WEBVTT - Tech News: Ubisoft Moving Toward Free to Play

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<v Speaker 1>Welcome to Tech Stuff, a production from I Heart Radio.

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<v Speaker 1>Hey there, and welcome to tech Stuff. I'm your host,

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<v Speaker 1>Jonathan Strickland. I'm an executive producer with I Heart Radio

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<v Speaker 1>and I love all things tech and today would normally

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<v Speaker 1>be a tech news day for Thursday twenty one, but

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<v Speaker 1>I thought I'd do something a little different. This episode

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<v Speaker 1>will be shorter than a normal tech Stuff episode, but

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<v Speaker 1>it does tie into something that was in the news

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<v Speaker 1>this week, and so it's more like a commentary and

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<v Speaker 1>point of view on the news. And earlier this week,

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<v Speaker 1>the head of finance at game developer and publisher Ubisoft

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<v Speaker 1>said on a call with investors that producing three to

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<v Speaker 1>four premium triple A game titles per year is quote

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<v Speaker 1>no longer a proper indication of our value creation dynamics.

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<v Speaker 1>In the quote, Um, that's not easy to parse language,

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<v Speaker 1>ain't it. I mean, it's got all sorts of corporate

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<v Speaker 1>speak in there. But what's actually being said here is

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<v Speaker 1>that the old classic model where a company produces a

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<v Speaker 1>premium title and then relies exclusively on sales of that title,

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<v Speaker 1>is more or less a thing of the past, and

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<v Speaker 1>it's important we walk through this now. I did some

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<v Speaker 1>episodes about the history of Ubisoft last year, I think,

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<v Speaker 1>and this is kind of an addendum to that in

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<v Speaker 1>a way, because it's a a look at how the

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<v Speaker 1>company is viewing its future. I should also point out

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<v Speaker 1>that a lot of folks have actually covered this story

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<v Speaker 1>pretty thoroughly, a lot of Pierce, who works at Sony

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<v Speaker 1>Santa Monica, did a fantastic breakdown explanation of what's going

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<v Speaker 1>on from an industry for Inspective. I highly recommend you

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<v Speaker 1>go to YouTube and check out her video. It's titled

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<v Speaker 1>Let's talk about Ubisoft Going free Play. I'm gonna be

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<v Speaker 1>going over some of the same ground that she does,

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<v Speaker 1>but she's super good at this, and if you're not

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<v Speaker 1>familiar with her work, you should check it out. She

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<v Speaker 1>does all sorts of stuff um with her channel, mostly

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<v Speaker 1>to kind of relate to the video games industry, not exclusively,

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<v Speaker 1>but frequently, and she's got some really good insight on

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<v Speaker 1>this um having worked both as a games journalist and

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<v Speaker 1>now working to write video games. So let's consider for

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<v Speaker 1>a moment the business of making video and computer games,

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<v Speaker 1>because it has changed dramatically, and keep in mind this

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<v Speaker 1>is still a relatively young industry, so forty years ago. Okay,

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<v Speaker 1>maybe not that young man, I'm old. Anyway, forty years ago,

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<v Speaker 1>it wasn't unusual for a single person to make a game.

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<v Speaker 1>That person would program the game from start to finish,

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<v Speaker 1>they design everything. But then getting that game out so

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<v Speaker 1>that people can you know, buy a copy was still

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<v Speaker 1>a big hurdle. There was no Internet that the average

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<v Speaker 1>person could access back in those days. So some early programmers,

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<v Speaker 1>like say Richard Garriott, who was the creator of The

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<v Speaker 1>Ultimate series, they got their start making games and copying

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<v Speaker 1>their code to diske kets, you know, like five and

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<v Speaker 1>a quarter inch discs, and then packaging those up in

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<v Speaker 1>ziplock bags with maybe a page of instructions, and they

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<v Speaker 1>would then go to their local hobby stores, which would

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<v Speaker 1>sell them for you know, X amount of money per copy.

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<v Speaker 1>You would even find bulletin boards where these bags would

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<v Speaker 1>just be hanging from a thumbtack and you could take

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<v Speaker 1>one down and go up to the cash register and

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<v Speaker 1>purchase a computer game this way. But obviously that approach

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<v Speaker 1>net you have a very limited number of customers. It's

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<v Speaker 1>not scalable. It's not like you could do this nationwide.

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<v Speaker 1>You could maybe do three or four hobby stores in

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<v Speaker 1>your general area. Then you're kind of done. But then

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<v Speaker 1>you've got your video game publishers. These are companies that,

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<v Speaker 1>at least in the old days, would form relationships with

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<v Speaker 1>various retailers and the publishers would pay developers for a

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<v Speaker 1>game title. Uh, sometimes you would have a developer and

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<v Speaker 1>a publisher be the same entity, but a lot of

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<v Speaker 1>times you're talking about, you know, one group is developing

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<v Speaker 1>the games and then the publishers are taking it from there.

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<v Speaker 1>Then the publishers would distribute that game title to various

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<v Speaker 1>retail establishments, So the publishers would get money from retailers

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<v Speaker 1>who turned around and then sold copies of the game

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<v Speaker 1>for a profit. So everyone along this chain got paid.

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<v Speaker 1>The retail stores were getting paid by the customers, the

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<v Speaker 1>publisher was being paid by the retail stores, and the

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<v Speaker 1>developer was being paid by the publisher. So you had

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<v Speaker 1>to cover your costs obviously every step of this chain, right,

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<v Speaker 1>The developer needed to make enough money to cover the

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<v Speaker 1>time and effort that went into creating the game. The

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<v Speaker 1>publisher needed to make the money back that was sent

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<v Speaker 1>to the developer, and the retailer needed to make up

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<v Speaker 1>the money that was spent on getting inventory. These relationships

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<v Speaker 1>came in a variety of forms and agreements. Uh sometimes

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<v Speaker 1>there were royalties involved, which was great news for the

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<v Speaker 1>developer with royalties, if the title sold really well, the

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<v Speaker 1>developer would benefit from that with royalty payments, but this

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<v Speaker 1>wasn't a guarantee, especially in the old days of game design.

