, GameStick, eSfere, Razer Edge, Bluestacks and its Gamepop console, Green Throttle, and Mad Catz and its micro-console M.O.J.O. Few of these will see much success but the Steam console would be IDATE's favourite to take some market share.

While these new challengers are mainly focusing on video games, the three leading console manufacturers are continuing to position their devices as entertainment centers over and above gaming.

Video Game & Digital Entertainment Programme

VideoGameMini

Our Video Game & Digital Entertainment programme offers a unique watch service that tracks all video market segments, and provides users with data and analysis that draw on our own database, and on our series of reports and insights on the key issues shaping the video game industry:
The World Video Games market:
database and its analysis report
Cloud gaming
Social gaming
Mobile gaming
Next Gen Home consoles

More on Video Game Markets:

13Feb/140

Edito by Yves Gassot

GASSOT Yves
 
Yves Gassot

CEO, IDATE


Round-up for 2014

It’s hard, in the first editorial of the year, to avoid laying out the overriding themes that we expect to see play out over the next twelve months. But it is still too early for me to deliver a complete summary of the year gone by, which has become the much-anticipated task of our DigiWorld Yearbook.
You will also need to wait until the next Executive Note to find out the central topic selected for this year’s DigiWorld Summit (but you can already mark your calendars for November 18, 19 and 20).

What I can share with you, however, is our belief in the profound relevance of certain issues, by summarising three topics that we have chosen to explore in this year’s Collaborative Research Programme (CRP 2014). These are think tanks open to existing IDATE member companies and those wanting to join, who will work for close to a year with a dedicated team of our analysts on the following subjects:

Telecoms USA: model or counter-model?

Following thorough on the two projects carried out in Brussels in 2012 and 2013 on telcos’ new business models, and the new European policy options being considered, we will work to deepen our understanding of the specific points that explain the different directions being taken on either side of the Atlantic.

The internet of things: will everything be connected?

We are going to analyse the true potential of the internet of things, by taking account of the developments that need to occur in the technical environment, difficulties in generating income from both consumer objects and industry applications and, finally, governance and personal data ownership issues, with tie-ins to our 2013 think tank on personal data

What will tomorrow’s TV and video networks look like?

Here we are building on the 2013 Video as a Service think tank by exploring issues surrounding the future of television and video distribution networks, and by analysing long-term scenarios for the delivery of TV and video products, taking particular account of the cooperation and convergence between networks, i.e. hybridisation involving both fixed and cellular networks

Other topics may be added to the CRP. For instance, we are contemplating an ambitious project that aims to define what could be a comprehensive, metropolitan area-scale digital investment strategy, going beyond marketing clichés and segmented vertical approaches.

I can also tell you that the next issue of Communications & Strategies (DigiWorld Economic journal) will be published in March, and is shaping up to be a promising one. It will be devoted to scoring Europe’s telecommunications sector, and examining potentially clashing policies.
And, finally, a reminder that the best way to delve into the subjects that are consuming our teams is though the reports that we publish every month as part of our annual Market Research programme.

6Feb/140

New generation consoles born under a cloud sign

MICHAUD Laurent 

Laurent Michaud
Head of Consumer Electronics & Digital Entertainment Practice 

 

 

After having first been dependent on computing and display power to dazzle gamers, the success of home consoles was next shaped by innovation in consumer electronics and IT. Earlier generation consoles had adopted this prerequisite, and their manufacturers had innovated by outfitting them with a DVD and later a Blu-Ray or HD DVD player, an accelerometer and an inclinometer, gesture recognition capabilities and even, for Nintendo in the mid-90s, with a hard drive.

For this new generation of consoles – which came on the market from late 2012, starting with Nintendo’s Wii U, up to late 2013 with Sony’s PS4 and Microsoft’s Xbox One – innovation lies less in the technology than the software. It lies in services for the whole family, from VoD to gaming, by way of web browsing. And it lies in the gaming experience, opening it up to an array of social dimensions.

