Design Your Marketing Before The Game

Game designers, you need to completely rethink the way you design games these days. In the classic era of ancient times in video games (that is, the late 20th Century), a game began as an idea in some designer or producer’s head. (Sure, sometimes a game began because a licensing deal was signed, but those games were far outnumbered by the original creations.) These game ideas were developed and winnowed by publishers, and eventually a chosen few would be funded all the way through production into the reality of shipment. A few months before the ship date, marketing efforts would begin — a package and ads would be created, PR efforts would get under way, and marketing efforts were timed for maximum effect at launch day, being abandoned soon after.

This whole process was developed to maximize sales to retail stores, and to make sure that product sold through to customers. Games were rare things, though, and often months would go by in game stores without a major top-notch game coming in. Gamers were hungry for games, and many games that sold well weren’t even all that good — gamers were desperate for new game experiences, and so even mediocre games could do well with the right marketing push.

Welcome to the 21st Century, where good games are released every day, and great games every week or two. We’re drowning in good games — how many unplayed games have you piled up in your Steam library Ask any game player and they can probably name a number of games they are interested in but haven’t purchased or played yet — and there are hundreds of great games they haven’t even heard of.

It’s time to design your marketing before you design your game.

If this sounds crazy, it shouldn’t. The central problem of mobile games is discoverability, of getting found by gamers amidst hundreds of thousands of other games. That’s even true of games on PC, games online, and console games — there are so many good games out there, informing and convincing potential players to get your game is becoming increasingly difficult. Put another way, building an audience is more difficult than building a game, in many cases. And without a paying audience, you’re not going to make money from your game no matter how good it is.

A good game is just table stakes these days, John Riccitiello said. You still need to build your audience. Maybe you already have a massive customer base that you can cross-promote to, but not everyone has that handy. If you don’t, how do you know your game has a good chance of attracting a big audience

Think Hard.

Try drafting the press release for your game first, before you design it. Amazon and other tech companies have often used this trick — it forces you to think of features that would be compelling for your product. If your press release puts you to sleep, that’s a sure indication that your game isn’t distinctive or interesting enough.

Some companies have been known to go a step further, and create a TV commercial before they create a product. If the commercial create enough interest, they get to work on actually creating the product.

Sure, it sounds crazy, especially if your product contains significant technical challenges that you aren’t sure you can overcome. But the exercise of creating your marketing — or, at least, your key selling points — can wonderfully focus your design into working on what will appeal to an audience.

Potential game players are bombarded with news and messages every day — you should see how many press releases the average game journalist gets every day. How would yours stand out If all you have that makes your game unique is a different name for the fantasy world where the game takes place, you’d better go back to the drawing board. Try writing a press release that makes you excited to play the game, and then see if you can get some of your co-workers similarly excited.

A great game concept should be packed with things that stimulate great marketing campaigns. Tell your game idea to a marketer, and if it’s a compelling idea that should be obvious when your marketer responds immediately with ideas for how to market the game. If not, you either need to find a more creative and enthusiastic marketer, or a better game idea — or both.

Yes, it will be a challenge to build a game the lives up to the exciting adjectives in the press release you drafted at the beginning of the process. But if you can create a press release that’s exciting, and a game to match, your odds are much, much better that you’ll have a game that can attract an audience that will deliver a tidy profit to you.

Certainly, this concept is completely the opposite of the way most designers think — that’s the point. Looking at a problem from a different angle is a good way to find solutions. Yes, as the game design develops you often come up with new features, or find out that something you just threw in turns out to be the part of the game that everybody talks about when they see it. So your press release will no doubt get modified as the game is developed, which is a sign that you’re making the game more appealing to the audience — and not just to the design team.

Nothing is more critical than knowing the difference between what your designer or design team likes, and what a large audience is actually interested in playing. There are plenty of great games that appeal mainly to a very small audience — and those types of games can be wonderful pieces of craftsmanship, but they aren’t something that generates the profits you need to run a business. Figure out if the game you’re dreaming of creating will actually have a big enough audience to pay for your time — and that’s what a marketing plan should show you.

If you find yourself with a press release and a marketing plan that doesn’t seem like it will be a hit game with a large audience, congratulations! You’ve just saved yourself (and your company) a whole lot of time and money by not pursuing a game idea that had a low chance of success. Come up with another idea, or refine that first one, or mash it together with another idea — be creative! That’s the mark of a good designer, after all, and of a good marketer. Start with a great marketing concept for your game, and a great game should follow.

