Sunday, May 25, 2008

Aggregation vs Portals: Where Microsoft is going wrong with Xbox Live

In perhaps the most interesting news of the week, Microsoft have announced that they are going to start de-listing games from Xbox Live Arcade based on two criteria: Sales and review scores. In their view this means that they are trying to bring some overall quality back to the product line, probably because they've had consumer feedback that says they are tired of wading through lots of mush in order to get to the good games. In my view it's likely the death knell for Xbox Live Arcade as somewhere to go for great games and is leaving the door open for Sony or Nintendo (or someone else, Apple perhaps) to take their crown.

It's also a move that's been a long time coming. If anyone has spent any time browsing through the interface of Live in the last few months, it's becoming an increasingly sodden experience. There are long, poorly maintained lists of product in there. There are a few notable remakes making the headlines (such as Rez HD) but also a lot of really very bad product (such as the Battlestar Galactica game, or the unplayable port of Marathon) and the service has lacked focus for quite some time.

But why is proposing to remove the crap a death knell move? On the surface it sounds like a sensible plan because it means that the consumer experience would be improved. Indeed. But the problems are threefold:

1. Any such system is going to be wide open to collusion, politicking and will reward only those companies who are more sales-driven and ruthless about getting good review scores.
2. It reduces consumer choice.
3. It doesn't solve the main problems.

Let's tackle these in turn:

1. Collusion.
The unfortunate truth of the retail games industry is that it relies on a lot of wheel-greasing, which is why it tends to favour higher-end publishers and developers with deep pockets. It's no great secret that review scores can often be bought indirectly through the means of exclusive interviews, junket goodies and even potential job opportunities for reviewers to become game developers. It's also no great secret that reviewers tend, as a group, to have certain in-built prejudices against certain types of game, and they tend to think and award scores like a community.

This behaviour is arguably necessary in a retail environment where the buying power of the retail chain is largely concerned with what bulk orders for volume they can place. With only limited shelf space up for grabs, a publisher looking to maximise its shareholder returns has to take the view that they need their product in prime position. Indeed it would be irresponsible of them as a company not to do that, and so the only questions become whether what they're doing is legal, and whether they have genuine ethical concerns about some of the tactics that might be deployed. In most cases the answer to that second question is "maybe, but not enough to make them stop doing it". Publishers are not evil, but they operate in a difficult environment.

So this behaviour model will clearly also translate across into Xbox Live Arcade. XBLA is already a constrained retail model (See point 3 below) and the threat of de-listing only intensifies that pressure. So what will happen is that sales-oriented developers will behave like retail publishers and start taking steps to get those high review scores. They will also continue to establish their personal relationships with members of the Xbox team so that they can have a champion inside the platform itself, because it's easier to de-list a game from someone anonymous rather than from your friend at developer X who'll phone you hurt and angry.

Lastly, and far more seriously, it means that the developers will increasingly pitch for products that they think Microsoft will like, or products that Microsoft themselves might think should be on the service, and so XBLA will become a much more for-hire service. While this is a valid model for a smaller digital service like interactive TV (and is basically what I do for a living), I'm not convinced that it's a model that should be applied to a console gaming audience.


2. Consumer Choice
Clearly this move affects consumer choice. Less games available for sale means less games available for browsing, which means more of a hit-driven mentality in an online space. This will mean less sales. I don't want to bore my readers too much with talk of the now-cliché Long Tail effect, but the fact remains that Amazon, Itunes and Netflix all consistently report that they see more sales as whole from their long tail aggregate than they do from their hits.

The problem here is not that channelling consumer choice is a bad thing, it's that channelling choice should only be engaged in where it is necessary. In retail it is necessary because of the physical costs of distributing product and maintaining stores with high rent. In television it was necessary because the physical constraints of the technology meant that all interests simply could not be served (though this is now slowly changing).

In the online space it is not necessary. The cost of distribution is negligible and there are no technical constraints of broadcast technology. Ultimately an XBLA game as a product is just another small portion of data on a disk space on a RAID rack somewhere in Redmond that gets called up and downloaded as required. Delisting such product saves practically nothing and gains the consumer nothing. (And it doesn't answer the question of what happens to the consumer who bought a game which was subsequently delisted, only to have their Xbox hard drive fail at a later date: How do they get their game back?)

