Quidd Brings Super-Fan Community Together With Digital Collectibles

Fans love to collect a variety of items from their favorite TV shows, movies, comic books and other entertainment. Everything from toys to stickers showcase their love and enthusiasm for different franchises. However, one of biggest problems with that hobby is finding the physical space to display and show it off to the world. Quidd has a solution to that problem: digital collection through its mobile app.

The idea of collecting digital goods might seem strange at first, but it makes more sense once you consider how players spend thousands of dollars on cosmetic items in their favorite video games. With Quidd, users can purchase or trade digital goods to show off or complete sets and it looks like the digital age of collectibles is quickly catching on. The company revealed in a statement that over one million digital items have already been distributed on the platform since its founding in 2015.

Quidd’s collectibles include digitized versions of real-world toys and figures, backed by partnerships with companies such as Funko, along with stickers, trading cards and emoji featuring popular franchises such as Star Trek, Breaking Bad and Scream Queens. A partnership with the licensed board game and collectibles company, Cryptozoic Entertainment adds Adult Swim items from Adult Swim shows such as Rick and Morty, Adventure Time, and Steven Universe into the mix. That’s in addition to the app announcing that it raised $6.75 million in funding to help further feed the need for collectibles.

Michael Bramlage, Quidd CEO and co-founder
Michael Bramlage, Quidd CEO and co-founder

According to Quidd CEO and co-founder, Michael Bramlage, the app is quickly winning over like-minded fans, and it is helping to overcome the stereotype that collecting is mostly for the older, male, demographic. He said in a statement: “With an eclectic assortment of content, an immersive digital-only experience, and fun, expressive products like stickers, Quidd is proving that the desire to collect and geek out with fellow fans is cutting edge and universal, encompassing millennials, female fans and more. It’s no wonder that 70 percent of our fans have never collected physical stickers, cards, or toys before they purchased their first digital collectible on Quidd.”

Bramlage talks to [a]listdaily about servicing the new generation of like-minded super-fans, comprised mainly of millennials, by giving them a platform to collect and connect with each other on.

In your words, how would you describe Quidd?

Quidd is an app to collect and trade digital stickers, digital cards, and digital toys. It’s a little bit like a digital toy store on your phone. It might sound silly, but consider the billions of people that send emoji and digital stickers in chat messages each day. We want to serve that market with high-end, limited-edition emoji and sticker content, almost treating it like art or toys to be curated and collected.

How does collecting digital items help fans connect with their favorite shows?

You’re exactly right that we’re helping millennial super-fans connect with the shows they obsess over and love, like Rick and Morty or Bob’s Burgers. But how do we really do that? Well, collecting is far more than just the object. It’s far more than that limited-edition, premium (and hilarious) digital sticker from Rick and Morty that you collect on Quidd and can share in your text messages. It’s the experience around it. It’s meeting like-minded fans that are trying to collect the same thing. It’s hanging out, and geeking out, about the show. There’s a whole social layer to the experience. Think of it as like having Comic Con in your pocket.

What would you say is the appeal of collecting digital items compared to physical ones?

RM_white_1024x512The interesting thing we’re learning is that these are real objects that just happen to be digital. So, it’s a little like comparing reading a novel on a Kindle versus a hardbound book. It’s a similar experience, just more immediate, more frictionless, and we think more heightened. You can trade and exchange items with anyone in the world, instantly, at four in the morning on Quidd. You can’t easily do that with physical items. You can open an endless stream of packs of cards on your phone before you go to bed at night. You just can’t get that immediacy and ability to get more, on-demand, with physical collecting.

Seventy percent of Quidd users have never collected physical stickers, cards, or toys before they purchased their first digital collectible in the app. This includes a disproportionate number of millennial females. What sets us apart is that we’ve built this experience that allows us to tap into the latent need of super-fans, and not just the stereotypical adult male trading card or action figure collector. The app and platform is proving that everyone—young, old, male or female—has an inner geek just waiting to come out.

We’re proving every day that Quidd is expanding the tent of the collecting market by turning super-fans into first-time collectors through a native digital experience and through fun, collectible products like digital stickers.

What can users do with the digital items they collect?