YouTube Partners With AwesomenessTV, Creators On Long-Form Content

by Jessica Klein

YouTube has partnered with some of its top creators and AwesomenessTV to roll out new series and even feature films across their channels on the video platform.

As for creator partners, YouTube will be working with the Fine Brothers, Jesse Wellens and Jeana Smith of Prank vs. PrankJoey Graceffa, and Anthony Padilla and Ian Hecox of Smosh to develop new series. Though none of the series have been named or given debut dates, you can get the gist of them based on descriptions we’ve been given so far.

The Fine Brothers will be releasing a scripted comedy series that plays on the idea of reality singing competition shows. It’s being produced in partnership with Mandeville Films. Meanwhile, Prank vs. Prank will bring celebrities into their ongoing prank war, and Smosh will have a new, scripted comedy series starring the duo as they work at a themed restaurant and have to deal with its various, colorful clientele.

Keep reading…

This article was originally posted on VideoInk and is reposted on [a]listdaily via a partnership with the news publication, which is the online video industry’s go-to source for breaking news, features, and industry analysis. Follow VideoInk on Twitter @VideoInkNews, or subscribe via thevideoink.com for the latest news and stories, delivered right to your inbox.

NewFronts Kicks Off With Video Ads Push

NewFronts 2015 is under way, with a number of companies showing off their latest projects in social media in the hopes of attracting advertising dollars through a number of formats, including a push for video ads.

There are a surprising number of companies involved, including Buzzfeed, Yahoo, YouTube and Maker, all looking to push its original content while, at the same time, presenting viable formats in which advertising can be more effective than it currently is on modern television.

Surprisingly enough, The New York Times kicked off its own presentation at NewFronts, where, according to the Washington Post, it revealed a forthcoming documentary series focusing on women in the Arab Spring, as well as animated features that take a closer look at the financial industry. In addition, it also intends to dabble in virtual-reality technology.

“Times Video continues to be one of the most creative expressions of our journalism,” said Bruce Headlam, managing editor of video for the Times. “From breaking news to creating in-depth features, Times journalists are using the medium to amplify our news report and bring rich, visual storytelling to new audiences.”

Meanwhile, a study from the Interactive Advertising Bureau points out that investors are more likely to boost their digital-video budgets over the next 12 months, shifting away from traditional television – and this is following an effective 80 percent of marketers and agency execs who attended last year’s NewFronts and came away impressed enough to invest in at least one project.

Variety reports that, according to the IAB’s numbers, U.S. digital video advertising totaled a whopping $3.3 billion last year, up 17 percent from the $2.8 billion the year before. eMarketer added its own numbers, stating that the market was worth $5.8 billion overall last year, and expected to grow to $7.8 billion this year.

About 68 percent of the marketers and executives polled by the IAB believe that their digital-video ad budgets will increase over the next year. “This study demonstrates unequivocally that digital video is a fierce competitor for advertising dollars,” said Sherrill Mane, IAB’s senior vice president of research, analytics and measurement. Thus, the NewFronts are a pretty big deal for all involved, investors and companies alike.

Want further proof The survey indicates that last year’s NewFronts presentations were “directly responsible” for driving 36 percent of buy-side attendees’ spend on original digital video advertising over the past year. That’s an increase of 24 percent from the previous year’s NewFronts events.

In addition, 67 percent of marketers and agency execs believe that original digital video will become as vital as original TV programming over the next three to five years. It’s already proven to be a big draw, with House of Cards and Orange Is the New Black driving more and more people to Netflix, and so on.

Still, there are some that are taking NewFronts in stride and having fun with the format. Some have pitched their shows in a playful manner, without being super-serious on the numbers – for instance, video talent Taryn Southern, with her humorous pitch for her new project The Taryn Show. And Defy Media recently collaborated with Screen Junkies on an Honest Newfront Trailer that pokes fun at the event in general, while slyly inviting attendees to come out to a Defy media party on May 4. You can see the trailer below.

 

Teens Drop 20% Of Their Money On Entertainment

There’s no question that teens like spending money, whether it’s from an allotted allowance or employment with one of their first jobs. But the real question is where they like to spend it — and Piper Jaffray has just found the answer.

An April 2015 research report compiled by the company indicates that food and clothing are the biggest factors in teen spending, although entertainment takes up a pretty healthy chunk as well, according to eMarketer.