Which leads me nicely into:


3. The main problems
The real problems that Microsoft have (which de-listing is not going to solve) are all to do with key choices that they have made in the construction of XBLA for Xbox 360, and how those decisions are driven by portal-based thinking rather than aggregator-based thinking.

Portal-based thinking is basically the headset that tries to take the retail and magazine-based view into the internet. Portals try and push selected content out to their readers in a managed fashion. It inherently is driven by the assumption that consumers need to be sold to, and consumer-experience needs to be guided with studies of "journeys" and so forth. Portals worry a lot about managing the user expectations. Yahoo is a good example of portal-based thinking.

Aggregator-based thinking is the reverse. It's the headset that tries to provide the best tools for the readers to find what they want. In the aggregator model, the consumer and his friends are the sales people and the "journey" is unimportant. What's important is that there is enough content to be found, and that it can be accessed easily. Digg is an example of aggregator-based thinking.

Microsoft clearly have always thought of Xbox Live as a portal. This has led them to a number of decisions:

1. They have always throttled releases. This is a leaf taken out of Nintendo's old playbook with the NES, wherein you manage the release pattern of games so that every one gets the chance to shine. This results in a lot of developers clamouring to get in the door, and a lot of collusion-driven behaviour as a result. It also results in Microsoft starting to try and direct traffic in order to raise quality, which results in a highly managed catalogue full box-checking (as in they fulfil perceived genre or other criteria) bad games. In short, the throttled release decision is largely responsible for the poor quality of XBLA content.

2. They have focused the whole experience on the Xbox itself. You buy Live games from the Xbox 360, you find them through it and use it as your gateway into the wider world. This was an understandable but incredibly stupid decision made a time when they were trying to sell the new console. At that time it probably seemed to them that they really had to get people to look at their dashboard to get into the brand, but the problem is that using a console joypad as a primary means of finding and sorting large quantities of content simply sucks as an experience. It leads to short, stubby menus, long tedious scrolling lists and a general touchy-feely air to the design (remember, portals think "journeys" are paramount). It is simply not suited, nor will it ever be, to presenting large volumes of content. Imagine if Apple had created the iPod platform without iTunes and insisted that we all bought our music through the click-wheel interface and small screen of the iPod itself. That's largely what Microsoft have done with insisting on tying games purchasing to the Xbox itself.

3. The points system. XBLA points are a good idea, not dissimilar to pay-as-you-go phones and other similar models, and they allow gamers under the age of 18 (and therefore sans credit cards) to participate in the network, buy games that they want with their pocket money and so forth. The problem is that points are compulsory. In trying to manage the customer journey again (thinking like a portal) they have created a barrier for consumers who simply don't want the hassle. Also the fact that the Gold subscription for online play does work with credit cards but the purchasing of games does not probably creates consumer confusion and therefore aversion. It should be as easy as one-click to buy a game on XBLA.

It should be noted here that I don't think Microsoft are trying to be evil or mean about who gets to make games for Live. There is, after all, the example of XNA that shows that they are at least trying to embrace with the content in some shape or form. I just think that they can't seem to get the portal model out of their heads, and that's what's killing them.


So is it too late?
Is it too late for XBLA? Well I hope not, but I suspect it is. Microsoft increasingly have competition from Sony (whose online play is free after all) and now Nintendo - who have announced a very interesting scheme for WiiWare that is squarely aimed at the sorts of innovative small developers that Microsoft wanted to attract but ultimately repelled with their portal structure. Microsoft had an early-market advantage with XBLA 3 years ago, but their competitors have now matched (and may supercede) their offering. And with sales of the 360 console itself being caught by PS3 and out-classed by Wii, I would imagine there isn't much of an appetite in Redmond for large-scale changes to the system.

Ultimately it comes down to whether Microsoft as a culture really has the ability to think in an aggregator mindset, and whether they have a continued appetite to be in the console business at all.


