The post Is the HyperCasual market still healthy and growing in 2020? appeared first on Mobile Free to Play, written by Tom Kinniburgh
]]>In this article we will investigate how that market has grown and potentially where it will continue in 2020. If you want to read more about the Mechanics of HyperCasual or How Voodoo dominated the category in 2018.
The greatest trick HyperCasual ever pulled was convincing the world it was a genre. It is in fact a business model.
A hugely successful business model at that. I would define a HyperCasual game as: any game that relies on 95% of its revenue from ad monetization. Generating profits from any ad network, offer wall or affiliate scheme – anything not directly paid for by the gamer. HyperCasual games are truly free to play, you pay with your time and eyeballs when you watch an ad, but you’re never asked, forced or limited by gameplay by your inability to purchase a currency or speed up a timer.
The very best games blend the ad experience and mechanics together and create fast, simple games that appeal to the broadest audience of players.
We worked with AppMagic who are an app store revenue and download estimator to assess the growth and proliferation of HyperCasual games. They have been tracking the charts of 47 app stores around the world and manually analysing and classifying Top 100 games into genres. Over that time they have tagged 1300+ games and estimated their overall downloads worldwide. Although having precise numbers can only be achieved if you own the app yourself, estimations provide very reliable trend analysis and it will be these trends we look at.
The chart above shows the estimated monthly downloads for the biggest HyperCasual titles from 2015-2019. There are some games that fall into both Casual and HyperCasual as they may have been iterated on with deeper mechanics, but the trend is clear. Year on year there were more and more games that grew primarily via the ad-driven model.
The total quantity of hypercasual apps has been increasing at a fairly predictable rate and competition in the sector has grown. Overall the sector itself still supports 6 times as many titles as back in 2015, from 100million per month to 600 million downloads per month in 2019. The very best titles can rack up around 50 million installs in a single month, but most top titles do closer to 10 million. A large bundle of titles can see 1 million per month quite regularly.
The trend of new game releases that break into the Top 100 clearly articulates that rapid growth phase of 2018. However, we seem to have reached a peak. By the middle of 2019 almost 80 new releases featured in the Top 100 most downloaded around the world, but this is now in decline. This points towards new games needing more development and more testing before scaling and becomes riskier for publishers.
Although the market has grown steadily and big hits continue to maintain performance, the publishing model has become fierce. Where Voodoo once clearly dominated, they now share the space with 3 other key rivals: Lion Studios, Say Games and Crazy Labs, often trading top spot on certain weeks. The middle ground has also grown, with 42 publishers from around the world who each drove more than 10 million worldwide downloads in January 2020.
This shows overall sector health, but competition burns cash and this will be having significant effects on the bottom lines and sustainability of the model in general. Success is always in the eye of the beholder and although it’s become much tougher at the top there are more companies that have created sustainable, growing businesses in the HyperCasual sector.
2018 was often talked about as the boom when HyperCasual appeared and dominated the charts, however, 2019 was the year that HyperCasual stuck. More games than ever were able to sustain and retain a top 10 position for at least 15 days in a month in the US.
Although the number of titles that can sustain has flattened, it’s still a healthy 5-10 games in a single month that stick in the download charts. We can also be fairly sure that most of these games were new releases due to the lifecycle of a HyperCasual being very short. Across 2019 alone 87 new titles managed to break into and hold a place in the top 10 for half a month, a factor of 10x higher than any other genre. This gives confidence as creating new novel titles as a smaller dev studio or partnered with a publisher can be achieved. Rank and sustain of rank do come at a cost. The actual return on investment for these games is unknown, due to large marketing spends, but one would hope this was profitable for each game.
Expanding the view point to the TTop 100, we can see that 2019 continued to be a year of dominance for the HyperCasual space with almost 1 in 5 games in the charts attributing their business model to Ad View monetization. The sector continued to grow and hold apart from a large blip when Google removed many thousands of apps for breaking their terms of service, but publishers quickly fixed and resubmitted these games.
With all these upward trends why is it that HyperCasual falling out of favor? Many believe that the simplicity of these mechanics cannot sustain, that the need to grow LTV will lead to deeper meta-games and features. I don’t see that as the case. I feel that most of these predictions still see HyperCasual as a genre and not as a business model. To be successful in this field you must embrace that business model on a deeper level and understand what makes players interact with the ads and stick in your games:
I don’t predict a drop in the number of titles in the Top 100, yet I also don’t believe there will be an increase. The interesting change will be whether the apps present in the top 100 will be new or will be older more established titles. Can companies create even longer sustain for their best games?
Predicting what will be the next hit will become even harder. Right now, one of the most popular games on the store is Woodturning by Voodoo which as both genre and idea is novel, unpredictable and niche. 2020 will see even more “is that even a game?” approaches.
A broadening of mechanics to include more progression, goals, idle and social elements will combine with the HyperCasual business model. Any developer who is not focussing on ad views and simplicity will have expensive marketing and won’t be able to grow. Some games will do this very well, others will fail miserably. The costs in time and development skills will rise.
The biggest issue in the genre isn’t the games, it’s the ad units. Quite simply they suck, they don’t allow for smoothness, beautiful transitions, different sizes, timings or formats to fit into the game experience. Ad networks will get smarter but they need to work with game developers to build ad tech to support the genre. HyperCasual ads will feel more and more native. Playable ads do so well because they encourage the user to enjoy the time away from the main game. Any ad network that thinks about the player interactions and experience, specifically in terms of how HyperCasual ads are used, will create games that retain for longer while still seeing high clicks and conversions.
The post Is the HyperCasual market still healthy and growing in 2020? appeared first on Mobile Free to Play, written by Tom Kinniburgh
]]>The post Deconstructing Empires & Puzzles appeared first on Mobile Free to Play, written by Guest Writer
]]>Guest Author: Niek Tuerlings / Writer at Ludocious.com.
Zynga is doing well, very well. Even more so since the first of January this year. This was the date that the Social Game giant had acquired Small Giant Studios, as was announced two weeks earlier. The main reason for this acquisition was the success of Small Giant’s hit game, Empires & Puzzles.
Only five months after being globally launched in March 2017, E&P entered the top 50 grossing games in its category (RPGs/Strategy) on the App Store. It has been there ever since. Especially the last twelve months the game has been thriving, raking in hundreds of thousands of dollars in revenue per day.
What makes this game so successful? What did Small Giant do differently from other developers like King and SEGA who have tried to successfully create a worldwide successor for Puzzles & Dragons, the first game in history to generate $1B in sales?
Guest Author: Niek Tuerlings / Writer at Ludocious.com.
Game Designer on June’s Journey at Wooga, Berlin.
Disclaimer: The article is the author’s own professional view on Empires & Puzzles. Wooga GmbH isn’t affiliated with this assessment in any way.
This deconstruction will cover:
At first glance, the core loop of the game doesn’t look very complicated:
The player’s task is to create the best possible team of five heroes to battle with. Investing in these heroes is needed to level them up, which can be done by merging other unwanted heroes into chosen heroes. New heroes can be trained using recruits, which are collected by winning battles.
The hero roster (top row is the player’s team) and a hero’s detail page.
After carefully composing a balanced team of fighters, the player takes their party of stalwart heroes into battle, which in mobile games means the player is required to do the one and only obvious thing: matching three gems of the same color.
Matching gems in columns sends troops upwards to attack the enemies above.
The player’s team is positioned below the grid, the enemies are above it. Both enemies and the player’s heroes have one out of five elemental types (colors) which are effective to one another in a rock/paper/scissors-like manner. Matched gems turn into troops of the same color which then move straight upwards to attack the enemies above. This is why the position of specifically colored gems in the grid is important when considering which match to make. The designers wisely didn’t go with a 5-dimensional scheme but simply made the other two colors effective against each other to not make it too difficult to remember. Simplicity over Elegance.
Rock/paper/scissors (lizard/spock)
Matching a specific color of gem also fills up the corresponding character’s ability bar (if they are still alive). When full, the player can (without using a turn) trigger the character’s skill. Skills can be anything ranging from offensive to supportive with everything in between. When all enemies are beaten, the battle is won. The player loses when their entire party is killed.
E&P’s core gameplay is carefully designed and balanced. Lots of additions like randomly spawning blockers, supergem combinations or stronger gems with timers could have been made but weren’t. This brings us to the game’s biggest weakness, at least if you’re a seasoned match-3 player.
The entertainment value of E&P’s core-game experience is disputable. It’s interesting enough to hook players and keep them engaged for a while but E&P’s level variation is clearly not what retains players in the long run. Every level in E&P is the same, making the matching gameplay feel tedious and slow. One battle is at least three or four waves of enemies which requires about 4 minutes when played tactically and half this time when grinding easier auto-battles. This means up to 20 minutes of the exact same gameplay, day in day out, multiple sessions per day. And this is only using the default kind of energy, world energy. E&P has two additional energy systems for the social and multiplayer parts of the game. Using these energies the player can battle world bosses or other players together, by doing what? Exactly the same match-3 levels again, but with a different enemy at the top of the screen. Mechanics like auto-win and auto-battle clearly indicate the need for players to shorten their session and “be done” with the matching component of E&P. The first three and most impactful feature suggestions on GameRefinery suggest adding core game variations like blockers and level goals.
