29Jun/150

Digital First: ICT players vs. the new disrupters

DWS2015

The place to be in Europe, to understand upcoming disruptions and their impact on telecom, IT, Internet and media markets

From 17 to 19 November 2015, the 37th annual DigiWorld Summit will bring together 150 top-tier speakers to Montpellier to share their views with the more than 1,200 participants from over 30 countries. French Tech will also be in the spotlight during the 2nd annual DigiWorld Week and at the inaugural DigiWorld Awards.

Under the banner of “Digital First” IDATE will host debates on the core trends shaping telecom, IT, Internet and media markets, with the knowledge that digital technology is entering a new stage in its ubiquity, becoming the vehicle of a major overhaul in many sectors: energy, insurance, finance, health, automotive, travel and tourism… “But,” says IDATE CEO, Yves Gassot, “this digital verticalisation also represents a new challenge for IT, telecoms, Internet and media industry stakeholders. They may see new growth opportunities, but also challenges as innovation cycles are accelerating, as they consider the shifting outlines of their business and contend with new digital intermediaries.”

This new stage in the digital transformation is being spurred by ubiquitous wireline and wireless connectivity, the economies of scale of cloud computing, and the power of real time data processing algorithms. But it is being amplified by the rise of connected objects, and the promises of 3D printing, of artificial intelligence and the collaborative economy. A profound transformation of the economy that is already materialising in changes to production and distribution infrastructures, in the accelerated shift from product to service and the profusion of channels for interaction with end users.

• What do vertical companies (media groups and TV networks, insurance, automotive, travel, retail, etc.) want from digital industry players (telcos, OTT, IT)?

• How should digital industry players position themselves with respect to the digital transformation in vertical markets?

• How can the Web’s top destination platforms cohabitate with the vertical markets’ new digital champions?

• This year’s Guest Country: China. Can China combine the power of its recently acquired positions in Internet and telecom markets with its manufacturing ambitions?

2015 DigiWorld Summit Programme

 

Plenary sessions

Analysis and debates between veteran industry players and disruptive start-ups, with insights from IDATE’s finest economists and analysts:

Digital channels
A new chapter in the platform wars?

Digital Infrastructure
From ultra smart networks to predictive analytics?

Digital Product
From goods to services

Digital Regulation
OTT rules?

Digital Europe, Digital World
Closing session

Specialty forums

In-depth seminars with the industry’s top expertsConnected Things Forum

Smart City Forum

Future Networks

TV & Video Distribution Forum

Future Digital Economy Forum

Game Summit

DigiWorld Week (14 – 22 November 2015): IDATE expands on the two days of the DigiWorld Summit, and plays host to an exciting event-filled week. Delving deeper into the issues and shaking up ideas: symposiums, workshops, hackathons, exhibitions, festivals, master classes, …

DigiWorld Awards: in partnership with Business France and French Tech, IDATE will be hosting the first annual DigiWorld Awards, recognising French digital start-ups (Equipment and devices, Networks and telecoms, Internet services and application, M2M and IoT…), created abroad. Awards will be in four categories: Africa and the Middle East – The Americas – Asia – Europe

The DigiWorld Summit, is organised under the patronage of the French Ministry of the Economy, Industry and Digital Affairs, the Région Languedoc Roussillon and Montpellier Métropole, with the support of DigiWorld Institute member companies.

More informations about IDATE's expertise and events :

www.idate.org      www.digiworldsummit.com      www.digiworldweek.com

10Apr/150

Mobile Gaming, 23 Milliards d’euros d’ici 2018 !

infog google vs apple 2018

Google versus Apple : les deux géants tirent le marché vers le haut et s’affrontent au travers de business models différents

 

L’économie des jeux sur les plateformes nomades est remarquablement efficace, et la concurrence qui s’exerce entre Apple et Google l’est tout autant.

L’App Store d’Apple et Google Play sont les deux principaux appstores du marché en volume d’applications disponibles et téléchargées.

On notera qu’en juillet 2014, ils comptabilisaient chacun plus de 1 million d’applications, loin devant Windows Phone Store, Amazon Appstore et Blackberry World. Aujourd’hui, ces deux appstores rassemblent à eux seuls  quasiment 80% des applications disponibles.

Les chiffres clés du marché mobile mondial à 2018

•    Le nombre de jeux mobiles dépasse de loin le nombre de jeux disponibles sur les autres plateformes de jeux,  offrant de nombreuses perspectives aux grands acteurs.

•    Le marché du jeu mobile s’élève à 12.8 milliards EUR en 2014. 72.6% de la valeur est générée par le jeu sur smartphone et atteindra vraisemblablement les 15 Milliards d’euros d’ici 2018

global mobile market generated by smartphone and tabletsDes modèles économiques innovants : Le free2play séduit de plus en plus de joueurs

Sur téléphone mobile, les 20 plus gros succès de l’année 2014 aux États-Unis sont des Free2Play. Ils étaient 18 en 2013.