Solutions
If I were to propose some solutions, they would be these:

1. Build a web portal that allows consumers to find, buy and recommend games to each other. Change the Xbox 360 Dashboard to allow syncing of web activity and Live activity such that if I buy a game via the web portal, my 360 will download that game automatically the next time I log on. Decoupling game purchases from the console dashboard is the one problem that they really need to solve.

2. Allow consumers to buy games via their credit card directly. This ties into the web portal idea, with the overall approach being to allow easy purchases with as few clicks as possible.

3. Don't de-list content. Instead provide better filtering tools on the Xbox's portal.

4. Provide a simple means for users to rate games directly rather than relying on professional reviewers. Tie this in with the filtering tools in suggestion #3.

5. Stop throttling releases. It is likely that throttling has built up a regular enough audience who now check back every week for the new game, but that is small potatoes compared to the damage that throttling causes.

6. Simplify the distinctions. At the moment there at least two strands of Live's online games proposition (Xbox Classics and XBLA) and soon XNA will be a third. These are pointless distinctions that make lots of sense to a marketeer or someone who works for Microsoft (again: it's "journey" based thinking) but make no sense to consumers. To a consumer it's all just "games" and it's better for them if Halo and Hexic are sitting beside each other in the list than having to understand Microsoft's logic in order to be able to overcome their own aversion. This especially applies for XNA, which, going on the current model, is likely to only ever be of interest to XNA members owing to the levels of aversion that it will cause.

7. Fix the developer deal. Royalty-changes were an accounting-based manoeuvre but they have proved horrendously unpopular with the development community. Now that Microsoft has real competition from Nintendo and Sony, developers are looking elsewhere to see which network offers the best deal. And that doesn't even begin the cover the possibilities if developers look even further afield to iPhone, Facebook and many other markets that offer a much better cut of the action.


Conclusion
As you can see, Microsoft have effectively hoisted themselves by their own petard when it comes to XBLA. In trying to manage consumers and overcome what they believed was an image issue, they have created a network that organisationally can't actually sell a lot of games. Their solution is to reduce the catalogue, but this is essentially an admission of failure on their part. With the 360 probably having peaked in terms of overall appeal and other console providers and technology companies now delivering credible alternatives, it is up to Microsoft to rethink their whole strategy and decide whether this is a sector of the business that they really want to be in any more.

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Friday, March 14, 2008

Is it over for the UK?

In the news today, a petition has been started on the Downing Street website (which I've signed) to basically ask the government to do something about the conditions that the UK industry has operated under in the last few years because times are difficult, and increasingly so. Though I support the idea, I think that it is basically doomed for the usual reasons:

1. The British public have a very negative view of games and wouldn't support it.
2. The British industry is not at all sure that they want it.
3. The other prevailing conditions in the UK (infrastructure, corporate tax rates, transport, location, standards of living, the crazy high value of the pound etc).

The British industry's chief problem is that it's full of middle aged men who have fought their way into a fairly comfortable position, and have no real need to change the way that they do things. No offence intended to any of the middle aged men out there, many of whom I am good friends with, but it is not exactly a young industry at heart and a lot of them have become suburban types with families and saloon cars, and they tend to be quite oppositional in their viewpoints.

This means that they see the industry as a big game of move and countermove, and to them the field is full of players that they already know. So for them the industry is largely a static place, so many of them don't support tax breaks on the basis that it means their enemy will get the upper hand. And to a certain degree, they are right.

But it doesn't really address the wider issues of the industry, which are things like why is it about to go bust again (And it will, now that the dust has settled on the new hardware generation and the publishers will be counting the costs of having spent so much jockeying for position), why is all the work increasingly not coming to Britain, and what does it mean for the future of the industry as a whole?

I'm sorry to say that the prospects are not good. Economic downturns are causing credit crunches, which means investment is drying up. Serious inaction on the part of the government means that places like Montreal, Shanghai and Mumbai are getting the upper hand in a variety of disciplines - all while still being cheaper than the UK industry. It's a global marketplace for skills, but the UK industry still behaves like a local one, and so does its government.

So in that respect, is it basically over for the UK as a serious source of game development?
What do you think?