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<v Speaker 1>One thing that was pretty darn firm, however, was that

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<v Speaker 1>the purchase of a game was the end of the transaction.

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<v Speaker 1>So if I walked into a computer store and I

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<v Speaker 1>purchased a copy of Ultima, well that was one unit

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<v Speaker 1>sold and the transaction pretty much marked the end of that. Right,

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<v Speaker 1>I bought my copy, I handed over my cash. Done,

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<v Speaker 1>so you generate revenue at the point of sale, and

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<v Speaker 1>that's it. Flashboard a few years, and then you get

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<v Speaker 1>some new models that start to pop up. One was

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<v Speaker 1>expansion packs, so companies would create expansions to previous titles

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<v Speaker 1>that already had an established fan base. So if someone

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<v Speaker 1>makes a game and it sells really well, often that

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<v Speaker 1>means that the players are really eager to get more

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<v Speaker 1>of whatever it was that they liked, so you can

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<v Speaker 1>create additional material, and expansion packs frequently leaned heavily on

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<v Speaker 1>using the assets that already existed for the original title,

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<v Speaker 1>which meant that the developers didn't have to reinvent everything,

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<v Speaker 1>they didn't have to build a game from the ground up.

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<v Speaker 1>They could repurpose assets for this new content. That streamlined

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<v Speaker 1>the development cycle, and it brought development costs down, and

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<v Speaker 1>now companies could continue to make money off of US

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<v Speaker 1>Civic title. Though this approach does require that the developer

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<v Speaker 1>put some resources into making the expansion, and you know,

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<v Speaker 1>it's not as simple as just making more money off

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<v Speaker 1>the same thing you sold. You have to convince people, hey,

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<v Speaker 1>this expansion back is going to give you more of

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<v Speaker 1>whatever it was you enjoyed of the original game. A

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<v Speaker 1>little bit later, you also saw an approach called sharewear,

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<v Speaker 1>which was incredibly clever. Now, typically a shareware title would

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<v Speaker 1>give players access to a part of a game, but

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<v Speaker 1>not the full title. So, for example, in a first

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<v Speaker 1>person shooter game, it might include the first third of

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<v Speaker 1>the game for free, and you could get a copy

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<v Speaker 1>of this. Back in the old days, it was still

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<v Speaker 1>on diskette and you could install the game on your

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<v Speaker 1>computer and play right up to the point where the

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<v Speaker 1>you know that sharewear part ends and upon reaching the

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<v Speaker 1>end of the free section, you would encounter a message

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<v Speaker 1>that would encourage you to purchase the full game, you know,

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<v Speaker 1>maybe through mail order or whatever, and then developer would

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<v Speaker 1>send you the full game on disc and you could

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<v Speaker 1>play it. And a lot of games were distributed this way,

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<v Speaker 1>like Wolfenstein three D. Brilliant approach, because what Wolfenstein three

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<v Speaker 1>D did was it encouraged people to make copies of

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<v Speaker 1>that shareware version and to give those copies out to

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<v Speaker 1>their friends. You you, you know, you had players doing

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<v Speaker 1>the marketing for the company. They were distributing this shareware

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<v Speaker 1>version of the game, and every single shareware version ended

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<v Speaker 1>with that message saying, hey, I hope you enjoyed this.

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<v Speaker 1>If you want the full game, you know, here's how

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<v Speaker 1>you can buy it. And so players were effectively doing

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<v Speaker 1>a lot of the marketing and distributing for the company

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<v Speaker 1>at the ground level. It was an effective way to

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<v Speaker 1>get a game awareness out there, and several titles found

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<v Speaker 1>success through that method. By this time, games were getting

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<v Speaker 1>more sophisticated, and now you usually had teams working on

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<v Speaker 1>a title with people, you know, specializing in particular skills

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<v Speaker 1>like art or music or programming, and the costs of

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<v Speaker 1>developing a game. We're going up because you had more

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<v Speaker 1>folks spending more time putting together each title, but generally speaking,

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<v Speaker 1>you still had that same revenue model where someone would

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<v Speaker 1>purchase a title that was that that was the end

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<v Speaker 1>of the transaction. Then we get up to the era

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<v Speaker 1>of downloadable content or d l C. Games that have

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<v Speaker 1>DLC allow you to augment an existing title by downloading

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<v Speaker 1>additional content, and DLC can come in lots of different forms,

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<v Speaker 1>some of which provide at least arguably more value than others.

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<v Speaker 1>So you might offer up additional levels or experiences within

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<v Speaker 1>a game as DLC, or you might give players the

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<v Speaker 1>chance to use special items in a game, like weapons

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<v Speaker 1>or vehicles, but only if you get the DLC. There's

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<v Speaker 1>no way to get them through regular game same play.

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<v Speaker 1>Or you might allow players to play through the same

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<v Speaker 1>game but as a totally different character. So in some

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<v Speaker 1>cases it might just be as simple as subbing one

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<v Speaker 1>character model out for another, but in others it might

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<v Speaker 1>involve shifting the entire storyline so it actually reflects the

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<v Speaker 1>perspective of this other character, and it creates an all

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<v Speaker 1>new game using the same basic mechanics. Some DLC was

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<v Speaker 1>purely cosmetic, and it gives players a chance to make

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<v Speaker 1>a game look different in some way, either they're player

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<v Speaker 1>character or level design, or whatever it might be. DLC

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<v Speaker 1>comes in all shapes, sizes, flavors, and price points. You've

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<v Speaker 1>got some DLC that ends up being practically as expensive

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<v Speaker 1>as a full game. You have other DLC that it's

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<v Speaker 1>a micro transaction. You're just paying a small amount of

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<v Speaker 1>money for some tiny element of that game. And there

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<v Speaker 1>have been some pretty incredible examples. Occasionally you get DLC

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<v Speaker 1>that eclipse is the popularity of the original title. But

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<v Speaker 1>there are also examples of really really bad DLC, and

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<v Speaker 1>they're hard to frame as anything other than a cash

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<v Speaker 1>grab and a waste of money for the player. DLC

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<v Speaker 1>really opened up a new revenue stream for video game

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<v Speaker 1>developers and publishers. Now companies could continue to offer additional

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<v Speaker 1>content and features to an existing game and charge players

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<v Speaker 1>to access it. They could keep making money off of

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<v Speaker 1>a title after they sold it. So rather than having

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<v Speaker 1>a person just plunged down their fifty or sixty or

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<v Speaker 1>today seventy bucks to purchase the title and then walk

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<v Speaker 1>away forever, they could see that that person plunged down

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<v Speaker 1>the cash to purchase the title, and then occasionally offer

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<v Speaker 1>up some more cash when they saw some DLC they

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<v Speaker 1>wanted to own, or a micro transaction that they didn't

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<v Speaker 1>mind paying for. And that's when we get to loot crates.