•    Sur iTunes Store d’Apple, les jeux payants ne représentent plus que 8% du catalogue, contre 47% en 2012.

•    Le modèle Free2Play cohabite avec le modèle Pay-per-Download, mais le premier est bien plus répandu. Même les acteurs « historiques » du jeu vidéo investis dans le jeu nomade ou les « pure players » du jeu nomade ont passé le cap du Freemium, EA et Gameloft en tête.

Ce modèle a vocation à d’abord séduire le joueur avant de le faire payer. Une fois conquis, ce dernier paiera des objets virtuels en fonction de son attraction au jeu et de ses objectifs d’évolution à l’intérieur du jeu.

Pour retrouver toutes les informations concernant l’étude Mobile Gaming et les études associées, cliquez-ici

Plus d’informations sur l’expertises et les événements de l’IDATE sur :

www.idate.org          www.digiworldsummit.com          www.digiworldweek.com          www.gamesummit.pro

27Mar/150

Il décolle ! Le marché du Serious Gaming en forte progression pour atteindre les 12 milliards d’Euros d’ici 2018.

L’innovation est au coeur des préoccupations des entreprises qui développent des Serious Games. Elle porte sur des aspects technologiques (accessoires, terminaux, interfaces, réseaux, logiciel et cloud), sur les contenus (gameplay, graphisme, stratégie éditoriale), et également sur les services d’accès aux SG (conditions d’accès, add-on, modularité de la plateforme, fonctionnalité sociales).

Cette progression du marché offre donc des perspectives très prometteuses aux développeurs de Serious Gaming (SG) sur le territoire français, comme le confirment les cinq sociétés que l'IDATE a invitées à collaborer à ce rapport : Daesign ; KTM Advance ; Groupe Interaction ; Manzalab  et Dassault Systèmes.
Aussi, sur la période, on observe une croissance à deux chiffres à partir de 2015 et un pic de croissance sur 2016-2017. Ce pic correspond à un phénomène d’accélération de l’adoption du SG comme outil de formation et d’information par des PME. Aujourd’hui, ces dernières commencent à vouloir adopter ces outils vendus sur étagère.

 

La formation initiale et continue représentera plus de deux tiers du marché en 2018

Le segment de marché de la formation initiale et professionnelle représente le premier segment de marché du SG. Ce segment offre l’avantage d’avoir des modèles économiques compris et acceptés des commanditaires, de la production à façon à l’acquisition de licences utilisateurs.

Pour rappel, en 2014, ce segment représentait plus de 60% du marché global. Il gagnera 10 point jusqu’en 2018.

À l’image du marché mondial, le pic de croissance concernera davantage les années 2016-2017.

 

Ainsi, Dans les trois années à venir, le défi des acteurs offrant leurs services dans le SG sera de convaincre les entreprises de plus de 500 salariés, soit près de 2 700 en France. Les experts de l’IDATE  s’accordent à dire que ce défi pourra être relevé tant les preuves du concept ont été faites auprès des grands comptes nationaux. Il s’appuiera  donc sur différents facteurs clés de succès :

 

 

 

Pour retrouver toutes les informations concernant l’étude Serious Gaming et les études associées, cliquez-ici

Plus d’informations sur l’expertises et les événements de l’IDATE sur :

www.idate.org          www.digiworldsummit.com          www.digiworldweek.com          www.gamesummit.pro

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:

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.

7Mar/13Off

Social Gaming: Trends & Markets

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

By 2016, social games will account for nearly as 50% of the video game market

IDATE has just released its new study about social gaming: by the end of 2012 the social gaming market accounted for 36% of the online gaming market and 13% of the overall video game market. In 2016 its share is expected to rise to 46% of the online gaming market and 18% of the overall video game market. This video game market segment is entering the maturity phase. Its estimated revenues in 2012 were EUR 5.4 billion, which is expected to reach EUR 10.7 billion in 2016. Facebook is by a long shot the leading social gaming platform, with 235 million active gamers in August 2012.

World social gaming market, by geographical region (million EUR)

World social gaming market, by geographical region (million EUR)
Source: IDATE, Market Insight "Social Gaming", February 2013

The major players in the video game industry have been slow to enter the social games fray

The traditional video game industry players are showing a willingness to adapt to new consumption habits

Publishers are seeking to make their traditional games more "social". They are also making their games available through free-to-play. Game consoles such as Nintendo and Sony are integrating social functionality in their new versions (e.g., Wii U and Xbox 720): video chat to contact friends online, various ways to get in touch with players around the world and ask for help, etc.