The other edge of the sword is that trying to revolutionize match-3 gameplay is about the riskiest thing one can do when trying to make a hit game. Many others, like King’s Legend of Solgard have tried without success because they were too bold in trying to revolutionize the genre, scaring the huge segment of players who want classic match-3 mechanics.
Snowprint Studios’ Legend of Solgard and its refreshing core-game. Unfortunately without much success.
I do see why it’s difficult to scale and balance the matching gameplay with all kinds of level modifiers being present. E&P’s replay value depends on playing lots of levels over different features. Having to take into account which level modifiers the player has been subjected to spanning different lines of progression would be a lot of overhead. Apparently it’s sufficient to have no variation at all, as enough players simply want to match gems.
It is unclear to me why E&P has kept most battles lengthy and multi-wave, at least for features other than the main campaign. Omitting multiple waves of enemies would keep the grind at bay. It would even could keep monetizing off auto-win tickets a possibility, albeit slightly less desirable. The game becomes way too monotonous to say it’s impossible that no one is churning because of it.
In terms of lifetime revenue, one of the other Puzzle RPGs that has seen moderate success is Marvel Puzzle Quest by Bandai Namco. This game was released in 2013 and is still generating good revenue until this day, although E&P has surpassed it by a couple of factors at this point.
Marvel Puzzle Quest, still alive and somewhat kicking.
E&P and MPQ are similar in terms of hero-focused gameplay & collection, but MPQ’s approach to match-3 is far more complex. Each Marvel character has three elements to benefit from when matched, including one corresponding skill per element. Damage done is linked to the matched color, not to the columns in which the gems are positioned. The game also requires the player to remove specific gems that have been turned into bombs before their countdown finishes, all adding to the dynamic of the matching gameplay.
MPQ’s core-game depth makes it much more varied & enjoyable than E&P but it takes too long to be fully taught and understood by everyone. Most mobile players don’t have the commitment to dig deeper to figure out how it works on their own. Making a puzzle game doesn’t mean you can make the mechanics themselves a puzzle.
E&P’s conservative stance on match-3 has allowed them to be applicable to a wider audience but at the cost of core-game depth. Its old-fashioned matching system doesn’t involve square or synchronous matches, nor does it feature supergem combinations, further removing player agency from the matching board. Disappointingly, E&P’s successor, Puzzle Combat is in technical soft launch in the Philippines right now and the matching gameplay is a direct reskin. I can understand Small Giant’s fear of killing the golden goose, but as a player I would have loved to be presented with a somewhat modernized experience. A little flair never killed anyone, or goose for that matter.
What are players subjected to before the core game starts being repetitive? What gives Empires & Puzzles its long-term retention?
When designing any game, it’s essential to analyze its (planned) feature set to try and see in which ways it is designed to keep as many different types of players as engaged as possible. Almost every studios with top-grossing games tries doing this as well as possible. Good examples of this extreme feature-diversity are Kabam or FunPlus and their top games, MARVEL Contest of Champions and Guns of Glory respectively. E&P does the same, making it one of the most complete games in the Puzzle RPG genre.
Lots of research has been done to define possible player motivations. I won’t go in-depth here since many others have explored this psychological terrain in much more detail but I will use some existing taxonomies like the Gamer Motivation Model from Quantic Foundry to illustrate my point. Their model is suitable because it is based on extensive research on player psychology, all without specifying a distinct platform or genre.
Quantic Foundry’s Gamer Motivation Model, which one are you?
Any game that makes its players “feel smart” will successfully gratify strategizers and keep them engaged. Strategizers are the best catered-to group of players in E&P. Three main features of the game heavily depend on the player making the right choices. The first one is the essence of the meta-game; the player’s base.
A (very progressed) player’s base.
The base can consist out of 10 different kinds of buildings which can be placed on its 34 building plots. Mostly, the player will use these plots to create buildings that increase their food & iron production or storage. Iron is used to upgrade all buildings, including the ones that ultimately gate the player by limiting the amount of food they provide to upgrade their heroes. Filling up the entire base with fully upgraded buildings takes years of upgrades.
How many buildings of a kind to construct and in which order can be strategized on but not to a large extent. As more of the base’s plots get unlocked, the player gets more possibilities to either upgrade their buildings or build new ones. The game’s resource pool is split up between resources gained from winning battles and resources collected from buildings. The first part is gained by playing the core game (limited by the player’s engagement) and the other part is a steady and consistent flow, making sure also less engaged players are able to progress at a specific pace. The choice which buildings to build gives the player just enough feeling of agency over that latter part of resources. It’s a fenced playground where the player has space to feel smart about their choice and positioning of buildings.
The most influential feature of the game that gives the strategic players the most food for thought is the ability to compose a team of heroes they like. At the time of writing, the game contains 182 heroes spanning 5 rarity levels and 10 classes. Most heroes (especially the more rare ones) have specific skill sets, making them truly unique. Some heroes have skills that influence only adjacent heroes, making the placement order of heroes in the party a factor to take into account as well. The way E&P heroes function in the core game is most certainly one of its biggest differentiators.
Examples of different hero skills
The third strategizer feature to highlight is one that speaks for itself but shouldn’t be forgotten. The game’s core-game provides the biggest chunk of challenge. Choosing which match to make where heavily influences a battle’s outcome.
Heroes: the way E&P scales content
Completionists have a lot to do in E&P. There is the main campaign that takes care of the player’s long-term progression. It’s not much else than a saga map with chains of levels that increase in difficulty so the player has a measurement of how far and fast they are progressing.
The (saga) map. Overworld on the left, zoomed in province view on the right.
The game offers an elaborate quest system that has different branches of time-limited quests, providing more bite-size objectives to complete. Every quest line caters to different player needs within the feature. Players can grind for specific resources, recruits or class-specific power-ups.
Time-limited quests offering short-term progression.
As mentioned, the game contains a lot of heroes to be collected. Heroes of the highest rarity are extremely difficult to acquire because of the game’s relatively wide gacha system. Any time a hero is either summoned or trained, the player gets a random drop. The cheapest, earliest summons and trainings only reward common and uncommon heroes. Later in the game, or during seasonal events, the player unlocks more chances to draw rare, epic and ultimately legendary gacha. Even though the majority of the heroes in the game are legendary (68) or epic (46), drawing gacha practically always rewards common and uncommon heroes. Even the most expensive summon (available only by paying hard currency) provides just ~25% chance of getting an epic hero while legendary heroes drop 2.5% of the time.
Hero rarity comparison; rare (3/5) on the left, legendary (5/5) on the right
The higher a hero’s rarity, the higher its potential. Less rare heroes can’t scale as much, have less interesting skills and have a lower base power. As mentioned, Small Giant scales E&P’s content by adding heroes (that all have to be balanced), which is the reason why acquiring the strongest heroes is such a rare event. Essential to creating an engaging gacha is desirability of its collectables. The need for specific heroes to compose the perfect team is a perfect and meaningful link to the core game.
Hero summoning and training (epic and elemental summons not pictured).
But what happens when the player has found their favorite team? What stops players from using the same team throughout the entire game? When starting specific quests and trials, the player can only use one class of hero, like Paladin for example. Every class has specific talents that can be configured when a player’s hero reaches max level. The player also benefits from having a more diverse roster of heroes in the competitive parts of the game, where specific heroes have the potential to counter others more or less efficiently. E&P only makes the player aware of hero classes much further in the game when their heroes are fully leveled up and ascended. By doing so the game opens up a whole new reason to collect different heroes when the player needs it.
Tactical breakdown of Trial of Serenity (fan made) and a character’s talent grid.
E&P gives its players the possibility to form Alliances; groups of players able to chat, organize and work together on common goals. These common goals can include collectively attacking one very strong Titan on the map (PvE) or fighting a War with another alliance (PvP).
Player-versus-Environment & Player-versus-”Player”
In War battles, players can pick opponents with similar strength from the other alliance and attack their team. The battles are not real-time, the player is matched up against the other player’s AI-controlled team. Fighting wars or titans does not use the same energy as the other features, this is smart so that the player doesn’t have to choose between being social or grinding the single-player features of the game.
As mentioned above, social players can work together to try and eliminate players of another alliance in the War feature, but there is also a single player combat feature called Raids. This is the main competitive feature of E&P. Players get matched with another player’s team to fight an AI-controlled battle against it. It would be much cooler to fight real-time against a human player, but for this to become reality, lots of technical and synchronicity issues will undoubtedly have to be tackled, not to mention it’s probably too big of a risk at this point.