Food factors in as the highest spenditure with 21 percent, while clothing is close behind with 20 percent and accessories/personal care are in third with nine percent. However, the rest of the chart shows a good amount of money going towards transportation and entertainment. These include automotive with eight percent, electronics with eight percent, video games with seven percent, music and movies at six percent, and events at five percent. Meanwhile, bottoming out the list is books/magazines at two percent, followed by furniture, also at two percent.

Clothing was in the top spot for some time, since spring 2011, but with the rise in popularity with organic food, it’s assuredly taking the lead. And the report shows that 40 percent of those polled were eating more of it than in previous years.

Clothing overall still plays the biggest part when combined with accessories/personal care and shoes (at nine percent), with a share of four in ten.

As for where teens enjoy shopping, physical stores are still a big draw, but some feel that online shopping has become the way to go — especially from the male perspective. 61 percent of respondents feel that physical stores are still the best option, although online shopping still takes up a pretty solid chunk of that demographic, with a growth to 57.2 percent of US consumers ages 14-17 — approximately 9.6 million people — for this year one. By 2019, Piper Jaffray indicates that the number will grow even bigger, to 61.5 percent.

The kids, they keep on shopping’…

Image source

The Wearable Market Still Faces An Uphill Climb

With the Apple Watch now available, the wearable tech market is pushing to an all-new level, as more consumers become interested in Apple’s latest tech. However, when it comes to the general medium of wearable tech as a whole, it still has a ways to go, according to eMarketer.

A new report from ACCENT Marketing Services indicates that consumers are still a little confused when it comes to figuring out the most practical use for wearables. Approximately a quarter of internet users indicated that they are excited about watches, although that’s a lower number of the 44 percent that said they’re more interested in activity trackers or fitness bands. An even lower number, eight percent, expressed interest in fitness clips.

The Apple Watch makes use of these features, although that still doesn’t clarify exactly what consumers are looking for, as some can’t even figure out the difference between a smart watch and a fitness band – aside from price, of course.

ACCENT stated that one in three internet users surveyed wanted some form of wearable device for quicker access to social sites, as well as because they “looked cool.” Some even expressed that they wanted to see bigger possibilities with brands marketing with the devices.

However, the bottom line is that it’s not that big a draw just yet. Only 19 percent of those surveyed indicated they wanted to buy some form of wearable tech, with men more likely than women (at 25 percent compared to 13 percent). Baby boomers were the most likely age group to probably buy in, with 20 percent.

Ease of use could also be a factor, since the Apple Watch requires pairing with an iPhone. However, some people like the idea of connectivity, as the report shows that 63 percent of users believe that a wearable tech device should work with other mobile devices, no matter what operating system they use. Meanwhile, 22 percent feel that it should operate independently, while 15 percent feel that it should use the same OS in a seamless manner.

Said John Hoholik, chief engagement and solutions officer at ACCENT, “People will start to engage as much as the technology allows them to engage, and I don’t know that marketers and brands have really thought that through yet. I think it will evolve much as social has evolved. It will grow and change, and what consumers need will dictate the different ways marketers behave on these new platforms.”

That isn’t stopping some companies from trying, though. VentureBeat has reported that one developer, Robot 5 Studios, will try to get ten Apple Watch games released before the end of June – an unprecedented amount for a new device.

But despite questionability on the market, the studio remains confident. Said Peter Chen, founder and CEO of Robot 5, “If we think back to the transition from gamers spending time on consoles and desktop games to spending more and more time playing games on a smartphone that’s always nearby, we can imagine a future not too far away where gamers prefer the convenience of playing certain types of games on their Apple Watch instead of pulling out their smartphones.

“There’s a time and place for games on a watch, smartphone and huge screen –we think that an increasing amount of time will be spent on watch games.”

We certainly wish Robot 5 the best of luck on its app launches.

ESPN Makes Big eSports Impact With ‘Heroes’

eSports could very well have a future in television, as proven last night when ESPN 2 aired the Heroes of the Dorm tournament, an event that got a lot of attention not only from viewers, but also those on social channels.

The tournament, hosted by Blizzard Entertainment, aired on a similar channel that showed the likes of baseball and other activities, indicating that eSports could be here to stay with television broadcasts, according to SBNation.

Viewership of eSports based events have gotten bigger over the years, mainly due to specialized online channels like Twitch.tv airing them for all the world to see. However, they haven’t dabbled too much in television until now, and last night’s broadcast was a clear indication that ESPN wasn’t afraid to try something new with it – despite some skepticism that eSports were “not a sport”, expressed by ESPN president John Skipper.