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<v Speaker 1>Loot crates. Now, if you're not familiar with loot rates

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<v Speaker 1>and games, these are things that typically players can earn

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<v Speaker 1>through in game activities, but it can take a lot

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<v Speaker 1>of time for them to earn them that way, or

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<v Speaker 1>they can earn them very quickly by purchasing them with

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<v Speaker 1>real world money, and again this tends to be in

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<v Speaker 1>the micro transaction range. The loot crate represents the potential

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<v Speaker 1>to unlock something interesting in the game. It might be

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<v Speaker 1>an outfit or some other cosmetic effect. Those are the

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<v Speaker 1>types of loot crates that, in my experience, are generally

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<v Speaker 1>viewed as being the least offensive, because if you don't

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<v Speaker 1>care about aesthetics, then you don't feel pressured to engage

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<v Speaker 1>in it. But for other players who just really like

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<v Speaker 1>making the look of their character unique or at least unusual,

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<v Speaker 1>then it's really appealing. Some games, however, will include items

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<v Speaker 1>and loot crates that have an actual in game effect,

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<v Speaker 1>like better weapons or other types of items, and that

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<v Speaker 1>tends to rub players the wrong way. It gets into

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<v Speaker 1>a pay to win kind of classification. Now, there's no

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<v Speaker 1>guarantee with a loot crate that you're gonna get anything

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<v Speaker 1>you want when you open it. It might be something

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<v Speaker 1>that you don't want, it might be a copy of

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<v Speaker 1>something you already have. The distribution of items is at

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<v Speaker 1>least in theory, randomized, with rarer items having a lower

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<v Speaker 1>percentage chance of spawning when you open the loot crate.

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<v Speaker 1>Um Though you don't necessarily have a guarantee that this

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<v Speaker 1>is all random anyway, but in theory it's randomized, and

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<v Speaker 1>it is the The chances of you getting any particular

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<v Speaker 1>item are based upon some percentage of that reflects how

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<v Speaker 1>rare or common that item is within the game. Um.

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<v Speaker 1>Some real world regions have classified the loot crate system

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<v Speaker 1>as being akin to gambling, because again, you don't know

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<v Speaker 1>what you're gonna get. There's a chance you'll get something

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<v Speaker 1>really rare in the game, there's a chance you'll get

0:14:03.360 --> 0:14:07.080
<v Speaker 1>something incredibly common, and thus these regions have kind of

0:14:07.080 --> 0:14:10.040
<v Speaker 1>cracked down on the practice of loot crates. And there's

0:14:10.080 --> 0:14:13.880
<v Speaker 1>definitely something to be said for that psychological payoff that

0:14:13.960 --> 0:14:15.720
<v Speaker 1>you get when you open a loot crate and you

0:14:15.760 --> 0:14:19.360
<v Speaker 1>get something neat inside it that does tend to encourage

0:14:19.400 --> 0:14:22.880
<v Speaker 1>people to make more purchases, and that obviously can get

0:14:22.920 --> 0:14:26.320
<v Speaker 1>really harmful if left unchecked. It can feed into sort

0:14:26.360 --> 0:14:31.240
<v Speaker 1>of an addictive cycle. Then we get to the free

0:14:31.280 --> 0:14:34.600
<v Speaker 1>to play model. With free to play games, players get

0:14:34.640 --> 0:14:37.680
<v Speaker 1>access to the base game for free, as the name implies,

0:14:38.240 --> 0:14:40.880
<v Speaker 1>but then the game typically offers lots of ways that

0:14:40.960 --> 0:14:46.560
<v Speaker 1>players can enhance their experience through making purchases somewhere inside

0:14:46.600 --> 0:14:50.760
<v Speaker 1>the game that can include unlocking new content. So maybe

0:14:50.760 --> 0:14:53.480
<v Speaker 1>there's certain parts of the game that are inaccessible unless

0:14:53.560 --> 0:14:56.600
<v Speaker 1>you pay for them. Uh. It might remove level caps

0:14:56.760 --> 0:14:59.800
<v Speaker 1>so that you know you no longer are stuck at

0:15:00.240 --> 0:15:03.600
<v Speaker 1>maxing out at a lower level. Uh. It might give

0:15:03.640 --> 0:15:08.120
<v Speaker 1>you access to special equipment or cosmetic items. And there

0:15:08.120 --> 0:15:11.480
<v Speaker 1>are games that do this really well, like games like Fortnite.

0:15:11.800 --> 0:15:15.640
<v Speaker 1>The Battle Royal mode, which is arguably more famous than

0:15:15.680 --> 0:15:19.120
<v Speaker 1>the original version of Fortnite, is free to play, and

0:15:19.240 --> 0:15:23.920
<v Speaker 1>players can purchase stuff like character skins and emotes and

0:15:24.040 --> 0:15:27.080
<v Speaker 1>dances and that kind of stuff. So all those viral

0:15:27.280 --> 0:15:30.680
<v Speaker 1>memes you see of like Fortnite dances, Well, those represent

0:15:30.800 --> 0:15:34.360
<v Speaker 1>streams of revenue, because if you're playing the game and

0:15:34.440 --> 0:15:36.360
<v Speaker 1>you want to feel like you're part of the cool club,

0:15:36.680 --> 0:15:38.840
<v Speaker 1>you're gonna need to shell out some cash so that

0:15:38.880 --> 0:15:41.920
<v Speaker 1>you're not just stuck with the default options that come

0:15:42.160 --> 0:15:45.880
<v Speaker 1>standard with the game. All Right, we've laid up the basics.