The battle awards trophies to the winner and deducts some from the loser. Trophies are tallied into a global leaderboard for single players, as well as cumulative trophies of alliances.
The start screen before a raid battle and the screen that pops up when starting the game after being attacked.
When looking at the motivation model posed earlier, it’s clear that E&P caters heavily to the Social, Mastery, Achievement and Creativity categories. The other two (Action & Immersion) are generally not categories that thrive on mobile platforms anyways, which means E&P is practically the most complete game it can be.
Having handled all this, the game’s loop suddenly looks a bit more interesting:
A more thorough look at the game’s loop. (excludes social & compounds quests with battles)
Looking at E&P’s entire feature set, one can conclude the game provides features for everything and everyone. Strategizers, Completionists, Collectors, Socializers and Competitors alike are kept engaged at the time they have become (too) comfortable with the core-game. The coherent way in which all of these features are built to feed into the game’s thrifty hero gacha is the reason for E&P’s long-term success.
Having created such a complete game, the last thing to do is market and sell it for the right price:
The ease of making purchases in a game can be directly compared to a person’s brain and the neural pathways that are created within. Doing something for the first time is by far the most difficult. Recurring events are much easier to perform and justify. For this reason, converting a player’s initial purchasing caution into necessity is pivotal to ‘unlock’ their potential Lifetime Value.
The way E&P converts players is ruthless and childishly simple. The player’s building construction timers ramp up with every upgrade until soon the player has to wait more than 10 hours to sometimes even days for a building to complete. But buildings need to be upgraded a lot. Every building has about 20 stages which means the player has to start these lengthy upgrades about 700 times to reach the end of content. This would all be not such a big deal if they would be able to upgrade multiple buildings at once. When trying to, the game throws the following pop-up:
That derpy pet dragon though.
When tapping the button to get a second builder, one is presented the VIP pass. For any player with a bit of sense how long it takes to complete just one build timer, this 30 day pass is a no-brainer. That second builder alone is what anyone would want since it effectively doubles construction efficiency. On top of that comes a good amount of gems and even more! VIP memberships are an amazing way to retain players since they pre-purchase rewards they won’t even get when failing to log back into the game. Linking it to something as desirable as that second builder to convert is a genius move.
In case the builder scenario didn’t work, the game continuously offers time-limited conversion deals to players. These deals all advertise something desirable for a low real-money-purchase in combination with gems. This way the player gets their desired product and additional freedom to spend currency the way they prefer.
A healthy reward space provides infinite possibilities to keep selling goods.
On top of the VIP membership lots of players will have felt inclined to buy, there are lots of reasons to check back into the game. The daily free hero summon is probably the most tempting one. On top of that, everything else has a timer. Quests reset at different rates, huge amounts of building resources need to be collected every couple of hours, a titan spawns every day and guild wars need attending to. On top of all that the elemental summon provides a time-limited chance to draw an element-specific gacha every 30 hours, which is very tempting if your team’s 5th hero isn’t optimally synergizing and you have some gems saved up.
Everyday I’m summonin’
Since so much is happening and the game’s three different energies all replenish at different rates it’s very tempting to quickly check back into the game to see if one of these countdowns hasn’t reset in the meantime. When this game hooks you, it hooks you good.
The game has enough to offer for players with deeper pockets as well; themed packs for rushy players (the fast lane pack), packages to buff specific heroes or elemental-themed sales are a common sight in the shop. Featured deals come and go and have a prominent placement in the shop.
Make it rain
There is one feature related to the game’s monetization that can easily be ignored: the incentivized ads. They seem tacked on later as they are entirely outside the core loop. The rewards are also slim pickings: 2 diamonds and a weapon of which I don’t see its immediate use don’t provide a high “wow” factor.
Adds, not ads
It would be more alluring to offer another gacha draw in the daily summon in exchange for watching an ad since it provides a reward that can immediately be used. Providing a reward that in most cases will just be used to ‘save up’ is less effective. On top of that, adding the chance of finding a rare hero to the equation should get more people excited.
Empires & Puzzles is an example to be studied when working on your next hit game. Wrapping your head around the intricate balancing of their systems and feature set might take some effort but it’s surely worth the trouble. Studying the quest, sales and event cadence makes it look so easy while in fact one shouldn’t forget a game with substantial economic depth is required to be able to replicate what E&P manages to offer.
In summary, these three things are what E&P makes it the success it is:
After having seen how this game has been performing and analyzing their core success factors, my big question is, who can do this better?
The post Deconstructing Empires & Puzzles appeared first on Mobile Free to Play, written by Guest Writer
]]>The post TWIG 33 – The Expanding Epic Store appeared first on Mobile Free to Play, written by Adam Telfer
]]>Hey, another podcast this week. I had the pleasure of joining Joseph Kim and Eric Kress on another edition of “TWIG” (This week in games”). This week we focused on Epic’s PC Store expansion with signing more exclusives (Ubisoft’s Ghost Recon) and acquiring some key studios (Psyonix). Also have a brief discussion on upcoming legislation and PSNow subscriptions.
If you want to have some fun with the podcast, refer to Georg Baumgarte’s bingo sheet while listening:
The post TWIG 33 – The Expanding Epic Store appeared first on Mobile Free to Play, written by Adam Telfer
]]>The post TWIG 28: Snapchat, Apex Legends, Idle Miner, and Anthem appeared first on Mobile Free to Play, written by Adam Telfer
]]>Big thanks to Miska, Joseph and Eric for having me on!
The post TWIG 28: Snapchat, Apex Legends, Idle Miner, and Anthem appeared first on Mobile Free to Play, written by Adam Telfer
]]>The post GDC 2019: Deconstructing Idle Miner Tycoon appeared first on Mobile Free to Play, written by Adam Telfer
]]>Here are our Slides:
So how did Idle Miner Tycoon do it?
But overall, can Idle actually expand? Can Idle grow to larger players? Most likely not within 2019. My prediction is that it will remain with smaller developers, simply because of the caps on the audience that exist so far. However, there are 3 clear areas of growth that a small or mid-sized developer can take advantage of:
The post GDC 2019: Deconstructing Idle Miner Tycoon appeared first on Mobile Free to Play, written by Adam Telfer
]]>The post The Top Grossing Mobile Game Genres of 2018 appeared first on Mobile Free to Play, written by Tom Kinniburgh
]]>Genres and taxonomies are important distinctions for game designers. What works in one genre may not work in another. The audience – their tastes, their expectations, their desires vary dramatically. Within the app landscape, we are generally confined to the genres defined by the stores themselves. However, most of the time, they are too generic or audience trends react quickly and the standard groupings are not large enough. GameRefinery have recategorised and evaluated mobile games into 40 more relevant sub-genres. MFTP worked with their data to see how sub-genre landscape changed throughout 2018 and as a developer which genres might be overlooked or undervalued?
The top grossing represents the genres with the best mechanics that make people part with their cash and spend via IAPs. With all free to play the action of conversion (spending money in game) is a rare event. The vast majority of people never spend and those that do spend, spend infrequently. Therefore, games that do well in the grossing chart have game mechanics that increase the likelihood of a conversion event or the frequency of multiple conversion events.
We took the GameRefinery data set of the top 500 Grossing apps in each quarter of 2018, the games were categorised into a fixed set of 40 sub-genres according to their game mechanics. For each sub-genre, we determined:
Games which have a high number of titles in the the chart, could be considered as strong monetizing genres. Their mechanics encourage higher spends. Games with the highest rank, i.e Position 1-5, earn the most money on a per app basis. High, Min or Max ranks signify that apps within the sub-genre perform very well. Using calculated metrics we assess each of the sub-genre ability at driving high revenues on the app store.
We found some clusters of sub-genres that have more effective game mechanics at making money on the app store.
The number of games in the charts over each of the quarters is a clear measure of a sub-genres ability to monetize. These are the 4 reliable giants (Slots, Match3, Turnbased RPG, 4X Strategy) in the top grossing charts and we have covered these in the monetization section of the bible. Each of these sub-genres support a large number (40-60) of games across all 4Q of 2018 that stay within the top 500 grossing. The rest of the genres tend to support around 5-20 games on average with Word/Trivia and Puzzle supporting the most.
Each quarter there is some movement in the number of games within a category. Categories which grew the count of games from Q1 -> Q4 in 2018 are showing stronger performance to monetize. The large dark green circle represents Q4 and the smallest pale green represents Q1. A consistent rise through 2018 would have the largest green circle at the top and the small green circle at the bottom, showing a rise in the number of chart positions being held. Slots, Battle Royale and MMORPG have all shown stead rise through 2018, whereas 4X Strategy, Tycoon/Crafting and Card Battlers have slowly dropped through 2018. The best rising star categories outside of the Reliable Giants have been Word, Casual Sports and Casual Racing. Each of these have shown that they can grow their category in 2018. Comparing between this and the download charts, you can see that monetization is broader and less condensed although safety lies within the rising giants, which is why we see so many clones and copies of these game mechanics.