Nevertheless, most of the major video game firms are not on Facebook

This might be because they have not truly grasped the importance of deploying their offerings on social networks, or, rather, that they prefer to wait cautiously until the market has reached a certain maturity before entering. It could also suggest that they simply would rather not risk positioning themselves in a sector in which the recipes for success differ in every respect from their traditional sector. Admittedly, a social game's success usually has more to do with its number of players than the quality of the game per se.
In other words, the fact that the big developers who have invested in social gaming rank relatively well in terms of MAU rankings does not necessarily put them ahead of the rest.

Social gaming as a means of attracting new users to console games

The strategy of the six big stakeholders on Facebook can be explained in several ways. They may be seeking to capitalise on a new market segment that represents a growth driver at first and which could become a business sector in its own right down the road. Electronic Arts reported in 2011 that ARPU from EA Sports apps on Facebook was USD 56, exceeding net income per user from its console games.
But social gaming is also a means of bringing in new users to console games. The vast majority of social games of the traditional industry players are in fact "light", social versions of their console games meant to entice players to take it a step further and discover the "real" game.

Presence on Facebook of the major 'traditional' video game publishers

Presence on Facebook of the major 'traditional' video game publishers
* through its subsidiary 2K Sports
** through its subsidiary Playdom
Source: IDATE, Market Insight "Social Gaming", February 2012

Project Manager Laurent Michaud

Laurent Michaud is the Head of Consumer Electronics & Digital Entertainment Practice. Laurent acts as project manager for market reports on the rise of Smart Home, Game, Music and Electronics. He adresses technological, industrial and strategic issues through a point of view of innovation. He provides his clients with expert technical-economic analysis of strategic issues relating to consumer electronics and entertainment.
l.michaud@idate.org

> More information available at: www.idate.org

25Jan/13Off

World Video Game Market

MICHAUD Laurent

Laurent Michaud

Head of Consumer Electronics & Digital Entertainment Practice at IDATE

 

In 2013, hardware & games will represent 60 billion EUR in revenues, against 53bn EUR in 2012

 

Despite the profound changes that are going through it, the global market for hardware & video games will grow up from 2013 to attain 79 billion Euro in 2016. This study follows the development of key indicators for the sector over five years and makes an appraisal of the key markets: Home consoles - Handheld consoles - Offline games - Online games - Mobile phone games.

Following the recent announcements at the CES 2013 can we believe in a recovery of the hardware market in short or mid-term?
In 2012, the home consoles market segment (hardware and software sales) could generate 37% of total video game revenues. Given the regular growth of the online games and mobile platform games market segments, the home console segment is expected to shrink in the coming years. Let us recall that the latter accounted for nearly 60% of total market revenues in 2004. In spite of the arrival of a new generation of consoles, resulting in double-digit growth over several years, the home console segment will account for a "mere" 41.1% of the total global market by 2016.

Three factors are bringing about a shift in the home consoles market segment:

1. The arrival of Nintendo's Wii U, its first new generation console – pending the likely release of competing devices by Microsoft in 2013 and Sony Computer Entertainment in 2014 – is without a doubt the most pivotal event as the year approaches its end. Like its big brother, the Wii U will deliver a new gaming experience to the fickle and much sought-after consumers, be they experienced or casual gamers. This machine introduces pioneering features, and there is no doubt game designers will put them to use and conjure up new gameplay. Nintendo's machine should prove to be a winner. Yet it is still too early to know whether the Wii U console will enjoy the same degree of success as the Wii.

Worldwide home console forecast sales (in million units)

Source : IDATE, World Video Game Market, edition January 2013

2. Competitors Sony and Microsoft will be paying particular attention to the Wii U's sales figures, given how off-guard they were caught by the Wii's success.
They now realise that their health will be determined by the level of innovation they bring to the gaming experience. The question remains as to which part of the console they will focus their innovation efforts on. 4K resolution could be an option, although this would require that gamers replace their TV sets, and 4K home cinemas are still quite pricy. The most likely path would be to beef up their machines' ubiquitous and multiscreen functionality, and rethink the interaction peripherals with an emphasis on voice recognition and motion sensing. As for infrastructures for delivering services, they have no choice but to invest in the cloud as done by Sony Computer Entertainment, which acquired Gaikai for USD 380 million in mid-2012.

3. According to IDATE, revenues from digital sales via home consoles will reach EUR 2.9 billion in 2012. These include video games, video and music. This represents one fifth of all turnover generated by the sale of content for platforms. By 2016, IDATE reckons that income from the digital sale of content via home consoles will account for 60% of income generated by these platforms.