ST_box_openingDigital stickers that you collect on Quidd integrate with our keyboard so you can drag-and-drop them into your iMessage chat messages. Digital cards can be collected and traded and digital toys, like Funko Pop! figures, can be played with and displayed. We’re investing heavily into bringing these stickers, cards and toys to life after you own them on Quidd. So imagine, in the future, building a relationship with a digital doll that you own in the app.

How have you been spreading the word about Quidd?

The app has really been spreading by word-of-mouth in these fan communities. When we launch a new channel like Rick and Morty, the word within that fan base spreads rapidly.

How did the partnership with Cryptozoic to include Adult Swim digital collectibles come together?

Cryptozoic is the preeminent maker of physical collectibles and tabletop games and has been a long-standing partner of Adult Swim and Cartoon Network. It was a no-brainer to take that relationship and the years worth of physical collectibles from Rick and Morty and Adventure Time and recreate that experience digitally. We are very fortunate to have such great partners.

How will the $6.75 million be used to help Quidd expand?

In two ways. First, more and more content is in the pipeline and will be launching on Quidd in the coming months. There is some really exciting big name stuff that you’ll see soon, and the funding will be applied to helping launch this new stuff. Second, the funding will be plowed into even more product development. We’re a technology platform that allows publishers to create, merchandise, and sell collectible digital goods to their fan bases and so it’s imperative that we are continually building the most sophisticated platform possible. We have a roadmap that covers the next half-decade so we’re pushing hard to get that out sooner.

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February Digital Game Sales: ‘Hearthstone’ Takes A Hit; ‘FIFA 17’ Scores

Despite a mobile slowdown, US digital game revenue grew 6.4 percent year-over-year in February across console, PC and mobile, while console digital revenue alone grew 18 percent year-over-year. The worldwide digital games market grew slightly in February, according to SuperData’s latest report, rising four percent year-over-year to $7.83 billion. The analyst firm attributes this growth to a nine percent YoY growth in the mobile segment and eight percent YoY growth in console segments—balanced by shrinking pay-to-play, free-to-play and social segments in February.

top_selling_digital_titlesLaunching February 14, Ubisoft’s For Honor sold more than 700,000 digital units across console and PC, debuting at number seven on SuperData’s top 10 console rankings. EA’s FIFA 17 held the number one spot for console sales in February, and the game’s Ultimate Team console revenue had another month of double-digit growth due to a 15 percent year-over-year rise in monthly active users and an uptick in both conversion and ARPPU, SuperData reported. Digital revenue for FIFA 17 grew double digits in February, when comparing the same month last year for FIFA 16.

Hearthstone, Activision Blizzard’s hit digital collectible card game experienced its worst month on mobile since releasing on both Android and iOS smartphones in 2014. Revenue is down significantly year-over-year and month-over-month, according to the report, which describes the game’s downfall as “killing itself.”

“Recent gameplay decisions have been unpopular with the Hearthstone community,” SuperData observed, “and the result has been a sharp decrease in conversion on mobile. Desktop revenue is also down, but to a lesser extent, perhaps due to the more ‘hardcore’ demographic on PC.”

Activision Blizzard’s Call of Duty: Infinite Warfare did much better, leading the way for the most additional content revenue in February thanks to its first DLC release, DLC1: Sabotage. Meanwhile, EA’s Battlefield 1 led the first-person shooter genre in terms of digital units sold, selling more across console and PC in February than Call of Duty: Infinite Warfare and Titanfall 2 combined.

Priorities are changing, as gamers value additional content and long-term relationships with their favorite titles. More titles are staying relevant long after release, as indicated by Grand Theft Auto V coming in at number three and Call of Duty: Black Ops III coming in at number five for console sales last month.

“As indicated yet again by GameStop’s (GME) recent earnings, the shift to digital and the longer time players are staying with existing titles thanks to DLC releases is having a massive impact on the retailer’s ability to stay relevant when it comes to games,” said SuperData.

An ‘Office Space’ Game Is Coming To Mobile: No TPS Reports Required

No film has so perfectly captured the mind-numbing drudgery of Corporate America than the 1999 classic, Office Space. Now, Mike Judge’s oh-so-quotable film about a group of disgruntled employees has been adapted into a mobile game to help real-life slacking employees get even less done.

Office Space: Idle Profits takes players to the cubicles of Initech—the soul-sucking corporation from the film—to seek revenge along with Peter, Samir and Michael Bolton. Installing a virus in the company’s mainframe will siphon pennies from each department to make you all rich, but players will have to (sort of) work for it. As with other “idle” games by Kongregate, players will need to repeatedly tap their screen to accomplish goals and can do so faster with the help of optional in-game purchases.