The chart above shows the spread of the revenue data. I took the average data across the 4 quarters to represent all of 2018. All the games have been ranked according to their highest average position throughout the year, the bottom left quadrant are the top performing genres. A wick (the thin blue line) is the min and max position for titles throughout 2018. A Candle the short, fat rectangle is the median and mean chart positions within 2018. The shorter the wicks the tighter the range for the whole subgenre, meaning more concentrate chart positions. Concentrated high chart positions are favoured because the higher the rank the greater the ability to drive monetization. However, the number of games per category vary wildly and a larger number of games naturally increases the length of the wicks.
AR games such as Jurassic World Alive, Puzzle RPG and Card Battlers all have a number of titles that sit very high in the charts with a tight overall range. These sub-genres represent the rising stars of the grossing charts as they have a small number of top performing titles. It could also mean that gamers in these genres are more fickle, and favour 1 or 2 top titles with unique mechanics rather than playing a range of titles that each feature similar mechanics, like the reliable giants. A lot of these sub genres also represent new and emerging niches in 2018 and when you observe the data across the 4Q you can often see more game entering and climbing the charts quickly.
If a genre has a dark blue central candle then it means the genre skewed positively, it’s Mean was higher than its median. A positive skew means that of all the games in the sub-genre more of them were of a higher rank than the average, meaning more games towards the top of the charts. If the candle is white then the genre skewed negatively meaning more of the titles lay towards the lower end of the charts. The wider the bar the bigger the skew.
Games with long blue candles and very low wicks tend to show genres which have a number of top ranking games pulling up some low rank games. Battle Royale, Synchronous Battler and Interactive Story genres all show some stellar titles in the category, but also likely have fast following low performing titles bringing the average down.
Games with long with candles and short overall wicks represent genres that sit in the middle of the ranks, with a larger number of mid ground titles. Card Battler, Bingo and Breeding all feature stable but not stellar performances throughout 2018.
Top ranking games make the most money and we know that the store itself. Another visual representation of the same data shows the count highlighted by the size of bubble. AR and Puzzle rank highest overall throughout 2018 but have a small number of titles. 4X and Slots have the largest number of consistently performing game in the Top Grossing for 2018.
Competitiveness is a huge factor in deciding which genre to try to attack when building your next game. The more games in a sub-genre, the harder it is to differentiate yourself and stand out from the crowd. A small number of titles with a low average rank however, means that the mechanics of the sub-genre itself might not support good monetization and is also a risky undertaking. It is therefore prudent to try to create a game in a genre with a lower number of titles, that each maintain a high average rank. We favour games which are rank 1-10 disproportionately as they take a lot more money than the lower ranks and we also prefer genres which have a positive skew as that’s showing that more of their titles are sitting higher in the charts than lower. We then combine this together to form the Genre Score (This is not a perfect mathematical score, something we came up with) and these game genres. Anything over 0 is good.
Match 3, even with it’s competitiveness still stands out as a clear favourite for consistently monetizing an audience and maintaining high chart positions. This has been known about for some time with King and Playrix building entire studios and brands, appealing mainly towards the match3 audience. With enough uniqueness and enough marketing power there is still always room for another match3, but be prepared for the competition on the marketing side. AR and Battle Royale are still the stand out winners in terms of new entrants on the grossing chart. They have managed to support a few titles that all perform quite well while achieving high ranks.
2018 has seen some real flux in the smaller genres through 2018. Although the top 4 grossing genres remained strong, rather than further consolidation there have been 2 strong entrants in the form of AR and Battle Royale that have supplied new gameplay and new monetization routes. The overall number of viable genre options available to free to play designers has increased and new monetization methods, such as subscriptions or vanity based IAPs are providing large sustainable revenues. Match3, AR and Battle Royale we’re the top genres to pick in 2018. Stay on the look out for more pure RPG, Synchronous Battlers and Turn Based RPGs which might have new twists in 2019 for more adventurous studios. For more established studios the top 4 still consistently perform but the competition from niche studios is increasing and piling on the pressure.
The post The Top Grossing Mobile Game Genres of 2018 appeared first on Mobile Free to Play, written by Tom Kinniburgh
]]>The post The Top Free Mobile Game Genres of 2018 appeared first on Mobile Free to Play, written by Tom Kinniburgh
]]>Genres and taxonomies are important distinctions for game designers. What works in one genre may not work in another. The audience – their tastes, expectations and desires vary dramatically. Within the app landscape, developers and analysts generally confine themselves to the genres defined by the stores themselves. Most of the time these are too generic or broad to capture how a free to play mobile game is designed. GameRefinery have recategorised and evaluated the top 500 mobile games around the world into 40 more relevant sub-genres. We dug into the data to see if there were any genres that receive less coverage but have clear potential for new hits in 2019.
This is a 2 part piece. You can read the second part on the top grossing game genres of 2018 as well.
The top download charts represents games on the app store with either the widest appeal, most virality and/or highest marketing spends. The Download ranks have much greater fluidity than the grossing ranks because games tend to jump in and out based on marketing spend and the charts fluctuate much more across each region. For this data set we took US data only.
Driving downloads is as much about being on trend and having effective cheap marketing as is its game mechanics. However, just as we will see in the grossing charts, there are some game mechanics that dominate the download chart. The rise of Ad Revenue becoming a sustainable business model without IAP has allowed games to simplify and reduce development time to jump into the chart for brief periods of time. This has made it harder for most other genres to maintain chart positions, but there are some that can still keep top positions regularly.
The data we used was GameRefinery data set of the top 500 Downloaded apps from the US app store in each quarter of 2018. The games were manually categorised into a fixed set of 40 sub-genres according to their game mechanics. For each sub-genre, we determined:
Genres which have a high number of titles in the the chart, could be considered as widely appealing genres. Their mechanics and positioning encourage more downloads. Genres with the highest max rank, i.e Position 1-5, have the most downloads which leads to the best opportunities for advertising revenue. High, Min and average ranks signify that many apps within the sub-genre lie within the top 250 apps in the chart meaning they perform better as a whole. Using calculated metrics we assess each of the sub-genre ability at driving high revenues on the app store.
We then found some clusters of sub-genres that have more effective game mechanics at making money on the app store.
Simply observing the number of games in the charts over each of the quarters shows that there are some clear sub-genres that consistently perform well. 2018 was dominated by HyperCasual with there regularly being 120+ games in the top downloaded charts in every quarter making it the only reliable giant for the download charts. Hyper Casual is confusing as a genre as it’s really a collection of a large number of hypercasual game mechanics, bunched together by a business model (Rewarded Video Ad Views). However you define it, it’s clearly been the overall winner of 2018 in the download charts.
Moving from Q1 to Q4 Hypercasual slowly dropped the overall amount of titles, yet it is still 3x larger than the next most competitive genre, Other Puzzle. There are also a large number of genres that perform exceptionally badly in downloads, such as MOBA, Music and Card Battlers. This could be in part due to the inability for the developers to market them to a broad enough audience. Reducing your audience by creating games targeting older or younger, male or female or niche/specialist fan bases greatly reduces your ability to achieve and maintain high ranks in the download charts.
The large dark green circle represents Q4 and the smallest pale green represents Q1. A consistent rise through 2018 would have the largest green circle at the top and the small green circle at the bottom. Customization, Word, Arcade are the most secure genres for broad appeal and grew steadily through 2018. Puzzle, Sport and hypercasual all trended down across the year, but the effect was quite marginal. The fact that the charts we’re so dominated by a single defined category shows a clear consumer trend, but who knows how long that will last in 2019?
The chart above shows the spread of the download rank data. We took the average data across the 4 quarters to represent all of 2018. All the games have been ranked according to their highest average position throughout the year, the bottom left quadrant are the top performing genres. A wick (the thin blue line) is the average min and max position for titles throughout 2018. A Candle (the short, fat rectangle) is the median and mean chart positions within 2018. The shorter the wicks the tighter the range for the whole subgenre, meaning more concentrate chart positions. Concentrated high chart positions are favoured because the higher the rank the greater the ability for a genre to get downloads. However, the number of games per category vary wildly and a larger number of games naturally increases the length of the wicks.
AR, Battle Royale and Synchronous battles games all have a small number of titles that sit very high in the charts with a tight overall range. These sub-genres represent the Rising Stars of the download charts as they have a small number of top performing titles. The genres are less cluttered but also are clear trendsetters in their game mechanics. Titles like Fortnite, Pokemon and Clash Royale maintain a constant presence in the DL charts.
