Vungle, the leading performance marketing platform for in-app video ads, recently released an in-depth mobile advertising benchmark report for 2017, providing insights for how advertisers and marketers can engage with their most valuable mobile consumers and increase their mobile return on investment (ROI).
Here are a few of the key takeaways from the report.
That's when ad blockers came: companies made ads, but forgot there was a user in the end. - Noam…Click To Tweet
At the start of his career, Noam Yasour, the Managing Director of MoPub at Twitter, UK, would play every game and think how he’d monetize it. Now, in his current role, he actually helps publishers and devs do it. In his Casual Connect Tel Aviv session, Noam examined the recent trend of ads and IAP (traditionally seen as separate strategies) converging, and explained why it is crucial for devs in 2017 to take care of both.
Headbang Club are the creators of Double Kick Heroes. The indie game recently won two awards at Indie Games Play 7 including the Jury’s Choice Award; the event is designed to honor indie developers from France and the surrounding region. As winners, they have also been given the chance to compete again at Indie Prize which is part of Casual Connect Europe in Berlin.
“It was unexpected! Every time we win an award we are like WTF?,” said David “Blackmagic” Elahee. “There were so many good and very serious games beside ours!! Awards are an acknowledgment that we can stand our chance before the pros and the public. They gave us self confidence to dare more things. It’s a push to go further and better.”
“It feels incredible, like we have found a super weapon in a MMORPG!” added Guillaume “Gyhyom” Breton. “We can continue our daily struggle with more confidence! It means a lot because it’s both a public and professional award! That means the game can touch a really large audience!”
Missing: Game for a Cause is a game about the issue of human trafficking in India, designed by Satyajit Chakraborty of Flying Robot Studios with art and other contributions by Leena Kejriwal. Flying Robot Studios is a one man studio that scales with each project, while Leena originally conceived of Missing.
“Each and every project is led by me, AKA Flying Robot,” said Satyajit. “I choose my team members and assign tasks to them.”
“I started Missing as a public art project and campaign, thought I collaborating with various people like psychologists, sociologists, campaign creators, governments, NGOs to taking the project forward,” noted Leena.
Since releasing, Missing won the Indie Game of the Year at NASSCOM Gaming Forum Awards 2016. NASSCOM is an organization that represents and sets the tone for public policy for the Indian software industry. “NASSCOM Indie Game of The Year Award is the most coveted award for indie game developers in India,” said Satyajit. “This award is specifically meant to recognize, promote and accelerate indie studios in India. And for my small indie studio, Flying Robot Studios, it gave the much needed enthusiasm and exposure which is vital for our future as game developers.”
“This award was highly significant,” noted Leena. “It was truly a great surprise because initially when I thought of a game app for a cause, my intention was to create a game playable enough to go through schools and NGOs for raising awareness on the issue of sexual trafficking. Though me and Satyajit did have sleepless nights on how we could make the gameplay interesting enough for the players, but he did manage to put together a gameplay which was interesting enough. But to receive the Indie Game of the Year award, was truly momentous, and it helps me take the awareness of the issue to a wider gaming audience in India and abroad.”
As a further honor, Missing will be shown off at Indie Prize as part of Casual Connect Europe 2017 in Berlin, which will open the game up to a variety of people who may otherwise not know about it. “Me and my studio is fairly a new kid on the block,” said Satyajit. “The game Missing which I designed reflects my orientation as a game designer and I’m keen on a qualitative analysis of the design style, to find it’s merits and flaws. So, the best way to find out is to show it to a wider audience. And Indie Prize Berlin 2017 is the perfect opportunity to get all the eminent game designers, developers and players (especially European) in one place. I’m looking forward to using this platform to interact with them about the game and my future projects. This is the best thing that can happen for a budding game designer. Thank you Indie Prize for this opportunity!”
“It gives me access to the European audience to talk about the issue of sexual trafficking through the game because as we know trafficking is not just in India, it’s a global issue, and all should address it,” said Leena. “It also give me the possibility of making a localized European version of the game.”
Bringing Dark Parts of Society to Light
Missing was originally conceived as a way to draw more attention to the ongoing problem of human trafficking. It was Leena’s idea originally, with Satyajit being brought on later to develop the game and the YES Foundation assisting in the production.
“The Missing game is a part of the larger awareness campaign and Missing Public Art Project, which I’d launched a year back,” said Leena. “The art work has been a culmination of my decade long work as an artist on the issue of sexual trafficking. A year back I specifically created public art works as I wanted to move out of the galleries, and speak to a wider audience. As a photographer in my explorations of the city I explored areas and spaces, which you normally don’t go to, and my first visit to a red light lane left a lasting impact. I saw that which remained unseen. The whole comprehensive work can be seen at SaveMissingGirls.com and the game is part of a whole four-part project, and a ground level stencil campaign featuring the silhouette.”