Changes in digital/physical sales revenues(billion EUR)

Source : IDATE, World Video Game Market, edition January 2013

Project Manager Laurent Michaud

Laurent Michaud is the Head of Consumer Electronics & Digital Entertainment Practice. Laurent acts as project manager for market reports on the rise of Smart Home, Game, Music and Electronics. He adresses technological, industrial and strategic issues through a point of view of innovation. He provides his clients with expert technical-economic analysis of strategic issues relating to consumer electronics and entertainment.
l.michaud@idate.org

> More information available at: www.idate.org

6Dec/12Off

Crises and rebounds in the games industry

MICHAUD Laurent

Laurent Michaud

Head of consumer electronics & digital entertainment practice, IDATE

Each year IDATE conducts studies on video games and accompanies enthusiastic project developers who rub shoulders with a market that will make them no concessions. Laurent Michaud, Head of the Consumer Electronics & Digital Entertainment practice at IDATE shares it takes on this in the article below.

It is now nearly 12 years that I have observed the sector with the eyes of a player and economist. We have dealt with all the issues that have made the news: we are going to cover our third home console marketing campaign, in the early 2000s we studied massively multi-player games, the advent of video games on mobile phones, then Occasional Gamer, in-game advertising, the App Store phenomenon, Serious Gaming, cloud gaming, games on smart TV, social gaming... In the background, dematerialisation remains the common denominator for all of them.

Alongside these studies, we have helped nearly forty project carriers by providing expertise regarding the techno-economic feasibility of their games, the industrial positioning of their company, their internationalisation strategy, construction of their business model, design of their outline business strategy...

These 12 years in practice enable me to draw some conclusions on what we are experiencing today as a crisis in the growth of the on-line games sector and a more acute crisis that could become a reality for certain traditional actors (those who develop games on physical media).

Video gaming is in crisis and the companies affected are not the least known: Gameforge, BigPoint, Zynga, but also THQ, Sega, Turbine to name only those... and I am not mentioning the myriad of small companies not really known for the big hit, which were formed to develop games for mobile phones, tablets or on Facebook and which are struggling to obtain a return on quite modest investments in a market where supply is abundant and it is difficult to differentiate oneself.

What are the causes of this crisis, beyond the effects of increased competition? I count four:

1. The video game evolves in phases of growth and decline determined by the life cycle of the hardware. Game consoles register their activity in physical cycles of at least six years. We are currently experiencing a downward cycle, a transition phase between two generations of home consoles characterised by income from the sale of games for these machines down by 12% between 2011 and 2012 and by 20% for the turnover generated by console sales.

2. We observe massive player support for Free2Play on smartphones, tablets, social networks, in games on browsers or MMOs and soon on smart TVs. Controlled inflation of the price of games for home and handheld consoles maintains the income for this segment but basically players demonstrate to us that the model of the future is Free2Play, of which these are some eloquent examples:

  • The British studio BossAlien published CSR Racing and quickly recorded a monthly turnover of $12 million,
  • According one of its directors, the Norwegian studio Supercell recorded a turnover of $500,000 per day with Clash of Clans,
  • When there is no income, there is always the level of "monthly active users" that shows the attractiveness of games carried by the F2P model - 32 million for League of Legend from Riots Games (no profit conversion rates available), 50 million for Farmville 2 (with, according to observers, a conversion rate of around 2%).
  • An unprecedented wave of MMO games is passing from a subscription payment model to Free2Play: Aion from NC Soft, Age of Conan from Funcom, Star Wars, The Old Republic from EA, Gotham City Impostors from Warner Interactive, DC Universe from SOE, City of Heroes Freedom from NC Soft…

Not to subscribe to this model supported by a large majority of players may constitute a medium-term risk for publishers.

3. In the on-line games market segment the crisis generates its effect on the first generation of developer-publishers. After a successful first game, these companies have recorded considerable and sometimes dramatic growth as regards their income and size of workforce. They now encounter difficulties with their "second game" which struggles to achieve the support of players who had been seduced by the first. However, the on-line games market segment will continue to record a two-figure growth up until 2016. IDATE estimates that the on-line games market will increase from €15 billion at the end of 2012 to more than 23 at the end of 2016 and will eventually represent a little less than 30% of the global market which could rise to €60 billion. If the market continues to grow at that rate it is value creation that will very largely make up for value loss. This observation underlies reasoning on the, as yet inexhaustible, capacity of the Internet to allow innovative game experiences.

4. In the on-line games environment, the operational risk of a game rests synthetically on four elements: content, business model, technical services, marketing and communications. These four pillars necessary for success rest themselves on new skills: community management, collection, processing and analysis of usage data, business and pricing strategy, industrial intelligence... These tasks are often underestimated by development studios more inclined to create content than conceive its publishing, marketing etc.

Thus, the economic rule "adapt or perish" was never more true than today in the games industry, and never has this rule applied as rapidly as today. Production times for terminals are being reduced on many platforms (mobile phones, tablets, social networking and browsers): as a result, the "time to market" is very short as, at times, is the time that separates the developer from failure.