Those sick of TPS reports and middle management can enjoy such adventures as visiting Milton and his red stapler in the basement and beating the ever-living crap out of a fax machine. Oh, and what would Initech be without everyone’s favorite boss, Lumberg?

“We’re excited to return audiences to the cubicles of Initech,” said Rick Phillips, EVP of Fox Interactive in a statement. “The charm and wit of the film are just as relevant in today’s environment as it was when originally released in 1999, and we’re thrilled to be able to capture its eccentric cast of characters including Lumbergh, Michael Bolton, and Milton in a quirky and hilarious mobile game.”

Kongregate, a subsidary of GameStop, previously partnered with Fox Interactive for a collectible card game called Animation Throwdown: The Quest for Cardsa battle game featuring characters from Fox animated series like Family Guy, American Dad, Bob’s Burgers and King of the Hill. GameStop recently reported a drop in income thanks to the rising popularity and convenience of digital downloads, but remains optimistic.

“We’re so pleased to be continuing our partnership with Fox,” said Emily Greer, president and co-founder of Kongregate in a statement.  “With Office Space: Idle Profits, I believe we’ve found the perfect blend between gameplay and IP integration. We’ll see if fans of the film agree!”

Office Space: Idle Profits is coming soon to iPhone, iPad, and Android, although an official release date has yet to be announced.

Native Ads, Millennial Dads And Other Must-Read Marketing Stats

This week, we find out how millennial parents use YouTube, how promoted posts are viewed on Instagram and just how much customers love their PSVR.

Gone Native

us_native_digital_display_ad_spending324pxNative digital display ad spend in the US will grow 36 percent this year to reach $22 billion, according to the latest forecast by eMarketer. At that level, native will make up 53 percent of all display ad spending in the states.

That’s a lot of moolah for marketers to spend—and they better do so quickly because the average tenure for a chief marketing officer of leading US consumer brands has experienced a 13 percent decrease over the last two years. According to the 13th annual CMO tenure study by consulting firm Spencer Stuart, 48 percent of CMOs have been in the role for two years or less, consistent with 2015. However, there was a decline in the number of CMOs who have been in the role for three or more years—34 percent in 2016 versus 41 percent in 2015 and 49 percent in 2014.

Millennial Moms And Dads

Young consumers aren’t fond of ads, according to the latest Deloitte Digital Democracy Survey. Eighty percent of all study participants will skip digital TV or video commercials, but 46 percent of consumers said they pay more attention to an ad they can skip versus an ad they cannot. Gen Z consumers value online recommendations on social media (27 percent) over TV ads (18 percent) when making buying decisions.

The study found that 45 percent of millennials use ad-blocking software, with 89 percent indicating that the primary reason is to avoid advertising altogether. In addition, 40 percent of these respondents noted the use of ad-blocking software on their smartphones, with over 70 percent of millennials and Gen Z viewers finding mobile ads to be “irrelevant.”

Even without ad-blocking software, millennials—especially parents—are particular as to what they want to see in a marketing campaign. Google recently conducted research with Flamingo and Ipsos Connect to see how this demographic really operates. Eighty-six percent of millennial dads, for example, turn to YouTube for key parenting topics like preparing meals or assembling a product. Sixty-five percent of millennial parents said that they watch YouTube with their children to share pieces of their own childhood with the next generation.

Socially Active

Promoted posts on Instagram have varied results, but those ages 65-to-74 are most likely to search for products after seeing them, according to a report by Influence.co. While millennials and Gen Z make up the largest group of Instagram users, the older demographic is far more receptive to promoted efforts.

According to a survey conducted by ClickZ Intelligence, 40 percent of advertisers said they plan to increase their spending on Instagram. In fact, advertisers are allocating more money to paid social in 2017, particularly on Facebook. Close to two-thirds plan to increase their investment to the social platform, according to December 2016 data, and another 40 percent said they plan to increase it on LinkedIn.

Everyone wants to be influential, and more and more brands are investing in creative partnerships. Forty-one percent of marketers said they have seen more success in influencer campaigns than in more traditional advertising efforts, according to Bloglovin’ research shared with Marketing Dive. Despite its popularity, only 32 percent said they are using influence marketing on Snapchat, but one-third of surveyed marketers reported using at least three social platforms per campaign.