The tournament, which revolved around Blizzard’s Heroes of the Storm, did well on social channels as well, with both positive and negative comments surrounding the event. Michelle Beadle, sports reporter for ESPN, led the charge with a number of memorable quotes, including “I took the bait. Just turned on ESPN 2. As someone whose face appears daily on the channel, I don’t have answers. #LeeroyJenkins #chicken.” And “I’m loving the cautious approach by both teams. A lot of twirling and shooting and stuff. The mines could prove disastrous.” (A number of her comments have led to hundreds of retweets and favorites.)

Does this mean the channel will begin airing eSports on a regular basis That has yet to be seen, but last night’s numbers indicate that there is a place for such competition on at least one of the ESPN channels, even if Skipper’s feelings about the medium haven’t entirely changed. One look at Twitch’s ongoing viewership numbers (over 100 million monthly and counting) easily shows that there’s a growing trend – and it’s just getting stronger.

And with a number of tournaments coming this year – including events surrounding Valve’s DOTA 2 and Riot Games’ League of Legends, with millions of dollars at stake – the broadcaster may take a chance sooner rather than later.

The New Mobile Face Of Gamers

Gamer. A simple word that used to have a one primary definition: those that played video games as their main hobby. For over two decades, this group was mostly composed of males aged eight to 34 and were designed with that group in mind. However, as time as passed and accessibility to games has increased from physical media bought at a store typically for a dedicated gaming device to something readily downloaded within minutes for a smart phone, the audience for games has expanded greatly.

Brendan Sinclair, Senior Editor for GamesIndustry International, is acutely aware of how the changing nature of gamers has altered the industry.

“[Gamer] was shorthand for a particular stripe of geeky enthusiast, a label people (mostly boys) with common interests could group themselves under. That’s been steadily changing ever since Sega decided to target an older audience (and by older, I mean 13-16-year-olds) with the Genesis. Sony pushed the age range further with the PlayStation and PlayStation 2. With the DS and the Wii, Nintendo welcomed women and older adults to the party. Smartphones and Facebook made those newcomers essential to the industry. Now we have games for everyone. The face of gamers is no longer little boys from wealthy families; it’s well on its way to being everyone in every developed nation around the world.”

As for the unfortunate culture wars that raged white-hot last year for the gaming industry and still simmer in some corners of the Internet, Sinclair says he sees that as a, “reaction to that broadening of the gamer demographic. As the traditional idea of a gamer makes up a smaller percentage of the industry as a whole, as the companies they grew up idolizing increasingly cater to people who aren’t them, as the thing the cultural label they have embraced for decades appears to be systematically robbed of its meaning and status, it’s understandable they might feel under attack, struggling against the inevitable. It’s just sad that so many apparently seem to think that if they can no longer be the face of gamers, then there’s no harm in scarring that face greatly on their way out.”

Michael Pachter, Managing Director of Equity Research for Wedbush Securities, notes that this has changed the economics for the gaming industry, not just for new comes for for established AAA publishers as well.

“The biggest change is that mobile has brought in a completely new set of players (older women) and has made conventional gaming more acceptable to them,” notes Pachter. “That has a subtle flow through to shifting attitudes of mothers, who are more likely to allow their children to play console games than in the past, helping the publishers. Those companies that focus on mobile are obviously directly affected, so far easier to see the correlation to Zynga and King, but far more subtle to see the impact on Ubisoft or Take-Two.”

William Volk, CCO of Playscreen, has been making games for about as long as anyone, so he’s seen the industry grow up figuratively and literally. As he sees it, “The biggest change I have seen over the past 30+ years is that EVERYONE plays games now.”

“When I started as a play-tester in 1979 the audience was computer hobbyists and mainly boys on the Atari VCS and Mattel Intellivision. The first games I wrote for Avalon Hill, in the early 1980’s, initially reflected that market, but even back then we wanted to broaden the game audience. Controller (Released in 1982) was partly motivated by the Air Traffic Controller’s strike of 1981,” he continued. “The goal for me was always to get more people playing games. Build a game your mom and dad would play. What’s amazing is that this hobbyist market supported a price point of $25 for a 32kb game.”

While personal computers in the ’80s was primarily an enthusiast market, Volk glimpsed the future in a stint at Activision.