The cloud as a springboard for innovation

After the first announcements from console makers, aware of how much innovation influences the success of home consoles, but without imagining that innovation could be in a realm other than technological, financial analysts gave a rather tepid welcome to the latest generation of machine. Of course, this meant overlooking the fact that innovations on the service and user side of the equation are now growth drivers in and of themselves, and vital to Sony, Microsoft and Nintendo’s success. Knowing this also helps understand where companies seeking to rival these three titans – e.g. Valve/Steam, nVidia, Ouya, GameStick, eSfere, Razer Edge, Bluestacks and its Gamepop console, Green Throttle, Mad Catz and its MOJO micro-console, etc. – are coming from.

Consoles getting social

Consoles have become social creatures. Console makers are working to satisfy gamer expectations, which have been clearly expressed by the success of social networking sites and of game publishers like Zynga, King, 6Waves, Pretty Simple, EA… Their machines are now equipped with sharing, communication and linking features, which should help consoles capitalise on the viral effect of a game’s sudden huge surge in popularity, just as Facebook and the iTunes and Android app stores already do.

The companion screen, home consoles’ ubiquitous helper

Consoles will help promote the companion screen and ubiquitous gaming. We have already seen companion screen app initiatives in the realm of TV, introduced by broadcasters and ISPs. The video game sector’s manufacturers could easily give birth to a second generation of applications that link the TV with a tablet, smartphone or PC. The companion screen goes hand in hand with the growing ubiquity of content. It is on every gamer’s wishlist and will no doubt be ushered formally into the equation with this new generation of consoles.

Is the hard copy dead?

Next gen consoles have taken one step closer to the web in their clear and decisive positioning on solutions that use the cloud for storage and computing. These include services like remote control, game downloads, interacting with other gamers, rankings, challenges, VoD, etc. But a host of questions remain over console-makers’ and their partners’ desire to do away with hard copies entirely over the next six or seven years. All have no doubt thought long and hard about it. If we are seeing the first signs of it today, it is no doubt with a view to having full command of all-digital gaming by the end of this console generation’s lifespan. In any event, the transition needs to be considered in light of new HD picture formats. An ultra high definition picture will “weigh” four times what an HD picture does, but should benefit from significant progress in compression techniques, beyond the capacities of H265, and so be transmitted with ease over the networks.

5Dec/130

World Video Game Market

MICHAUD Laurent 

Laurent Michaud
Head of Consumer Electronics & Digital Entertainment Practice 

World Video Game Market:
Eight key trends to watch in 2014

IDATE delivers its future forecasts in the latest edition of its World Video Game Market report. Our specialists forecast an average 11% annual growth over the next four years, driving the global gaming market from €54 billion in 2013 to €82 billion in 2017.

IDATE predicts that the global video game market will continue to enjoy steady growth, for two reasons in particular:
• start of the life cycles of the latest generations of handheld and home consoles,
• remarkable growth of the games on mobile devices and online games segments.

Laurent Michaud, Head of IDATE’s Video Game Business and the report’s Project Manager, says, “growth will be significant up to 2015, after which it will begin to slow as new generation handheld and home consoles reach the end of their life cycle”.

World video game market by segment, 2013-2017 (million EUR)

World Video Game market

Source: IDATE, November 2013

Online and mobile platforms giving traditional gaming sectors a run for their money

This steady growth must not, however, obscure our view of the radical changes taking place in this market.

Traditional segments losing their influence…

• Home consoles will represent 40% of the total market in 2017 against 31% in 2013, an increase that can be explained by the deployment of new consoles. A segment nonetheless well below that of 2008, during the deployment phase of the previous generation (78%).

• Handheld consoles will experience a dramatic reduction in presence – generating only 13% of the global market in 2017 in contrast to 22% in 2013. They face increasingly strong competition from games on mobile terminals.

• Irreversible decline of offline gaming on personal computers.

…Due to the success of online computer games and handheld gaming

• An average annual growth of 11.4% for online gaming and 12.2% for mobile gaming for the period of 2013-2017 against 11.1% for the entire video games market.

• Online gaming on PC becomes the segment leader on the games software market from 2013.

• Handheld gaming uptake is due to the success of tablets, which enrich the playing experience thanks to their having a larger touch screen than that of smartphones.

