Massively Multi-Player Game Development

Sunday, March 27, 2005

Book Excerpt : Managing and Growing an MMOG as a Service

Here is a peek into our new book Massively Multiplayer Game Development 2 from John Donham's excellent article "Managing and Growing an MMOG as a Service". The full article can be found in the book which is on sale now and can be purchased online.

Managing and Growing an MMOG as a Service

John Donham – Sony Online Entertainment

Building, launching, and supporting a massively multiplayer online game (MMOG) is one of the hardest tasks within the game business. You, as one of the developers of the product, have a dramatic ability to affect the life of the service. Could your product live for five to ten years? It could live for many more, but along the way you’ll face many challenges, both from internal and external sources. Simply recognizing the challenge may be harder than you think, let alone having a plan to address it. The products which are able to change the most, and in ways that meet the expectations of a constantly changing marketplace, have the greatest chance of a long life.

This article delves into the basics of maintaining an online service and an online game – from defining the terms of the industry, to explaining what you need to understand and know about your customers, to methods of maximizing customer acquisition, converting retail customers into subscriptions, and retaining the greatest number of customers.

Why Make an Online Game?


Online games offer developers many unique personal and creative rewards. If you thrive on challenge, this sector of game development is for you. The scale of an online project can be dramatically greater than most single-player games, and it takes dedication, smarts, and teamwork to make so many parts assemble into a satisfying whole. But the nature of that “whole” is what is so thrilling. What other art forms give you the chance to literally create an entire world, from north pole to south?

Still, making the game is only the beginning. (A long beginning, however – be prepared to spend two to four years getting your online steer to the rodeo.) When a team develops a single-player product, it’s “fire and forget”: Once they’ve handed off the gold master to the publisher, their job is done: not so with an online product. If you’re lucky, your online game will be enjoyed by tens or even hundreds of thousands of players every day, and so the work never stops. Whether you’re a designer, an artist, or a coder, you can count on an ever-replenishing “to do” list.

When you develop an online game you aren’t so much making a game as you are offering players an ongoing service; a place for people with wildly different backgrounds and interests to meet, hang out, and play. It’s an amazing feeling to know that you’ve created something that brings people together. How often do two people meet and form enduring friendships by playing Grand Theft Auto III, or fall in love over Super Mario 64 and get married? This sort of thing happens every day in online games and communities. Likewise, you will marvel at the passion and devotion your creation inspires in players. Thousands of people will play your game, and you can count on them to tell you everything they love and hate about the world you have created for them. Sometimes this can be hard, but at least you’ll never have to deal with an indifferent audience.

In addition to personal and creative rewards the MMOG has another major appeal: Profitability. 250,000 box sales of a product at $20 profit per box results in $5 million in revenue. Add 100,000 average subscribers over 3 years, and revenue for this period of time rises to $48 million – almost 10 times the revenue from a standard retail model. Include expansions that will sell to nearly every subscriber of your product, and revenues could rise to nearly $65 million. A single-player game that sells 250,000 units is rarely considered a success; but an online product that sells that much, so long as it converts a substantial portion of purchasers into online subscribers, is dramatically profitable.

Over the life of an MMOG, each added source of revenue – retail box sales, subscriptions, expansions – is more profitable than the last. Once your service has launched, most of your month-to-month costs (such as bandwidth, server infrastructure, customer service, live team support, etc.) will stay constant. Your service might run at a 50% profit margin on a $10 / month subscription, earning you $5 / customer in profit per month. If you are able to find ways to raise the average revenue per customer by selling expansions, merchandise, or premium services or servers to play on, then these will be at a much higher profit margin, and your profits may double even if your revenue per customer rises by only 50%. Since costs do not rise proportionally with the revenue from each subsequent upsell, finding upsells that interest your customers is important to maximizing your profit.

Simply put, it isn’t hard to understand the lure of this sort of game. From the challenge of making such a difficult product, to the communities that your game will create, and the potential profitability, online games are an attractive product to create and run.

The full article and many more can be found in the pages of Massively Muliplayer Game Development 2. Click on the cover image below to order online now!



Show Full Story

Saturday, March 26, 2005

Welcome aboard two more!

Artie Rogers and Paul Sage from NCSoft have joined the MMP Game Development Blog!

Artie Rogers has been working on design and support for commercial MMP, PC and console games since 1995. He has been involved with support and content creation for Ultima Online, and design and development on Ultima Online 2. Artie is currently working as a designer for NCSoft on Tabula Rasa, an online game which will be published by NCSoft.