This statement is difficult to hear: the developer, as Peter Molyneux said so well in a recent interview on Games Industry International, "is not supposed to make games for money. He is also reluctant to talk about monetisation." The games sector is recent and, since the industrialisation of the development market segment in the mid-90s, the job of the studio has been to create a games experience, not to take on board its commercialisation, carry out its marketing or pricing. This role is still regularly seen as falling to the editor. Today you, large and small developers, should know that that era is past and that your job also consists in selling, if not in integrating upstream of the production chain some thoughts relative to the marketing of the game.

A few reasons for bounce-back

If the crisis is real, the video games sector knows how to rebuild its declining segments, renew entertainment experiences, innovate; blaze a trail beyond the beaten track. This character trait offers some grounds for hoping to see the sector rebound in the very short term.

Here are four good reasons for bounce-back:

1. The next generation of home consoles

I am not dealing at length with the arrival of new home consoles that will boost the industry and, in 2015, hardware included, represent 40% of its income.

2. The promise of games on mobile platforms

Neither am I referring in detail to what games represent on mobile platforms, smartphones and tablets that seem particularly well-behaved in terms of market and complementary, even symbiotic, uses. This segment will hold a share of some 15 % of the market up until 2016 as against some 11 % of the income accruing to games on handheld consoles.

I will, on the other hand, insist on my two crazes:

3. The smart TV game

The arrival of the television connection changes the conditions of use for this terminal. Potentially it introduces a level of interactivity that makes it no longer a passive-consumption device. The connection promises enriched experiences regardless of the nature of the content - audiovisual, social, commercial, entertainment or informative.
In this context, the video game could be an accelerator for the market development of interactive applications on smart TV. It will demonstrate its effectiveness by providing a convincing user experience (with an interaction-immersion accessory, voice recognition and motion detection), based on a viable business model.
Games on on-line TV already seem to be taking five directions:

i) The downloading of occasional games on the set-top box from the ISP. In France, Free offers such a service on its Revolution box in partnership with TransGaming:
ii) Games synchronised with live-broadcast audiovisual programmes. Visiware, (through its PlayAlong offer) synchronises the television viewer, who can be a virtual contestant, with more than 800 games and live-broadcast programmes worldwide.
iii) The deployment of an application used by the television manufacturer or by a third party such as Google: EA has just announced, and it went more-or-less unnoticed, that two of these occasional games were available on Samsung's smart TV and controllable by the South Korean company's Galaxy phones. These are Game of Life and Monopoly.
iv) Cloud gaming is a technology that can home-deliver streamed games via the Internet on a connectable TV. The games consoles were also quick in response as Gaikai, one of the most promising cloud gaming service providers was acquired by Sony Computer Entertainment in early July for 380 million USD.
v) Access to games via social networks: Facebook is a platform of omnipresent coverage, found on most connectable devices (tablets, smartphones and computers). It is also available on smart TV and will provide access to the games catalogue that it offers on computer.

These guidelines lead to or induce convergence, better collaboration between the television actors (channels, programme producers), telecommunications and Internet actors (Internet access and service providers), consumer electronics manufacturers and video games actors. It operates at the technological, content and economic level and in any event it opens a new market segment, especially with the arrival of EA.

4. The ubiquitous or continuous game

Today, one can distinguish three types of ubiquity in video games.

  • The first is a ubiquity of service: the ranking, challenges, friends' games list etc. are ubiquitous. We find this feature on Game Center or Facebook.
  • The second is a ubiquity attached to games. Boostr, developer and publisher of the Urban Rivals game with 25 million players, sets its strategy on ubiquity. This game is available on social networks, tablets, smartphones and on its website. I have single access available, which gives me the possibility of playing indiscriminately on any one of these four single platforms that I pick up according to my wants and the terminal that I have at hand. I also play Football Manager quite a lot, but I open a different game on each platform, which breaks the continuity of the game experience.
  • The third is a ubiquity carried by connected objects. This ubiquity took shape in October 2011 under the game name Activision Skylanders. This game is based on action figures equipped with NFC technology and interacting with the home console and the game. These small figures are placed on a pedestal and are recognised and displayed on the screen. They keep in memory the experience gained during the game until the next connection to another console. 30 million figures have been sold to date worldwide.

In conclusion, video gaming is experiencing successive crises, which, in the end, are technological and industrial adjustments related to its strong ability to innovate and recreate: to me these adjustments seem necessary for a sector that, finally, seems soon set to reach economic maturity.

Laurent Michaud
Responsable de la practice Digital Home & Entertainment, IDATE
l.michaud@idate.org

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21Nov/12Off

DigiWorld Game Summit 2012 : SNJV

DigiWorld Summit
 
"Game Changers: Mobile, Cloud, Big Data"
 
 

L'intervention de Julien Villedieu (SNJV) au DigiWorld Game Summit 2012

 
Le 15 Novembre 2012 à Montpellier.
 
