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Tag: insight

A forest

Published by Paolo on 09/05/2024

When I walk in a wood, I focus my attention on the path and stop to admire the trees. Some of them are like monuments, they grew a lot. Fantastic!

Then I discover maybe a little mushroom that has grown during the same night. That mushroom will last a few hours or a couple of days.

I don’t give too much attention to the little herbs, the underwood that’s everywhere. It’s common behavior, I think. Still, they are an important part of the view and the smell that I get from the experience.

The fact is that the big tree exists and it’s big thanks to the whole biome which permits that. It’s impossible and surreal to think in a forest made out only of trees with no herbs.

The underwood is fundamental to the ecosystem, it’s what permits the big trees to be big in the first place. And the underwood can grow up to a certain point, that’s a quality, not a limitation.

If we want more trees and a bigger forest, we should let the underwood spread more and not cut it off just because it’s not tall enough.

Dreaming of Switch 2

Published by Paolo on 08/05/2024

Nintendo said that during this fiscal year, they will announce Switch 2. As far as I remember, this is the first time that Nintendo has put a number on the previous one. That makes me think that they will not innovate that much, this time.

But maybe I am wrong, and I imagine which improvements Nintendo can bring to their business.

The first thing is that their controllers, influenced by the competitors I don’t know, got very complicated. We passed from the cross and two buttons to 2 sticks, a cross, 4 frontal buttons, 4 retro buttons. A simpler control system will make more people want the console.

What if my Switch 2 is also my mobile phone? I would buy that. A mobile smartphone capable of running WhatsApp, and LinkedIn and making my work that is also the console I can play with my daughter. A smartphone that I can plug on my projector and play bigger.

Being a smartphone, a camera can add AR features to games.

And maybe they could try to bring back the Gameboy printer why not?

Happy 25 April, you all!

Published by Paolo on 25/04/2024

Today is a special day for the nation where I was born. 25 of April represents the Anniversary of Italy’s Liberation. It’s a national holiday that commemorates the culmination of the liberation of Italy from German occupation and the Italian civil war in the latter phase of World War II.

Today I want to dedicate a post to 3 Italians who are contributing to making a great industry. I want to share with you 3 talks that are available for free and online, that prove the Italian contribution to our fantastic micro-world where lots of people would work.

The first talk is by Riccardo Zacconi, who years ago founded King (nowadays part of Activision/Blizzard). I remember having seen this talk years ago and it made me dream about working for King.

The second talk is an interview with the solo-dev, creator of Vampire Survivors one of the top indie games of last year. Luca Galante created a simple game with lore that is not possible to understand if you’re not an Italian, but it’s SO FUNNY if you are. Clerici, Dommario, Rottin’Ghoul are all references to the Italian trash culture and irony.

The last talk is with Massimo Maietti, one of the creators of Monopoly GO! which is the last huge success in the video games industry. I like to recognize in this person something very Italian, the connection we always make with culture and history in everything we make.

What the 3 have in common?

  • They are all Italians
  • They all had to live out of Italy
  • They made success in Angloamerican environment (curiously the Angloamericans helped a lot during liberation)
  • They all came from gambling games, like me. I will always say it: gambling games can be bad to you, I respect that. But they put you in contact with something very innate in the human compulsion. It’s all about amigdala!

Happy World Book Day

Published by Paolo on 23/04/2024

Someone is claiming that AAA is dead when in fact is quite the opposite. AAA games are still driving the vast majority of revenue.

AAA development is struggling, though. I have never had the pleasure of working on a AAA game. That’s because every time I applied to an AAA company the answer was that my resume didn’t show AAA experience.

One of the good things about mobile free-to-play, instead, was the inclusion of professionals also from outside of the games industry. I had personally the pleasure of working with marketers, product managers, and UX designers coming from the world of apps, fintech, and so on. That created an explosive new opportunity where also AAA professionals come to work.

Endogamy creates struggles. Specialization is good also because it opens the opportunity for generalists, people with broader knowledge, to enter into the “game” and create disruption. Why are we often closing those new windows?

AAA development is struggling with endogamy, in my humble opinion. And mobile f2p is starting to follow the trend, too. When you have markets with high risks and high possible returns, often experience can be a setback. We need more opportunities for people with different backgrounds.

We need frogs that go deep, hedgehogs that go straight forward, but we also need birds that can see the horizon, and foxes who can spot different patterns in the forest.

A great book that demonstrates this thesis is “Range: How Generalists Triumph in a Specialized World”, by David Epstein.

ATTPP a new KPI

Published by Paolo on 15/04/2024

Many companies take one assumption for granted: regulars, people who play every single day, are the most willing to spend. This has always been said to me and I have never questioned it. The number of regulars, or its percentage, it’s an important indicator of the success of a service.

This leads the whole team to craft things to convince more and more people to become regulars. Many of them are dark patterns, which work in the short term. Never seen any study on the impact on the long term, of course. Game development is not science, it’s business after all.

