Video game monetizationWikipedia open wikipedia design.
This article needs additional citations for verification. (November 2015) (Learn how and when to remove this template message)
Video game monetization is the process that video game publishers use to generate revenue from a video game product. The methods of monetization may vary between games, especially when they come from different genres or platforms, but they all serve the same purpose to return money to the game developers, copyright owners, and other stakeholders. As the monetization methods continue to diversify, they also affect the game design in a way that sometimes leads to criticism.
Retail purchase is the traditional method by which games are sold from brick and mortar stores or online retailers. Customers pay for a physical copy of the game and any other game related peripheral devices required for play in-store. Retail purchasing has previously made up the bulk of game-related transactions, but it has been on the decline in recent years due to the rise of digital distribution and mobile gaming. However, the importance of brick and mortar game stores as a place for gamers to gather and show their passion still remains. Furthermore, some retail purchases may come with collectible boxes and possible in-game items to attract customers over digital download.
Digital distribution or digital download is similar in practice to retail purchasing, but is different in venue. Instead of acquiring a game through a physical store, customers buy their games online and download the game’s data directly to their devices. Many games sold through digital download are distributed by means of a third-party service that functions in the same way as a physical store, selling a variety of games from many different developers in one location. Valve Corporation's Steam is an example of digital distribution platforms for PC gaming.
Subscription model is a business model where a game requires continuous, ongoing payments from customers in order to play the game. Games that utilize subscription often sell access in blocks of one-month increments or in multiples thereof. Once a subscription runs out or is canceled by a customer, their access to the game ceases or is reduced until they re-subscribe. This method is most often associated with games that require an online connection or services that require capital to operate on the part of the publisher or developer. An example of games that use subscription model is World of Warcraft.
Subscription service is, on the other hand, not a direct subscription to a game but a subscription to gaming-related services. These services may include, but not limited to, monthly games such as Humble Bundle, temporary access to game library such as Origin Access, and access to multiplayer online session such as Playstation Plus.
Microtransaction is a business model where aspects of a game’s contents can be purchased to enhance the game experience for the player. These aspects may range among new playable contents, in-game currencies, cosmetic options, and otherwise unavailable or restricted gameplay advantages. Traditionally, these purchases tend to be relatively inexpensive but numerous in variety. Microtransactions are often common in social and mobile games where potential customers may be hesitant to purchase a full game, but more at ease with smaller, yet more numerous payments.
Downloadable content (abbreviated as DLC) is a kind of microtransaction that expands the base game by providing additional contents. Depending on the game and publisher, a downloadable content may be a huge expansion that greatly impacts the game, or a series of smaller expansions. These expansions can be either skins, maps, story, or even a new game mode based on the main game.
Loot Box is a variation of microtransaction of which the rewards are random. The player has no control over the rewards they receive for paying in-game or real world currencies although the game often shows a list of possible loots that the player may get from the loot box. The content of the loot box may range from purely cosmetic items with no effect on gameplay, such as skins in Overwatch, to powerful items with a gameplay advantage that otherwise the player has to grind to achieve. Some games may require the players to rely on loot box system to obtain characters and items more heavily than other games. They are sometimes referred to as a Gacha game.
Player trading is a business model where in-game items and digital currencies can be traded between players on the game marketplace that allows the publisher to get a cut on transactions that players made. Most of the times,  The publisher can get a percentage from every transactions, like Steam community market, or from a difference between buying and selling price of the in-game currency, like World of Warcraft.
Advertising is a form of indirect monetization. Apart from aforementioned methods of monetization, indirect monetization generate revenue from other sources that does not directly come from the player. Most frequently, this is the placement of advertisements within a game; these may take the form of banner advertisements, commercial breaks in play, or product placement in the game. Games that rely on advertisement for returns usually are free-to-play or are cheaper than other games as their production cost has already been subsidized.
The video games industry continues to grow as it is expected to generate $138 billion U.S. dollars in 2018, showing a 13.3% increase in revenue from last year. In 2014, digital download model made up 52% of all game sales and overtook retail purchase, the long-time industry standard. Recently, many video game publishers have adopted the games as a service model where a game continues to generate revenue after its release. As a result, a game tends to get extended support and more contents post-launch so that it can be monetized via other methods in addition to retails and digital downloads, allowing the consumers to make the most out of their purchase.
