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Panorama Jeux Vidéo Edition 2016

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Panorama Jeux Vidéo Edition 2016 PANORAMA JEUX VIDÉO EDITION 2016 Quentin EUDE Daniel NGHE Thomas WITTENMEYER INTRO : La Brève Histoire du Jeu Vidéo Retracer l’Histoire du Jeu Vidéo est une gageure : seulement 44 ans nous séparent de la sortie de Pong, mais tant d’événements ont influencé ce qu’est le media aujourd’hui, qu’ils serait inutile de les lister. Nous avons choisi de prendre les 12 grandes dates qui ont changé l’Industrie, que ce soit au travers d’avancées techniques, business ou artistiques. 1972 : Pong, 1978 : Space Invader, 1983 : Krach du Premier « Jeu Lancement de Jeu Vidéo Vidéo » l’arcade 1995 : Lancement US 1993 : Doom & 1985 : Sortie US de la de la PS1, Apparition NES (&Mario), du support CD & 3D prémices du FPS relance de l’industrie 1998 : Zelda : Ocarina of 2001 : GameBoy 2004 : World of Time, considéré comme Advance & Essor du Warcraft & l’essor du le meilleur jeu de tous les temps jeu mobile jeu en ligne 2016 : 2012 : Steam Greenlight. 2009 : Farmville & Lancement de Crowdfunding, Indie l’essor du Casual l’Oculus Rift Games & Cloud Gaming Gaming INTRO : profil des consommateurs Qui consomme ? Comment consomment-ils en 2014 ? De 11M de joueurs en 2000 à 30M en 2012… 1999 1999 21 ans 90% H 10% F 2013 2013 38 ans 51% H 49% F Un âge moyen en croissance et une tendance vers l’équité Les supports fixes sont ceux qui restent les plus utilisés. homme/femme en population de joueurs. POURCENTAGE DE JOUEURS PAR TRANCHE D'ÂGE - 2014 98% 86% 90% 84% 75% 69% 51% 10-14 15-18 19-24 25-34 35-44 45-54 +55 ANS ANS ANS ANS ANS ANS ANS Les 10-14ans et 19-24ans restent toutefois les plus gros Finalement, il n’y a que 50% des joueurs qui pratiquent joueurs. régulièrement. Sources : GFK, REC et SELL HISTORIQUE : les générations de consoles Chaque génération regroupe un ensemble de consoles des différentes marques Chaque cycle a permis de doubler la taille du marché Sources : GFK, REC et SELL Les plus grands développeurs-éditeurs: Vision Financière Valeur Place Nom Nationalité Création Jeux (Milliards $) Sony Computer Gran Turismo, God Japonaise 1993 1 Enternainment of War 13,4 2 Microsoft Studios Américaine 2002 Halo, Fable 12,8 Ce classement prend en compte la valeur boursière en 2014. Il est communément acquis que les trois premières éditeurs Mario, Zelda, Nintendo Japonaise 1889 (1972) mondiaux en termes de rentrées financières, au-delà des 1st 3 Donkey Kong, … 6,28 parties, sont EA, Activision Blizzard puis Ubisoft (sauf en cas de sortie d’un Grand Theft Auto : Rockstar Games prend alors la place d’Ubisoft). 4 Sega Japonaise 1951 (1983) Sonic, Shenmue,… 4,9 Il existe d’autres classements, comme le Classement 1991 (fusion en World of Warcraft, Activision-Blizzard Américaine Metacritic (http://www.metacritic.com/feature/game- 5 2008) Call of Duty, … 4,85 publisher-rankings-for-2014-releases) ou bien celui du Dark Souls, Jeux de Develop 100 1955 (Fusion en Namco Bandai Japonaise combat (Dragon (https://issuu.com/newbayeurope/docs/develop_100_digit 6 2006) 4,74 al_edition) qui sont complémentaires et donnent une ball…) meilleure vision de petits studios à très bonne réputation FIFA, Sims, Dragon Electronic Arts Américaine 1982 7 Age,… 4,14 Metal Gear, Konami Japonaise 1973 8 Castlevania 3,24 Assassin’s Creed, Ubisoft Française 