0:15:46.560 --> 0:15:49.120
<v Speaker 1>I'm gonna go into more detail, but before I do that,

0:15:49.320 --> 0:15:59.960
<v Speaker 1>let's take a quick break. Okay, So free to play

0:16:00.080 --> 0:16:03.600
<v Speaker 1>games are free to play, as the name implies. Sure,

0:16:04.280 --> 0:16:07.240
<v Speaker 1>but unlike a Triple A title that's a one and

0:16:07.320 --> 0:16:10.840
<v Speaker 1>done from a transaction point of view, these games typically

0:16:11.040 --> 0:16:14.320
<v Speaker 1>have hundreds of different ways that people might spend money

0:16:14.320 --> 0:16:17.240
<v Speaker 1>on it over time, and they tend to be titles

0:16:17.280 --> 0:16:21.800
<v Speaker 1>that get long term support. They encourage players to stick

0:16:22.080 --> 0:16:26.400
<v Speaker 1>with playing that game indefinitely. So with the traditional Triple

0:16:26.440 --> 0:16:28.840
<v Speaker 1>A title, you would make a purchase, you would play

0:16:28.840 --> 0:16:31.120
<v Speaker 1>through the game, maybe you'd play through it a couple

0:16:31.160 --> 0:16:33.640
<v Speaker 1>of times, but then you would move on. You wouldn't

0:16:33.680 --> 0:16:36.880
<v Speaker 1>just keep playing that same game over and over because

0:16:36.880 --> 0:16:40.200
<v Speaker 1>there's a limited amount of content and entertainment value there

0:16:40.800 --> 0:16:44.800
<v Speaker 1>and eventually you would exhaust it. Um. For a lot

0:16:44.840 --> 0:16:47.560
<v Speaker 1>of the traditional Triple a titles. I mean, now, a

0:16:47.600 --> 0:16:49.920
<v Speaker 1>lot of these free to play titles aim to keep

0:16:49.960 --> 0:16:55.200
<v Speaker 1>players active on them for years if possible. So what

0:16:55.400 --> 0:16:57.840
<v Speaker 1>stuff like DLC and Luke Crates and free to play

0:16:57.880 --> 0:17:01.760
<v Speaker 1>really did in the industry is start to shift the

0:17:01.960 --> 0:17:06.880
<v Speaker 1>thinking and the perception around what games mean from the

0:17:07.000 --> 0:17:10.880
<v Speaker 1>industry side. From the business side. Producers began to look

0:17:10.880 --> 0:17:14.240
<v Speaker 1>at video games in terms of how much entertainment players

0:17:14.240 --> 0:17:18.399
<v Speaker 1>were getting per dollar spent, like what's the what's the

0:17:18.520 --> 0:17:21.960
<v Speaker 1>value of entertainment of a game? And then they compared

0:17:22.000 --> 0:17:26.680
<v Speaker 1>that to other forms of entertainment like movies, and that

0:17:26.760 --> 0:17:30.560
<v Speaker 1>I think is kind of apples to oranges. It's not

0:17:30.640 --> 0:17:33.760
<v Speaker 1>a real fair comparison, but it is something that's happened.

0:17:33.880 --> 0:17:37.560
<v Speaker 1>Alana appears in her video that I mentioned earlier, the

0:17:37.600 --> 0:17:41.800
<v Speaker 1>one about let's talk about Ubisoft going to free play.

0:17:42.080 --> 0:17:48.120
<v Speaker 1>She points out a piece that was done at Activision

0:17:48.480 --> 0:17:53.720
<v Speaker 1>that really shed light on this line of thinking. Let's

0:17:53.720 --> 0:17:57.280
<v Speaker 1>take a movie as an example. So if we go

0:17:57.359 --> 0:18:00.480
<v Speaker 1>by Statista, the average price for a movie ticket in

0:18:00.480 --> 0:18:03.720
<v Speaker 1>the United States is nine dollars and sixteen cents, or

0:18:03.720 --> 0:18:06.520
<v Speaker 1>at least that's what it was in which is news

0:18:06.520 --> 0:18:09.840
<v Speaker 1>to me because here in Atlanta, it's much higher than that.

0:18:09.920 --> 0:18:13.080
<v Speaker 1>The average price seems to be closer to around fifteen dollars.

0:18:13.880 --> 0:18:16.400
<v Speaker 1>In fact, I actually did a quick check before this

0:18:16.440 --> 0:18:20.240
<v Speaker 1>podcast and found a ticket to Mortal Kombat, which would

0:18:20.280 --> 0:18:23.399
<v Speaker 1>set me back fourteen dollars thirty four cents plus it

0:18:23.440 --> 0:18:26.439
<v Speaker 1>would steal a hundred ten minutes of my life away

0:18:26.840 --> 0:18:31.240
<v Speaker 1>and I would never get those back. Mm hmm. I've

0:18:31.240 --> 0:18:33.600
<v Speaker 1>seen Mortal Kombat. It wouldn't have been worth the fourteen

0:18:33.600 --> 0:18:37.240
<v Speaker 1>dollars and thirty four cents. So one minutes, that's a

0:18:37.280 --> 0:18:41.119
<v Speaker 1>smidge under two hours. So you're looking at roughly seven

0:18:41.160 --> 0:18:44.439
<v Speaker 1>dollars per hour of entertainment value if you're taking that

0:18:44.480 --> 0:18:49.359
<v Speaker 1>perspective that you're paying seven bucks per hour for your entertainment.