However, since the method of monetization must be decided before the game production, it may affect the game's overall design and how players will interact with the game. Monetization trends like games as a service will shape how new games are designed, potentially making genre that are easy to monetize more popular than others. As a result, proper consideration of any strategy must be given during the design process. Improper consideration of balance between good game design and effective monetization can lead to either players feeling extorted by the game and its developers or a failure of the game to produce enough revenue for the game to turn a profit. In both scenarios, a game in question is likely to fail once on the market, the difference being whether it fails critically or financially.
On the other hand, the popularity of digital distribution decentralized the video games market and prompted the rise of indie games, video games created by independent developers without funding from a publisher. Indie games are generally known for their creative content that diverge from that of mainstream games. In order to fund themselves, many independent game developers raise money by crowdfunding. They can also use crowdsourcing to break down the cost of development by distributing the workload to self-motivated individuals. Another way for independent developers to fund their games is to release an unfinished game as an early access where the players may purchase the game at a discounted price before it is complete.
Microtransactions have recently become a popular monetization model in massively multiplayer online (MMO) games. Previous to this development, the majority of MMOs relied on the subscription model, where users paid a monthly fee to the developer for continual access to the game. Some MMOs have had difficulty in turning a profit under this model however, thanks to too few subscriptions to cover operating costs. This has prompted several MMOs to experiment with alternative monetization strategies, ultimately leading to the adoption of microtransactions. While some MMOs continue to operate under the subscription model, many now have moved to microtransactions to ensure financial stability. With this shift, numerous virtual goods and services in MMOs that may have previously been available through normal play under the subscription model now can only be obtained through real currency transactions and it was expected that the microtransaction model would continue to be used under this model. However, overuse or improper application of microtransactions can make the player base feel forced to pay money and discourage them from playing, while the underuse may lead to too few microtransactions taking place to support the game and its developers.
Indirect monetization has undergone a recent surge in popularity as well. Through a combination of the propagation of both smartphones and Indie developers, the mobile games market has flourished. Although it had only 18% share of the video games industry in 2012, mobile games account for 51% of the video games market in 2018. Due to generally lower development, marketing, and maintenance costs as well a large target audience of players, mobile games are able to survive on a smaller income than most other varieties of games. The process is risky, however, since mobile games may often be hit or miss in their success. Games that pull in large numbers of players do well thanks to their advertisement model while those that fail to garner wide appeal do not last long on the market. Some have also criticized games implementing the indirect model as many games are made under it that are of low quality, or are non-user friendly with their monetization methods so as to maximize their income at the expense of player enjoyment.
Although video game monetization benefits both the players and publishers, many people criticize that video game publishers are being too greedy, especially with microtransactions. In addition to the general comments that microtransactions make the original game feel like an incomplete game, there have been several cases when poorly balanced microtransaction made the players feel forced to make the purchase and, as a result, discouraged from playing. Star Wars Battlefront II is an example of a game that abused microtransaction by locking important aspects of the game behind an extensive grinding which can be bypassed by loot boxes, inciting a huge wave of criticism against its publisher, Electronic Arts. Moreover, the increasing popularity of loot boxes also led it to being viewed as a form of online gambling. As a result, many countries are revising their laws to address to this concern.
Before the 1980s
The tradition of video game monetization can be traced back to the monetization of real life games, before the existence of the computer. A game is usually constructed with players, tools and rules. The tools for the game were made by skilled craftsman, usually with valuable materials, as described in the history. Thus, selling game tools for money became an understandable business long before the development of video games.