“The YES Foundation has generously come forward and supported the initial production of the game,” Leena added. “This gives us more room space to convert the game into a PC version and to take it to the next step.”
While Missing is a game with an obvious message, Satyajit said it was key to accomplish this without preaching. “The game poses a challenge to the player, which the player has to overcome throughout the game to win it,” said Satyajit. “The plot, challenges and the narrative was based off journalistic research. That way the game provides a fair amount of tangential learning about the cause of women trafficking not only in Kolkata, but throughout India.
“The game opens a portal to a previously unexplored dark part of our society. It exposes players to an experience which he/she never experienced before. Questions his/her morality and social outlook. Also, I’ve tried to reflect the brutality of this world into this game. The game is not ‘fun and addictive’. It was never meant to be. Players can hate it or love it, but will never be unmoved by it. And that was the purpose of the game, to shock the player to empathize with the issue. That’s what I want the players to take away.”
“The main purpose of creating a game for a change like Missing was to make the player slip into the shoes of the trafficked victim,” noted Leena. “Feel her frustration and angst and vulnerability, and her absolutely hopelessness in the situation which she is, so that they would become sensitive to the issue of girls whom they see ‘selling’ sex. Because the layman never really understands her background and most often think she is standing there voluntarily. With this we hope to end demand, this is in sync with the cry of end demand throughout our campaign, because trafficking is a demand-driven market.”
Being truthful to the cause and the reality is the key. As truth is stranger than fiction, it’s also stronger than fiction and proper use of it in games will imprint itself into the player’s mind that can last forever. – Satyajit Chakraborty
“Video games are the perfect (way) to engage the audience in the deepest way possible and adventure games with strong narratives based on journalistic researches can strike a chord with the audience,” noted Satyajit. “What’s told in Missing is a human tale, with believable characters. Not taking refuge to fantasy, which can be easier for a game designer. Also game designers are particularly worried about players rage quitting if the game is not fun enough – I’d suggest them to shed this fear. Being truthful to the cause and the reality is the key. As truth is stranger than fiction, it’s also stronger than fiction and proper use of it in games will imprint itself into the player’s mind that can last forever.”
About More than Mechanics
Missing was tested on many types of players. This included hardcore gamers and those who don’t play many games at all. Satyajit said that the reactions to the game were quite varied.
“I’ve designed Missing targeted at a casual audience, not expert players. What I found is experienced players play games with a specific perception of the reality which can actually be a hindrance in experiencing the game,” noted Satyajit. “I’ll give you a specific example, in the chapter 1 of the game Missing, the player character is captive and the first choice the player has to make is to accept/reject food from her captors. Experienced players immediately accept the food, taking it as some kind of health point or loot. Whereas inexperienced casual players relates this to a real life choice and will mostly reject the offer. This gave me a unique insight to the audience mentality, especially in India and a way to connect with them.”
“As this game is narrative based, it can only be tested after it hits beta. To test out the complete story arc. I really can’t test early alphas or little mechanics with this type of games. Those testing we (did) internally. External testing was done by simply inviting players for game sessions and watching them play behind their shoulder, taking notes,” noted Satyajit. “Playtesting is very critical to all my projects. I depend upon it a lot to make design changes, especially where there are gameplay elements. A game’s success depends on it in a big way.”
Satyajit noted that some games require almost daily testing, others are done weekly. Satyajit prefers to use new players every time, using online forums to recruit them. “I usually open up a beta testing group in Google groups or Facebook groups depending upon the particular player migration,” said Satyajit. “I track the user feedback through analytics platform like Google Analytics and more descriptive feedback through Google forms that the user can fill after playing the game. I generally have more than one beta groups for testing a game.”
Collective Effort for a Cause
Flying Robot Studios is a virtual studio, located in Satyajit’s home office. Extra people are brought on for jobs based on qualifications, not whether they are physically close to Satyajit.
“Flying Robot Studios is a one man army apart from the support staff. I expand upon project requirements and almost always recruit project based staff based on their talents, not locations,” said Satyajit. “I take care on choosing the right people, specifically those who will not compromise with their work quality to attend a deadline or closing a freelance gig. Who will rather miss a deadline and quarrel with the client than delivering a mediocre product. Game development is not a factory job, sometimes the creative magic doesn’t happens in a team member. I completely understand that and support them until they are satisfied with their work. So far, this work culture has worked for me.”