These genres have more fickle gamers. They tend to favour 1 or 2 top titles with unique mechanics rather than playing a large range of titles that each feature similar mechanics, like Hypercasual gamers. A lot of these sub genres also represent new and emerging niches in 2018 and when you observe the data across the 4Q you can often see more game entering and climbing the charts quickly. Depending on the background of your studio and the size of your budgets, attacking the rising star category requires more innovation and development investment but the competition is less and your game will stand out more. Larger studios tend to opt for safer bets so Puzzle, Word and Interactive Story have all maintained clear download chart positions.
If a genre has a dark blue central candle, the genre skewed positively, it’s mean was higher than its median. A positive skew means that of the games in the sub-genre more of them were of a higher than the average rank. If the candle is white then the genre skewed negatively meaning more of the titles lay towards the lower end of the charts. The wider the bar the bigger the skew.
Games with long blue candles and very low wicks tend to show genres which have a low number of top ranking games pulling up some low rank games. Battle Royale, Synchronous Battler and Shoot em’ Up. The highest average rank is a good indication of trends, because more games can sit and stay high in the charts. As Hypercasual is the category to beat in Downloads any genre that lies to the left of it I would consider it as trending as it’s beating Hypercasual over the year in terms of position.
Sandbox is one genre that’s got a large negative skew. There is really only one top performing game in this category (ROBLOX) and the rest is having a hard time maintaining rank.
Games with long with candles and short overall wicks represent genres that sit in the middle of the ranks, with a larger number of mid ground titles. Card Battler, Bingo and Breeding all feature stable but not stellar performances throughout 2018.
The Bubble Chart representation doesn’t clearly show the size of the Hypercasual bubble, it should be around twice the size (I blame Google Sheets). The size of bubble represents the number of titles in the genre and the distribution of the mean vs median gives you a sense of what a good average game might perform. AR and Battle Royale highest average Mean and Median throughout 2018 but have a small number of titles, you would expect as the number of clones increases that these genres would move closer to the 200 rank. Sniper, Other Arcade and Word/Trivia games manage to outpace the hypercasual genre, but still the download charts are swamped with many more hypercasual successes that hit the top 10. Taking the ideas from hypercasual but applying it to some of the more obscure genres on the store is another way a studio could hit big in the download charts. The pace of development and release rate will only increase in 2019, so make sure you don’t put all your hope into a single title for the studio to see success.
Competitiveness is a huge factor in deciding which genre to attack when building your next game. The more games in a sub-genre, the harder it is to differentiate yourself and stand out from the crowd. A small number of titles with a low average rank however, means that the mechanics of the sub-genre itself might not support good monetization and is also a risky undertaking. It is therefore prudent to try to create a game in a genre with a low number of titles and a high average rank, these games allow you to differentiate yourself and the mechanics support good monetization. Rank position is disproportionately important to revenue, so we heavily weight the top 10 ranks. To represent this we created a Genre Score, where we weighted sub-genres for being competition free and still highly downloaded. As we know Hypercasual is a highly competitive space and as we’re not measuring exactly which apps make up genre, then take these results with a pinch of salt. Compared with the Grossing Ranks, I have factored the max download as less important than the sheer quantity of entries in Downloads.
Even with the huge amounts of competition on the store, Hyper Casual truly dominated the charts and if you were in a position to build and promote these titles then there was a lot of downloads available to you. It’s hard to see hyper casual loose it’s crown but there may be a shift back towards deeper game mechanics in simple style formats as players demand more from their experiences but want the look and feel of hyper casual. Battle Royale, Other Arcade and Word/Trivia games have all show that there are still a lot fewer competitors at the moment and that the genres are very desirable by the sheer number of downloads they drive. Combing that desire with new or interesting monetization is the way to make huge revenues on the store itself.
RPG, Card Battler and MOBA games rank poorly for different reasons. In some cases there are so few titles that there isn’t the demand for the titles and in others they have a large number of competitors but can’t achieve the top download ranks. Interestingly as we will see next week, these genres can still make a lot of money and this is down to the game mechanics themselves, but from a popularity point of view they are poor and tough to rank in.
Download charts have been dominated by the hypercasual sub-genre in 2018. The genre has consistently maintained high chart positions while supporting a large number of titles every quarter. It prompts discussion that hypercasual as a sub-genre might need to be further split to understand which mechanics are performing best to aid further development. For more niche genres, Battle Royale and AR have both had a small number of very high performing titles in 2018, these games are on trend and people want to play them. Although we’re not looking at actual download numbers for this analysis, Fortnite has been a consistent force in both ranking tables all year.
At the lower end of the download charts, Shooting, RPG and MOBA (all male targeted genres) have shown consistent low performance. It stands to reason that to really get top performing titles you need to clearly appeal to men and women to broaden the overall download rates and so no matter which genre you’re working within, keep that in mind.
The various Puzzle categories, of Match3, Action and Other have also all maintained large portfolios of games in the top 500 and can maintain consistent chart positions, making them safer bets than other genres.
Stay tuned for next week where we look at the Top Grossing charts.
The post The Top Free Mobile Game Genres of 2018 appeared first on Mobile Free to Play, written by Tom Kinniburgh
]]>The post Top 7 Idle Game Mechanics appeared first on Mobile Free to Play, written by Adam Telfer
]]>This is a follow up to our Top 10 Game Mechanics for Hyper Casual Games article that you might also enjoy
Idle game mechanics are nothing new. Anthony Pecorella of Kongregate diving in deep into the trend back in GDC 2015, but moving into 2019 we’re seeing some advancements in the trend.
I remember playing Cookie Clicker, Adventure Capitalist, Tap Titans, and the mountains of clones of the simple idle game landed in 2014, but then the trend died out. Yet something changed. Starting in 2016, we’ve actually seen a big resurgence of the mobile idle game genre:
Aggregate downloads and revenue growth for mobile idle game genre from Q3 2016 to Q2 2018
Source: Sensor Tower Estimates
Looking at idle games from 2014 to 2018, we can see a growing trend for both downloads and revenue in this genre. This is not the case for most of the mature genres on mobile. Puzzle, Simulation, Casino, and Strategy all have stabilized or declined in downloads, and seen slow growth in revenue. These genres are locked up, but Idle remains a hotbed of innovation on the mobile market.
In the last years we’ve seen a lot of completely new styles of idle game mechanics hit the market and see success: Merge Town by Gram Games challenged the assumption that idle games were only for spreadsheet-savvy mathematicians, Trailer Park Boys by East Side Games shows a path where Idle games can actually host a compelling narrative, and Idle Miner by Kolibri (previously Fluffy Fairy) shows that idle games can create compelling traditional simulation-style game loops.
For this post, I’d like to showcase the variety of paths to success that an idle game can have. While this may be focusing solely on the past, the hope is that this can inspire you to create better idle game ideas for the future.
If you’ve been living under a rock and don’t understand what idle is, we’ve covered it a number of times: (we’re fans here at MFTP)
Idle games have risen on mobile because it is a genre that is perfect for modern mobile free-to-play design. The mechanics of idle games create perfect mobile sessions and drive strong long-term retention.
Idle games, sometimes called Clicker or Incremental games, are games which are all about management of income. Similar to simulation games, their main differentiator is the focus on revenue growth decisions. For some examples: Idle Games on Kongregate / Reddit’s Guide to Idle Games
The key to the genre: no matter what you choose, you will make progress. But optimizing your decision about what upgrades to purchase next is the core of the strategy and what drives long-term interest in the genre. Because the core of the game is focused on long-term purchasing decisions, retention is built in. Because progress is always felt, it always feels rewarding to come back.
Let’s now dive into the variety of mechanics within the idle genre.
The core of these games are usually insanely simple: tap as fast as you can to generate income. This starts off as fun, but gets pretty tiring and uninteresting quickly. So it quickly shifts into deciding over which upgrades to spend that cash on:
This decision-making structure has stuck with idle, but the core gameplay of tapping as fast as you can has not.
Over time, developers tried changes to the core gameplay to make it last a bit longer: Make it Rain! and Farm Away used swipe controls instead of tap to make it more mobile friendly. However, the core mechanic always quickly became a bore, and the appeal of just swiping or tapping as fast as you can to progress is only appealing to some.
Also, due to the nature of the game, prestige mechanics became a necessity. Pushing the player to reset their progress back to the beginning in order to make the growth more manageable and ensure the player still felt growth in the slower endgame. This was never all that appealing to players — so developers had to find clever ways to sidestep the issue and incentivize the full reset.
It’s important to note that this style of game has gone out of fashion. Besides Partymasters (pictured), there haven’t been many successful new titles that only use clicker gameplay or similar. The resurgence of the genre has actually been on taking the progression mechanics learned in this genre and applying it to whole new mechanics, whole new audiences.
So what do you do when clicking style gameplay is uninteresting? Take the same progression system mechanics you know work well, and graft it onto more compelling core gameplay. Enter Voodoo, who mastered this approach throughout 2017 and early 2018.