The history of video games leads back to the 70’s and 80’s, when arcade video games become popular worldwide. Following the same sales model of the electro-mechanical arcade game, precedents were set from the first arcade game to cost a quarter per play, Periscope (arcade game), from the 60s, most arcade game machines are coin-operated. Players have to insert coins to play for certain time or certain lives. This can be classified as a type of microtransaction, and was highly successful during the golden years of arcade games. One of the most popular and influential arcade games, Taito's Space Invaders was reported to cause a shortage of 100-yen coins in Japan, 1978. By 1982, the game grossed $2 billion in quarters(equivalent to $7.26 billion in 2015), with a net profit of $450 million. When the Namco released Pac-man in Japan on May 22, 1980, it became immensely popular from its original release to the present day. Later, it became one of the highest-grossing video games of all time, having generated more than $2.5 billion in quarters by the 1990s .
With the development of computer technology, the home computer industry has packed with competitors from 1980. The home computers started to prove their gaming capability not long after they were introduced to the public, since they are able to run multiple game programs, and release the full potential of the hardware. Compare with arcade machine, people are able to switch between games and play at their homes. Although early computers were weak in compatibility,the IBM PC compatible platform became statetake overeover the fragmented market and ruling the PC game platform. On the other hand, the Third generation of video game consoles, represented by the famous NES console released in 1983, was able to help the north America game console market recover from the major crash during 1983 to 1985. From the 80s, video games on the market were mostly sell in the way of retail purchase. Although the home computers were not specialized in gaming, gaming consoles were. Most games had to be sold in physical mediums, such as a ROM cartridge, a floppy disk or even a Compact Cassette. For the game console users, buying the hardware cost extra money, but they had more choices on games and suitable input/output device designed for gameplay.
While old retail selling kept strong at 1990s, new way of game monetization emerged. The CD-ROM and other optical discs were taking the place of the cartridge, became the major medium of retail games. The development of web technology and bandwidth in the late 90s made many online games possible. The web based game Adventure Games Live revealed the possibility of the game running purely on a webpage, ever free of charge.
The handheld gaming devices were invented long before 1990s, but the Game boy was a milestone on portable game history. The remarkable game innovation in this decade created a series of game consoles and devices. Handheld game devices with no changeable cartridges were also widely sold. In those cases, buying the hardware and software went together. An example can be the Tamagotchi sold by Bandai from 1996.
In the first decade of the century, the game monetization was affected by the booming of the e-commerce, as well as hardware, software and other information technology developments. All kinds of online games and multiplayer games were connected through the faster Internet. The craze of MMORPG by made the subscription model a profitable way to support the game developers. Many browser games became free to play in order to attract more visits. At the early age of smartphones, mobile games were paid to download because there was usually no interface for a smartphone to install a physical copy. Standardization and the ubiquity of mobile platforms that allowed for easy purchases by customers, brought on initially by the iPhone App Store and followed closely by the Android Marketplace and other competitors, resulted in a wide spread move towards microtransactions and indirect monetization. After the social network became a big part of the Internet, more games started to take this platform as a way to sell or promote the game.
The 2000s also introduced the concepts of microtransactions and downloadable content (DLC). In 2005, Microsoft envisioned the ability to buy digital add-ons for Xbox 360 games through the Xbox Live Marketplace, allowing players to purchases specific content they wanted at a low price ($1-$5) rather than having to buy a more expensive complete expansion; this would thus provide alternative revenue streams to publishers. Though some content was offered before, this concept was cemented with the release of "horse armor" pack for Bethesda Softworks's The Elder Scrolls IV: Oblivion in 2006, and subsequently followed by many similar content packs over the next few years. While many player expressed outrage at the cost of what was decorative elements in-game, the horse armor pack was one of the top ten expansions that Bethesda sold for the game by 2009. Oblivion's microtransaction model was considered extremely successful, and was replicated in many other games that followed.
In the second decade of the century, game monetization models using microtransactions and indirect monetization, moved rapidly towards becoming a mature market. Game production moved from focusing purely on monetization models after competition for player attention became more intense. As a result, the industry has widely moved from a direct focus on monetization metrics in game design to focus on metrics such as player retention and daily active users. This can be visibly seen in the decline in valuations of several prominent free-to-play companies, as well as by studying the differences in game design for top free-to-play to games.