This information comes from product and marketing. Companies invest money in advertisements to get a concrete return. Return On Advertisement Spending, ROAS.

Today I want to challenge that. To me, it’s impossible (read a miracle, too) to achieve success without good marketing. Marketing is important to identify an audience and its dimensions as well as make the product arrive at them.

However, the reasons for failure relate very often to game design and production. You need good game design and production to build on the right motivations.

In f2p every time I balance an economy I do it starting from minutes as the basic unit for fun. I have never seen in my entire professional life the ATTPP, Average Total Time Per Player as KPI.

The total time an average Player plays your game before quitting should intuitively be the most important thing to measure!

In my view, measuring that will shift the focus towards the fun. Maybe not a good strategy for big successes, we have best practices for that. Still, a good measure for when things are still small.

Progress and difficulty

Published by Paolo on 12/04/2024

I am reading a paper on personalized difficulty in games and I see this graph:

The graph shows clearly that the probability of playing tomorrow depends on how many levels (amount of progress) you beat today.

At GDC24 one of the talks showed this graph:

Kills in 10 matches of a FPS will influence the probability of playing again.

What can we learn from here?

  • Theory of Flow is always valid
  • It’s about the Player: the player of your game should feel good enough and progressing enough. It’s about them, not you!
  • You need to deeply understand the elements of friction, goals and mechanics that shape up the difficulty of your game.

The present of videogames

Published by Paolo on 11/04/2024

In 1998, me and my brother were waiting outside of a video games shop, in Naples. The owner promised us on the telephone that the game would have arrived for the opening, the next day.

The game was “The Legend of Zelda: Ocarina of Time”. Its cost was 120k lire. With the inflation and everything, today would have a cost of 100,52 euros – source

The game was made by a team of more than 200 people and a budget of over $12 million. – source

Today, games with that level of quality have a higher budget and are sold for less money. That’s because of a lot of factors, it’s not simply one reason or another.

Videogames yesterday

In 1998 video games were one of the things that shaped our future as persons. Playing The Legend of Zelda was a life-changing experience. And it was much easier for that Nintendo 64 in our room to catch our attention. We had no smartphones and no socials. We had guitars, a PC with a weak connection, school books, and lots of board games.

The controls of that game were simpler than the controls of the vast majority of AAA games nowadays. The console was offline, you had the game running in less time than today with your PS5. Everything was so simple and so memorable.

Videogames today

Today we have two main challenges, as game creators:

  • The discoverability of our games. There is no friction anymore in making and releasing a game.
  • Games are not the super hot thing anymore. Today there are many drivers of culture, influencers and streamers for instance.

I remember when I read about Zelda on Megaconsole, an Italian zine dedicated to Nintendo games. Nowadays, people have no right to focus on a single article without getting spammed by lots of ads and notifications of sorts.

Combat, puzzles, exploration: the promise was unique. Today, I see Zeldas over and over

I remember my eyes popping out of my head when I saw Soul Calibur running on an imported JAP Dreamcast in front of my eyes. The effect is not the same when you watch trailers on YouTube. Games have lost that spark they had when they were pushing the technology and the boundaries.

How to fix that wicked problem?

The future of video games passes by offering Players real life-changing experiences. Players should come out of a game better than they entered. This passes by really curating the content somehow.

At least, that was the promise. Try to sell a game for 100 euros these days, and see what the people will write about your prices. Why? Because of the value they give to the games today, compared to the value we gave them in the past.

Virtual shops should focus on leaving to the influencers the curation of their content. Imagine opening Steam and having tips from the streamers you love. That’s probably the first step. Steam and other shops should never filter people out, but it would be great for everyone to have a reliable curation of content.

But also we, designers and developers, should try to only push out things that matter at least to us. When I meet someone working for a company with a proper contract, too often I see a bored person who is just doing a job.

We have lost that push that differentiate our sector. We need more passionate professionals, preferably with a broader range of skills. We need to build games on top of what can really improve the life of people through fun.

I am not sure that would solve the issue, but if Players are able to find their games and these games will change their lives a little, also with a simple smile, that’s the way to me.

Game design is facilitation not tactics

Published by Paolo on 10/04/2024

Game design is not a narrow world with stable structures. It is an activity where you cannot apply tactics and win the game somehow. You need to think broadly. You need to understand the culture and the past of the genre you are working on. You need basic psychology knowledge to understand human motivation.

That’s why it’s so hard to build and keep a video game company. The successful ones in the past managed to change things, reading the needs and the behaviors. Today you can recognize a bad company since the hiring process.

When a company sends you a technical test, they want to see if you know the formula. They have no time (they think they don’t) to interview you properly. To me, a designer needs to receive a technical test: but live!

That’s because game design is not about tactics. I mean, good game design. The issue is that when a company is led by business people, as it always happens, they look for formulas. They want to just express their vision and you, the designer, apply the right formula to move the project forward. And then the game reaches poor results, but it’s a market issue, Apple changed the rules, and so on.