Instead of asking the player to tap to earn their coins, Voodoo asked them to play simple arcade games that have mass appeal. Games like “Idle Invaders” used classic shoot-em-up gameplay (ex. Space Invaders, 1942) to earn their income manually. Shoot down incoming invaders as fast as you can to earn your manual income, and then purchase and upgrade computer-controlled allied fighters to fight alongside you. This made for a compelling formula, that was easily replicated across multiple genres. “Idle Sweeper” took Pac-Man, “Idle Flipper” took flipping style gameplay.
Any simple arcade gameplay which had an opportunity for scaling health/damage and computer-controlled assists could create a compelling new idle game.
Planet Bomber was the first to expand on this formula, adding more depth to the game by adding more types of upgrades. Before, games would offer linear upgrades to damage dealt, or income generated. Planet Bomber now offers upgrades across a number of parallel vectors, all with a variety of importance to the core gameplay. This creates a far more compelling long term strategy, and is what future idle games will need to focus on. How do you find core gameplay that can offer a variety of upgrades that are equally visible and impactful to progress?
The merge mechanic was first pioneered by games like Triple Town, but turned commercially successful by Gram with Merge Dragons and Merge Town.
Merge style games take out the tiring clicker gameplay and swap it for merging items: drag and drop duplicate items on top of each other to increase their level. What’s a simple premise turns into an addicting experience, because the game always feels like there is something to do. Sessions are impressively long because it’s just so compelling to constantly build up your houses towards the next goal. The next goal is so clear (I want to upgrade my best house), and the path is clear (merge until I get a duplicate) — yet as soon as I complete a goal, I’m compelled to start the next path.
What Merge Town did more than just increase the session length was bring in an entirely different audience. No longer are idle games just about increasing numbers, but giving clear visual progress. This type of gameplay is for a much broader audience than most idle games, yet kept all the engagement mechanics intact.
Simulation has been on the decline on mobile for years, with Sim City Build It and Fallout Shelter (arguably) being the last big games in the space. Yet on Idle, in the last year we’ve seen a new face of simulation games: Idle Simulation. Wheras Sim City Build It, Farmville, Hay Day may appeal to a older, broader demographic, Kolibri’s “Idle Miner Tycoon” and “Idle Factory Tycoon” have shown a compelling business case for using classic simulation game loops.
Unlike the previous idle game mechanics, idle simulation games don’t innovate in the core gameplay. In fact, with Idle Miner and Idle Factory — they remove a core mechanic altogether. Tapping fast no longer helps you — the game stays compelling by asking you only to be managing your upgrades, and managing what boosters to start. This used to be an issue for idle games — since idle games typically had to start slow and progress quickly in order to give you a sense of progress, tapping gameplay was an easy out for designers to give a player something to do between upgrades. With simulation games, the upgrades are fast, but also far more strategic. As such, it doesn’t need tapping style gameplay as a crutch.
These games rely on a traditional simulation game loop, similar to compulsion loops you felt in games like Sim City (the original) and Roller Coaster Tycoon. Purchasing one upgrade will strain another system. In Idle Miner, purchasing an upgrade for a mine will mean that mine generates more income per second. This puts a strain on your elevator — the elevator then needs to be upgraded in order to hold on to more resources. Upgrading that elevator will put a strain on your surface level extraction… This goes round and round straining each system giving you new goals with each step and avoiding upgrades feeling stale.
Idle Miner and Idle Factory aren’t the only games that have attempted this and succeeded. I’d recommend playing Crafting Idle Clicker, Reactor Idle, and Factory Idle on Kongregate. This genre has seen the biggest surge in downloads, and there is plenty of room for innovation to come. This is the category to watch for new developers.
One mechanic that hasn’t been done often on mobile, but more often on Kongregate is more “Management” style sims. Check out a game called “Groundhog Life”: this is a life management simulator, with obvious idle characteristics.
The core gameplay is replaced with choosing which system to boost. In Groundhog Life, you can choose how you want to spend your 24 hours each day: spend 8 hours or 2 hours sleeping? Spend more time at work, or studying? While your character is always making progress, whether they are progressing in learning a new skill, earning money, or being happy is down to the decisions you make. Each time you die, you pass on your traits to your next life — giving you a boost depending on your choices in the previous life. While there haven’t been many mobile idle games that have used this mechanic, this is by far the most addictive idle game that I’ve ever played.
Going in a different direction, there’s also innovation happening in how idle games have made prestige (resetting your progress) less punishing and more relevant. Trailer Park Boys: Greasy Money by East Side games is a masterclass in this. Many developers have attempted to graft licensed IP onto idle games, but none fit so well as Trailer Park Boys — in the last episode of every TV season, they end up in jail losing everything. East Side baked this into the game design: at the end of each season of generating a ton of cash from idle systems, the boys are caught by the cops and you lose all your money.
This creates a strong narrative arc in the game that makes sense in the idle game loop. Each prestige (which happens more often), the player gets a drip of story. This creates a more interesting long-term goal for the player besides just increasing their numbers.
The game has been a breakout success for East Side Games, and it’s why they’ve been slowly bringing on more licensed IP to work with. Their current game, “The Gang Goes Mobile” based on It’s Always Sunny in Philadelphia is currently in soft launch.
Lastly, is most likely the biggest in-app purchase revenue generating idle category: RPG.
Clicker Heroes and Tap Titans were arguably the first games in the genre — showing that you can add battle mechanics with an idle progression, but both games actually fit more into category #1 based on their real mechanics. RPG can offer more than just a facade for progress.
Non-stop Knight was the first to break into this space, by adding automatic RPG gameplay as the core, while asking the player to choose when to use their boosters. Instead of linear upgrades, the character then started collecting loot from random drops (thank you Diablo), collecting pets and unlocking new boosts. Non-stop Knight was revolutionary in its time, but in retrospect leaned too heavily on idle progression to make a compelling long-term engagement loop.
The king of Idle RPG is without a doubt Idle Heroes. Instead of leaving too heavily on Idle Progression, they took many of the progression systems from Heroes’ Charge and Galaxy of Heroes. More focus is on a gacha-infused progression system: collect a team of heroes, outfit them with the best possible gear, and compete in limited time events for the currencies you desperately need.
This level of complexity is likely the next step for Idle RPG games. Keeping the compelling simple core gameplay, but creating more strategy in how you create and manage a team of heroes, and building upon an economy which events are necessary to be competitive.
As you can see, idle game mechanics support a wide variety of game designs. Don’t just assume the tried-and-tested clicker gameplay is the only option when coming up with idle game ideas.
Idle, unlike most genres on mobile, has a lot of room for innovation. It’s created compelling business cases for many successful gaming companies on mobile, and as a genre has plenty of room for newcomers to enter into. As a designer in this space, I would take a look at what has been done and predict what will come into the future:
If you keep this mind, my hope is that the idle market will continue to innovate for years to come!
The post Top 7 Idle Game Mechanics appeared first on Mobile Free to Play, written by Adam Telfer
]]>The post Deconstructing Disney Heroes: Battle Mode appeared first on Mobile Free to Play, written by Guest Writer
]]>In this deconstruction we will cover:
Can Disney’s crossover live up to expectations?
From a gameplay perspective, the game is inspired by earlier casual hero brawlers like Heroes Charge (2014) and Soul Hunters (2015) and caters to a more casual to mid-core audience. The characters are the selling point of the game (which can be said for every Disney product) and it’s clear that was the intention.
The game makes the entire cast of heroes visible from the beginning, showing the player the carrots: their favorite characters. It even discloses the length of the stick by telling the player exactly what to do to collect every hero. Hero accessibility ranges from easily acquirable to practically premium, but even these can drop for very lucky players.
Guest Autor: Niek Tuerlings Game Designer on June’s Journey at Wooga, Berlin.Disclaimer: The article is the author’s own professional view on Disney Heroes. Wooga GmbH. isn’t affiliated with this assessment in any way.
The player starts off with a handful of heroes and by engaging with the single player campaign, they quickly start collecting enough different heroes to be able to create a team of their five favorites.
The core gameplay consists of selecting a team, starting a level where this team fights against other teams of AI controlled opponents. After winning the fight, the player is rewarded with rewards, depending on the game mode.
During the fight, the only agency the player has is choosing when to activate each hero’s first and main skill when their energy bar is full. When getting stronger, heroes gain three more skills but these are activated automatically.
In the meta-game, the player is gated by two things, stamina and what the game calls team level. Stamina generates with time. Team level is generated by player engagement. All hero levels are limited by the team level, hence the name. New heroes can be collected by finding an initial amount of hero chips. After acquiring, heroes can be improved in four different ways:
It’s interesting that improving hero skills is the only significant gold sink. Gold is also used to promote heroes after finding enough badges but the amount is substantially lower than the amount that is needed for the skills. The reason for this that Disney Heroes lets the player upgrade hero skills from the get go. Other games like for example Star Wars: Galaxy of Heroes require time-limited event currencies for this. Assumingly a decision made for simplicity reasons and the different age groups for both games.
