手遊的成功之道(二):付費遊戲

手遊的成功之道(二):付費遊戲

原作者:Will Freeman 譯者:Willow Wu

在本篇你的可以瞭解到類似《紀念碑谷》以及Threes!這樣大熱門付費遊戲是如何成功的。(上一篇遊戲設計參閱鏈接

在不久之前,有部分遊戲行業分析人士預言說付費遊戲要‘沒活路了’。在F2P遊戲成爲手遊行業的新寵後,很多人就將付費遊戲的價值拋到腦後。2013年之後,付費遊戲經歷了風生水起的一年,各大商店平臺又將付費產品放在最顯眼的位置上了,2014年中最受好評、最成功的幾款遊戲都是付費遊戲,而且其中許多都是用Unity引擎製作的。要說現在的移動市場已經不適合付費遊戲還爲時過早。

Monument Valley(from gamesindustry.biz)

Monument Valley(from gamesindustry.biz)

就比如Threes、《紀念碑谷》 以及《未上鎖的房間》,這三款遊戲和其它許多用Unity引擎開發的遊戲都證明了這個開發平臺的實力。如果你好奇他們的成功究竟到了何種程度,不妨來看看《紀念碑谷》製作團隊ustwo公佈的最新數據:正如圖表所示,這個精緻的等距式解謎遊戲使用的是Unity引擎,歷時55周,花費資金85.2萬美元。繼官方售出240萬份之後,《紀念碑谷》盈利達到了585多萬美元。

遊戲在谷歌商店、蘋果商店以及亞馬遜發行,在首日就獲得了了14多萬美元的收益,有81%的收入來都自iOS平臺,這還得歸功於Unity的跨平臺優勢。對於一個八人開發團隊來說,這算是相當不錯的成績了,尤其是考慮到他們在開發初期還有些評論人士在預言付費遊戲的滅亡。

對於其他Unity遊戲開發者來說,你們應該慶幸ustwo能給出這麼慷慨的建議。Neil McFarland是遊戲的項目主管,他說:

“我覺得作爲一個開發者,你必須明白你的遊戲是不是能夠匹配上付費設定,遊戲中有沒有包含免費遊戲慣用的那些煩人的賺錢手段。所以這就意味着一個付費遊戲應該是從一開始就有非常好的、與衆不同的遊戲體驗。”

“你的遊戲講了什麼?”“你爲什麼要這麼設計?跟其它同類遊戲相比,它有新奇之處嗎?或者它有沒有比其它遊戲做得更好?這個遊戲到底值不值得玩家花錢?如果你的答案是肯定的,那麼你應該有很大機會能得到平臺負責人的推薦。這些人看中你的遊戲是出於商業角度,而你作爲這款遊戲的創作者是值得這份酬勞的。”

除ustwo之外,還有其他團隊也願意跟廣大Unity用戶分享成功經驗。Asher Vollmer是Sirvo工作室的一名遊戲設計師,他們的Unity解謎遊戲Threes! 在2014年取得了爆炸性的成功,還贏得當年的蘋果應用設計大獎(同樣使用Unity開發的《紀念碑谷》《手指畫線》(Blek)以及Device 6也是當年的贏家)。“我覺得要做出一個獵奇、有趣、能賺錢的付費遊戲比做一個同樣類型的免費遊戲容易多了,”這就是爲什麼Vollmer傾向於付費遊戲。

“如果是免費遊戲,你可能會因爲放錯焦點而失敗——比如說你關注的是如何做出一個好遊戲,但其實你應該關注的是如何搭建遊戲中的經濟體系,想辦法讓玩家氪金。

“如果你做的是付費遊戲,搞清楚你的目標受衆是非常關鍵的,”他補充說,“我覺得這就像是‘優秀遊戲設計原則第一條:瞭解你的遊戲,瞭解你的目標受衆。’付費遊戲的用戶定位和免費遊戲是不一樣的。你要思考這其中的區別,利用起來。”

另一個工作室也認同這種觀點,它就是Fireproof Games。如今他們依然憑藉着Unity付費遊戲在市場中蓬勃發展。《未上鎖的房間》系列預計將會在2015年春季發行第三部續作,由這個英國團隊開發的同系列前作也是付費遊戲,而且備受好評。

Fireproof Games的總監&合作創始人Barry Meade解釋說:“付費遊戲的設計方式當然不是固定的,但是有些東西是一定要有的,不能忘記:你的腦中必須要有商業意識,意思就是你要清楚你爲什麼做這個遊戲,換句話說就是用戶爲什麼要買這個遊戲。它填補了市場上的某個空隙嗎?或者它是個容易上手、極其有趣的遊戲,大家都想玩?又或者它是個全新的遊戲,獨樹一幟?”