World Video Game Markets: Eight key trends for 2014

IDATE analyses the latest developments in video games and has identified eight key trends that will shape the market in 2014:

1. The arrival of new home consoles fuels dynamic growth over the period 2013-2017

2. Moderate financial performances for traditional players compared to players in mobile and online gaming

3. Reduction of blockbusters, as they are more and more expensive to produce

4. Nearly two thirds of the income of the video games market comes from the dematerialisation of distribution and online payment practices

5. Transition to Free2Play (F2P)

6. Ubiquity takes hold for good

7. Video gaming and connected TV as a natural convergence

8. The tablet explosion

Video Game & Digital Entertainment Programme

VideoGameMini

Our Video Game & Digital Entertainment programme offers a unique watch service that tracks all video market segments, and provides users with data and analysis that draw on our own database, and on our series of reports and insights on the key issues shaping the video game industry:
The World Video Games market:
database and its analysis report
Cloud gaming
Social gaming
Mobile gaming
Next Gen Home consoles

More on Video Game Markets:

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27Nov/13Off

[CR] Game Summit – DigiWorld Summit

DigiWorld Summit 2013 - The digital gold mines

Audrey GREL
Consultant at IDATE

Marché du jeu vidéo: tendances et enjeux

Selon l'IDATE, le marché mondial du jeu vidéo (marché des équipements compris) passera de 53.9 milliards EUR en 2013 à 82.1 milliards EUR en 2017 (+11.1% en moyenne par an). Deux raisons expliquent cette dynamique :

• début des cycles de vie des dernières générations de consoles portables et de consoles de salon;

• progression remarquable des segments de jeux sur terminaux nomades et de jeux en ligne.

La Game Summit Conference 2013, qui s'est tenue le 21 novembre dernier à Montpellier, a permis de dessiner les différentes tendances auxquelles devra faire face les différents segments de marché dans les prochaines années.

Retrouvez le programme et les intervenants du séminaire Game Summit Conference

Les consoles de salon dans la tourmente

L'IDATE estime que la nouvelle génération de consoles devrait connaître un rythme de croissance moins important que celui observé pour la précédente génération. Les consoles subissent en effet une concurrence de plus en plus vive issue des segments du jeu nomade et du jeu en ligne.

Évolution du marché des consoles de salon, 2001-2017 (millions EUR)

Source : IDATE d’après Industrie - Etude multiclients "Marché mondial du jeu vidéo" – Novembre 2013

Les consoles de salon font aujourd'hui face à des défis de taille pour s'adapter aux nouveaux usages des joueurs:

Financer davantage de jeux indépendants: La situation actuelle du jeu sur consoles de salon est comparable à celle que connut l'industrie du cinéma dans les années 80. Ce fut l'époque où le cinéma indépendant commença à s'imposer sur le marché face aux grands studios hollywoodiens, ces derniers n'ayant ainsi d'autre choix que de se lancer à leur tour dans la production de films indépendants. Pour Alexis JOLIS DESAUTELS, Game Director, Ubisoft Montréal, il est indispensable pour le jeu vidéo sur consoles de salon de financer davantage de jeux indépendants en sus des blockbusters, au risque de s'asphyxier.

Faire face à un environnement déflationniste: De par l'influence du segment du jeu sur mobile, les joueurs sont aujourd'hui familiarisés avec l'idée que les jeux vidéo peuvent être acquis gratuitement ou pour des sommes très peu élevées. Comment arriver dans cet environnement à ce que le consommateur perçoive la valeur d'un jeu AAA à 70 EUR? Il faut pour cela que les jeux sur consoles puissent durer en moyenne un an et demi. Il s'agit là d'un enjeu majeur de développement. "Challenge is how to create perceived value" (Alexis JOLIS DESAUTELS, Game Director, Ubisoft Montréal). Pour l'IDATE, le jeu sur consoles de salon doit également songer à faire évoluer son modèle économique pour se diriger vers le Free2Play.

Intégrer des composantes sociales: Le succès du jeu social montre l'intérêt des joueurs à jouer avec d'autres personnes. Aujourd'hui, 60% des joueurs jouent avec des personnes qu'ils connaissent. Il apparaît donc crucial aujourd'hui que les consoles de salon intègrent des composantes sociales.

Ne pas rester uniquement des appareils statiques sous le téléviseur: La prééminence des tablettes et des smartphones, le succès du jeu nomade, témoignent de l'intérêt des joueurs pour les appareils portables. Les joueurs veulent aujourd'hui payer pour quelque chose auquel ils peuvent accéder partout. Dans ce contexte, les consoles de salon doivent évoluer pour ne pas rester uniquement des appareils statiques sous le téléviseur. Pour l'IDATE, l'ubiquité offre là des perspectives intéressantes.