" Bonjour,
Le Syndicat National du Jeu Vidéo, réunit les entreprises qui réalisent en France des Jeux Vidéo.

Le Snjv a été créé en 2008 et il œuvre quotidiennement pour favoriser l’émergence, dans notre pays, d’un écosystème réglementaire et économique adapté aux contraintes des activités de production, mais aussi compétitif au regard de la concurrence internationale à laquelle nous sommes exposés.

Le Snjv est partenaire du DWGS depuis sa création, et depuis 2 ans nous organisons le vendredi une matinée thématique.

Nous vous donnons donc rendez-vous demain matin au Corum pour aborder la question, O combien d’actualité, des modes alternatifs de financement du jeu Vidéo avec de nombreux intervenants de qualité.

Laurent, merci une fois encore de nous associer à cet événement qui je l’espère nous donnera l’occasion, cette année encore, de prendre le temps d’analyser les impacts des bouleversements, pour ne pas dire de la révolution, que connaît notre industrie depuis 3 ans, sur nos métiers, les modèles économiques et sur les relations entre les acteurs de la filière.

Merci également de nous donner l’occasion de délivrer un message en ouverture de cette journée.

Cette année, le Digiworld Summit s’est donné pour ambition d’étudier l’impact des grandes ruptures, l’impact du changement sur l’industrie numérique.
Il paraît que c’est d’actualité et que c’est maintenant.

Ca tombe bien car les ruptures, qu’elles soient technologiques ou d’usages, ont toujours été le moteur des évolutions dans le jeu vidéo, que cela concerne les rendus graphiques, le gameplay, l’interactivité ou encore l’intelligence artificielle, pour ne citer que ces quelques exemples.

Le développement exponentiel de la puissance de calcul des consoles de jeux, par exemple, a permis le développement de jeux vidéo plus immersifs, l’apparition de la 3D temps réel ou l’amélioration des rendus visuels ;

Le développement des infrastructures réseaux (haut débit puis désormais Très haut débit) a permis aussi le développement des jeux vidéo massivement multi-joueurs online avec les succès étrangers et Français que l’on connaît et les nouvelles plateformes mobiles dématérialisées ont permis l’essor considérable des productions sur Smartphones et tablettes.

L’histoire du jeu vidéo se nourrit aussi d’innovations provenant d’autres secteurs traditionnels tels que le militaire, la santé ou des autres industries numériques et culturelles : internet, le cinéma, le film d’animation ou encore la bande dessinée, à tel point que certains n’ont plus qu’un mot à la bouche : le transmédia.

Ce qu’il faut retenir de cette succession de ruptures et de changements c’est que le jeu vidéo a déjà connu en seulement 40 ans (depuis sa création) plusieurs révolutions industrielles et que cela n’est vraisemblablement pas en train de s’arrêter.

Mais la période actuelle est sans doute moins celle des ruptures que celle des transitions.

Transition qui voit se confronter la progressive disparition du modèle de distribution physique à une maturité des marchés dématérialisés.

Transition entre un monde de licences à gros budgets, de blockbusters sur consoles et un univers de contenus originaux, ouverts accessibles en ligne, sur mobiles et sur tablettes.

Transition entre une relation tripartite (éditeurs, distri, dév) et un modèle intégré de production – diffusion ;

Transition entre un marché traditionnel (basé sur la rareté avec prix élevé) vers de nombreux marchés (basés sur les volumes avec des prix de vente bas),

Transition enfin entre 6 millions de consoles et de plateformes dédiées à la pratique du jeu vidéo à un équipement de bientôt 600 millions de plateformes tablettes, smartphones, smart Tv, set-top box qui offrent et offriront toutes la possibilité de jouer, partout, tout le temps.

Ce qu’il faut retenir de ces transitions est que le Jeu Vidéo a engagé sa mutation vers le divertissement grand public et qu’il se démocratise.

Mais si cette démocratisation, autrement appelée gamification offre de formidables opportunités pour les développeurs, cela s’accompagne de frictions extrêmement fortes sur les marchés :

  • Le jeu vidéo a perdu une grande partie de sa valeur économique du jeu vidéo (70€ > 0,89 cts€)
  • La production doit se penser en termes de catalogues, de volumes de production
  • L’accès au marché est très couteux
  • Il faut adapter les chaines de production aux nouveaux enjeux
  • Les modèles économiques ne sont pas encore stabilisés

Cette transition industrielle est faite de promesses et de bouleversements dont l’ensemble des acteurs professionnels : éditeurs, développeurs et distributeurs et prestataires sortiront transformés et qui impactera également de façon profonde la relation aux joueurs.

Au centre de cette transition, il y a l’enjeu des contenus, de la création et de la créativité.

Car face à la raréfaction des nouvelles productions originales, il existe une alternative qui une fois encore pourrait bien permettre à l’industrie et notamment aux sociétés françaises de retrouver la vigueur du passé, j’ai nommé la créativité.