0:18:49.720 --> 0:18:51.960
<v Speaker 1>But now let's take a look at a triple A

0:18:52.080 --> 0:18:55.280
<v Speaker 1>title video game, and since Ubisoft is the company that

0:18:55.280 --> 0:18:57.840
<v Speaker 1>got us talking about this in the first place, let's

0:18:57.920 --> 0:19:00.359
<v Speaker 1>use one of their recent titles with a ses sence,

0:19:00.359 --> 0:19:05.680
<v Speaker 1>Creed Valhalla. That game cost fifty nine cents or sixty

0:19:05.680 --> 0:19:09.440
<v Speaker 1>bucks when it first came out. According to PC Games

0:19:09.480 --> 0:19:13.840
<v Speaker 1>to the nth Power, the expected play through time for

0:19:14.080 --> 0:19:17.760
<v Speaker 1>Assassin's Creed Valhalla is somewhere in the neighborhood of sixty

0:19:18.000 --> 0:19:22.159
<v Speaker 1>to nine hours. So when you average that out, it

0:19:22.200 --> 0:19:25.320
<v Speaker 1>comes down to somewhere between sixty seven cents to a

0:19:25.440 --> 0:19:30.120
<v Speaker 1>dollar per hour of entertainment. So, if you're looking at

0:19:30.160 --> 0:19:34.560
<v Speaker 1>this as a quantity of entertainment per unit of currency perspective,

0:19:35.280 --> 0:19:38.879
<v Speaker 1>movies are way more expensive per hour than triple A

0:19:39.000 --> 0:19:44.040
<v Speaker 1>title games for the consumer. On the flip side, movies

0:19:44.520 --> 0:19:49.600
<v Speaker 1>net studios way more money per hour of entertainment than

0:19:49.840 --> 0:19:52.600
<v Speaker 1>video games. So if you're looking at it as a

0:19:52.640 --> 0:19:56.920
<v Speaker 1>company that makes video games, you're left with the question of, well,

0:19:56.960 --> 0:20:00.000
<v Speaker 1>how can we get more money per hour of entertainment.

0:20:00.119 --> 0:20:04.160
<v Speaker 1>We're giving away hours of entertainment here. We should really

0:20:04.200 --> 0:20:07.719
<v Speaker 1>rethink how we're going about generating revenue for games. We

0:20:07.800 --> 0:20:10.320
<v Speaker 1>can't leave money on the table. We need to figure

0:20:10.320 --> 0:20:15.959
<v Speaker 1>out a way to optimize the monetization of entertainment. Well,

0:20:16.280 --> 0:20:19.520
<v Speaker 1>the free to play represents a way to get more

0:20:19.600 --> 0:20:23.160
<v Speaker 1>money per player over the long run. Now, some players

0:20:23.240 --> 0:20:26.280
<v Speaker 1>might never spend a dime on our free to play game,

0:20:26.640 --> 0:20:30.160
<v Speaker 1>but others will end up spending way more money than

0:20:30.200 --> 0:20:32.399
<v Speaker 1>they would if they were just purchasing a triple A

0:20:32.480 --> 0:20:36.840
<v Speaker 1>title outright. Someone who might have balked it dropping seventy

0:20:36.840 --> 0:20:40.240
<v Speaker 1>bucks on a game all at once, could, over the

0:20:40.280 --> 0:20:42.920
<v Speaker 1>course of their time playing a free to play game,

0:20:43.400 --> 0:20:46.320
<v Speaker 1>spend twice as much as that or more. Once it's

0:20:46.359 --> 0:20:49.400
<v Speaker 1>all said and done. It's just all of these transactions

0:20:49.400 --> 0:20:53.240
<v Speaker 1>are on a much smaller scale, and then they add up. Plus,

0:20:53.280 --> 0:20:56.520
<v Speaker 1>this approach can bring development costs way down. I mean,

0:20:56.520 --> 0:20:59.119
<v Speaker 1>you still have to develop the base game. That is

0:20:59.160 --> 0:21:04.080
<v Speaker 1>still a big commitment, but once that's done, any additional

0:21:04.119 --> 0:21:07.760
<v Speaker 1>development can be done on top of that existing framework. Now,

0:21:07.800 --> 0:21:11.040
<v Speaker 1>it might require some tweaks. So for example, if you

0:21:11.080 --> 0:21:15.160
<v Speaker 1>introduce new weapons or characters in a multiplayer shooter game

0:21:15.240 --> 0:21:18.800
<v Speaker 1>like Overwatch, you might have to rebalance the game if

0:21:18.800 --> 0:21:21.439
<v Speaker 1>the new character proves to be too powerful or not

0:21:21.520 --> 0:21:23.919
<v Speaker 1>powerful enough to go toe to toe with the characters

0:21:23.960 --> 0:21:26.840
<v Speaker 1>who are already part of the roster. Now this marks

0:21:26.960 --> 0:21:30.359
<v Speaker 1>a shift of games as being you know, distinct units

0:21:30.400 --> 0:21:34.720
<v Speaker 1>of entertainment for purchase into becoming more of a service.

0:21:35.560 --> 0:21:39.320
<v Speaker 1>There are many manifestations of games as a service. There

0:21:39.359 --> 0:21:43.440
<v Speaker 1>are subscription plans. There's like the Xbox Game Pass, which

0:21:43.480 --> 0:21:46.320
<v Speaker 1>for a monthly fee, gives you access to a selection

0:21:46.359 --> 0:21:49.560
<v Speaker 1>of games that you can play. You know, you could

0:21:49.600 --> 0:21:52.239
<v Speaker 1>argue you can play them for free, though you're not

0:21:52.280 --> 0:21:55.600
<v Speaker 1>really playing for free because you've got the subscription fee.

0:21:56.280 --> 0:22:00.240
<v Speaker 1>Then you have persistent online worlds like World of Warcraft AFT,

0:22:00.680 --> 0:22:04.359
<v Speaker 1>which you know traditionally had a subscription associated to it

0:22:04.880 --> 0:22:08.240
<v Speaker 1>or with it rather or g t a online which

0:22:08.280 --> 0:22:12.040
<v Speaker 1>has lots of different versions of micro transactions to get

0:22:12.080 --> 0:22:15.159
<v Speaker 1>access to various types of content in the online world.