Good game designers are professionals who know how to walk into the adventurous world of game development. We are facilitators, we facilitate the act of game design among a team. We want to change the culture, somehow.

When you call us just to make money, well… you get the kind of game designer that later in the career becomes a product manager. Nothing bad, of course, it’s just that I don’t fit in all this story.

Hyper-casual is still an opportunity

Published by Paolo on 08/04/2024

The hyper-casual business model is dead, but I believe that hyper-casual games are still very attractive. The real challenge is to find a suitable model for these games with little friction and complexity.

During the golden years of hyper-casual, the gold rush pushed many people to forget the basics of game design. With a couple of clients, I have seen in first person the sloppiness of businesses in making games.

One game per week was the mantra. Just do it! Test the CPI. D1 retention is too low: out! Next one!

This is not how good games are made, of course. I believe that hyper-casual games met the need of lots of Players but then they didn’t understood them. The business model is dead because of this lack of empathy. This in the name of fast earnings.

False promises

The promise of hyper-casual was to have an instantly playable lightweight games. A snackable, high engaging experience based in low perception effort. This translates into a high retention at the start.

But then the games are filled with ads with no specific connection with the game itself. At the same time, the experience is not refined after the first days. The result is a drop in players. Imagine, you spent actual money to make the people install your game. And they go after a while.

Companies started to make everything to lower the acquisition cost and increase the ads seen per player. That was the first, and wrong, solution to the problem. The good approach, instead, would have been starting from understanding how to serve better the Players.

The second issue with hyper-casual games have been that they were very easy to clone. The mechanics were so simple to copy. Probably, a competitive advantage would have been to focus on mechanical friction hard to imitate. To make an example, souls-like games are hard to make. The same is valid for good match-3 games.

When a game is boring is because the mechanic has no deepness, or that its deepness has not been explored enough. This causes to the game to be repetitive, and so Players will quit.

The solution to this challenge is to start from the passion for games and social engagement that part of the hyper-casual players had. Look at this data:

You can see that Players are also playing more complex and online games. This is indicative that something can be done to properly serve them without treating them like ad-watchers, clockwork orange style.

Starting from where they love, the games they play and simplify them. Try to find the essence of battle royale, arcade, role playing games. That would have been a success.

  • Is it necessary to have a different character for every silly minigame? Maybe the Player can have a chosen group of avatars represented in different behaviors and mechanics.
  • Which mechanics from hardcore games can be synthesized in a simple game?
  • The game can open in more complex mechanics based on different frictions: start from the mechanical, but then add informational or strategic.

I used two old reports from Facebook and Pangle+Newzoo to make my reflections. Images are taken from there.

The future of AAA

Published by Paolo on 05/04/2024

AAA is a marketing term. And what happens with marketing terms is that they are repeated so many times that they end up infecting also development. Expectations on AAA games are very high, in revenue and design terms.

To me, AAA means games with push-the-boundaries-high quality, extremely good game feel, and long duration. Two messages are spreading fast these days:

  1. 61% of PC/Console players choose 6+ years old games
  2. AAA development is too expensive and we need smaller games

Both messages are true, I guess. But you can read them also in a dangerous way. It’s a matter of “taste” somehow.

Small games are great. If I were to start a new company I would choose something small and grow from there. But video games are mediums not just to convey a story/experience. They are born to push the boundaries and show the technical capabilities of computers. For instance, I own a PS5 and I have zero games that are showing off its potential. Zero, probably the best game I have technically speaking is Horizon Forbidden West, and it was the first game I got with the console. I didn’t purchase a PS5 to play a JRPG made with RPG Maker, sorry about that.

People still buys high quality games

High-quality games have a market, players love games made with details and authorship. The issue lies more in our productivity as game makers since the overall software world is declining.

You should see this!

We should fight for more quality and more productivity, not less ambition. We should start from simpler abstractions because much knowledge is getting lost in the name of being “faster”. Faster doesn’t mean more productive, generally speaking.

  1. Players choose classics because of many factors. I identify 3 of them:
  2. Classics are highly available thanks to 2nd hand, massive discounts and subscription services
  3. Classics tend to have higher quality (in terms of software quality, less bugs) than new releases
  4. Also the game design slowed down in innovation, so that <GameTitle>7 is not that novel compared with <GameTitle>6. So, if <GameTitle>6 costs 10 euros and chapter 7 costs 70, guess what I’ll play?
  5. Over time, the familiarity with titles grows. We like something the more we see it.
  6. Improvements on technology have slowed down. A new title for PS5 is not that different from PS4 as it were between PS and SNES.
  7. The more games Players will have, the bigger chances to play old ones
  8. Game production has been affected by the post-COVID effect

I am positive, I believe we have all the tools to come out from the limbo. But we have to work on it, and maybe this crisis we are living in will bring good opportunities in this sense.