Ainsi dans cette période de transition, notre industrie doit être en capacité d’offrir de nouvelles expériences de jeux originales, ludiques, interactives, bref innovantes.
Les plateformes dématérialisée, le cloud gaming, les télévisions connectées ou encore les nouvelles consoles serviront de supports à cette créativité.

Et c’est sans doute en cela que la crise que nous traversons est différente des précédentes, mais aussi intéressante à vivre.

A n’en point douter le jeu vidéo doit sans cesse évoluer en prenant le point de vue du joueur, autour des contenus eux-mêmes et de la qualité.

La création française a donc une belle carte a jouer car à de rares exceptions récentes, cela fait de nombreuses années qu’un jeu vidéo français n’a pas figuré dans le top 10 annuel des jeux vidéo.

Les causes sont nombreuses mais la transition que traverse notre industrie est propice à l’émergence en France de nouveaux leaders européens et internationaux, à la condition que soient réunies plusieurs conditions.

Car c’est bien dans ce domaine que nous faisons et ferons la différence. Loin d’être les défenseurs et promoteurs d’une French Touch qui n’a pour seul objectif que de regarder le nombril, force est de constater que les créateurs français jouissent à l’international d’une renommée sans pareil.

Ce n’est pas un hasard si dans certaines entreprises étrangères on retrouve à des postes créatifs certains de nos compatriotes.

Mais pour que nos entreprises puissent faire la différence, il faut s’intéresser aux conditions qui permettront à notre industrie de relever les défis de cette transition et de faire face à cette concurrence internationale, mais aussi de tirer parti de ces nouveaux marchés matures.

Certaines de ces conditions tiennent à l’écosystème économique et réglementaire français dans lequel évoluent nos 250 entreprises et 5000 collaborateurs.

Car il est aujourd’hui devenu plus compliqué de produire du jeu vidéo dans notre pays que dans d’autres pays plus accueillants.

Par exemple, inexistant il y a 15 ans, le Canada est devenu, à coup de milliards de dollars dépensés par différentes provinces, le 3e pays au monde en matière de production de jeux vidéo.

Les conditions à réunir pour permettre à la France du jeu vidéo d’exister demain sur ces nouveaux marchés sont connues, elles sont pour une grande partie entre les mains des créateurs et de leurs partenaires, mais les pouvoirs publics ont aussi un rôle majeur à jouer pour que l’on y parvienne.

Pour cela nous pensons qu’il est urgent d’agir dans plusieurs domaines :

1. Soutenir le financement des productions réalisées en France

Le Jeu Vidéo crée des emplois stables et à forte valeur ajoutée. C’est dans la production que réside le plus gros effet de levier.

Mais nous sommes dans une industrie de prototypage ou le préfinancement des productions est obligatoire.

Il faut donc des moyens importants et réguliers pour engager de nouvelles productions et les diffuser sur le marché.

Le CIJV existe mais touche une faible part de la production car il est extrêmement restreint sur les critères culturels exigés pour l’éligibilité des productions, il est soumis à une classification obsolète et inadéquate et son taux est faible au regard de la compétition internationale.

Nous sommes dans un contexte favorable à une évolution profonde du dispositif :

  • Un Crédit d’impôt plus fort a des effets importants et durables sur le secteur (cf Canada en 15 ans et la réplication du modèle à Singapour)
  • Le CNC a démontré que la mesure a un impact positif sur notre économie et sur l’emploi
  • Les plus grosses réussites commerciales françaises de ces dernières années sont exclues du bénéfice du CIJV alors qu’en en bénéficiant les entreprises auraient non seulement recrutées mais également créer de la richesse dans notre pays.

2. Créer les conditions favorables à l’investissement privé dans les entreprises de production, d’édition et de diffusion de jeux vidéo en France

Le Jeu vidéo désormais diffusé par les entreprises de créations elles-mêmes sur des marchés de volumes avec un modèle économique basé sur l’acquisition de communautés, requiert des moyens considérables pour accéder au marché.

Or les entreprises ont peu de chances de lever de l’argent pour financer leurs productions si elles ne maitrisent pas l’accès au marché.

Confrontées à l’augmentation des coûts d’acquisition clients lorsqu’elles diffusent leurs productions, elles ont besoin de fonds pour déployer les moyens marketing nécessaires.

Nous pensons donc urgent d’autoriser la constitution de Sociétés de financement du Jeu Vidéo (SFJV) sur le même modèle que les Sofica dans le cinéma et de créer en parallèle une incitation fiscale pour l’investissement des particuliers et des fonds dans les entreprises de jeu vidéo

3. Favoriser les conditions de diffusion du jeu vidéo dans le monde en luttant contre la fraude et le parasitisme auxquels est confrontées la diffusion des jeux

Le jeu vidéo est l’un des contenus culturels parmi les plus largement distribués en ligne et partant, parmi les plus fraudés, recelés, copiés, piratés…

Or, les moyens disponibles mis en place en France pour lutter contre ces activités qui parasitent la diffusion sont totalement insuffisants.