This approach is considered "games as a service", as analysts have found that players put more value in games that provide a regular stream of new content than a title that does not receive updated. This model helps to assure a long revenue stream from the publisher as well as to allow them to publish fewer games and reduce development costs while still providing new content to players, with the potential to profit twice as fast from the traditional model. This approach also helps to insulate publishers from impacts of discounts and sales on digital game redemption keys from third-party sellers by requiring additional purchase of content as part of their services to gamers. Digital River estimated that the industry's value in 2017 had tripled from previous years due to the use of the "games as a service" model. Take-Two Interactive, in an investor call in November 2017, reported that 42% of their revenues were from "recurrent consumer spending" in their latest financial quarter, obtained through the Grand Theft Auto Online component of Grand Theft Auto V, and the "MyCareer" mode of NBA 2K18, both which offer players additional content and activities over time. Take-Two anticipates they will be using this model going forward for future games. Ubisoft, around the same time, reported that revenue from microtransactions and other in-game sales exceeded their revenue from direct digital sales of games during the first two quarters of their financial year for the first time.
The use of online passes emerged in 2010, primarily as a means to combat the used game market. While publishers could not prevent players from selling and buying used games such as through the retailer GameStop, they discovered that providing a one-time code within a new game that was needed to access online features, they were able to secure more revenue from selling these online passes to players that had bought the game used. Electronic Arts (EA) had developed the idea of "Project Ten Dollar", attaching content to a code packaged with the game for its upcoming titles for that year, Mass Effect 2, Dragon Age: Origins, and Battlefield: Bad Company 2. Successful in this area, EA transitioned this towards limiting a player from online play without either having purchased the game new or purchasing its online pass for a used copy, adding this into their popular EA Sports titles, starting with Tiger Woods PGA Tour 11. EA justified this as necessary to support their online servers for these titles. Ubisoft followed suit with "UPlay Passport" system, followed by several other publishers. However, due to changes in digital rights management for the upcoming eighth generation of video game consoles and player complaints, EA ended its online pass program by 2013, with other publishers following within the next few years.
Simultaneously, the use of season passes to assure access to a large number of downloadable content items that were to be doled out several months after the release of a game become popular. Season passes were priced to offer the items at a total discount than buying them separately, aiming to draw in players to purchase the passes who would unlikely desire to buy all the content separately. This can be seen as equivalent as pre-ordering the downloadable content, often without knowing exactly what that content might be. Publishers were able to gain another retail revenue by selling "deluxe editions" of games that included the season pass as well as other bonus features. The first such season passes arose from 2011 with Rockstar Games' L.A. Noire, offering additional cases and costumes, and Warner Bros.'s Mortal Kombat, providing access to all fighters to be added to the game. EA followed a similar approach with its "Call of Duty Elite membership" for Call of Duty: Modern Warfare 3 that provided access to all of its maps planned for the following year.
Another monetization approach developed in the 2010s was the use of loot boxes. Loot boxes, which go by many different names, are earned by players as part of progressing in a game, can be purchased with in-game money or through real-world funds, or otherwise offered as promotional items; when opened (either freely or by purchase of a special "key"), they contain a fixed number of random in-game items, doled out based on a rarity system, and which may include both cosmetic items as well as gameplay-affecting equipment. Since loot boxes are designed as part of a compulsion loop in video game design, some players will be enticed to purchase more loot boxes with real-world funds, providing a further revenue stream to publishers. While loot boxes had been present in games prior to 2016, specifically from the Chinese game market and introduced to Western audiences through a 2010 update in Valve's Team Fortress 2, they were most visible as a result of the popularity and success of Blizzard's Overwatch in 2016. Loot boxes started becoming more common in full-price games, leading to several titles released in 2017 to be criticized for egregious implementations of loot boxes that were seen as anti-consumer, including Microsoft's Forza Motorsport 7, Warner Bros. Middle-earth: Shadow of War, and EA's Star Wars Battlefront 2. Because of their random nature, loot boxes are seen by some as a form of gambling, and several national governments have banned or regulated loot boxes under gambling legislation, or are looking to implement such legislation in wake of the loot box controversy arising from Star Wars Battlefront 2.