不管怎樣,“喜歡這個創意”距離“把它做成付費遊戲”還有很遠的一段距離。而且,從某種程度上說,遊戲還需具備能創造經典的能力。

“在Fireproof,我們會一致認爲新鮮感是很重要的,”Meade繼續說,“在執行的過程中一定要有個聰明人,而且要在一定程度上達到‘這個遊戲別人做不出來’的效果。如果有人告訴我說把項目做成某某遊戲那樣,那我肯定不會聽他的。”

如果你計劃發行一款手遊,完全不考慮免費遊戲也是不理智的。F2P仍是移動行業的一種主流趨勢,雖然我們有時會看到某些公司的用戶獲取以及留存成本日益增加,數字高得嚇人,但免費遊戲依然可以爲各種規模的工作室帶來收益。

幸運的是,Unity用戶在遊戲的商業模式選擇上不止一種。這還要多虧了Unity引擎的跨平臺優勢,開發者們可以在不同平臺推出不同版本的產品。

Rebel Twins是一家成立於2012年的波蘭小型工作室,他們開發的《老爸曾是小偷》(Daddy Was a Thief)在安卓和iOS平臺上都獲得了成功。其中有一部分原因是這個遊戲既是收費遊戲也是免費遊戲。意思就是它在iOS平臺是收費的,在安卓平臺是免費的;Rebel Twins利用Unity根據不同平臺制定了不同的商業模式。

Rebel Twins的藝術總監&開發者Cezary Rajkowski說:“我們不喜歡F2P模式和雙貨幣體系,這會對遊戲玩法產生負面影響。不幸的是,付費遊戲在安卓平臺很難賣出去。因此,考慮到安卓用戶的習慣,我們將這個遊戲轉爲包含廣告的免費遊戲。我們儘量避免安卓版本的遊戲和iOS版本之間的過大差異,所以遊戲中只有一種貨幣,你只要玩遊戲就能陸續解鎖其它的內容。”

這種模式對Rebel Twins來說效果不錯。它也爲工作室帶來了330萬下載量,到現在,遊戲仍擁有60多萬的活躍用戶。那Rebel Twins在市場營銷、用戶獲取、推廣等等方面花了多少錢呢?答案是零!我想,無論你的工作室是做免費遊戲還是付費遊戲還是兩者都做,你都希望能像Rebel Twins這樣能在有限的預算下收穫傲人的成績。

本文由遊戲邦編譯,轉載請註明來源,或諮詢微信zhengjintiao

In the latest in our series of blog posts bringing you insights from Unity users that have that have thrived in the mobile space, the experts behind games like Threes and Monument Valley explain how to succeed with premium.

It wasn’t long ago that some games industry analysts were predicting the ‘death of premium’. At a time when free‐to‐play was a new frontier for mobile games development, many were quick to forget the merits of the paid‐for game. Now, after rumbles in 2013 that gained momentum throughout the following year, premium should not be discarded yet in the mobile space. Platform holders are again putting premium titles front and center of their app stores, while some of the 2014’s most critically acclaimed, successful titles came with an upfront price tag.

And a lot of those games were made with Unity. Threes, Monument Valley, The Room 2; these and many others prove both the potential of free, and the power of Unity as a platform for building a free‐to‐play mobile success story. If you want a sense of just how successful, look no further than the latest figures made public by Monument Valley studio ustwo; a team that have never been afraid to share their data. As detailed in the London outfit’s recently published infographic ‘Monument Valley in Numbers’, the refined isometric puzzle game was built using Unity in 55 weeks, costing the studio $852,000 dollars. 2.4 million official sales later, Monument Valley has generated $5,858,625 in revenue.

81 per cent of Monument Valley’s revenues came on iOS – the game was also launched on Google Play and Amazon; a feat made simple by Unity’s cross platform strengths – and made $145,530 in its first day. Not bad for a title made by a team of eight developers who began work on the game when some observers were still predicting the demise of premium priced games.