“I first got a glimpse of how casual games were going to change the market at Activision (I was there from 1988 to 1994) specifically with Brodie Lockard’s amazing game, Shanghai.  While I focused on children’s games and adventures, I used to argue that we should be trying to find the next Shanghai because of it’s wide appeal to users beyond the typical game player of the day,” said Volk. “However my biggest success was with The Return To Zork, a game that was deliberately designed to be unfair and infuriating to users. Twenty-two years later, there are almost 4,000 YouTube videos dedicated to the game. The market in 1993 was still computer aficionados.”

Volk saw that there was “a mass market for games on mobile phones”, though at first the devices were quite limited. “In the early 2000’s these were very limited devices, with screen resolutions as low as 128×128 pixels (sometimes less) and the same sort of memory constraints we had seen on computers and consoles twenty years earlier,” he said. “Coincidentally, this experience we had with these limited platforms, has proven to be incredibly valuable with the design of Apple Watch games.”

“Everyone had mobile  phones, so this looked like a place where we could get more people playing games. I was aware of what was happening with DoCoMo in Japan (an vibrant app market) and knew it was a matter of time before this happened here,” he continued.  “While we may have jumped to gun too early with mobile social games like The Dozens in 2005, it was clear to all of us that the mobile phone was going to become a mass market platform for games.”

While Volk saw potential in the mobile platform, it wasn’t until the iPhone until he saw things open up. “We could all see it how much better it was than prior phones. In 2007 Sherri Cuono and I launched some of the first games on the device, using Safari […] as the App Store was still a year away from appearing,” he detailed. “The App Store lowered the barrier to entry and soon we saw a virtual tsunami of game titles being released. The financial models totally shifted as well. Games went from fixed price to free-to-play and/or ad supported. I don’t know of any time in the history of the video game industry when it’s been harder to release a successful game, given the competition and the demands of the free-to-play model. As a comparison, there were only 785 titles released for the NES in North America.”

“Unlike the PC and Console markets of the past, most of these iPhone games had broad appeal. Some were simple one-tap titles, others mimicked popular table games, and even a few were air traffic control games (Flight Path comes to mind). The audience was EVERYONE. When I look at the demographics for our Stick Figure Movie Trivia game, it’s exactly the folks who WEREN’T playing games in the 1980’s and 1990’s, mainly women of all ages,” Volk added, concluding with, “Once again history repeats itself with the Apple Watch with very simple casual games that will appeal to a broad base of players.”

Practically everyone games now, it one form or another, and that has changed the equation of what games can be. While there will always be enthusiasts for the medium, and those enthusiasts will will command and demand more attention from developers since they spend more on their hobby on average, the altered nature of how games are consumed (and who is playing) have changed the face of “the gamer” irrevocably.

Video Ad Views Picking Up On Mobile

More and more consumers are using mobile devices for a number of things, such as posting on social networks, watching videos or catching up on some other form of web content. Today, FreeWheel posted statistics from its Q1 2015 report showing that it’s big in a couple of other areas as well — namely video ad views and completion rates.

AdWeek reports that both of these areas are growing immensely in mobile, as well as through “over-the-top” devices like connected televisions. FreeWheel’s monetization report indicates that they’re at 92 percent in terms of growth, with longform content exceeding over 20 minutes across both devices.

While FreeWheel hasn’t posted the latest demographic for this report, the previous period’s can be found below, and already shows tremendous growth leading into 2015’s numbers, including video ad views be device (in which desktop/laptop has a commanding lead with 67 percent), ad view growth by content duration (in which live content shows a 140 percent increase) and ad view share by content genre (with reality/documentary showing a 23 percent lead, followed by scripted drama at 18 percent and music/trailer at 17 percent).

While the rise in overall digital video ad spending is notable for this year (showing a 33.8 percent increase for 2015 alone), some are still showing concerns that too many ads are going unnoticed, which could be a problem when it comes to overall buying and selling.

eMarketer reports that a November 2014 report from Integral Ad Science, polling both U.S. digital media buyers and sellers, indicates that both aren’t too fond of the Media Rating Council’s viewability standards, although suppliers found them to be adequate at best.

“Every publisher is like, ‘Oh, that’s absolutely fine,’ and every buyer is like, ‘No, it’s not,'” said Ari Brandt, CEO and co-founder of digital ad platform MediaBrix. “I don’t think that chart is going to change any time soon. I’m surprise it’s not 100 percent for the suppliers who say that they’re fine with the standards.”

Viewability rates for 15 and 30 second video ads managed to stay around 51 percent, based on a two-second in-view rate, according to numbers from Moat. This indicates that 50 percent of video ads were viewable overall, leaving a staggering amount unseen.