The fatigue over loot boxes led to a new monetization approach in the form of battle passes. Initially used by Valve's Dota 2, the battle pass concept was popularized by Fortnite Battle Royale in early 2018 and began to be used in other popular games. Battle passes provide a tiered approach to providing in-game customization options, all visible at the start as to avoid the randomization of the loot box approach, and requiring the player to complete various challenges and early in-game experience to unlock these tiers to gain the rewards; some games also provide means for players to use microtransactions to purchase tiers. Battle passes allow developers to roll in new content, encouraging players to purchase a new battle pass to obtain this content. Fortnite had proved a successful model, as while the game is free-to-play, microtransactions to purchase battle passes or to directly buy certain items have brought in hundreds of millions of dollars per month in revenue following their introduction.
- Olsson, Björn; Sidenblom, Louise (June 2010). "Business Models for Video Games". Department of Informatics, Lund University.
- Jeremy Liew (July 2, 2008). "29 business models for games".
- "Evolution Of A Channel: Gaming Retail". Twice. Retrieved 2018-11-01.
- Stott, Rob (2018-08-22). "Video Game Subscription Services are Confused, and it's Frustrating - Dealerscope". Dealerscope. Retrieved 2018-11-06.
- "9 Best Gaming Subscription Services: Which Is Right For You? | Cultured Vultures". Cultured Vultures. 2018-03-27. Retrieved 2018-11-07.
- "DLC: The Story of Gaming's Three Most Expensive Letters". MakeUseOf. Retrieved 2018-11-13.
- "The Marketing Power Of DLC | AList". AList. 2016-04-27. Retrieved 2018-11-13.
- "What Are Loot Boxes? Gaming's Big New Problem, Explained". Tom's Guide. Retrieved 2018-11-13.
- "Gacha: Explaining Japan's Top Money-Making Social Game Mechanism [Social Games] – Kantan Games Inc. CEO Blog". www.serkantoto.com. Retrieved 2018-11-13.
- "Gacha Games - Why Players Are Spending Thousands". Virtual Haven. Retrieved 2018-11-13.
- "Community Market FAQ - Documentation - Knowledge Base - Steam Support". support.steampowered.com. Retrieved 2018-11-13.
- "Introducing the WoW Token - WoW". World of Warcraft. Retrieved 2018-11-13.
- Fields, Tim (2014). Mobile & social game design : monetization methods and mechanics (Second edition. ed.). Boca Raton, FL: CRC Press. pp. 139 – 166. ISBN 978-1-4665-9868-3.
- Ell, Kellie (2018-07-18). "Video game industry is booming with continued revenue". CNBC. Retrieved 2018-11-28.
- Ipsos MediaCT. (2015). Essential Facts about the Computer and Video Game Industry. Entertainment Software Association. Retrieved November 29, 2015, from http://www.theesa.com/wp-content/uploads/2015/04/ESA-Essential-Facts-2015.pdf
- Schreier, Jason. "Top Video Game Companies Won't Stop Talking About 'Games As A Service'". Kotaku. Retrieved 2018-11-29.
- Nikita, Kononov (Spring 2015). "Monetization in games". Lahti University of Applied Sciences.
- "The Real Problem with 'Games as Service' Isn't Capitalism". WIRED. Retrieved 2018-11-29.
- Scott Rogers. 2014. Level up! the guide to great video game design 2nd ed., Hoboken, NJ: Wiley.
- "Indie Games Are On The Rise, Bringing Innovation and Creativity to Gaming". CryptoSlate. 2018-08-02. Retrieved 2018-11-29.
- "Monetization". Game Based Learning.
- Keith Stuart and Jordan Erica Webber (July 23, 2015). "16 trends that will define the future of video games". theguardian.com.
- "The monetisation challenge driving innovation in the gaming industry - Eureka". Eureka. Retrieved 2018-11-29.
- Krystalle Voecks. 2009. Redefining MMOs: The massive money of microtransactions. (November 2009). Retrieved 2015 from https://www.engadget.com/2009/09/11/redefining-mmos-the-massive-money-of-microtransactions/
- Juho Hamari and Vili Lehdonvirta. 2010. Game design as marketing: How game mechanics create demand for virtual goods. Int. Journal of Business Science and Applied Management 5, 1 (2010).