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Virtually Happy

Gamers are pretty darn pleased with the PSVR. Three months after the headset’s release, over 1,000 consumers have reviewed the product on Amazon and Best Buy’s US consumer websites. The product boasts an average score of 4.6 out of 5, according to a report by Strategy Analytics called “PlayStation VR: Customer Sentiment Analysis.

“The exceptional reception the PSVR bodes well for Sony in the console wars, and for its publisher and developer partners who have committed significant resources on what many people saw as an uncertain technology,” said David MacQueen, executive director of the virtual reality ecosystem research program at Strategy Analytics. “It’s not an exaggeration to say that consumers seem to have fallen in love with it, since ‘love’ is mentioned nearly 200 times, and an unprecedented 73 percent of the reviews gave the device 5 stars out of 5.”

The Top 25 Game Companies Of 2016 By Revenue

There’s big money to be made in the video game industry—just ask the top 25 public companies by game revenue in 2016, who generated a combined $70.4 billion. This was a year-over-year increase of 17 percent, according to analyst firm, Newzoo. A large part of that revenue can be attributed to the top 10 public video game companies, earning $53.7 billion and growing 24 percent over 2015.

While a majority of revenue growth was organic and accounted for by companies that are already market leaders, some of the growth resulted from acquisitions such as Activision Blizzard and King. According to data compiled by Newzoo, the top 10 companies alone made up 54 percent of the total global games market last year, illustrating ongoing consolidation in the industry.

Tencent, the world’s largest company by game revenues, generated $10.2 billion and represented an impressive 10 percent share of the global market in 2016. The company acquired game developer, Supercell last summer, known for its popular Clash of Clans franchise. Adding Supercell’s revenues bumped Tencent’s total to $12.5 billion for 2016, or 13 percent of the total global games market. Sony and Activision Blizzard were the second and third biggest public game companies last year with revenues of $7.8 billion and $6.6 billion, respectively.

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Of the top 25 companies, Newzoo observed the highest increase from Ubisoft at 57 percent, and the highest decrease by Warner Brothers, which saw a 27 percent drop in revenue over the previous year. Netease was the fastest-growing competitor among the top 25 companies, with a 50 percent year-over-year revenue increase—something Newzoo attributes to “stellar” mobile performance in China.

“Its best performing mobile title, Onmyoji, has been in the top grossing charts since its release in September of last year, and is proving worthy competition for Tencent’s King of Glory,” Newzoo noted.

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Newzoo’s Top 25 Public Companies By Game Revenue Are:

  1. Tencent
  2. Sony
  3. Activision Blizzard
  4. Microsoft
  5. Apple
  6. EA
  7. Netease
  8. Google
  9. Bandai Namco
  10. Nintendo
  11. Square Enix
  12. Warner Brothers
  13. Ubisoft
  14. Take Two Interactive
  15. Nexon
  16. Mixi
  17. Konami
  18. GungHo Entertainment
  19. Disney
  20. DeNA
  21. Sega
  22. NCSoft
  23. Facebook
  24. Zynga
  25. COLOPL

Nintendo remained one of the top 10 companies, but was the only one that high on the list whose revenues declined. The company experienced a six percent year-over-year drop to $1.8 billion in 2016, despite the success of Pokémon GO. The company receives little direct revenue from the popular augmented reality game, although it did boost sales of other titles in the Pokémon series and drove Nintendo 3DS sales. The much-hyped Super Mario Run grossed around $50 million in its first few months.

Are VR Buyers Satisfied With Their Purchase?

You might say that virtual reality is in its awkward teenager phase—showing great potential in terms of looks and performance, but still having a lot of growing up to do. VR may not be the stuff of science fiction legend yet, but a new study shows that VR consumers are not only satisfied with their purchases—they’re impressed.

According to the study by research firm Magid, 89 percent of VR purchasers indicated they were “satisfied” or “very satisfied” with the product, with a majority naming the latter. In fact, 81 percent of those who purchased VR devices indicate a willingness to recommend to friends or family. While satisfaction was high across all device types, mobile VR headsets that work with any smartphone offered the most gratification at 67 percent.