Innovid also shared its own report, indicating that interactive pre-rolls on broadcast sites show high viewability, with 77 percent overall worldwide, compared to 49 percent through AOL and Yahoo, and 38 percent with other platforms.

So while video ad views are a big hit, there’s more work that can be done when it comes to certain ones that have yet to be seen. Perhaps we’ll see a solution in the months ahead, especially as FreeWheel’s latest statistics emerge.

The IAB’s Anna Bager Talks The Biggest NewFronts Yet

by VideoInk Staff

The Digital Content NewFronts this year will consist of more presenters than ever before. Over 30 online networks will reveal their upcoming programming slates, allowing for an unpresented amount of deal-making to take place.Offering some perspective as this action-packed week begins, Anna Bager, the SVP of mobile and video and the general manager of both IAB Digital Video and Mobile Marketing Centers of Excellence, told us her take on the 2015 NewFronts. How is it offering unique opportunities from the TV Upfronts as it attracts more buyers Read Bager’s take below.

With more presenters at NewFronts than ever before, what, in your opinion, is driving this type of interest in the events?

The IAB just came out with a study that shows strong numbers in connected TV ownership and usage, clearly demonstrating that streaming digital video to television screens is mainstream behavior–and its gaining in popularity. Turning traditional TV time into streaming time is becoming the new norm. As a result, there is no question that a marketplace like the NewFronts is an imperative. Unprecedented interest in the NewFronts–from both prospective presenters and from the buy-side–reflects this important consumer shift.

Which new presenter are you most excited to see on stage, and why?

It’s impossible to choose a favorite, and we are ready to be surprised and delighted each and every day of the presentations. But I’d have to say I am excited to see all of the new entrants to the event. We are sure that they will have some great content and advertising offerings to share, and they are ready to put on some great shows –from modest and exclusive meetings to really fun, immersive events. We are especially pleased that these new presenters are known for exploring a range of topics that speak to a variety of different audiences.

Read more…

This article was originally posted on VideoInk and is reposted on [a]listdaily via a partnership with the news publication, which is the online video industry’s go-to source for breaking news, features, and industry analysis. Follow VideoInk on Twitter @VideoInkNews, or subscribe via thevideoink.com for the latest news and stories, delivered right to your inbox.

The Demographics Of YouTube, Broken Down

There are plenty of people out there who spend hours at a time exploring YouTube, whether it’s for movie trailers, opinion on a certain subject, or even highlights from their favorite shows – either provided by the networks or not. No wonder it’s so popular in so many demographics.

Digiday recently broke down just how popular the channel has become. First off, it stated that, despite a large group of male and female viewers, male still leads the pack, with men spending 44 percent more time on the site on a monthly basis, and 51 categories dominated by about a 90 percent male viewing presence. That said, there’s still plenty for women to do, as indicated in the chart below.

According to stats provided by OpenSlate, makeup and cosmetics lead the pack in female topics, with 89.3 percent overall viewership, followed by skin and nail care, weight loss and popular East Asian and pop music. Oh, and who can resist dogs

Gaming rules on the guys’ side of the playing field, with collectible card games taking a huge chunk, followed by Nintendo and Sony. There are some non-gaming trends in there, like bodybuilding, soccer, and graphics and animation software.

“As soon as you omit gaming as a macro category, it goes to almost 50-50,” said Mike Henry, CEO of Outrigger Media, the operator of OpenSlate. “Guys spend an incredible amount of time watching gaming videos.”

Then there are age groups, in which are broken down in the chart below.

comScore reports that the 25-34 bracket leads the charge in monthly viewers, judging by March 2015 numbers, with over 40 million. The 35-44 and 45-54 groups are closely behind, followed by the 18-24 group. Surprisingly enough, there are a large number of senior viewers as well, around the 20 to 26 million point.

However, these numbers can be quite different depending on category. In the field of beauty and style channels, females 18-24 lead with nearly 40 percent of all viewers, followed by the 13-17 and 25-34 age brackets. Meanwhile, men’s numbers for this category are incredibly low, barely registering five percent at the most.

By comparison, pets and animals channel have a better split between the two groups, with males and females 25-34 showing the highest numbers, around 15 to 17 percent, followed by 18-24 and 34-44.

“Understanding who is watching what at a really grandular level is where the storytelling process starts,” said Henry. “You can always find these people and target them, but it’s a completely different value proposition if you can target them in the mindset they’re in with a message that fits.”