0:22:15.840 --> 0:22:18.640
<v Speaker 1>And there are free to play games that have additional

0:22:18.680 --> 0:22:21.119
<v Speaker 1>content available for purchase, and all of these are different

0:22:21.200 --> 0:22:24.480
<v Speaker 1>variations of the same basic idea creating a game that

0:22:24.560 --> 0:22:28.440
<v Speaker 1>allows publishers to continue to make money on an ongoing basis,

0:22:29.040 --> 0:22:32.119
<v Speaker 1>rather than have a game launch and then sell x

0:22:32.240 --> 0:22:34.680
<v Speaker 1>number of units of that game and then that game

0:22:34.760 --> 0:22:36.920
<v Speaker 1>fades from consciousness, so you have to do it all

0:22:36.920 --> 0:22:40.439
<v Speaker 1>over again with a new title. And this coincides with

0:22:40.480 --> 0:22:44.760
<v Speaker 1>more players purchasing fewer titles but spending more time in

0:22:44.880 --> 0:22:49.520
<v Speaker 1>individual games. So it's not that people aren't playing games

0:22:49.560 --> 0:22:51.840
<v Speaker 1>as much as they used to, it's rather that they're

0:22:51.880 --> 0:22:55.760
<v Speaker 1>spending way more time playing specific games. So in some

0:22:55.840 --> 0:23:00.200
<v Speaker 1>cases this goes along with branding. So for example, there

0:23:00.200 --> 0:23:03.399
<v Speaker 1>are twitch streamers that I watch who are best known

0:23:03.720 --> 0:23:07.399
<v Speaker 1>for playing one or two specific titles. Uh Meg Turney

0:23:07.600 --> 0:23:11.040
<v Speaker 1>is a dead by daylight fiend and she scares me

0:23:11.960 --> 0:23:15.639
<v Speaker 1>in some is a phasma phobia expert who can practically

0:23:15.720 --> 0:23:17.919
<v Speaker 1>run through the toughest levels of that game with his

0:23:18.040 --> 0:23:21.600
<v Speaker 1>eyes closed and still win. Joe Woudle is best known

0:23:21.680 --> 0:23:25.320
<v Speaker 1>for his content around Seven Days to Die and Sure

0:23:25.600 --> 0:23:29.480
<v Speaker 1>for streamers, their brand often gets tied to specific titles,

0:23:29.640 --> 0:23:34.119
<v Speaker 1>and that's a little different. But apparently even for non streamers,

0:23:34.119 --> 0:23:36.919
<v Speaker 1>the trend is that folks are buying fewer titles but

0:23:37.040 --> 0:23:42.600
<v Speaker 1>spending more time playing each title. Anecdotally, I can say

0:23:42.640 --> 0:23:45.639
<v Speaker 1>that that is true for me, but anecdotal evidence isn't

0:23:45.720 --> 0:23:48.600
<v Speaker 1>really evidence. But here's my version. I've been playing a

0:23:48.600 --> 0:23:51.879
<v Speaker 1>few games, an awful lot, you know. I've been playing

0:23:51.880 --> 0:23:53.720
<v Speaker 1>a lot of Star Doo Valley because I got to

0:23:53.760 --> 0:23:57.760
<v Speaker 1>get that completionist achievement and it's I didn't go about

0:23:57.760 --> 0:24:00.560
<v Speaker 1>setting up my farm super efficient at least, so it's

0:24:00.600 --> 0:24:03.639
<v Speaker 1>taken me way more time than it should. I also

0:24:04.000 --> 0:24:06.560
<v Speaker 1>spent a lot of time playing hit Man three, which

0:24:06.880 --> 0:24:10.879
<v Speaker 1>continues to release more specific content for that game and

0:24:10.920 --> 0:24:14.960
<v Speaker 1>continues to be really interesting to play. I spent a

0:24:15.000 --> 0:24:17.320
<v Speaker 1>lot of time playing the game Hades, which is a

0:24:17.400 --> 0:24:24.000
<v Speaker 1>roguelike game that is really exceptionally well done and infuriating,

0:24:24.200 --> 0:24:26.720
<v Speaker 1>but I love it. And we see a long running

0:24:26.800 --> 0:24:31.960
<v Speaker 1>trend in Triple A titles of sprawl and epic epic

0:24:32.040 --> 0:24:36.320
<v Speaker 1>nous so games like the Elder Scrolls series. They have

0:24:36.440 --> 0:24:39.800
<v Speaker 1>so much content in these games that it might take

0:24:39.840 --> 0:24:42.480
<v Speaker 1>you more than a hundred hours to see it all.

0:24:43.200 --> 0:24:46.720
<v Speaker 1>Some of them have so much sprawl that I, as

0:24:46.720 --> 0:24:49.000
<v Speaker 1>a player, tend to get worn out before I ever

0:24:49.240 --> 0:24:52.840
<v Speaker 1>play through it, and I just never finished the game. Now,

0:24:53.760 --> 0:24:56.199
<v Speaker 1>this is a personal issue for me, Like I have

0:24:56.240 --> 0:24:59.560
<v Speaker 1>trouble with side quests because I always want to complete

0:24:59.600 --> 0:25:02.680
<v Speaker 1>all the side quests before I finished the story. And

0:25:02.800 --> 0:25:05.800
<v Speaker 1>I get this, this fear of missing out. If I

0:25:05.840 --> 0:25:08.320
<v Speaker 1>continue the story, it means I might shut myself off

0:25:08.359 --> 0:25:11.960
<v Speaker 1>from certain side quests, and I don't like that. So

0:25:12.200 --> 0:25:14.439
<v Speaker 1>then I end up pursuing all the side quests and

0:25:14.520 --> 0:25:18.520
<v Speaker 1>I never finished the story mission. And yeah, it's a

0:25:19.200 --> 0:25:22.240
<v Speaker 1>I get it. It's a personal problem. Now, the free

0:25:22.320 --> 0:25:27.879
<v Speaker 1>to play model depends on creating essentially open ended gaming experiences.

0:25:28.600 --> 0:25:32.400
<v Speaker 1>The game can't end because if it did, then players

0:25:32.520 --> 0:25:36.159
<v Speaker 1>might move on and the whole value proposition from the

0:25:36.200 --> 0:25:40.240
<v Speaker 1>corporate standpoint is that the game never ends. It encourages

0:25:40.280 --> 0:25:44.280
<v Speaker 1>continued play. Now, some games work really well with this model,

0:25:44.359 --> 0:25:46.959
<v Speaker 1>and they tend to be stuff like competitive shooters and

0:25:47.040 --> 0:25:50.240
<v Speaker 1>Battle Royal games and that kind of stuff, because those

0:25:50.280 --> 0:25:54.040
<v Speaker 1>games aren't so much about completing a story, but rather

0:25:54.320 --> 0:25:58.000
<v Speaker 1>about competing against other players in various types of matches.