Participants who bought a VR headset designed for a specific smartphone not only see their purchase as a “very good” value, but 66 percent find them “very easy to use.” Magid reports that a majority of consumers across all device types cited their VR headset as being a “very good” value, with the greatest percentage—60 percent—being among those who purchased a VR headset designed for a specific smartphone.

“As far as recent purchasers are concerned, VR devices are being rated very highly against the ‘holy trinity of value’ for money, ease of use and of exceeding expectations,” Mike Bloxham, senior vice president of national television and video at Magid, said in a statement “This combination is exactly what drives positive word of mouth which is so important for the growth of emerging tech-related markets.”

Eighty-five percent of VR purchasers believed their device was a good value, while 90 percent rated their device as “easy” or “very easy” to use. Sixty-one percent reported that their VR device performed better than they expected.

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No device is going to be a great value if you can’t use it, and that’s where VR content comes in. Viewing of non-gaming video content such as short videos and TV experiences on VR were reported at a higher rate (72 percent) than video games (63 percent). Music and virtual travel were also among the top VR experiences at a combined 51 percent, according to the company.

“VR isn’t just for gamers anymore,” said Debby Ruth, senior vice president of global media and entertainment at Magid. “Games are always going to be important to VR, but this interest in other types of VR experiences, especially music and travel, signals opportunity and potential for broader consumer engagement.”

Mobile VR is obviously a hit with consumers, many of whom are more than happy to rush out and buy the latest smart phone model. But what about VR headsets? We asked Magid if consumers may some day rush out to get a new model every year, or if they will be long-term investments.

“When you look at a VR device right now and you think about where they are going to be in the future in terms of form and function, the real comparison is to mobile phones where you needed two hands for operation,” Ruth told [a]listdaily. “At this stage, there is no way you can accurately anticipate the pace of development that is to come. Certainly, the idea of upgrading equipment year after year, will be based on many variables—such as price, perceived modifications and improvements, the possible tie of that equipment to some type of ‘plan’ such as in a data plan with phones. But as with phones, we can say with certainty, that devices will bear little resemblance to the early stage equipment we see today.”

Immersive Ads: What’s Next For VR Marketing

Virtual reality is where cell phones were about 10 years ago—a lot of potential, an increasing number of consumers investing in them and a whole lot of room to grow. With an increasing amount of VR content becoming available and mobile VR becoming more accessible, brands are ever-so-cautiously dipping their marketing toes in the hype pool.

While VR creates opportunities for brands to reach an immersed audience, only about eight percent of marketers are testing it out. Overall, consumers seem to be on board with the idea, according to a study by YuMe, with 66 percent of who have tried VR believe it creates a positive view of brands. The report entitled, “Seeing Is Believing” revealed that 86 percent of consumers have heard of immersive technology like VR, AR and 360-degree video, while 29 percent of consumers have tried it.

In a separate study testing the effectiveness of marketing in VR, brand recall was at least 8 times more effective across all brands with immersive VR as well as double the intent to share. Augmented or mixed reality is a popular choice for consumers dreaming of a virtual future. According to a study from Ericsson ConsumerLab, shopping was the top reason worldwide smartphone users were interested in VR, with “seeing items in real size and form when shopping online” cited by 64 percent of respondents.

This Coke ad by Adobe isr a 2D VR viewing experience with interactive elements.
This Coke ad by Adobe isr a 2D VR viewing experience with interactive elements.

Adobe is currently experimenting with VR advertising and presented a few prototypes at the 2017 Mobile World Congress. The ads appear in a simulated movie theater experience, with content playing on a virtual, 2D screen (similar to content made available by Netflix, HBO and Hulu). While immersive ads may become the TV commercials of the future, branded content has become a strong activation for the film and TV industries.

Wesley Snipes will star in a standalone VR short film to complement The Recall and Kong: Skull Island has its own, immersive VR experience for fans. Last month, FXX released a virtual hangout with “the gang” of It’s Always Sunny In Philadelphia to film Mac’s latest “Project Badass.” (Hint: it doesn’t end well.)

As VR, especially on mobile devices, becomes more accessible and the technology continues to evolve, so will opportunities for brands to advertise on the platform. Juniper Research predicts that hardware revenues from VR headsets, peripherals and 360-degree cameras will reach over $50 billion by 2021, up tenfold from an estimated $5 billion in sales in 2016.