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Tuesday, March 04, 2008

Gary Gygax RIP

Apparently so.

http://en.wikipedia.org/wiki/Gary_Gygax

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Sunday, February 17, 2008

Not At GDC

Another year, another not-going-to-GDC.

Last night a friend of mine stopped over at my place, as I live reasonably close to Heathrow Airport. And why, you may ask? Well he's off to GDC of course. Lucky so-and-so that he is.

I have never been to GDC, or indeed any of the major game conferences except for ECTS (which was always a bit of a shambles to give it its due). They always seem to come along at inconvenient moments, such as periods of high business or dudgeon in my job, or low activity on the financial front. Mostly, I think it's because I've not really remembered that they're on until way too late.

I also find the whole conference circuit vaguely unsettling. A lot of my past comes from the world of rpg conventions and the like, so I know what it is to waste time in a hotel in some far-flung town getting drunk and talking crap with strangers. I'm aware that professional events such as GDC or E3 also have the illusion of business about them, but I can't quite tell if they're actually just pretending to be busy, or whether work actually gets done at them. It's quite an important question when you're talking about laying down 3 grand for a trip over to Northern Cal, especially if that ticket is not being picked up by your employer (and most in the UK don't send batteries of people over any more, as it is a lot of money).

A large part of the games industry likes to behave like as though it's the movies, with the image of deals being done and reputations being made at some grand insider carnival. Yet when you step back and take a look at the outside world, there doesn't usually seem to be a great deal of effect from the main conferences except as PR posts for the truly giant to announce their next big things? What does a small company get from sending a field agent out there apart from contacts, and wouldn't those contacts be better developed in individual sessions, trips, meetings, Linkedins and the like? Is there any actual value to what amounts to the gaming version of Sundance? Gamedance?

Why go?

Well the party atmosphere has to count for something. And the inspiration value as well. You can't forget that. Plus there is the thrill of being there, watching things happen (or at least pretend to happen). See? It's like I'm already there, liveblogging the whole thing.

Next year I'll get there. Promise.

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Tuesday, February 05, 2008

Sudoku Blocks

For those of you who have Sky TV, we've just released a game called Sudoku Blocks, developed by Craftwork. I'm rather proud of this game, so hence the web pimping. You can play it by accessing the Interactive menu on your Sky remote, selecting "Sky Games" and it's on the front page. All opinions welcome.

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Sunday, February 03, 2008

What are Kongregate etc missing?

I've become quite the fan of "neat gaming" in the last year. Not least because it has become my job (I now work for Sky Games as a development manager of casual games on interactive TV), but also because it is simply the most interesting and alive sector of the whole gaming world bar none.

Yes, you have your console shenanigans and your managed Live networks, your retro collections and your handheld cooking simulators, and most of these are perfectly valid enterprises. For a while, casual games was somewhat mired in the realm of big portals like real.com basically squeezing value out of both developers and customers, but that is changing.

There are hundreds of portals now selling games or subscription packages for games, and distribution networks from companies like Oberon are servicing that whole fragmented sector, as well as helping to publish. The distinction between casual and self-labelled indie games is also blurring considerably, which is why I use a broader name like "neat gaming" to describe what is essentially a taste for smaller applications.

Services like Kongregate - which basically are trying to be a Youtube of gaming - are emerging and doing a good job of capturing the innovation mindset, the neat idea set and the popularity contest. And it seems to be doing all of this via advertising, which is the aggregation model that is very "web". There are even such neat things as chat clients hanging beside many of the games on such services, and attempts to place ads in-game via the likes of Mochiads.

Flash is really the technology that is making all of this happen (finally) and providing a road toward a single platform that the hardware makers and devkit-obsessed developers of the classic industry are simply unwilling to face. You can play any game on an aggregator, such as Bowman 2, for free in your browser without any fuss. It is easy to see how such a game could be converted into an iPhone-friendly format, or a DS format if Nintendo saw the light and opened the DS up to indie development with no strings attached (maybe that'll have to wait for DS2). In a world of gaming dinosaurs, Flash is the fore-runner of mammals.

