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Thesis Template Ivan Lugovoy The influence of the free-to-play business model on visual development and art direction in mobile games Bachelor’s thesis Bachelor’s degree in Game Design 2019 Author (authors) Degree Time Ivan Lugovoy Bachelor of Culture November 2019 First name Surname and Arts Thesis title 41 pages The influence of free-to-play business model on visual 1 page of appendices development and art direction in mobile games Commissioned by South-Eastern Finland University of Applied Sciences Supervisor Suvi Pylvänen Abstract This paper is an exploration of the area between the art and business sides of mobile game development. The main goals are to attempt to discover the influence of the free-to-play business model on the art-direction, to allocate the tools for reasonable decision making during the visual development process and to build a solid understanding of the role the art plays in a success of a game. As game development is a relatively new industry, this exploration required a composite approach, and this paper includes several research methods. First, an overview of the free- to-play business model and the role of the art in games through the study of academic papers, web-articles and available statistics. Second, the analysis of the modern practices in the game development conducted with the semi-structured interview method. Third, the case study of the Angry Birds Dream Blast, a mobile game by Rovio Entertainment. The research partially confirmed the initial hypothesis of the influence of the free-to-play business model on the visual development process and art direction of a mobile game. The effect the business model has is indirect; the free-to-play approach makes demands to the design and marketing aspects of a game and through that affects the artistic decisions made throughout a project. Keywords Free-to-play, F2P, art-direction, visual development, business model, game art CONTENTS 1 INTRODUCTION .......................................................................................................... 7 2 OVERVIEW OF THE FREE-TO-PLAY BUSINESS MODEL ........................................ 9 2.1 From Shareware to Free-to-play ........................................................................... 10 2.2 Free-to-play business model................................................................................. 12 2.3 User acquisition in F2P games ............................................................................. 15 2.4 Data acquisition, analysis and application in game development ......................... 16 3 ART IN VIDEO GAMES .............................................................................................. 18 3.1 Role of the art in video games .............................................................................. 20 3.2 Art in F2P mobile games ...................................................................................... 23 4 CASE STUDY OF THE ANGRY BIRDS DREAM BLAST ........................................... 26 4.1 Introduction ........................................................................................................... 26 4.2 Art Direction approach in Angry Birds Dream Blast .............................................. 28 5 CONCLUSION ............................................................................................................ 31 REFERENCES .................................................................................................................. 35 APPENDICES Appendix 1. List of questions for the semi-structured interviews LIST OF FIGURES Figure 1. Worldwide Consumer Spending on Games, 2014-2018 (App Annie 019) ................. 9 Figure 2. App Store Top Paid Apps in 2008 (Apple Inc. 2008) ............................................... 11 Figure 3. Clash Royale in-game shop (Supercell 2018) ......................................................... 13 Figure 4. Fortnite Battle Pass purchase screen with description (Epic Games 2017) ............. 14 Figure 5. Close to identical UA material by Playrix and Firecraft Studios (2019) .................... 16 Figure 6. Infamous faceless bug in Assassin’s Creed: Unity (2014) ....................................... 17 Figure 7. Minecraft v 1.0 (2011) .............................................................................................. 19 Figure 8. Overkill's The Walking Dead (2018)......................................................................... 19 Figure 9. Elemental Tetrad by Schell J. (2008) ....................................................................... 20 Figure 10. Top 5 influences for purchase (ESA, 2019) ........................................................... 21 Figure 11. Realistic texture pack cow (Minecraft, 2019) ......................................................... 22 Figure 12. Visual Target of AB Dream Blast. Lugovoy, I., Adams, J., Naas, J. (Rovio 2018) . 26 Figure 13. Various assets created for Angry Birds Dream Blast, Lugovoy, I. (Rovio 2018) .... 27 Figure 14. Garden Blast screenshots (Rovio 2018) ................................................................ 28 Figure 15. Angry Birds Dream Blast screenshots (Rovio 2019) .............................................. 29 5 LIST OF TERMS The game development and mobile applications business are exceptionally data driven. The metrics names are usually shortened to abbreviations, and it is essential to know what they stand for to comprehend the information in this paper or any other game development related article. For the sake of convenience, most of the used terms will be given a short description in the following list. ARPU — Average Revenue Per User is overall revenue divided by a number of users overall. ARPDAU, ARPMAU — Average Revenue Per Daily (Monthly) Active User is the revenue generated in the given period of time, divided by the number of active users in the corresponding period of time. ARPPU — Average Revenue Per Paying User is overall revenue divided by a number of users that made a purchase inside an application. CPI — Cost Per Install in UA is an average cost of one game. Conversion Rate is the ratio between all the users and those who made at least one in-app purchase. D1, D7, D30 Retention — Retention on Day One, Day Seven and Day Thirty is a ratio between the number of new users and the number of those who continued to engage with an application in a corresponding time period. DAU, MAU — Daily/Monthly Active Users is a number of users engaged with a game (installed, opened, played) in a given period of time. DNU, MNU — Daily/Monthly New Users is the number of users that have installed a game in the indicated time period. 6 GUI — Graphical User Interface is a set of graphic elements such as buttons, icons, pop-up windows and menus, which serves as a mean of interaction between a user and an application IAP — In-app Purchase is any purchase of virtual goods and/or in-game currency made inside the application. IP — The Intellectual Property stands for a result of mind labour such as visual art, literature, music et cetera. In this paper, IP refers to a set of narrative, character and environment designs united under one brand, for example, Angry Birds. KPI — Key Performance Indicator. The term KPI usually refers to any of the following abbreviations. LT — Lifetime or, more accurately, average Lifetime is the time from the moment the application was installed to the moment it was accessed for the last time. LTV — Lifetime Value is the revenue generated by an average user during an average lifetime. ROI — Return On Investment is the ratio between net income and investment. One of the simple ways to calculate it is to subtract the cost from the income and divide by the investment. UA — User Acquisition often refers to Paid User Acquisition, a process of acquiring users through paid channels such as social media and in-game ads, based on user data. UX — User Experience is a subjective feeling and attitude of a user during an engagement with an application. 7 1 INTRODUCTION Game development is a rather complicated process that involves many different disciplines. The final product is a confluence of the experience of all the specialists taking part in the game creation; a game is born in the intersection of mutual efforts. The value of in-depth abstract knowledge in each of the disciplines is undeniable. However, investing time and effort into the study of those disciplines in the context of a joint application is essential. This paper is an exploration of the area between the art and business sides of mobile game development. The main goals were to attempt to discover the influence of the free-to-play business model on the art direction, to allocate the tools for reasonable decision making during the visual development process and to build a solid understanding of the role that art plays in the success of a game. Not all games are created to generate income. Nonetheless, this paper takes into consideration business cases solely and mainly focuses on the correlation between the business model and the visual development process. The hypothesis is that the free-to-play business model has a direct or indirect influence on how visual development should be approached and that there are tools for reasonable decision making in the art direction process. Video games in general and mobile games, in particular, are a swiftly developing cross-discipline industry. The industry is rapidly changing, which makes one research method only not enough to reach a certain level of relevance
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