0:25:58.440 --> 0:26:01.000
<v Speaker 1>There are lots of good games that fall into this category,

0:26:01.280 --> 0:26:05.720
<v Speaker 1>they just don't tend to be the games that I prefer. Meanwhile,

0:26:06.240 --> 0:26:09.240
<v Speaker 1>the financial numbers show that this trend is likely to

0:26:09.280 --> 0:26:13.359
<v Speaker 1>continue and in fact accelerate. Jeff Keeley tweeted out that

0:26:13.400 --> 0:26:16.440
<v Speaker 1>when it comes to e A's revenue, just twenty six

0:26:16.520 --> 0:26:20.560
<v Speaker 1>percent of that revenue came from selling premium titles, and

0:26:20.600 --> 0:26:22.920
<v Speaker 1>the rest of the stuff came from things like mobile

0:26:22.960 --> 0:26:27.480
<v Speaker 1>games and micro transactions and DLC. So nearly three quarters

0:26:27.680 --> 0:26:31.080
<v Speaker 1>of all of e A's revenue came not from selling

0:26:31.520 --> 0:26:34.720
<v Speaker 1>big ticket titles, but rather all this kind of additional

0:26:34.760 --> 0:26:38.240
<v Speaker 1>stuff that's on the periphery of a big title. And

0:26:38.320 --> 0:26:42.720
<v Speaker 1>developing video games is incredibly expensive. It takes a lot

0:26:42.800 --> 0:26:45.480
<v Speaker 1>of time, and there are ways to make way more

0:26:45.600 --> 0:26:50.040
<v Speaker 1>money for smaller investments of time and effort, so it's

0:26:50.040 --> 0:26:53.399
<v Speaker 1>no surprise that Ubisoft is making a larger move toward

0:26:53.560 --> 0:26:57.239
<v Speaker 1>that direction. Now, does this mean that the era of

0:26:57.280 --> 0:27:01.160
<v Speaker 1>the self contained single player video game experience is coming

0:27:01.160 --> 0:27:04.800
<v Speaker 1>to an end? Should we expect all game titles moving

0:27:04.840 --> 0:27:10.159
<v Speaker 1>forward to be about this ongoing experience and and more

0:27:10.200 --> 0:27:14.879
<v Speaker 1>consistently an online multiplayer experience, one that encourages players to

0:27:14.920 --> 0:27:18.040
<v Speaker 1>spend smaller amounts of money over time, but to continue

0:27:18.080 --> 0:27:21.600
<v Speaker 1>to do so over the course of years. I feel

0:27:21.640 --> 0:27:23.239
<v Speaker 1>like that's going to be a major focus for a

0:27:23.240 --> 0:27:26.600
<v Speaker 1>lot of big publishers out there. That being said, we

0:27:26.680 --> 0:27:31.040
<v Speaker 1>continue to see some incredible games made by smaller studios,

0:27:31.200 --> 0:27:34.119
<v Speaker 1>and some of these games are exploring storytelling in really

0:27:34.160 --> 0:27:38.920
<v Speaker 1>interesting ways. Some represent a smaller experience, something that has

0:27:38.960 --> 0:27:42.480
<v Speaker 1>a definitive ending and perhaps doesn't require forty or more

0:27:42.520 --> 0:27:45.840
<v Speaker 1>hours of play to get there. Personally, I'm finding those

0:27:45.880 --> 0:27:48.960
<v Speaker 1>style of games really rewarding. I enjoy it when I

0:27:48.960 --> 0:27:52.200
<v Speaker 1>get a chance to play them. It's refreshing to play

0:27:52.240 --> 0:27:55.439
<v Speaker 1>something that isn't trying to coax me into another dozen

0:27:55.520 --> 0:27:59.840
<v Speaker 1>hours or whatever. It's just a really compact, well to

0:28:00.000 --> 0:28:03.240
<v Speaker 1>designed experience. I really think that those are awesome, And

0:28:03.280 --> 0:28:06.159
<v Speaker 1>I think we're going to see a mixture of these approaches,

0:28:06.240 --> 0:28:09.520
<v Speaker 1>with smaller studios kind of filling in the big gaps

0:28:09.600 --> 0:28:12.719
<v Speaker 1>that are left by the larger companies. To be Soft

0:28:12.840 --> 0:28:16.480
<v Speaker 1>and Activision and e A are likely to prioritize games

0:28:16.520 --> 0:28:20.520
<v Speaker 1>that have these ongoing transactions as part of their design,

0:28:21.200 --> 0:28:25.520
<v Speaker 1>maybe in fact, the central part of their design. And

0:28:25.560 --> 0:28:28.440
<v Speaker 1>I guess that's okay. I mean, I'm not super jazzed

0:28:28.440 --> 0:28:31.280
<v Speaker 1>about it, but these tend to be games that I

0:28:31.359 --> 0:28:35.240
<v Speaker 1>don't play all that frequently anyway, with the exception of

0:28:35.280 --> 0:28:37.000
<v Speaker 1>games like hit Man. I mean, I do play some

0:28:37.080 --> 0:28:40.440
<v Speaker 1>of them, just I don't play all of them. And meanwhile,

0:28:40.520 --> 0:28:43.640
<v Speaker 1>you've got other studios making experiences that aren't meant to

0:28:43.640 --> 0:28:48.840
<v Speaker 1>be persistent ones that last indefinitely. That's okay too. As

0:28:48.920 --> 0:28:51.640
<v Speaker 1>for the whole free to play movement, if I don't

0:28:51.760 --> 0:28:53.880
<v Speaker 1>know that it's going to bring more people in to

0:28:54.040 --> 0:28:58.600
<v Speaker 1>try stuff out and might I mean, for me, it's

0:28:58.720 --> 0:29:02.720
<v Speaker 1>not always the perception of the cost to me, it's

0:29:02.760 --> 0:29:06.640
<v Speaker 1>the perception of am I going to really enjoy this experience.

