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Global gaming developed rapidly and exploded in 2020 as part of an epidemic that kept people in their homes and continued to enjoy an increase in popularity. Experts are hoping to eliminate the Covid-19. Revenue from Microsoft and Sony’s online stores has increased, driven by purchases in Xbox and PlayStation stores. Between March 2020 and 2021, mobile gaming has seen the biggest gains, with 28% in the US and 50% in the UK.
As the number of new gamers has increased during the epidemic, the livestreaming sector has experienced a lethal growth. Streaming platforms like Twitch, YouTube Gaming and Facebook Gaming saw record viewing hours because people lived hours away.
When viewed using YouTube, the most viewed time in gaming in February exceeded 160 billion minutes. This led to the U.S. Became the second highest growth area on YouTube, with every demographic segment in gaming growing since September 2020; Surprisingly, the number of female viewers, especially among women aged 55 and over, increased the fastest.
I like the new term “game enthusiasts” rather than players or gamers. It more reflects what’s actually happening, people don’t really need to play this game to be enthusiastic about it the way I don’t need to play football to watch the Super Bowl.
Three top investment pros open up on what your video game needs to get funded.
Look at the demand
When you consider gaming enthusiasts, most are digital-first users. They have moved away from watching traditional TV programming to connect to new digital-first formats such as Twitch, YouTube and other social media channels that give them the added opportunity to connect directly with their favorite streamers, players, games or brands.
These new habits have also increased the number of partnerships between creators and gaming companies. Publishers and developers are exploring more TV tie-ins (and a few) such as Scopley with Wheel of Fortune: Free Play, or its family conflict with cookie jam with Jamcity. Both went beyond the historic co-branding / licensing opportunities and focused more on a dedicated user experience.
As time goes on, partnerships have also begun to move beyond the actual product or brand and have also begun to involve gaming personalities and celebrities.
Disney’s latest film Free Guy features 20th century studios, high profile gaming streamers, Jacceptis, Ninja, Pokમાmon, DentDM, And LazarBeam All appear on their own in the film providing “commentary” as part of the film’s storyline. The target audience of such a casting film is a definite acknowledgment of how impressive the really influential people are.
Engagement and consumption
This new digital entertainment revolution is going well, how will companies build on this amazing audience?
Successful games, especially featuring free-to-play mechanics, require content to run both player maintenance and user editing. Due to their own organic and authentic style of content, impressive partnerships are becoming an important element that helps companies increase their visibility and brand equity through multiple social video channels and allow for themed in-game features.
It is very clear that the line between gaming and other areas of digital entertainment is becoming increasingly blurred and now entertainment companies are competing for users’ “screen time” above all other things. This became clear when Netflix said that its biggest competitor in 2019 was Fortnite. Game companies not only have to compete with each other, but now with the ever-increasing crossover, they also need to compete with all other areas of digital entertainment. For meditation.
It’s not even a one-way street. Our friends at Epic have previously held events over and over gaming. It features the Shortnight Film Festival and Ariana Grande and Travis Scott both performing through Fortnight in-game events. Epic aims to attract new audiences to the game through a unique user acquisition strategy as well as provide additional incentives to help retain players and keep these existing users on the platform for longer.
Recently, Roblox entered the video distribution arena with an episode of Spin Master Corp’s anime TV series Bakugan A week before its launch on Netflix. Again, the aim was to merge the audience by experiencing entertainment in a shared medium.
According to Facebook IQ’s “Games Marketing Insights for 2021,” it’s familiarity that only 23% of people in the US download mobile games that they’ve never heard of, not only buy new games but also buy in-game. Brand recognition and affiliation is another reason why more and more gaming companies are looking to enter all areas of pop culture in search of attractive connections with brands that have a wide and commendable reach.
In the past, TheSoul Publishing created a Fortnite 5-minute craft video where a huge Fortnite racing track was created in real life and in a video game to show that Fortnite Creative Mode allows you to create literally anything. The content was localized in 12 languages and generated over 12 million organic views on YouTube, Facebook and Instagram.
Sharing key lessons from our own experiments in this new, potentially hybrid audience, we’ve already launched a number of videos in Avkin Life (3D Open World with 200 million-plus downloads on mobile). Our partnership with Lockwood Publishing will help us understand how to add value to our fans. Interestingly, the number of viewers within the game and the duration of watching our videos were comparable to what we see on YouTube, showing that users are willing to stay in the game while using different mediums. This is a strong signal that our audience is ready to discover new ways to use content. Perhaps more importantly, it shows that alternative platforms do not negatively impact actual engagement.
Obviously, these companies are very encouraging for finding new ways to innovate and grow their audience. Critically, we’ve seen members of the new epidemic-driven audience look around even as the epidemic begins to subside. Watching the gaming space is especially exciting because the brand is constantly experimenting and using trial and error to find the content that their different audiences are looking for. The content in the game is here to stay.
It is clear that the ubiquitous digital entertainment industry is almost upon us, an industry that does not allow itself to be restricted by hardware or platforms that provide an audience that seeks immediate and constant interaction with topics that appeal to all of them. Still and able to join whenever they want.
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