1986 9 Rayman,… 1,85 1975 (fusion en Final Fantasy, 10 SquareEnix Japonaise 2003) Dragon Quest,… 1,26 Source : The Richest.com Principales licences et jeux 2014-2015 2015-2016 Titres Titres Type Editeur/Studio Qty Type Studio Call Of Duty: Advanced Warfare FPS Activision 18 000 Call Of Duty: Black Ops FPS Activision FIFA 15 Sport Electronic Arts 14 500 Star Wars Battlefront TPS Electronic Arts Grand Theft Auto V Open World Rockstar 11 000 FIFA 2016 Sport Electronic Arts Destiny FPS Activision 9 000 Fallout IV Aventure Bethesda Watch Dogs Open World Ubisoft 9 000 The Witcher III Aventure CD Projekt Minecraft Builder Microsoft 9 000 NBA 2K 2016 Sport Take-Two Far Cry 4 FPS Ubisoft 7 000 Madden 2016 Sport Electronic Arts Madden NFL 15 Sport Electronic Arts 6 000 Mortal Combat X Combat Warner Bros NBA 2K15 Sport Take-Two 5 000 Assassin's Creed Syndicate Aventure Ubisoft Assassin's Creed: Unity Aventure Ubisoft 4 500 Halo 5 Guardian FPS Microsoft Mario KArts 8 Racing Nintendo 4 000 MGS V: The Phantom Pain Aventure Konami Just Dance 2015 Dance Ubisoft 4 000 The Division FPS Ubisoft Middle EArtsh: Shadow of Mordor Action Warner bros 4 000 Rainbow Six Siege FPS Ubisoft Call Of Duty: Ghosts FPS Activision 3 500 Uncharted 4 Aventure Naughty Dogs Dragon Age: Inquisition Aventure Bioware 3 500 Batman Arkham Knight Open World Warner Bros Super Smash Bros. for Wii U Fighting Nintendo 3 300 Far Cry Primal FPS Ubisoft The Sims 4 Simulation Electronic Arts 3 100 Just Dance 2016 Dancing Ubisoft Battlefield 4 FPS DICE 3 000 Disney Infinity Star Wars Toys Disney Interactive Disney Infinity 2.0 Marvel Toys Disney Interactive 3 000 Skylanders Superchargers Toys Activision Skylanders Trap Team Toys Activision 3 000 LEGO Marvel Avenger Plate-forme Warner Bros The Evil Within Survival Bethesda 2 500 LEGO Jurassic World Plate-forme Warner Bros FIFA 14 Sport Electronic Arts 2 500 Just Cause III Open World Square Enix Titanfall FPS Electronic Arts 2 500 Need for Speed Racing Electronic Arts The Last Of Us Aventure Naughty Dog 2 500 Street Fighter V Combat Capcom Assassin's Creed IV: Black Flag Aventure Ubisoft 2 500 Rise of the Tomb Raider Aventure Square Enix Source: Data from GfK (Europe) and NPD (North America) Chaîne de valeur de l’industrie 4 types d’acteur pour un jeu Exemple d’integration verticale Créateurs Studio L’artiste à l’origine du jeu Un regroupement de talent Phase 1 Ubisoft Montreal est un studio de Le créateur est le forgeron du jeu, il va Les studio vont réunir plusieurs créateurs et développement appartenant à mettre en commun les talents de chacun construire les mécaniques, les Ubisoft (maison mère) graphismes etc… pour faire un jeu Les studios peuvent être indépendants ou Un créateur peut réaliser un jeu tout seul affiliés à un éditeur Ex: Braid sur Xbox360 Exemple: Ivory tower sous Ubisoft Phase 2 La maison mère Ubisoft, s’occupe du marketing, du financement et des relations avec les partenaires externes Distributeurs Editeurs Le lien final avec le consommateur Support des studios Phase 3 Enseignes de distribution physique Fonctionnement similaire à l’édition papier Uplay est une plateforme de comme Carrefour, la Fnac etc.. L’éditeur de jeu va principalement s’occuper téléchargement appartenant à du marketing, du financement et de la Ubisoft sur laquelle on retrouve relation avec les distributeurs Ou alors acteurs digitaux comme Steam la plupart des titres de l’éditeur ou