ESports, Cause Marketing And Other Must-Read Marketing Stats

This week, video viewership is up, video game sales are down and we examine how different generations view cause marketing.

Press Play

US digital video viewers will grow from 221.8 million to 239.2 million between 2017 and 2021, according to estimates by eMarketer. The penetration rate among internet users will increase from 81.2 percent to 83.5 percent. As the number of US adult digital video viewers grows, eMarketer estimates, the universe of adult pay TV viewers will continue to contract.

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Happy Ads

Have you hugged your ad-supported internet today? The ad-supported internet ecosystem contributed about $1.121 trillion to the US economy and more than 10 million jobs across the entire country, according to a new study commissioned by the Interactive Advertising Bureau. The report found that the commercial internet accounts for six percent of the US gross domestic product, and the number of jobs created directly or indirectly by the ad-supported internet doubled from 2012 to 2016.

Speaking of ads, consumers may be more receptive to advertising throughout the day if they’re feeling upbeat. According to The Receptivity of Emotions study by Yahoo, “upbeat” consumers are 30 percent more likely to engage with native video content than in other emotional states, 28 percent more likely to engage with content marketing and 21 percent more likely to engage with direct marketing.

Just ‘Cause

Cause marketing is risky business these days, but many consumers—especially millennials—make an effort to purchase from brands whose causes align with their own. A survey of 1,000 American adults by Toluna revealed that 45 percent of millennial consumers would be willing to spend time researching which causes a brand supports, and 47 percent would be willing to pay more for brands that pass the test. Baby boomers surveyed weren’t overly concerned, with 49 percent stating that they don’t think about causes when making purchases. Gen X respondents consistently walked the line between baby boomers and millennials, with 39 percent willing to research brand causes, but 29 percent agreeing with older generations who don’t think about such things.

Brands have plenty of cause for concern, as new figures by The&Partnership estimate ad fraud to cost brands nearly $16.4 billion this year. The agency calculates that roughly 29 percent of programmatic ad spending in 2016 was wasted on invalid traffic, costing approximately $7.8 billion.

Gaming Growth

The eSports economy will grow 41.3 percent to $696 million in 2017, according to Newzoo. The total market is expected to nearly triple to $1.5 billion by 2020, with the largest portion coming from sponsorships. North America is the largest demographic for eSports revenue, poised to bring in $257 million in 2017 and reaching $607 million by 2020.

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The Nintendo Switch is flying off the shelves and every major retailer in the US saw an increase in their web and mobile traffic from Nintendo’s site and from searches, according to analytics firm SimilarWeb. Nintendo’s website sent 1.4 million clicks to Amazon throughout the month leading into the launch of the Switch—more than any other retailer.

GameStop and Toys ‘R’ Us traffic peaked over a 30-day period on the Nintendo Switch’s March 3 launch day, as well. Analyst firm SuperData estimates the Nintendo Switch will sell five million units by the end of 2017.

Ubisoft’s battle game For Honor debuted as the number one digital game in February, according to the latest report by NPD. The video game industry had a battle of its own last month, suffering a decline of 21 percent in spending for software, hardware and accessories for February.

PlayStation 4 was the top-selling hardware system in the month and the PlayStation 4 Slim System 500GB Uncharted 4: A Thief’s End Bundle was February’s top-selling console for the fifth month running.

NPD’s Top 10-Selling Games For February (Across All Platforms) are:

  1. For Honor
  2. Resident Evil 7: Biohazard
  3. Grand Theft Auto V
  4. NBA 2K17
  5. Call of Duty: Infinite Warfare
  6. Tom Clancy’s Rainbow Six: Seige
  7. Madden NFL 17
  8. Battlefield 1
  9. Nioh*
  10. Overwatch*

*Asterisks indicate that digital sales were not accounted for (or purchases made on Battle.net, in the case of Overwatch).

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Getting Suspicious

Consumers in Japan are beginning to trust online media more than traditional outlets, according to a study by Edelman. The company surveyed Japanese internet users in 2012—and again in 2017—learning that trust in search engines and social media have grown in the last five years. Trust in traditional media, however fell from 48 percent in 2012 to 39 percent in 2017.

Meanwhile, 15 percent of Twitter users may not be real, according to the study Online Human-Bot Interactions: Detection, Estimation and Characterization from the University of Southern California and Indiana University. The report also noted that, even given the research parameters, some complex bots still might have been mistaken as human, so the 15 percent figure could be a conservative estimate.