- Oh, Gyuhwan; Ryu, Taiyoung (2007). "Game Design on Item-selling Based Payment Model in Korean Online Games" (PDF). Situated Play, Proceedings of DiGRA 2007 Conference: 650–657. Retrieved November 16, 2015.
- "Global Games Market Revenues 2018 | Per Region & Segment | Newzoo". Newzoo. Retrieved 2018-11-29.
- Anon. 2013. Not Just Hype: The Rise of Indie Game Developers. (2013). Retrieved 2015 from "Archived copy". Archived from the original on December 8, 2015. Retrieved December 1, 2015.CS1 maint: Archived copy as title (link)
- "Microtransactions And Greed Are Ruining The Gaming Industry". The Odyssey Online. 2018-01-24. Retrieved 2018-12-05.
- Smith, Dave. "I miss the days when I only had to pay once for a video game". Business Insider. Retrieved 2018-12-05.
- Thier, Dave. "'Star Wars Battlefront 2' Review: The Empire Screws Up". Forbes. Retrieved 2018-11-29.
- Lum, Patrick (2018-08-16). "Video game loot boxes addictive and a form of 'simulated gambling', Senate inquiry told". the Guardian. Retrieved 2018-11-13.
- Steven L. Kent (2000), The First Quarter: A 25-Year History of Video Games, p. 83, BWD Press, ISBN 0-9704755-0-0
- Staff (January 2008). "Classic GI: Space Invaders". Game Informer. Game Stop (177): 108–109.
- "Making millions, 25 cents at a time". The Fifth Estate. Canadian Broadcasting Corporation. November 23, 1982. Retrieved April 30, 2011
- "Space Invaders vs. Star Wars", Executive, Southam Business Publications, 24, p. 9, 1982, retrieved April 30, 2011,
According to TEC, Atari's arcade game Space Invaders has taken in $2 billion, with net recipts of $450 million.
- Steve L. Kent (2001). The ultimate history of video games: from Pong to Pokémon and beyond : the story behind the craze that touched our lives and changed the world. Prima. ISBN 0-7615-3643-4. Retrieved May 1, 2011.
- "1990's The Rise of Video Games-Didi Games". Didi Games. 2014-09-25. Retrieved 2014-01-01.
- "A Little Moolah Goes a Long Way". Reuters. March 20, 2005. Retrieved October 11, 2017 – via Wired.
- McWhertor, Michael (January 30, 2009). "Top Oblivion DLC Revealed, Horse Armor Surprisingly Popular". Kotaku. Retrieved October 11, 2017.
- Williams, Mike (October 11, 2017). "The Harsh History Of Gaming Microtransactions: From Horse Armor to Loot Boxes". US Gamer. Retrieved October 11, 2017.
- Taylor, Haydn (October 10, 2017). "Games as a service has "tripled the industry's value"". GamesIndustry.biz. Retrieved October 11, 2017.
- Good, Owen (November 8, 2017). "Take-Two: 'Recurrent consumer spending' is the way of the future". Polygon. Retrieved November 8, 2017.
- McAloon, Alissa (November 7, 2017). "Ubisoft's 'player recurring investment' revenues outpace digital game sales". Gamasutra. Retrieved November 7, 2017.
- Satariano, Adam; Edwards, Cliff (February 9, 2010). "Electronic Arts: Lost in an Alien Landscape". Bloomberg Businessweek. Retrieved October 11, 2017.
- Thorsen, Tor (May 10, 2010). "EA's Online Pass required to play Tiger Woods 11 online". GameSpot. Retrieved October 11, 2017.
- Davenport, James (July 5, 2018). "Battle passes are replacing loot boxes, but they're not necessarily a better deal". PC Gamer. Retrieved July 5, 2018.
- Parker, Jason (May 24, 2018). "Fortnite tallied almost $300 million in April, with no signs of slowing down". CNet. Retrieved July 6, 2018.