Paul Sage began his career in the game industry as a support technician for Origin and Electronic Arts. He moved on to a QA position working on games such as Crusader and Wing Commander IV, eventually becoming a QA lead. Later he began testing Ultima Online, moving to the support staff upon launch, and eventually supervising the GM department. From there he moved into a design position on Ultima Online to eventually become the lead designer during a period of growth from 175,000 players to 240,000 players. In 2000 Paul went to work on Tabula Rasa for NCSoft.

Welcome aboard guys!


Show Full Story

Tuesday, March 22, 2005

There is no Spoon.

The Matrix Online launched today but no one seems to care.

Could it be that:

1. No one cares about the Matrix after the last two movies
2. No one believes Monolith can make an MMP worth playing
3. Everyone is too busy playing World of Warcraft
4. All of the above

Me? I just want to bust some kung-fu on Agent Smith :)


Show Full Story

Friday, March 18, 2005

Can Blizzard survive World of Warcraft?

Blizzard released their latest subscription numbers for World of Warcraft today.

Once again this industry powerhouse has proven that their unique blend of style, production values and high quality polish are well rewarded by the market place. But I have to wonder if they will become a victim of their own success. It reminds me of Origin back in 1999 after the success of Ultima Online when the studio announced that it would forsake any further single player game development in favor of all MMP games. When I asked my project manager about the radical shift I was enlightened to the fact that UO had brought in more revenue then all single player Ultima games combined.

It is fair to say that Blizzard and its key single player franchises of Diablo, Warcraft and Starcraft are much larger retail draws then the single player Ultima games. Here are some educated guesses at the lifetime sales numbers:





Single Player Lifetime SalesNA Unit SalesDollars
Diablo6,100,000$183,000,000
Warcraft5,400,000$162,000,000
Starcraft3,900,000$117,000,000
Total Single Player:$462,000,000


Now those are very respectable numbers that most developers would kill for. But let’s compare them to the new kid on the block – World of Warcraft:




World of WarcraftWW Unit SalesDollars
Box Revenue1,500,000$45,000,000
Annual Subscriptions1,500,000$252,000,000
Total Revenue:$297,000,000


These numbers assume that the Asian game rooms are paying a subscription rate equal to the North American market which may or may not be the case. Also keep in mind that WoW took a larger team to build and launch then its single player siblings so let’s assume that the box revenue all goes to cover those costs.

Note that the single player revenue numbers are for the lifetime sales of those products. Blizzard games have amazing longevity on store shelves. Let’s take a look at WoW projected over four years. Here we assume that subscribers max out at the current 1.5M number and then decline steadily over time (although I don’t expect that to be the case especially with China still on the horizon).






WoW Lifetime Sales (est.)SubscribersDollars
1st Year Subscription Revenue1,500,000$252,000,000
2nd Year Subscription Revenue1,300,000$218,400,000
3rd Year Subscription Revenue1,200,000$201,600,000
4th Year Subscription Revenue1,000,000$168,000,000
Total Subscriber Revenue:$840,000,000


Now you are looking at numbers that mirror the situation back at Origin in 1999 – Revenues from WoW will eclipse those of all single player Blizzard products combined!

Will we get to play Starcraft 2 or Diablo 3? I sure hope so as they will be sequels to two of my favorite games of all time but I fear a repeat of the demise of Origin - A victim of it’s own success.


Show Full Story

Wednesday, March 16, 2005

What's Wrong with GDC?

The Game Developer's Conference this past week in San Francisco represents something of an anniversary for me. Ten years ago, I attended the Computer Game Developers Conference in Santa Clara, CA. While I had "attended" the previous year, 1995 represents my first official Game Conference, since I had actually paid to attend (rather than skulking about with a borrowed badge), and I have the t-shirt to prove it. Although the 2005 conference was bigger, more polished, and more expensive than ever, I don't necessarily think it is better. In fact, I think GDC is definitely on a downhill slope.

I'm one of those rare managers who believes in sending game developers to conferences. I actually let my team members choose which conferences are important to them and I support them by footing the bill. My theory is that if they really feel it is important, they'll attend anyway, and I buy their loyalty with the cost of the conference. The corollary is that if I don't send them someone else will. One of my requirements for conference attendees is that they provide a post-conference report, documenting what sessions, panels, round-tables, and meetings they attended/participated in, and what value they received. Uniformly over the past several years, these reports have been increasingly critical of GDC.