Enjeux économiques et technologiques des jeux ubiquitaires

Un jeu ubiquitaire offre la possibilité à un joueur de vivre une expérience ludique en continu sur plusieurs plateformes. Sur les différentes plateformes, les expériences peuvent être substituables ou complémentaires.

Caractéristiques des jeux ubiquitaires

Source : IDATE - 2013

Dans les jeux proposant des expériences substituables d'une plateforme à une autre, gameplay et business model sont répliqués à l'identique sur les différentes plateformes. La prochaine étape pour les éditeurs sera de les adapter aux spécificités de chaque plateforme ainsi qu'aux comportements des joueurs, qui s'avèrent différents d'une plateforme à une autre. Par exemple, Scimob, éditeur du jeu 94 secondes, a remarqué que les joueurs jouaient plus longtemps sur tablette que sur smartphone, et pense monétiser ce comportement en ajoutant un système d'attente sur tablette.

Dans les jeux ubiquitaires offrant des expériences complémentaires d'une plateforme à une autre, les applications "compagnon" peuvent être utilisées de manière synchrone ou asynchrone au jeu "principal". La synchronisation en temps réel laisse présager un fort potentiel ludique, néanmoins des progrès technologiques restent encore à faire afin de résoudre les problèmes de latence rencontrés aujourd'hui.

TV connectée et second écran: le potentiel du jeu vidéo comme outil d'engagement du téléspectateur dans les programmes audiovisuels

De plus en plus, les téléspectateurs utilisent un ou plusieurs écrans supplémentaires tout en regardant la télévision: ordinateurs, smartphones et tablettes, mais également liseuses numériques ou consoles de jeu. Que font-ils sur les seconds écrans? 53% effectuent des activités qui ne sont pas relatives aux programmes diffusés à la télévision: consultation de mails, recherche d'informations diverses, etc. Les 47% restants réalisent des tâches en relation directe avec le programme diffusé: recherche d'informations sur les acteurs, recherches d'informations relatives au programme, commentaires sur les réseaux sociaux, etc.

Part des téléspectateurs effectuant les activités considérées sur leur second écran

Source: The NPD Group, 2013

L'enjeu pour les chaînes de télévision est d'arriver à concevoir des interactions 2nd écran engageantes avec leurs programmes télévisuels, afin de préserver l'attention de leurs téléspectateurs et in fine leurs revenus publicitaires.

Selon Dean FOX, CEO, ScreenAngels, le jeu vidéo serait tout à fait à même de proposer ce type d'application: "Who can design and develop synchronized, multiscreen, interactive programming for TV and the second screen? We can". Il évoque à titre d'exemple le jeu Psychic Detective (EA), dans lequel le joueur doit mener une enquête policière. Associé à une série policière télévisuelle, ce type de jeu serait à même d'encourager le téléspectateur à suivre avec encore plus d'attention la série.

L'importance des analytics pour le développement des jeux en ligne et des jeux nomades

Dans le secteur du jeu en ligne et du jeu nomade, des outils spécifiques comme Flurry Analytics permettent de recueillir des statistiques sur le comportement des joueurs. Pour un éditeur/développeur, l'intérêt est de pouvoir comprendre le comportement des joueurs, de valider/corriger ses choix de développement rapidement ou encore de détecter les éventuelles frictions dans le jeu. Pour un éditeur/développeur, il est notamment intéressant de connaître: le comportement de l'ensemble des joueurs, exception faite de ceux nouvellement arrivés; le comportement des joueurs qui viennent de quitter le jeu et qui ne sont plus revenus; le comportement des joueurs-payeurs. Ainsi par ce biais, les joueurs font également partie du processus de développement d'un jeu.

DigiWorld Summit - du 19 au 21 Novembre 2013

Retrouvez les médias enrichis produits pendant la conférence :

12Nov/13Off

DigiWorld Summit – Digital Malls

DigiWorld Summit 2013 - The digital gold mines

Who will manage the “digital malls”?