The problem that these would-be aggregators have is that they are not quite there yet in terms of really embracing the aggregator mindset. They still have some of the elements of a games directory about them, and they have not yet really gathered the full power of the social network to their cause.

For example:

Kongregate places a lot of advertising on its pages and offers a Digg This link to help popularise its games. What it's lacking, however, is sharing technology.

1. There should be a link on the page that allows the players to share the game with their friends, embed the game in their blogs and so on. This is a critically missing piece.

2. Each of the games should have a Kongregate watermark or small bar at the bottom of the Flash app, and also a short pre-game advertisement in the Flash app. Thus Kongregate-hosted content can travel anywhere and be monetised.

3. Each of the games should have a facility that puts its tagging to use, recommending other games on the page. A lot of the detail on the Kongregate pages are unnecessary (such as the description text, which can wax lyrical) and instead be replaced with small icons for other games that the player might like to try.

Significantly, AddictingGames does include the ability to share games, but it doesn't always seem to work (I attempted to embed a game in this post by copying and pasting the embed data, but it didn't work).

The problem that AddictingGames has is one of layout, in that their sharing/embedding code is very tiny on the page, so much so that it's easy to miss. They are also missing the lively chat and community sense that Kongregate has, and the overall site design is not particularly attractive in terms of colour choices etc.

I think that these are mostly teething problems, however. Services like Kongregate and AddictingGames are likely the forerunners of what's to come. Between the embedded Flash game sector and the downloadable PC casual sector, the future of much of the games industry is all about what the web can do to break down the barriers. It's so much more interesting right now than anything that the traditional games industry has been doing for quite some time.

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Saturday, December 08, 2007

New Blood, Old Blood

My old commander-in-chief Peter Molyneux was in the press recently making the case for new blood and new graduates in the industry, as well as advocating passion and communication skills over experience (here, via gi.biz). A fine sentiment, but I think he's not seeing the problem.

The problem that new blood has is simply one of obscurity. In any new field there is always the early-mover advantage for new blood, and by necessity the first-movers inevitably make it harder for follow-on groups to emerge. Look at the world of search engines, for example. In the early years there was room for Yahoo, then Google, and a few others to stamp out virgin territory. Nowadays although there are many attempts at redeveloping search semantically, with specialist focus, or whatever, nobody really expects the established players to become unseated.

This applies to people as much as it does to companies. The problem that new blood has is that Molyneux, Miyamato and about 50 other people and companies have already had the early-mover advantage and they eat up virtually all of the press inches with their comments. A late-mover like myself can express a hearty opinion on any subject but whatever my opinion I am unlikely to gain any widespread traction or awareness. It takes either acts of extremity to get noticed, or the stamp of big name legitimacy.

In strict terms, therefore, for new blood to emerge the old blood either has to make way or actually die off, and even then it's not guaranteed. While many game developers look to the movie industry and try to emulate that, the industry's behaviour is often much more closely affiliated to that of the comics industry.

In comics, even 60 years after their initial post-war explosion, it is still very hard to get past Jack Kirby and his long shadow. Comics and games share the common trait of having undying intellectual properties, unlike film or books. Tom Cruise may be huge but he will die, but Mario is immortal. As such, those IPs and their early creators influence and fame can very easily blanket out new blood long after their flesh and blood forms have kicked the bucket. To large companies like Marvel or EA, the IP is the thing and it actually serves their purposes in the long term to retain the legend of the old creator.

So if the old blood are serious about engaging with the new blood, what they need to look at is the idea of patronage. The advantage of having some celebrity is that you can use it to drive others' celebrity. Quentin Tarantino does this quite a lot by fronting movies that aren't his and giving other directors that he likes responsibility. We would not have seen some martial arts movies in the west without his influence, nor would we have heard of Eli Roth (which some say maybe we shouldn't have, but I digress).

Active patronage is something that we do not see a lot of in the games industry. It lies with Peter and a number of high profile developers to actually take action on it though. One example would be to try and do more through the likes of BAFTA, or even develop schemes of sponsorship and funding, like a startup foundation that promotes the people as well as the product or publisher relationship.

Particleblog's comments have moved to The Play Room.