0:29:06.880 --> 0:29:11.400
<v Speaker 1>So for certain titles like Assassin's Creed, it's heavily dependent

0:29:11.480 --> 0:29:16.040
<v Speaker 1>for me on the context of where that game falls,

0:29:16.080 --> 0:29:20.880
<v Speaker 1>Like Assassin's Creed Black Flag was a pirate Assassin's Creed,

0:29:21.280 --> 0:29:24.800
<v Speaker 1>and that was speaking my language. I love the the

0:29:25.520 --> 0:29:29.920
<v Speaker 1>the romantic image of piracy, not the real one, but

0:29:30.000 --> 0:29:35.320
<v Speaker 1>the romanticized piracy image. I I find that really compelling,

0:29:35.400 --> 0:29:38.280
<v Speaker 1>and so I loved playing that game. But there are

0:29:38.320 --> 0:29:41.640
<v Speaker 1>other titles in the Assassin's Creed franchise that just, you know,

0:29:41.800 --> 0:29:44.080
<v Speaker 1>I didn't have any real interest in, so I didn't

0:29:44.280 --> 0:29:47.520
<v Speaker 1>try them. I don't think that making those free will

0:29:47.560 --> 0:29:51.400
<v Speaker 1>necessarily encourage me to try them out. I think it

0:29:51.480 --> 0:29:53.880
<v Speaker 1>just has to appeal to me first, and whether or

0:29:53.920 --> 0:29:57.240
<v Speaker 1>not it's free or I have to pay for it, uh,

0:29:57.520 --> 0:30:00.440
<v Speaker 1>is kind of beside the point. However, I also knowledge

0:30:00.880 --> 0:30:04.360
<v Speaker 1>I'm in a very privileged position where I can generally

0:30:04.600 --> 0:30:08.000
<v Speaker 1>afford to play these kinds of games, and for other

0:30:08.040 --> 0:30:11.880
<v Speaker 1>people who might not have that kind of privilege, this

0:30:11.920 --> 0:30:13.920
<v Speaker 1>could be great. Like they get a chance to try

0:30:13.920 --> 0:30:17.920
<v Speaker 1>out games that they might really enjoy. Uh. They might

0:30:17.960 --> 0:30:20.640
<v Speaker 1>not be able to access all the different content of

0:30:20.680 --> 0:30:23.680
<v Speaker 1>those games, which is kind of a bummer, but they'd

0:30:23.680 --> 0:30:26.040
<v Speaker 1>at least get a chance to play the games, So

0:30:26.080 --> 0:30:29.800
<v Speaker 1>that's kind of cool. I'm curious what you think. Um,

0:30:29.840 --> 0:30:32.600
<v Speaker 1>for those gamers out there, shout out to me over

0:30:32.680 --> 0:30:37.280
<v Speaker 1>on Twitter text stuff, hs W is the handle and uh,

0:30:37.440 --> 0:30:40.240
<v Speaker 1>let me know, do you think the free to play

0:30:40.280 --> 0:30:45.160
<v Speaker 1>micro transaction approach is that okay? Is it ruining games?

0:30:45.600 --> 0:30:49.320
<v Speaker 1>Do you like it? Do you hate it? Are there

0:30:49.320 --> 0:30:52.240
<v Speaker 1>types of games that you really enjoy? Are there some

0:30:52.400 --> 0:30:57.680
<v Speaker 1>that don't really exist anymore? Thanks to independent game studios.

0:30:57.720 --> 0:31:00.000
<v Speaker 1>I think that a lot of the styles I really

0:31:00.080 --> 0:31:05.600
<v Speaker 1>enjoy still get produced, depends on the studio. They can

0:31:05.640 --> 0:31:09.160
<v Speaker 1>be of, you know, very in quality. But I get

0:31:09.240 --> 0:31:12.080
<v Speaker 1>inspired by some of the stuff I see, especially the

0:31:12.120 --> 0:31:16.280
<v Speaker 1>weird stuff I see all of independent studios. Anyway, that's

0:31:16.320 --> 0:31:19.160
<v Speaker 1>it for this episode. Uh. Usually I would just do

0:31:19.200 --> 0:31:22.400
<v Speaker 1>a tech news episode straight up, but this particular item

0:31:22.600 --> 0:31:25.120
<v Speaker 1>really hit me, and I thought it would be great

0:31:25.160 --> 0:31:28.120
<v Speaker 1>to have more of an opportunity for me to get

0:31:28.160 --> 0:31:32.080
<v Speaker 1>on a soapbox and talk about games and monetization and

0:31:32.120 --> 0:31:36.000
<v Speaker 1>revenue and how how this business of making games is

0:31:36.080 --> 0:31:39.600
<v Speaker 1>in fact a business and so we have to admit that,

0:31:39.640 --> 0:31:42.160
<v Speaker 1>you know, we have to acknowledge that and not just

0:31:42.240 --> 0:31:45.480
<v Speaker 1>say that this is something about, you know, creating entertainment

0:31:45.520 --> 0:31:50.280
<v Speaker 1>for any altruistic purposes or whatever. But um yeah, I'm

0:31:50.320 --> 0:31:52.880
<v Speaker 1>curious to hear what you all think, so let me

0:31:52.960 --> 0:31:55.880
<v Speaker 1>know and we will be back next week with more

0:31:56.000 --> 0:32:00.880
<v Speaker 1>episodes of tech Stuff, including our usual news episodes. And

0:32:01.000 --> 0:32:03.560
<v Speaker 1>with that, I'm out of here. Y'all take care and

0:32:03.600 --> 0:32:11.960
<v Speaker 1>I'll talk to you again really soon. Y Text Stuff

0:32:12.040 --> 0:32:15.200
<v Speaker 1>is an I Heart Radio production. For more podcasts from

0:32:15.240 --> 0:32:19.000
<v Speaker 1>I Heart Radio, visit the I Heart Radio app, Apple Podcasts,

0:32:19.120 --> 0:32:21.120
<v Speaker 1>or wherever you listen to your favorite shows