The explosion in mobile Internet has been accompanied by the emergence of relatively distinct ecosystems that can be likened to 2-sided platforms. These exploit the related benefits of their potential to appeal both to Internet users and to providers of applications, content and products.

Discover Digital malls plenary session speakers!

DigiWorld Summit 2013 plenary session speakers

New players pursuing platform strategies

However, beyond the well-known models of mobile Internet giants such as Appstore and Google Play, other players are also pursuing platform strategies:

    Consumer electronics manufacturers are now producing a wide range of screen types (from smartphones to ultra High Definition TVs and tablets);

    Specialist pure players in the music, video and video games market (this may also soon extend to professional software as a result of possible polarisation caused by the Software as a Service (SaaS) model);

    A limited number of e-commerce giants;

    Social networks have to offer a range of internal applications and services to maximise connection time and also have platform strategies that are geared towards application providers;

    Telephone operators are moving beyond multi-play bundles to create an ecosystem that is trusted by both subscribers and providers.

DigiWorld Summit - Breakdown of the global video market

Source: docomo with IDATE's comments

Very different digital malls models

These models are very different. For some (such as Apple), content aggregation is primarily a means of selling smart devices; for others (such as Netflix), it lies at the heart of their business model, adds value to advertising deals (Facebook), helps them to stand out on the access market and combat customer churn (telephone operators).

Two main questions debated during the Digital malls session

The debate proposed for the ‘Digital Malls’ session could ultimately be structured around two main questions:

Which ecosystems seem best prepared for surviving and making their mark in polarising online consumers and applications?

To what extent is this way of structuring online traffic and services around more or less closed ecosystems linked to the development of the Internet (including, for example, work being done around HTML5)?

DigiWorld Summit - Digital malls Plenary Session (Nov. 21 - 9:00am)

More information about sessions, speakers, sponsors, partners and associate events on the DigiWorld Summit dedicated website:

DigiWorld Summit 2013 Website

7Oct/13Off

Nomad Gaming

MICHAUD Laurent 

Laurent Michaud
Head of Consumer Electronics & Digital Entertainment Practice 

Mobile gaming: A global market of
worth over €9 billion in 2016

The mobile gaming market has been flourishing every since its inception in the early 2000s. Growth has been steady from the start, and picked up in 2007 and 2010 – which is when Apple released its game-changers, namely the iPhone and the iPad backed by the iTunes store.

Evolution of global sales in the mobile games segment, 2000-2016 (Billion EUR)

Source: IDATE

Read the full infography on gamesummit.pro, the dedicated website for the Digiworld Summit 2013 Game Summit executive seminar.

The economics of gaming on mobile platforms are remarkably effective:

  • The catalogues are incomparable in terms of numbers: 150,000 games on the iTunes store, more than 110,000 on Google Play in mid-2013, versus more than 13,000 on Facebook and over 1,800 on Steam.
  • The games available on Google Play represent only 14% of applications in terms of volume, but 40% of downloads and 80% of revenue.
  • On average, and on the basis of the 20 most profitable games on the iTunes Store, the revenue generated over the lifespan of a game is close to $4 per player.
  • Some titles have generated truly impressive results: Puzzle & Dragons from GungHo earns $2.5 million a day, while Clash of Clans (SuperCell) takes in $2.4 million a day, including nearly $530,000 in the United States alone.

Game aggregators and player network managers such as Gree and Mobage are among the market’s top dogs. They are reporting remarkable results, especially Gree which earned roughly $1.6 billion in 2012 – although that figure includes more than just its gaming business.

There are also established mobile gaming companies like EA Mobile, Gameloft, Gamevil, GluMobile and G5 Game which have managed to launch their own app/game stores.

The market is populated too by new entrants whose arrival on the scene benefited the sale of the first smartphones attached to an app store: Rovio, SuperCell and Kabam. GungHo Online Entertainment came from the world of online gaming, as did Mojang which has managed to make Minecraft a huge hit on mobiles as well.

If more than half of all mobile games can still be considered casual games (i.e. puzzles, card games, word games, etc.), mobile gaming is in the throes of a major transition. This new way of playing games is opening up whole new vistas, new ways to dream and have fun. Innovations built into mobile platforms have enabled game designers to let loose their imaginations inside a new technological environment, and for new gaming universes to be born. Mobile gaming is bringing a new inventiveness to the cultural industry that extends well beyond gaming.