le Playstation Network qui distribuent Un éditeur peut publier ses propres jeux ou des jeux en téléchargement ceux d’autres studios externes BUSINESS PLAN : free to play BUSINESS PLAN : jeux classiques TENDANCES : free to play & mobile « Ne faites pas payer les gens pour qu’ils s’amusent, amusez-les pour qu’ils paient » Jamie Cheng, fondatrice de Klei Entertainement Deux success stories du Free to Play : 2,26 milliards de dollars en CA en 2014 (+20%) 18 jeux développés sous Android 23,42$ dépensés en moyenne par mois en 2014 (+35%) Présence sur Windows, Android et IOS 356 millions de joueurs Produits dérivés, film et série développés A été le jeu le plus téléchargé au monde 13% 7% 42% 13% du temps de jeu est consacré à des app mobiles 42% des joueurs jouent Malgré sa croissance de 5% en sur Smartphone contre 2014, le mobile ne représente 38% aux E.U que 7 % du CA France Sources : AFJV, journaldugeek.com, la tribune.fr, SELL & GFK 2014 TENDANCES: le transmédia Merchandising Passage à d’autres Media Distribution sous forme de goodies de la marque (i.e. Amiibos, Lapins Créatins). ; Moyen de survie pour les boutiques physiques (Micromania) Ubisoft Motion Pictures (Assassin’s Creed) ; Série Zelda sur Netflix,… Continuation d’autres Media Multi-Screen Telltale Games développe la narration de séries TV (GoT) et Gameplay Asymétrique, pour l’instant encore sous- de Comics (TWD) ; Univers étendu de Star Wars (Star Wars exploité (Wii U, Companion Apps,…) Battlefront) Sources : GFK, REC et SELL TENDANCES: les contenus téléchargeables De l’Extension des années 1990s… Avant que le hardware soit nécessairement connectés à internet, les jeux étaient définitifs et ne pouvaient que très difficilement être améliorés que ce soit pour la suppression d’un bug ou pour l’ajout de contenu. Seules les extensions sur PC (CD rajoutant du contenu) existaient. … aux contenus téléchargeables d’aujourd’hui Depuis la 7e génération de console (360, PS3) et l’essor des jeux online, les DLC (Downloadable Content) ont fait leur apparition. Des micro- transactions in-game permettent l’achat de contenu (nouvelles quêtes, personnages, etc.) Si les développeurs ont ainsi pu résoudre les manques après la sortie des jeux, des dérives comme les ULC (DLC présent dans le CD du jeu) ou bien des jeux non-finis on fait leur apparition. TENDANCES: Les Indie Games Un nouveau phénomène du milieu des années 2000s… Le documentaire Indie Game : The Movie donne une bonne idée de ce phénomène en retraçant l’aventure de deux grands développeurs de cette mouvance. Alors que l’industrie prenait une ampleur exponentielle, les risques créatifs étaient de plus en plus réduits. Face à cette certaine monotonie, des créateurs indépendants ont développé eux même des jeux (aux graphismes old-school, aux gameplays originaux) au travers du crowdfunding. … aujourd’hui devenu un outil marketing ? Aujourd’hui des système comme Steam Greenlight, permet au Jeu Indépendant de poursuivre son expansion si bien que de grands studios commencent à développer leur propre Indie Game (jeu où l’aspect artistique est censé dépasser l’aspect technique) comme Ubisoft avec Ori and the Blind Forest Tendances: Le Jeu Vidéo comme Culture Une sous-culture infantile… Longtemps le Jeu Vidéo a été catalogué comme un divertissement adressé aux enfants, malgré la présence d’artistes aujourd’hui reconnus (i.e.
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