“Every game project is designed by me and I always choose a flexible and modular development framework and keep it flexible almost to the end of the project,” Satyajit continued. “After the initial design is done, I prototype it using assets made by me or from stock assets. Then the game gets into playtesting and design iterations until I arrive at a point where the design is working and the polishing can begin. At this stage I get to recruit asset artists and animators depending upon workload and deadline. Also, I recruit writers to polish the narrative and later music composers for the soundtrack and sound effects. Entire coding and bug fixing is done by me alone.”
For Missing, Leena delivered the original concept for the game. From there, it was all about working with Flying Robot Studios in delivering the product. “The main aim in the whole process is to put out the silhouette in front of various audiences, be it gamers, the city public, the international community, the online community, and all this is covered by the stencil project, the game and the installation,” detailed Leena. “The image is like a constant reminder, and a remembrance of the millions of girls who disappear from the face of the earth into the dark hole of sexual trafficking.”
Promotion for the Missing game was a collaboration between like-minded people. Leena says that those who demand the end of human trafficking have been important in helping to make Missing happen.
“Since the project started many people from across the world have come in to be a part of the campaign either via social media, or the crowdfunding, the global stencil project – in a similar fashion, when we first began discussing the app, there was much brainstorming about what the app could do before we zeroed in on a game for a cause,” said Leena. “And this led to the collaboration and Satyajit, as he is a game designer. The Missing team worked with him to expose him on the dark issues of trafficking. I took him to meet survivors in rural Bengal that the Missing project has helped save and rehabilitate, we took him into red light districts of the city to experience the atmosphere and mood of these spaces. An in depth discussion with a survivor also led him to understand the intimate details of the business interaction between client and victim. I also gave him the script of a film tackling the issue, which really helped him the scripting of the game itself.”
“Though Missing is based in Kolkata our campaign has been truly global and hence mainly virtual,” Leena added. “We give equal attention to our online campaign on anti-trafficking as much to the grass roots level work. Most of our interactions to further project happens online via the DIY kit, the game, the social media campaign truly makes it virtual.”
The Missing team is seeking crowd funding through Indiegogo for the extended and PC version of the game. They aim to convert it to 13 vernacular Indian languages and localize the game for around six international languages. “We would like the gamers support to help us do that and help save more girls and futures in India,” explained Leena.
Silhouette As a Sublime Distillation
Flying Robot Studios has used a variety of monetization schemes for it’s various games, with PC games being premium and mobile games being free with ads and/or in-app purchases. Missing, however, has been different because of the way it was made and its intended audience.
“Missing Game for a Cause has been crowd funded, and we have kept the game free so that it reaches the widest possible audiences,” said Leena. “It’s available on Apple App Store and Google Play. We are looking at further crowd funding to translate the game into 13 vernacular Indian languages, and probable future localizations of the game, starting with a game for the European market.”
Satyajit indicates that Shadowrun and This War of Mine helped inspire early concepts for the design of Missing. Various photo shoots of Kolkata helped inform the final design along with providing some in-game textures.
“The silhouette is a sublime distillation of all my thoughts, it’s the product of intense havoc going through my mind over the last decade, where I was creating these multi-layered complicated graphic installations on sexual exploitation which I became really embroiled, and led me to discard it all and pursue it in a much more simple language which would transverse boundaries and languages,” noted Leena. “I felt this was an issue which is a truly global issue which humanity should embrace and from that emerged the silhouette of the girl, which once set against the sky seems like a black hole has been cut into it, into which millions of girls continue to disappear from the face of the Earth.”
Only the Bravest Indies Will Survive
Missing and other games by Flying Robot Studios have been made with Unity3D. While there’s an active ecosystem and various solutions are available to find online, difficulties still come up.
“Sometimes development crunch happens and projects get’s stuck,” noted Satyajit. “In this particular game, that situation appeared when I had to do a crowd in the game, with all agents tappable and interactive. It was processor intensive and was running very slowly in older mobile devices. The solution came from properly using Unity’s Navmesh and occlusion culling, thus minimizing the pathfinding calculations.”
Satyajit indicates they are focusing most on adventure RPGs, including Missing. Satyajit says that they enjoy telling stories, and they want to continue working on this craft, working on many future unique experiences.
“I’d like to create an adventure RPG about a penniless wandering musician roaming throughout India,” said Satyajit. “In this game, players will be exploring various parts of India, experiencing unique cultures, people, their struggles, music, stories, their ways of looking at life, economies, livelihood, love and violence. And rather than using guns as the player’s tool to make a difference in this world, maybe he will use music. I believe it’s a much more stronger and versatile tool. India has very unique stories of life and it’s struggle which are worth experiencing through games.”
“Ultimately, I want to create games that are unique experiences, woven with strong narratives which explore a wider gamut of player emotions,” added Satyajit.