This analysis is an excerpt of our Nomad Gaming: A new era for video games? Market Insight which takes a look at the state of gaming on mobile paltforms in terms of technology, device shipments, usage and economics with market forecasts for 2016.

10Jul/13Off

Smart Home

MICHAUD LaurentLaurent Michaud
Head of Consumer Electronics & Digital Entertainment Practice at IDATE


Challenges of Consumer Electronics of Entertainment and Home automation

Despite tough economic times, the consumer electronics sector continues to deliver innovations, both technological and in the realm of usage, which have caught on with consumers. They have demonstrated, if not that value could shift to services and software, at the very least that the sector can rely on a new set of market dynamics in the medium term.

Consumers’ love of mobile devices, smartphones and tablets has not waned. According to IDATE, more than 1.5 billion smartphones and 470 million tablets will be sold in 2017, compared to just over 640 million and 114 million, respectively, in 2012. This popularity can be attributed to several factors:


These devices allow users to make calls and send text messages anywhere, anytime. So they satisfy the needs of that portion of the population that wants to be connected at all times, and even have the potential to create that need;


They give access to a huge selection of varied, simple, affordable and entertaining applications. Games are especially popular, so much so that the makers of handheld gaming devices are being hammered by this new competition. In the coming months and years gateways with other devices, and especially TV, will open up new opportunities – if not at the industrial level, most certainly in terms of fostering innovation;


They are easy to use, in particular thanks to touchscreen technology and the efforts being made by engineers, designers, developers and programmers – all of whom are aware that the user experience is key to coming out on top. Never before has it been so vital to gaining a competitive edge.


Computer vs. tablet sales, 2013-2017 (milion units)

Evolution of computer and tablet sales throughout 2017

Source: IDATE, 2013

So tablets are taking hold as central devices in the digital home. Poised to replace the personal computer, the tablet is expected to continue its rise in 2013 at a rate that was already being underestimated a few months ago. In the coming years, its popularity will be ensured by an expanded product line that includes “phablets” (phone tablets). The aim of this hybrid device is to target the larger, less wealthy section of the population. IDATE estimates that close to 2 billion tablets or phablets will have been sold between 2009 and 2017.

Companion devices, be it a tablet, a smartphone or phablet, act as second screens, or complements to users’ main screens. This relationship paves the way for a tremendous range of applications associated with television. Internet companies, media content providers, TV networks and other pay-TV package vendors will no doubt capitalise on these opportunities, if not to win back a portion of viewers who have moved to the Web, at least to deepen viewers’ relationship with their programmes.

As a result, the connected TV will be one of the cornerstones of the digital home. Like applications sold through app stores, managed and OTT interactive services could prove enough of a drawing card to persuade households to replace their old set ahead of schedule. This would be an ideal opportunity for manufacturers to have their OLED and Ultra HD technological breakthroughs adopted en masse, thanks to the appeal of having an internet-ready set. IDATE forecasts that standalone connected television sales will rise from 22 million in 2012 to 550 million in 2017.

Typical lifecyle of a television incorporating a new technology

Adoptance cycle of a television incorporating a new technology

Source : IDATE, Smart Home market insight, June 2013>

This fiercely competitive landscape provides the battleground for global dominance in the consumer electronics, telecommunications and internet sectors. Thanks to the programme begun in 2006, China is now a serious up-and-comer, moving in on American giants like Google, Apple, Amazon and Microsoft, as well as Japanese and South Korean CE titans.

The technological innovations fuelling the consumer electronics market both serve and inspire the home automation sector. A host of innovations were on display at the Consumer Electronics Show 2013 earlier this year. Although there was no lack of original ideas, it nevertheless remains that a new paradigm is taking hold and enabling the emergence of a segment long awaited by the housing industry, energy companies and users alike. Combining fixed electronic devices (IP boxes, set-top boxes and integrated technologies) with sensors, OLED displays, recognition tools, augmented reality, an internet connection, a WYSIWYG software interface, and more economical home security, energy management and personal home services solutions (for now). Management and remote control features using a mobile device provide increased flexibility and the ability to supply a tracking system that could be monetised.

This is an excerpt of our insight "Smart Home"