Middle On Top

Mid-roll ads, especially on smartphones, are experiencing high completion rates, according to a new Ooyala fourth quarter 2016 study. Publishers saw a rise in mid-roll impressions on mobile devices, increasing to 48 percent in the fourth quarter from 30 percent in third quarter, the report states. Long-form is also the most popular, making up 47 percent of all mobile plays in the fourth quarter.

CD Projekt Red Puts Its Cards On The ESports Table With ‘GWENT’

GWENT: The Witcher Card Game from CD Projekt Red is officially making its way into the eSports arena thanks to a partnership with ESports League (ESL). Based on a card game of the same name playable inside The Witcher 3: Wild HuntGWENT—despite its newcomer status—is already inspiring unofficial tournaments within its community.

“It’s a real privilege to observe how active GWENT players are in the realm of competitive gaming,” said Paweł Burza, community manager at CD Projekt Red in a statement. “Community-powered tournaments like The Passiflora Championship, The Seven Cats Brawl or The Gwentlemen’s Open are a source of inspiration for the entire team, and we definitely want this part of GWENT to grow.”

Registration for GWENT Challenger, the official GWENT: The Witcher Card Game tournament runs from March 16 to 22, with qualifiers beginning on April 8. The tournament will pit the four best players from the GWENT community against professional gamers, Trump (Jeffrey Shih), Lifecoach (Adrian Koy), Noxious (Kacem Khilaji) and ppd (Peter Dager). GWENT Challenger finalists will compete for a total prize pool of $100,000.

The digital collectible card games (CCG) market will generate $1.4 billion in revenue worldwide in 2017, according to estimates by analytics firm, SuperData. The digital CCG genre is most popular in Asia with an audience of 11.6 million, while North America has the largest physical player base at 9.1 million. SuperData predicts that between the ends of 2017 and 2020, worldwide digital CCG revenue will grow by a CAGR of four percent.

GWENT: The Witcher Card Game was created because The Witcher community wanted it,” said Marcin Iwiński, co-founder of CD Projekt Red in a statement. “Now we’re seeing more and more gamers wanting to play [the game] competitively, so here we are with a chance to play against some heavy-hitters, and a prize pool to spice things up . . . I can’t wait to see who wins!”

‘Sparc’ Makes Virtual Sports A Reality

CCP, creators of EVE Online, has been a part of the current VR culture since Oculus first started to become a household name. Its first entry into the market, the space combat flight sim EVE Valkyrie, blew people away and showed the breathtaking potential for virtual reality. That was followed by the mobile VR game, Gunjack, which is also set in the EVE universe. Now CCP is ready to take things to the next level by creating an all-new type of VR game—one that isn’t necessarily tied to the EVE universe. That game is Sparc, which was revealed at this year’s Game Developers Conference and is expected to release later this year for Oculus Rift, HTC Vive and PlayStation VR.

Sparc is a virtual reality experience that feels both familiar and new at the same time. It’s inspired by real-world sports such as tennis, racquetball and fencing to create a new kind of competitive experience that’s closer to being a traditional physical sport than a video game. In it, two people enter an enclosed arena and are tasked with hurling orbs in an effort to hit the other player while dodging their opponent’s moves. Players can bounce the orbs off the walls, floor and ceiling or “return” an opponent’s ball by either using a shield to deflect it or knuckle punching it.

Cameron Payne, brand manager for Sparc, told [a]listdaily that the development team regarded the game as a physical sport, just like tennis, and that the hope is players will see it the same way. He was joined by Morgan Godat, executive producer and studio manager at CCP, to talk about how Sparc could help transform VR into a sporting event.

Cameron Payne, brand manager for Sparc, CCP
Cameron Payne, brand manager for Sparc, CCP

How would you describe Sparc?

[Payne]: We describe it as a virtual sport, or a vSport. It’s a physical, standing, VR game where people compete and connect online. Thinking of it as a sport pervades everything about the game. When you play, you’re you—you’re not Cyber Knight 3000 playing some future sport. This is a real sport, and just like you’d have a racket for playing tennis, your VR setup is your sports equipment.

This is also the first game from CCP that’s not set in the EVE universe. You can have EVE costume customizations, but the game isn’t set in that universe. This is a sport between real people set in a virtual space.

What inspired the development of Sparc?