When asked for insights for other indies, Satyajit had some poignant statements, particularly for other smaller developers in India. “I believe the word ‘indie’ is losing all it’s meaning nowadays. Especially in India, indie devs are ending up doing trivial titles which are spinoffs. Doing market research and making games around the audience trend, especially search engine trends, have made ‘indies’ slaves of the audience,” asserted Satyajit. “Losing the meaning of the word ‘indie’ altogether. Down the line, I’m sure many of them will wonder why they have got into video games at all. I know right now they are thinking of making money first, be sustainable and then roll out original works. To me, that’s a vicious cycle an ‘indie’ should NEVER get into or at least strive to break free as quick as possible. In this oversaturated market that can be hard as hell. But, they didn’t expect a smooth ride when they got into indie dev. This is an extreme off-road rally. I believe only the bravest will survive here.”
FlowPlay has launched Dynasty Football, an online fantasy football strategy card game. Designed to appeal to both fans of collectible card games and fantasy football enthusiasts, this unique game blends the real-world player stats of fantasy football with the excitement of head-to-head card battles.
“Collectible card games have become increasingly popular over the last two years, and we saw an opportunity to bring our expertise in casual fantasy sports games to this growing market,” said Derrick Morton, CEO of FlowPlay. “We’re one of the first to introduce sports elements into the digital card games genre, allowing us to expand the appeal of Dynasty Football to the broader audience of 60 percent of the U.S. population that considers themselves sports fans, according to Gallup.”
Not quite friends, but certainly not enemies, the United States and China have vastly different cultures – but despite that, both sides try their best to trade and promote their country’s products and technologies in each other’s markets. Some American brands – like Apple, Coca Cola – have done well in China, while several Chinese brands, like Huawei and ZTE, are recognized by American consumers for their technology, not just the low prices that Chinese products are usually associated with.
But there have been far more misses than hits for both in the other side’s markets – especially in technology. Ebay, for example, has struggled in the Far East, while WeChat, the Chinese all-around chat and e-commerce app, has yet to make inroads in the US. Why? Both missed important cultural or usage cues that consumers in each country were looking for. Chinese consumers preferred local online auction apps because they allowed them to instantly communicate with sellers (something eBay didn’t offer), while in the US, WeChat failed (or chose not) to make deals with other app makers or services like it has done in China. As a result, American WeChat users remained in the closed environment of the app, unable to use it to order meals or other products directly from chat, or tweet a photo taken using WeChat.
The differences in the way the American and Chinese markets work are just one example of how even in a fully interconnected world – with instant communications and nearly instant travel options – cultures and countries still retain independent identities, to the extent that marketers who failed to recognize just how different the world outside their neighborhood really is lost valuable time and money before realizing that they were a lot less well-informed than they should have been before foraying outside familiar territory.
Your users are not all the same, why treat them in the same way? - Sivan EndenClick To Tweet
Firebase is a mobile platform that helps you quickly develop high-quality apps, grow your user base, and earn more money. At the heart of Firebase is Firebase Analytics, a free and unlimited analytics solution to gain insight into your users from ad click to app usage. Firebase Analytics works with other features such as admob, so you can make smart, data-driven user-centric decisions to grow your revenues by displaying engaging ads to a global audience.
We want parents to be reassured kids are having the right kind of fun! - Nick GawneClick To Tweet
Nick Gawne is Chief Operating Officer for eOne Family, with responsibility for digital biz dev, app publishing, finance, business affairs and brand protection. eOne owns, distributes and brand manages leading pre-school brands like Peppa Pig, PJ Masks and Ben & Holly’s Little Kingdom. Tune in to Nick’s session from Casual Connect Tel Aviv to hear of the lessons learned by the eOne Family team when they took the leap and decided to do their own publishing strategy. “If you have good IP that is resonating in the store, you need to look beyond the store to support your business model”, Nick pointed out. To learn more, see the full session below.
Plarium started out humbly enough in 2009 on Russia’s social networks with only a poker game and a farming game to its name. Today they are the #1 hardcore game developer on Facebook and a major force on mobile that is continuing to grow quickly. How did Plarium get from one to the other? It all comes down to its content, its employees and its players – with a dash of marketing thrown in.
“On a personal level, its a huge achievement,” said Roque. “We were approached by a few publishers, and even then we wanted to remain independent and do self-publishing. Eventually, the Devolver option simply made sense and the pros outweighed the cons. Also, Devolver has a proven record, so for our first big game, it made sense to launch with them.”
“The Indie Prize was a complete surprise,” Roque added. “We weren’t expecting to win it. We weren’t even sure if we were gonna be able to attend the main event. Happily, we ended up deciding to make some time and go. I personally have never crossed the Atlantic ocean, so travel to Berlin to the Casual Connect will be a completely new experience.”