Fortunately for their fellow Unity users, ustwo are as generous with their advice as they are with their numbers. Neil McFarland is Head of Games at the studio, and he has some tips for Unity developers with a game that they feel might suit premium.

“I think a developer must understand whether or not their game holds a premium offering; if in fact it is offering content or experience that needs to be free from the pestering a freemium title must insert,” suggests McFarland. “So that means that a premium game should be considered in terms of making a really good and valuable experience right from the start.

“What is your game saying?” continues McFarland. “Why are you making it? Is it different from or better than similar games and therefore valuable to the player? If it is these things then you should stand a good chance of being promoted by the platform holders. They value these experiences because they sell their products and you’re justified in thinking you should be paid for producing the game.”

And ustwo isn’t alone in its willing to share the experience of mobile success with the wider Unity community. Asher Vollmer is a game designer at Sirvo, which saw its Unity‐built tile puzzler Threes! explode in 2014, scooping an accolade at the Apple Design Awards (during a ceremony packed with premium Unity‐made winners, such as

Monument Valley, Device 6 and Blek). “I think it’s much easier to have a weird creatively interesting game that’s premium that makes a profit, than to have a weird creatively interesting game that’s free [and makes a profit],” says Vollmer on why he feels premium appeals.

“With free you can fail if you focus on making a game good instead of making a good in‐game economy that people can spend infinite money on.

“Knowing who your audience is important if you’re going premium with you game,” he adds. “I mean, that’s a pretty good, fundamental ‘rule number one’ for good game design. Know your context and know your audience. When you make a premium game your audience is going to be different from when you make a free game. You should think about that audience, and take advantage of that distinction.”

It’s a sentiment expressed by another studio continuing to thrive through premium with Unity‐made titles. Fireproof Games’ series The Room is presently set to continue with the anticipated launch of the third installment in spring 2015, following two hugely well regarded premium releases from the UK team.

“There’s no one way [to design premium games] for sure but, there’s a few things we’d bear in mind,” explains Barry Meade, Director and Co‐founder at Fireproof Games. “Your game must be commercially aware ‐ that is, know why you’re making it, or in other words, why an audience might want it. Is it answering an un‐served niche ripe for the taking? Or is it a very fun and accessible game anyone would like? Or maybe a brand new game, a genre of its own?”

Regardless, says Meade, it’s not enough to make an idea into a premium title just because you like it. Instead, it has to be best in class in some way.

“I think at Fireproof we’d all say novelty is important here,” continues Meade. “There must be a cleverness to the execution and in some ways it should be a game only your team could make. I certainly wouldn’t listen to anyone telling you to copy other game styles.”

Of course, it would be rather unwise to disregard free‐to‐play all together if you plan on releasing a mobile game. It remains a dominant trend across mobile development, and despite some headline grabbing statistics about user acquisition and retention’s increasing costs, free can still work for teams of everysize.

Fortunately, Unity users need not always commit one way or the other with their game’s business model. That’s because of the simple fact that the engine’s cross platform advantages don’t demand target platforms each receive an identical version of a given title.

Rebel Twins is a small Polish studio founded in 2012, which has seen its hit game Daddy Was a Thief prosper on both Android and iOS mobile phones for some time. Partly, the success came from the fact that the game is both freemium and premium. That is to say, it is a premium title on iOS, and a freemium release on Android; a simple result of the studio identifying an opportunity in using Unity to adapt their business model to suit each platform.

“Daddy Was A Thief is a paid app on the App Store,” says Cezary Rajkowski, Rebel Twins Art Director and Developer. “We’re not a huge fans of freemium models and dual‐currency systems which usually ruin gameplay. Unfortunately premium game sales are almost non‐existent on Google Play. That’s why our particular focus is on free games supported by ads for Android users. We tried to be fair so there is only one in‐game currency and you can unlock everything by just playing.”

It’s a model that has worked well for Rebel Twins. By offering a paid version and a player‐friendly free version, the studio has seen its game downloaded over 3.3 million times, and to this day enjoys well over 600,000 active users. And the total Rebel Twins spend on marketing, user acquisition, advertising and so on? A wholesome zero dollars; a figure any studio should like the sound of, whether they are opting to go with premium, freemium, or both.(source:unity3d