Currently, Disney Heroes features 42 heroes, a decent but not copious amount for a game in this genre. Each hero has a different skill set and a team always consists of 5 heroes. This means players have more than enough potential team compositions to experiment with, although not every team is viable. Balanced teams usually have at least one and sometimes two heroes of each type (Support, Control, Tank & Damage). This is the core of the game’s fun, which is why strategic and competitive players are the main audience Disney Heroes caters to. Next to this, the ability to chat, cooperative or competitive combat and the ability to form guilds cater to player’s social desires. The storytelling isn’t the game’s strongest suit, but it can initially tickle the player’s explorative cravings.
Each battle generates random drops of badges and hero chips. Together with potential hero drops from different kinds of loot boxes, these variable rewards create the desire to keep playing. The hero collection screen neatly exposes all available heroes to players, which is especially attractive to the ones with strong collecting ambitions.
The game has a Daily Quest system, and since this provides the bulk of the player’s team level experience, this should be the biggest reason to come back every day. It works for a while, but Disney Heroes keeps offering the same quests each day. It’s a list of quest that asks players to engage with practically every game mode, and always in the exact same way, day in day out. This sets the precedent for players to find the most effective routine, which then becomes boring and presumingly hurts the game’s long-term retention. A more varied quest system with a random selection of daily quests (as opposed to just showing all of them) should be able to reduce this monotonous daily ritual.
Disney Heroes offers an abundance of game modes which all use the same brawler mechanic. At first glance, it’s strange to call a game that has one single core mechanic ‘varied’, but when looking closer at the characteristics of each game mode, one can see that each mode has its own specific purpose. What the game does well is using its different currency rewards to make all game modes dependant on each other, ultimately feeding into the same goal; leveling up the ultimate team.
Loot boxes, competitive PvP with global leaderboard, tournaments, guilds, daily events, a collection system with upgradable powerups and a synchronous cooperative multiplayer mode, it’s all there.
To understand the intricacies of the game’s engagement potential, a study of its progression is required, which can seem pretty complex at first glance. For clarity, an infographic is included at the end of this paragraph, outlying the main features, their interdependencies and the currencies they use and generate.
The campaign is the main storyline of the game. Beating new levels progresses the story and replaying beaten levels is the main source of badges. This feature also offers an elite campaign where next to the badges, new hero chips can be acquired. The friend campaign is a game mode where heroes are paired with another hero to beat levels that require a specific kind of stamina. Beating a hero’s friend campaign unlocks another (fifth) way to improve heroes; equipping them with Memory Disks. Episodes in the friend campaign are gated by the hero pair’s relationship, which can be improved by sending these heroes on missions together. Missions are nothing but a timer started by the player which rewards friend experience when it runs out. Heroes sent out on a mission can still be used in other game modes.
After the player has battled their way up through 2 campaign chapters the market opens up. The market is the place where earned currencies can be traded for hero chips and badges. During the day at specific times, players are incentivized to check back into the game and review the newly refreshed products in the market, next to claiming some free stamina.
Disney Heroes offers six game modes that unlock at different times during its progression which reward currencies to buy specific hero chips in the market. This means that if a player chooses a hero to be on their team, there is a big chance they need to engage with one of these features to be able to purchase the chips needed to upgrade this hero. The arena is the place where players can match their favorite team composition against other players in a single battle. The coliseum does a similar thing but requires three teams of heroes. Creep surge is a cooperative mode with the player’s guild members, happening during a fixed 4-hour window every day. Then there is the city watch, a single player mode where the player’s entire hero collection has to be used to win 15 battles without hero HP and energy being replenished. Then there is the heist, a real-time cooperative multiplayer mode where players can join 4 others to hunt down a thief that’s trying to steal the city’s treasure. Lastly, the recently released guild war makes guilds-versus-guild battles possible by asking other guild members to submit their best team compositions and letting them all fight in a battle every couple of days.
These six game modes cover all possible applications of the core gameplay and make sure to give the player a nice vertical slice of the game. The currencies that flow out tie back directly into the Market.
Disney Heroes also offers two game modes that are built to strengthen the daily retention cycle. These modes don’t require anything to be played but have a limited amount of tries each day. The first is trials where, depending on the day of the week, a subset of the player’s heroes perform battles five times a day. Trial battles guarantee a drop of useful rare badges that would otherwise take stamina and multiple tries to acquire in a campaign mode level. After a battle, the player has to wait 10 minutes to be able to start the next. This restriction makes the player feel smart by letting them sequence and organise their session by engaging with other modes during these 10-minute timers.
The port has the same timer but only two tries per day and doesn’t reward badges but experience boosters to level up heroes of the player’s choice.
The game also includes a social system with guilds, groups of players working together trying to beat the surge mode every day and battling each other in guild war every couple of days. A daily check-in is included as well, which simply requires everyone to tap a button once a day. The more guild members who do this, the higher everyone’s rewards. Simple and effective. Guildies can also post (copies of) their heroes to others to be used as mercenaries in the city watch and the surge. Now there’s something called guild influence, a currency that is earned next to team experience when completing daily quests.
This is a shared currency that the officers and president of the club can use to unlock perks for all guild members. What the game doesn’t do very well is expose these perks. It’s likely that many players who have been in guilds for a while and never look at the relatively hidden perks section don’t know all the extras they receive by being in that guild, since it’s not exposed within the features themselves.
Another notable feature is enhancements, which provides the player with a way to convert the huge amount of badges they don’t need into boosts for the badges they do need for their heroes. Lastly, two exclusive market categories with slightly better deals (available from team level 31 and 41) can be unlocked by random chance and only for a short period of time.
As mentioned, one of the biggest strengths of Disney Heroes is how every feature is interwoven into the others. Ignoring one mode is detrimental to the player’s progress and oftentimes disqualifies the player from optimizing their team in some way.
For example, at team level 25, the player is introduced to the aforementioned friend campaigns. Because of the initially awkward gameplay where it’s for once not possible to influence the hero composition of the battles, this game mode is likely to be ignored by players who like to have agency here. However, after discovering the existence of Memory Disks (which boost one of a hero’s skills), these players might change their minds, but will then realize that completing a friend campaign requires hero friendship to progress. This is generated by sending these two heroes on specific missions repeatedly. This is a good example of how the game’s high amount of currencies and statistics give the game designers the possibility to increase feature engagement by creating interdependencies like these.
The only modes that are outside the loop are the heist, the challenges and the guild war, which is logical since they have been released only recently, months after the game’s global launch. While all three modes struggle to find a meaningful spot inside the game’s loop, challenges is having a particularly hard time since it offers only a cosmetic reward for a heavy hard currency price.
One interesting thing about Disney Heroes is the more players engage with it, the more it steers their focus away from the core gameplay. Tapping the right skill at the right time is only fun for so long and the game averts the player from it after the meta-game has hooked them. At team level 30, fast forward is unlocked, which increases the speed of the battles to a higher (but still manageable) speed. Combine this with auto-mode (a premium feature) which automatically triggers the manual skill of the characters, and we now have a mostly self-playing game where the only tactical choice is starting the right battles.
By analyzing the infographic above one can discover a currency called Raid Tickets. These tickers make it possible to skip grinding through campaign- and trial battles by simply giving the rewards. It would be logical to assume that this currency is a rare good given its ability to save loads of time, which in free-to-play usually means you have to pay for it, but nothing is further from the truth. Paying players are drowning in them. The drop chance for raid tickets is pretty high during the the campaign missions and even after having bought the smallest currency package with real money only once, players get plenty of tickets every day. Generous, but also a missed opportunity to monetize further.
Before diving in more detail about Disney Heroes’ monetization potential, it’s important to note that it has an elaborate VIP system. It offers 20 levels which unlock numerous options, some of which are a given in other games, like the ability to buy more stamina for diamonds or skip timers for diamonds. With every VIP level the player reaches, the premium properties increase gradually and sometimes even unlock quality of life features that reduce the need to engage with some of the single player modes.
Looking at the game’s currencies, all speedups and premium purchases require one hard currency; diamonds. Packages of diamonds can be bought instantly as usual, but subscription models are also on offer. Their top 3 most purchased products are the Pouch of Diamonds, the Fistful of Diamonds and the 30 day deal. Especially this last purchase offers a lot of bang for the player’s buck but it requires commitment to keep playing for 30 days. Not a bad way to increase retention, but only when players are able to keep intrinsic motivation to use these diamonds.