What's wrong with GDC? There are several ways to answer this in terms of quality of speakers and quality of content (which I will do), but first, I want to turn the question around and say what could be good about GDC. Nearly everyone I've talked to who has attended GDC indicates that the highlight of their conference was meeting someone at another company who performs a similar job and being able to exchange stories of successes and failures in their work. It could have been two animators discussing their character rigs, or programmers sharing how they do code reviews. It could be producers talking about schedule tools, or technical directors talking about middleware solutions. Whatever the details, this sort of networking provides a lot of value to the participants.

The catch is that GDC doesn't really facilitate this level of communication. In fact, the entire GDC environment is somewhat hostile to networking. The obvious forum for meeting one's peers would be in a roundtable discussion; however, the facilities for round-tables this year were abysmal. Instead of hosting each roundtable in a private room, round-tables were organized concurrently in large conference rooms with black curtains dividing one roundtable from another. Each table had a single, hardwired microphone. Attendees in a roundtable were more likely to hear the amplified speaker or moderator from another session than the person a few seats away at the same table. During the conference, when I indicated to someone my plans for attending a particular roundtable, their advice was, "Don't bother; you won't be able to hear anything."

The awards banquet in years past used to be an actual banquet -- the kind with food. The dinner made it feel you got something tangible for the cost of the conference, and provided a great opportunity for mixing, since you were likely to be sitting at a table with seven or eight strangers. The keynotes used to be given by a guy standing at a microphone during the dinner banquet; now we have several keynotes, each a multimedia extravaganza with thumping music, huge projection displays, and outrageous door prizes, but all lacking in substance. I think Greg Costikyan summed it up nicely in his But It's Over Now rant with his quote, "Was YOUR allegiance bought at the price of a television?"

Some of the sessions were quite good. Due to the wisdom of CMP, all the best sessions were held in very small rooms, which meant that unless you arrived twenty minutes early, you didn't get a seat, even if you were lucky enough to get in. Will Wright's talk and the Burning Down the House rant both probably violated half a dozen fire codes.

Some of the session titles sounded promising, but ended up being duds. The most frustrating comments I've heard were from folks who submitted talks that were rejected, and then sat through someone else badly giving a lecture on the same topic:
It turns out that the classes I'd had anticipated the most were a letdown and the ones I was moderately interested in were in were well presented. -- sk
I'm not sure what process CMP uses to pick speakers, but it seems that they give preference to past speakers. This, in my opinion, is partly to blame for the stale nature of GDC's content. Even the most dynamic innovator can't be counted on to provide fresh material year after year. An injection of new speakers with new ideas could only help the conference.

I'm interested in hearing comments from others regarding their GDC experiences. I also confess that I have personal motivation in this, as I'm now involved in organizing session content for the Austin Game Conference, which (as you should know) has an MMP focus.


Show Full Story

Tuesday, March 15, 2005

The battle is joined!

Peter Freese has joined the MMP Game Development blog!

Peter has been active in the game industry since the early 1990s, when he decided he’d rather make games than graphics tools for database programmers. After developing several award winning educational games for Edmark, Peter co-founded Q Studios in 1994 and led development on the campy 3D shooter Blood, which launched publisher Monolith into the spotlight. After developing the graphics engine behind Sierra Studio’s final adventure game, Gabriel Knight 3, Peter joined the Ultima Online 2 team at Origin Systems in order to learn all the joys and trials of MMP game development. In 2001, Peter joined NCsoft in Austin, TX and formed the Core Technology & Tools team, where he now directs development on all shared technology, including the state of the art graphics engine technology behind Auto Assault, Tabula Rasa, and Alter Life.

Peter will be contributing here on a regular basis.

Thanks Peter!


Show Full Story

Monday, March 14, 2005

Sold Out!

The book launch at GDC went really well. Word from the publisher is that they sold out all of the copies that they brought with them. MMP Game Dev #1 also sold out!

Sounds like a lot of people are gearing up to make MMP games this year. Thank you Worlds of Warcraft :)


Show Full Story

Sunday, March 06, 2005

It's a Boy!

Just received the first copy of the new MMP2 book from the publisher! Take a peek:



The book goes on sale this week at the Game Developers Conference in SF.


Show Full Story