[Godat]: In 2014, we started the team in Atlanta and set them loose on the lofty goal of figuring out what comes next in VR. Head tracking wasn’t really a thing at that point, the Oculus Rift DK2 was just coming online, and EVE Valkyrie locked in the experience of sitting down with a headset and controller to fly a ship. We did some experiments with the controller and different types of vehicles, and with each one we said, “this would be a great feature for Valkyrie.”

So, we started developing with the Microsoft Kinect, which let me look down and see a version of my body along with other people in the space with me, and that was brilliant. So, we wanted the game to be your actual space mixed with these virtual objects.

The question then became whether or not we could take a full-body VR experience and apply motion controllers, like those on the HTC Vive, PlayStation VR and Oculus Touch. We showed a prototype called Project Arena at EVE Fanfest 2016, and the fans gave us our answer: “fuck, yeah!”

Morgan Godat,
Morgan Godat, executive producer and studio manager at CCP

Will the game use voice communication?

[Godat]: Absolutely. People meeting face-to-face and talking to one another is critical. We want people to show up and have conversations. One of the first things that we do at the start of a match is knuckle up, where people are face-to-face. We’re trying to reinforce the fact that you’re human beings playing against each other, so let’s see some sportsmanlike conduct. There’s a creepy level of humanity to facing somebody else and talking to them. We’re able to express more humanity through this technology than we can through a touchscreen or monitor.

CCP’s core DNA is in getting people together with player-to-player interaction. They do it on a much different, grander scale than what we have in Sparc but that’s fine. EVE Online has been on the market for 15 years and a community has built up in that time. That’s the kind of thing we want for Sparc.

Are there going to be social features?

[Godat]: Yes. When you enter in the courtside space, you see a miniature court in front of you and players shrink down when they hop in. You can then loom over a court and watch a game. We want people to show up and hang out around the outside of the court because it’s a lot of fun to spectate and root for the player you want to win. Then you can queue up for the next match. It’s a social space, where people can meet up, talk, and establish a back-and-forth before getting into the competition.

Will Sparc launch with customization options for creating team uniforms?

[Godat]: If Sparc takes off and people really love it, then we’ll talk about teams. Doubles is a constant question that everybody always asks. But our goal with customization is in balancing out how much control we give to people. You’re going to be interacting with customization in a virtual reality space. It’s empowering to put articles of clothing on in VR and see them in a mirror with your emotions and actions. Even though you can’t customize the shape of these characters, you can change certain parts, like the color and clothing materials. We’re still figuring out how players can interact with that in a way that’s intuitive and makes sense.

Will the game include sponsored branding opportunities for uniforms and the arena?

[Godat]: We’re not going to force anything into it, but there’s no reason why a certain part of the court can’t be sectioned off for sponsors. The NCAA tournament has an emblem in the center of the field. Everything that maps into a sport can map into this court. If someone comes along and says they want the shields branded in a certain way, or have logos on their chests, that’s something we want to enable.

Sparc_scree_5

Do you think Sparc may be adopted as an eSport?

[Godat]: ESports are made by the players. It’s the equivalent of saying, “we’re going to make a video and it’s going to go viral.” It sounds cute, but it’s crazy. Players and the people watching are the ones who make something go viral, and they make the eSport. The question is whether there are people who are willing to commit the time and energy into playing this game so that companies outside of CCP are willing to create tournaments. Our goal is to create a sport, and that’s a pretty daunting thing.

What led to the decision separate Sparc from EVE Online?

[Godat]: At some point, even people inside the company are starting to ask, “can we make that not in EVE?” EVE has a well-established visual style to it, and there was never a question of whether or not we should do it. The question was whether it made sense. One of the things about EVE is that you’re playing a character in that universe. The players put on a different persona. In Sparc, you can have your avatar look however you want, but we still want you to think of it as you playing the sport.

What goes into promoting a VR game compared to a traditional one?

[Payne]: The beauty is in mixed reality, because we’re a standing game and not a mobile or seated game with a controller. We found that mixed reality is a very compelling way to quickly communicate what an experience is like. So, we’re going to take that to another level. I also think that communicating and marketing in VR is a cutting-edge field. These are things that CCP is learning how to do just like everybody else. There’s a lot that we’re discovering about what’s different about communicating and marketing VR games compared to regular games.

Dodge For Days