4. Promouvoir la créativité française à l’international

Les professionnels du secteur et plusieurs ministères et agences ont lancé au début de l’année 2012 un label consistant à promouvoir la créativité de la France dans le jeu vidéo, à travers le monde.

Ce dispositif, basé sur une volonté politique et industrielle ne dispose aujourd’hui d’aucun moyen de promotion, ni ressource permettant d’engager une véritable action consistant à attirer des studios étrangers en France et à faire rayonner nos entreprises auprès de décideurs internationaux.

On le sait, le jeu vidéo est devenu en quelques années la première industrie culturelle au monde et en France, la première à avoir accompli la transition numérique en ligne, une industrie extraordinaire qui génère des innovations, des emplois qualifiés et qui fait rayonner la culture à l’international.

Face à ce constat et dans le contexte international actuel, le rôle des états devient primordial pour assurer les conditions favorables au développement de l’industrie.

Alors, au Gouvernement qui a engagé récemment une action de fond sur la question de la compétitivité et de l’emploi, nous disons : regardez avec attention l’industrie du jeu vidéo en France. Elle est source d’emplois qualifiés durables et de création de valeur et d’exportations.
Il est donc temps d’engager enfin une véritable politique de soutien à la croissance de ce secteur industriel.

A défaut il faudra se résigner à accepter que dans notre pays on ne produise plus de jeu vidéo, ce que le Snjv ne saurait accepter.

Je vous remercie."

Julien VILLEDIEU
Délégué Général
SNJV

19Apr/12Off

World video game market

laurent_michaud

Laurent MICHAUD

Head of consumer electronics & digital entertainment

The video game software market will grow from EUR 41.9 billion in 2011 to almost EUR 60.6 billion in 2015

IDATE publishes every year a market report providing its readers with an analysis of the world video game market (hard- and software) that is currently changing shape, assessing the key technologies to accelerate such a development of this promising market, along with the key issues to be addressed and market forecasts up to 2015.

After growth stalled for a time in 2009-2010, since then the video game sector received a new boost, due to:

  • two segments entering a new generation (home and handheld consoles),
  • two segments now set to draw wide audiences (online games and games for mobile phones).
  • the emergence of two highly promising segments (tablets and connected TV)

Over a period of five years, the video game software market will grow from EUR 41.9 billion in 2011 to almost EUR 60.6 billion in 2015. Two factors explain this performance:

  • the market arrival of a new generation of handheld consoles in 2011 and emergence of a new generation of home consoles from 2012.
  • the extraordinary growth of segments for games on mobile phones and online, particularly in Asia/Pacific and more specifically in China, where both segments combined will be worth EUR 8.6 billion by 2015.

“Growth of the video game market is still influenced by the life cycle of home consoles. As such, the commercial launch of new generation machines from 2012 on will inject renewed growth into the sector, with video game software generating potential revenues of some EUR 60 billion by 2015.” explains Laurent MICHAUD, project manager of this study and IDATE’s Head of consumer electronics & digital entertainment.

Seven key industry trends for 2011

IDATE has identified seven trends which marked the past year:

  • In 2011, in the game software market, one out of every two euros is generated from digital distribution or income from online practices (item selling, etc.).
  • 2012-2015: the advent of a new generation of home consoles. With the imminent release of Wii U next year, Nintendo’s competitors will clearly have to rethink their schedules for rolling out their next gen consoles.
  • By end-2011, smartphones and handheld consoles will eventually converge, with the commercial launch of the Playstation Vita (PS Vita), available in two versions: with a wireless or 3G connection.
  • Tablets: likely to take off in 2011-2012. A new device creating new usages within the digital home, the tablet provides an ideal interface for video games, now the most popular type of application on this device.
  • Facebook, the most recent game platform to date! The social network has pursued its casual gaming endeavors, broadening the base of gamers and converting general consumers to video gaming. The gamble seems to have paid off, although only time will tell at what pace games will be exploited in this segment.
  • The age of ubiquitous games: increasingly asynchronous access to the same game via several interoperable platforms. Gamers ultimately have just one centrally-managed account, regardless of whether sessions are played on Facebook, a smartphone, developers’ websites or connected TV, etc.
  • The emergence of games on connected TV: Onlive and Playcast Media are the most prominent companies to invest in games on this platform. However, this nascent segment is also drawing the interest of a wide number of Internet, TV and video game players, as well as ISPs, manufacturers of consumer electronics, smartphones and set-top-boxes, and telcos, etc.

World Video Game Market, 2011-2015

Laurent MICHAUD
Project Manager
l.michaud@idate.org

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