Although the game has a huge amount of diamond sinks, conservatively spending players can easily rack up a nice balance of these glinstering gems since quite a lot are given away as well, especially to people who sign in and engage with the competitive features every day. It does a good job making the player consider spending diamonds every day, and since the stamina bar takes ages to fill fully (6 hours at game start and up to 16 hours for high-level players) it’s very attractive and almost required to use the “Get More Stamina” function to exchange diamonds for stamina. After getting used to this, the step towards buying a steady influx of 120 diamonds per day is easily done. So it seems that having a slowly replenishing chrono-currency can create a shortage that is not going to increase the amount of sessions per day but can greatly increase buyer conversion if the game is centered around grinding to progress. A classic example of scarcity creates demand.
The fact that progression can be bought so easily defines the game as pay-to-win. Disney Heroes cleverly masks this by placing players in a vast amount of competitive tiers (leagues) that are easily progressed through at first because they are filled with many players who are not engaged or have churned already. The power gap between payers and non-payers only becomes visible in the highest leagues, which (when played at a regular, engaged pace) are reached after weeks if not months of play.
Something that can be questioned about the game’s monetization strategy is the lack of a feature that uses loss-aversion. Failing a campaign battle refunds all sunk stamina but 1, for some reason. Badges, Gold and other rewards earned during the battle are also lost, but this isn’t shown on the loss screen. This removes all excitement from trying to progress the campaign, although it probably also reduces churn. In the end it’s a matter of consideration what’s more valuable. Since Disney Heroes doesn’t have move-based gameplay either, it is more challenging to give the player a way to cheat in case of losing and still give them a possibility to win after paying some diamonds.
Read more about game monetization in our designing for free to play monetization section of our free to play bible
Successful games feel fresh and well-maintained. Therefore it’s crucial to add events that change frequently and follow common trends like seasonal content and daily deals. Disney Heroes contains an elegant but relatively cookie-cutter event system with little surprises in its design. Sales can be ignored easily and aren’t shoved in the player’s face, although a more subtle encouragement to take a look is created by putting giveaways in between.
An example of a good Disney Heroes sale is one that is targeted to players at a specific time of their life cycle; the Badge Buster Bundle. For this example it’s important to note that badges become more and more tedious to grind nearing the end of the game’s content. One purple badge (like the Mickey Mouse Club one pictured below) requires 50 bits (parts) to be grinded in campaign levels. The drop chance is about 25%, which means at a cost of 12 stamina per gameplay, one badge costs about 2400 stamina. This takes players about 4 days if they spend about 300 diamonds per day on buying additional stamina (or about 2 weeks if they don’t).
Usually, every hero requires different badges to promote tiers, but in Purple 4 which is the highest tier at this point, out of the six badges they can have equipped, one they have all in common is the Mickey Mouse Club badge. Since every hero needs this badge it’s easy to sell and has amazing value to players since it offers them to skip the grind of spending about 10k stamina to collect the bits for these 4 badges manually. Of course they sell four badges per bundle, so players who want to supply their full team of five heroes with this badge have to buy the bundle twice.
Disney Heroes plays all the tricks in the book regarding player engagement and executes these with mixed results. All the ingredients of success are there; a strong IP, a great (although long) first-time-user experience, a great feature unlock pacing, a super-scalable asset pipeline making it very easy to add content (heroes) every couple of weeks, Disney’s deep pockets for increasing User Acquisition spend and on top of everything else, a healthy reward-space with enough resources and currencies to keep on selling.
Regardless off these factors, the game’s long-term retention is low compared to others in the same genre, which is most likely caused by putting too little focus on gameplay and too much on statistics and grinding in the late game. The more players engage (time-wise and especially money-wise) less use for the battle gameplay is needed. Facilitated by the monotonous quest system, all that is left is a dreary daily routine that revolves around finishing daily quests, without creating enough meaning for the rewards this provides. Depending on the player’s dedication to keep staying on the maximum team level, they might stick around for a while longer, but will eventually start feeling the lack of incentive to use what they have worked for.
It’s difficult to know the necessary User Acquisition investment, but the game’s asset pipeline is compact enough to not need the entire staff of PerBlue Entertainment to keep maintaining it. Looking at the revenue it’s making monthly and trusting that a sufficient amount of players stick around at least long enough to convert, Disney Heroes shouldn’t have too much trouble breaking even. But becoming top-grossing like Star Wars: Galaxy of Heroes is most likely out of reach.
The post Deconstructing Disney Heroes: Battle Mode appeared first on Mobile Free to Play, written by Guest Writer
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]]>I believe in the next few years we will see a similar development for game economy designer jobs: ‘analytical game designers’ who work with simulations and support lead designers in iterating on the key game systems.
Article written by Pietro Guardascione, Senior Director of Envelope Design, King
Building successful freemium games includes a very special type of challenge: creating systems that engage players for years and that allow for very deep monetization. All the revenue of a freemium game comes from the slow trickle of small in-game purchases made by a small fraction of the playerbase. This makes it necessary for freemium games to retain players for a long time and avoid putting too low a cap on how much spenders can pay.
In order to achieve a long lifetime, freemium games are built so that players can set strong (short-, medium-, and long-term) goals for themselves. They are then tuned to gradually provide players with a sense of “progression” towards these goals for an experience that can last for years. This generally translates into a need for a lot of “content,” be it new levels, new items, or generally new “things” to get in the game. Now, since most spend in freemium games comes from players who want to accelerate their progression, and since as we said it is important to avoid putting a low cap on how much spenders can spend, this need for “content” is multiplied.
The solution to this type of problem often cannot just be “create more content.” Production of good quality “content” can be both expensive and time-consuming, and that has to be factored in the cost of maintaining a live game. In the case of mobile games, developers also need to keep in mind that there are device limitations in terms of loading times and even disk space in case they want to support old devices.
This pressure on “content” makes freemium system building one of the most difficult and interesting challenges in game development.
It is important to look at this “content” dynamic explicitly and in detail before launching a game. There have been a few examples of beautiful, innovative, IP-powered games that have burst into players’ attention (and into the Top Downloads and Top Grossing charts), only to then disappear just a few months later. Not having enough progression or spending depth impeded these titles from becoming new runaway successes.
Furthermore, work on those systems is also best done early in the development process. Mobile games have become big production efforts, with teams of dozens of people. Once a game team becomes that big, two things hinder fast or successful pivots:
The issue with trying to review game systems early in the development process is that freemium game systems are both very complicated and abstract. Game system reviews typically happen via conversations and presentations, and sometimes with some high-level prototypes, but those tools are not fit to describe and analyze “content” problems in-depth. Different people are likely to interpret the same presentation or the same words in different ways, and without looking into this in detail, there is the risk of moving to production games lacking a solid plan.
Game economy designers at King are “analytical game designers” who look at games as machines and partner with the lead designer on a game title to transform a vision and a desired player experience into mechanics and parameters. They build simulations of the game mechanics and find answers to questions like, “How long will players need to complete a game?” or “How deep can monetization be in this game?”
Having a game economy designer working in a game team early in the development process allows for the game team to iterate much faster on game systems, months before having these systems implemented in game. A game can then move in production with confidence that enough “content” will be available to allow for years of play and for enough monetization depth.
For example, in order to accelerate our iterations on the development of a gear system in an RPG, one of our economy designers developed a small simulator in Python (our preferred language for economy design).
The tool encoded all the mechanics related to the gear system (item drops, gear progression, gacha system). A designer could interact with it and simulate the progression in the game without going through the core mechanics of the gameplay.
This allowed exploring the long-term state of players in a matter of minutes, rather than days or weeks. The project could therefore quickly iterate on different variations on the design of the gear system and eliminate solutions that would have given a poor long-term player experience.
Simulation is a valuable tool for casual games as well. In one of our latest casual games, players receive many of their rewards through (non-purchasable) mystery boxes. The inherent randomness in the boxes combined with variable progression speeds, skill levels, and play frequencies of players makes it hard to calculate how many rewards players get and when they get them.
In a game as big as a popular casual game, giving a bad experience to “a small percentage of players” could mean impacting millions, so having more control over the player experience becomes very valuable.
Using actual player data to simulate players’ journeys allows us to see how some game logic decisions impact player experience and content pacing, thus allowing for faster iterations before in-market tests.
Simulating players’ journeys allows us to see how game logic decisions impact player experience.
The mobile gaming industry is still developing. The level of innovation to become a top title is as high as ever before, high quality is a minimum requirement and time to market is critical. To respond to these demands, gaming companies are trying to multiply their attempts at making successful games and are increasing the size of the teams once the games move to production. The more these trends will continue, the stronger the need will be to validate project investments early on, and the more there will be a need for game economy designers.
The discipline is young, with tools and practices still to be discovered, but the potential value to be created in this space is great, and I am convinced that we will have more and more A simulation specialists in this role.
If you’re interested in working with King on Economy design, take a look at their jobs board here.
By Pietro Guardascione, Senior Director of Envelope Design, King
Originally posted on Gamasutra
The post The Rising Need for Game Economy Designers appeared first on Mobile Free to Play, written by Guest Writer
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