Click here to subscribe to D2D magazine and newsletter for free.
All fields are required

Hardcore games generate higher monetization rates

The freemium game model is gaining traction in today’s digital world. Michael Mascioni takes a look at how Endemol’s XARM F.U. mobile game, how it creates new synergies between live sports events and games, and how it is monetized.

Great opportunities for entertainment companies in digital media lie in the organic development of properties that have the capability to develop naturally over time in many different directions, self-promote, and exploit a passionate audience. Endemol has adopted that exact approach with the launch of its groundbreaking mobile game that centres around the new sport of extreme arm wrestling - XARM F.U.

The game, which was introduced in November last year, is designed to be highly realistic and closely mirror the sport, explains Tina Hoover, VP , Social Media & Interactivity at Endemol USA. It draws from videos of actual XARM fights, and characters in the game represent real fighters in the XARM league. The game is squarely aimed at a “hardcore audience of males 18-34 that is more intense about games, and is more willing to spend time and money on games” that meet their interests, she explains. Within the first two weeks, “65,000 people” had played the game.

Hoover notes that Endemol hasn’t simply created a new game with XARM F.U.- it is essentially “creating a whole new sport” through a game. In fact, it’s no coincidence that Endemol is a part owner of the XARM sports league. In this context, Endemol, in partnership with the XARM league, has plans to “launch live XARM events,” and is assessing whether to “televise the fights” or offer them on a “VOD basis via the mobile game,” reports Hoover. The company might, for example, “charge players more for live streams” of the fights or “less for archived versions” of the bouts, she observes.

Hoover points out that this special strategy used with the mobile game illustrates the different strategy Endemol is typically taking with its social media and app properties. XARM F.U. is being offered on a “fremium basis,” allowing players to “play for free” while they’re also “encouraged to spend money” on virtual goods and extra elements, such as “fight videos, more advanced fight moves, stat boosts, and fight customizations,” she explains. Players are charged, for example, 50 cents to “buy a video of one fight round” lasting 1 minute. A key reason Endemol opted to offer XARM F.U. as a mobile game, says Hoover, is that such “hardcore” games typically generate “higher monetization rates”.

Players will also have an opportunity to shape the game. In fact, “early players of the game will have a big impact on the XARM sport and live events,” according to Hoover. Another distinctive element about the game is that it will be highly “stat driven”- real time data about such elements as the fighters’ blood pressure, pulse, punch and kick force, energy, and stamina “will feed into the game and affect the game stats,” adds Hoover.

“This is the first game we know of which will be affected by the stats in a real sport,” she claims. And conversely, the game data will also help “determine aspects of the sport,” for example, by establishing the “most popular fighters” in the game, she says.

The XARM F.U. game is creating key new synergies between real and virtual experiences that have clear implications for TV and interactive producers.

www.endemol.com

Comments

Current Issue

Cover image of latest issue

Axxicon Logo

Magazine Features

SECOND SCREENS AND SOCIAL TV - Making waves in the broadcast world

Second screening is the new way to consume broadcast content, with companies beginning to look at ways to control the way consumers second screen - and how to make money out of it. George Cole provides an overview of this 21st century viewing trend.

Second screen is making waves in the broadcast, social media and video worlds. In essence, second screen involves using a second display device, like a smartphone, laptop or tablet, while watching television. Many people are now second screening: research by Nielsen found that 70% of tablet users and 68% of smartphone owners used their device while watching television. “There are a lot of stats that show that a very large percentage of people who watch TV are doing it with a second screen on their lap,” says Chuck Parker, former Chief Commercial Officer of Technicolor.

Continue reading »

CONTENT LEVERAGE - Not just content protection

Fingerprinting or watermarking? Is there a difference and does it make a difference? Anti-piracy specialist Richard Atkinson explains what they are and how they work but, most of all, why they are important for content management – and leveraging it for monetization – as much as content protection.

In comparing watermarking and fingerprinting, some aspects are similar and some are different. But, more importantly, as they continue to evolve, those differences are becoming less important. The main issue will be how it is used, because the business is driving things: it’s not just about content protection anymore, but about content leverage. With these capabilities, I can know exactly what the content is (whether there’s a mark in it or whether there’s metadata about it)...and leverage that knowledge in real-time.

Continue reading »

THE BATTLE OF THE E-READERS - Poised for double-digital growth in 2012

Following the best Christmas sales ever for Amazon.com’s Kindle devices, the total e-reader category is expected to once again deliver double-digit growth this year, Jill Bilzi learns, as she looks at how it continues to revolutionize the publishing industry and forever change ‘books’ as we know them.

The exploding demand for digital reading devices and downloaded e- books during the fourth quarter of 2011 brought a flurry of news among the leading suppliers in the market.

Continue reading »

CD PACKAGING - Back with a twist!

Music on CD dead? Not so, say the fans - retro continues to be cool and collectors continue to collect. Debbie Galante Block talks to designers and artists who listen to fans and give them what they want in terms of desirable physical media.

Like vinyl, music packaging was scaled back by major record labels way before consumers were ready to let it go. Also, like vinyl, it’s back! With the advent of digital music, it originally seemed that designers were doomed to designing postage size pictures for iTunes, but artists and their true fans have clamoured for more.

Continue reading »

COLLABORATIVE DOCUMENTARIES - New visions and production models 

The concept of the interactive documentary as something controlled by the producer is changing, as Michael Mascioni reveals.

Interactive documentaries have traditionally been conceived as a genre allowing users to select and explore different informational segments, elements, and themes in a framework largely circumscribed by the producers. Now, that concept is expanding significantly with the rise of ‘collaborative documentaries’ that have adopted crowdsourcing elements and extensive use of user-generated content.

Continue reading »