如何在用戶生成內容的新時代裏獲得成功

作者:Joost van Dreunen

突然變成主流的獨立開發,cosplay,遊戲模組,遊戲視頻內容都重新激活了用戶控制的概念。

因爲所有人都需要爲越來越多遊戲,相關視頻,評論,附件,升級和擴展內容的出現負責,所以似乎宣稱現在是玩家生成內容的新時代再合適不過了。如今單單遊戲視頻便能夠創造38億美元的收益。

然而用戶生成內容並不是什麼新鮮內容。自從媒體從一對多的模式轉向數字化的多對多模式後,我們便經常能在網上看到一些業餘內容創造者。

真正新鮮的是在數字經濟中,任何人都能夠開發,發行並銷售內容,而現在的粉絲經濟也成爲了一種可行的業務模式。

當然了,我們之前也聽過消費者被稱爲製作人,聯合創造者,或者“專業消費者”。在這個數字時代裏,那些忙於定製角色並優化角色裝備的用戶將特別適合我們去創造並消費。

實際上創造玩家與遊戲之間的情感聯繫已經過時了,任何玩過基於鉛筆的《龍與地下城》遊戲的人便能夠證實這點。角色就像微型版本的玩家,如你的《神奇寶貝》的橋牌,《我的世界》的宇宙以及《模擬城市》都能夠表現出你是怎樣的人。

這將不斷壯大你的網絡庫存。而爲了在這裏找到你喜歡的東西,你就需要標示的幫助。像Steam等平臺便不斷致力於完善其規則去幫助玩家更方便地找到自己喜歡的遊戲。

還有一種幫助你找到一些有趣的內容的方法,那就是追尋名人的足跡。最典型的便是Felix Kjellberg(PewDiePie)。而他成功的關鍵便是做真實的自己。就像在面對有人揭露他在2014年賺了740萬美元時,他選擇公開自己的真實收入以闢謠。

就像Ross Miller在The Verge上所說的:“不管你怎麼想,就像許多YouTube上的名人一樣,他的成功並不只是關於玩遊戲,還在於他與用戶之間的互動。而如果沒有代理,新聞稿或其它中間人,他便只是在點擊記錄而已。”

在新興的玩家市場中真正重要的便是真實性。

從正面影響中獲得學習

如果你在E3期間參加了藝電的會議,你便能夠理解真實性有多強大。

我們總是能夠理解擁有數十億美元資產的上市公司在向國際用戶展示其最頂級團隊時總是想要減少誤差的原因。說實話,對於許多企業環境中出色的演講者來說,能夠幫助一些大公司看清自己的目標比接近消費者更加重要。

所以對於商業演講的完美斷音讓一些非商業人士感到堂皇也就沒什麼可驚訝的了。不管是不是故意的,藝電通過表現出《Unravel》背後創造性人才的謙遜態度而拯救了其新聞發佈會。這也讓《Unravel》成爲了E3期間人們最常討論的一款非AAA級遊戲。

從過去的成功中脫離出來

markus(from 21cn)

markus(from 21cn)

微軟以25億美元收購了Mojang成爲了最佳頭條以及產業的的最佳新聞。然而Markus ‘Notch’ Persson有着自己的打算。

該公司網站上是這麼寫的:“Notch已經決定不想要承擔擁有這麼一家全球性公司的責任。在過去幾年裏他一直嘗試着想要致力於更小的項目,但是作爲《我的世界》的擁有者這一壓力變得越來越沉重了。所以對於他來說唯一的選擇便是賣掉Mojang。不過不用擔心,之後他也會繼續製作一些很酷的內容。”

爲了製作一些“很酷的內容”,甚至連世界上最成功的獨立開發者也要擺脫那些讓自己變得出名的東西。在此我們吸取了一大教訓:隨着玩家生成內容的供求不斷增加,不管是大公司還是新人都需要掌握同樣的成功祕訣,即做自己。

而這也是我一直期盼的娛樂類型。

本文爲遊戲邦/gamerboom.com編譯,拒絕任何不保留版權的轉發,如需轉載請聯繫:遊戲邦

Keeping it real: How to follow Notch and PewDiePie’s example

By Joost van Dreunen

The sudden rise into the mainstream seen in indie development, cosplay, modding and gaming video content has re-energised the notion that users are in control.

As average people are responsible for a growing amount of available games and related videos, commentary, add-ons, upgrades and expansions, it seems appropriate to declare a new era of gamer-generated content. The market for gaming videos alone now generates $3.8bn.

User-generated content, however, is not new. Ever since media first moved away from an analogue, one-to-many model to one that is digital and many-to-many, amateur content creators have been sharing online.

What’s new is that in a digital economy in which anyone can develop, publish and distribute content, fan economics are now becoming a viable business model.

Sure, we’ve heard it before that consumers are now producers, co-creators, or, worse, “pro-sumers”. In this digital era, it should go without saying that an audience such as gamers, which busies itself with customising avatars and optimising character loadout, is particularly well-suited to create and consume.

In fact, it’s a really old-fashioned way of establishing an emotional connection between players and a game, as anyone who’s played pencil-based D&D can attest. An avatar is a miniature version of you, just like your Pokémon deck, your Minecraft universe and your SimCity all express who you are.

This constantly growing online inventory of things to watch, listen to or play is hugely overwhelming. To navigate it and find the things you like, you need guideposts – markers that help you identify things that match your interests. A platform like Steam is continuously working on improving its algorithm to help you find games you’ll like.

Another way to find the ‘cool’ stuff is following celebrities. The most obvious one is Felix Kjellberg (PewDiePie). The key to his success has been to simply remain true to himself. Case-in-point: his response to criticism following the revelation that he had earned $7.4m in 2014 was widely distributed as evidence of how truthful he was.

According to the Ross Miller over at The Verge: “Love it or hate it, his success – like so many YouTube personalities – isn’t just in playing games but actually connecting with an audience. No agent, press release, or any other intermediary. He just hits record.”

The real currency in this emerging gamer market is authenticity.

Learn from the pros (by not becoming one)

If you watched the EA conference during E3, you understand the power of authenticity. Following the usual blur of superlatives, all meticulously delivered by execs in Armani suits, an awkward static energy started to build up as the various company men insisted on referring to themselves as ‘game makers’.

Understandably, a billion-dollar publicly traded firm wants to reduce the margin of error when presenting its top-level team to a live, international audience. And, in fairness, for many of them being a strong speaker in a corporate environment, able to help a large organisation see their vision, is more important than seeming accessible to consumers.

So it’s no surprise that a flawless staccato of biz speak generates tension in a crowd of non-business folks. Deliberate or not, EA saved its press conference by switching to the modesty of the creative genius behind Unravel. It felt like a release from all the corporate electricity and, following this moment, Unravel became one of the most talked about non-triple-A games at E3.

Getting out is what it’s going to be about

When Microsoft acquired Mojang, most honed in on the $2.5bn it had been willing to shell out. These amounts make for great headlines and even greater industry gossip. But Markus ‘Notch’ Persson had other plans.

A statement on the company’s site reads: “[Notch] has decided that he doesn’t want the responsibility of owning a company of such global significance. Over the past few years he’s made attempts to work on smaller projects, but the pressure of owning Minecraft became too to handle. The only option was to sell Mojang. He’ll continue to do cool stuff, though. Don’t worry about that.”

To make ‘cool stuff’, even the most successful indie in the world needed to rid himself of the very thing that made him famous. In it, we find a lesson: as supply and demand for gamer-created content grows, the rules that govern success are the same for big firms and beginners alike: be yourself.

That’s the type of entertainment I look forward to.(source:develop-online)