How can we help Chinese game owners to break through overseas more efficiently?
“In 2021, the overseas market sales revenue of China’s self-developed games will reach US$18.013 billion, an increase of US$2.563 billion compared with 2020, a year-on-year increase of 16.59%; the number of countries and regions involved in the overseas market is significantly increased, and the product types are also more diverse. Continue to expand emerging markets.” – This set of data comes from the “2021 China Game Industry Report” released at the China Game Industry Annual Conference not long ago, and this dazzling transcript shows that the trend of Chinese games going overseas has become a reality.
In the process of becoming a “top student” in China’s Internet going overseas, Chinese game owners have also hit the rocks and made troubles, especially in the past 2021, hot events in the game industry and the overseas field. And topics not only challenge developers, but also require marketers to think deeply: How can we help Chinese game owners to break through overseas more efficiently?
With this question in mind, Beluga went out to sea and had a conversation with Xue Yu, Vice President of Longtu Game Marketing, and Ashley, National Business Development Director of The Trade Desk. Longtu Games is a powerful game developer and operating publisher in China, and Cuiyi is the world’s leading advertising technology company. Under the industry change, development and publicity can not only show their strengths, but also organically combine them, and use targeted “playing methods” to face the pain points of Chinese games going overseas.
Hotspot 1: Is the tightening of the version number a joy or a worry? Positive energy leads to improve quality
From July 22, 2021 to the end of 2021, the version number of domestic online games issued by the State Press and Publication Administration is still 0. You must know that in 2017, the number of game version numbers issued in China was 9,368 games. In 2018, the cumulative number of domestic and imported online game version numbers issued was 2,064. Behind this “abrupt end” is the explosive growth of games. The assigned social responsibility is increasing day by day.Under the “Online Game Positive Energy Leading Plan” to be implemented by the National Press and Publication Administration, the temporary break will help standardize the work of the game, so as to promote the creation of more excellent original games with good themes, good creativity and high quality.
However, no version number means no legal identity, which is undoubtedly an insurmountable obstacle for some developers with tight version number inventory. In this regard, Xue Yu believes that the release of the national regulatory version number is a benign signal, which is a good thing for the development of the game industry. “The limitation of the version number will push the industry to develop in the direction of ‘high-quality games’, and the overall quality of the game will be greatly improved. Developers can have a longer time to settle themselves, improve their comprehensive strength, and show the highest level with limited places. , to create game works that are more in line with the development of the times, which is also the industry development trend that the country hopes to see.” At the same time, this policy also provides a positive driving force for Chinese games to go overseas, “Because our games are becoming more and more high-quality, overseas Competitiveness will also increase.”
Hotspot 2: Where can I find new machines going overseas? There are opportunities for channel content
From channels to content, both respondents agreed that “there are still opportunities.”
The State Press and Publication Administration of China plans to implement the “Online Game Positive Energy Leading Plan” this year, in which we not only see the firm “going out” pace of Chinese games, but also keywords such as “Chinese characteristics, Chinese spirit, and Chinese stories”. The post-90s and post-00s have very strong national self-confidence and cultural self-confidence, so from the perspective of cultural export, Xue Yu believes that games can become a member of the vanguard of cultural overseas, with huge opportunities and room for improvement. In his words: “China’s game overseas has only just begun.”
CTV big screen marketing
So how can overseas game brands that are getting better and better take advantage of the situation to do a good job in marketing and gain more opportunities for overseas growth? Ashley pointed out that changes in overseas consumer behavior and habits under the epidemic are also having an impact on overseas marketing methods. In particular, outdoor travel has decreased, and the time spent watching smart large screens at home has increased significantly. “We suggest that game advertisers should actively integrate smart big screen channels in their marketing activities to capture consumers’ attention on smart big screens and provide a stronger growth engine for overseas business.”
Xue Yu added, “When we are doing new product announcements in China, in addition to mainstream platforms such as Douyin and Kuaishou, we also consider Zhihu and Douban, which are relatively niche channels with better user conversion effects. Analogy to overseas markets , especially in slightly niche markets such as Brazil and Mexico, we need to find local Zhihu and Douban, know which channels can help products quickly localize, and combine game promotion with local culture, user preferences, etc. In terms of content, taking European and American countries as an example, local users attach great importance to the sense of social responsibility, so game developers can use some mainstream news media to promote positive energy content related to corporate social responsibility and actively connect with disadvantaged groups in society. , to give back to the society, there are still many opportunities in overseas markets for this kind of public welfare-oriented publicity model. “There is no product that can eat the whole cake horizontally.” Xue Yu said.
Hotspot 3: Difficult to buy quantity and high cost? To break the circle, it is more necessary to cooperate in quality and efficiency
As the advertising buying platform system and algorithm become more mature, the difficulty of buying volume is no longer at the operational level, but mainly in the accuracy of “volume”. Although the epidemic has made more and more people choose games as an entertainment method, “buffs” such as longer consumption time and enhanced use depth may not be equivalent to effective access. Under the epidemic, it is difficult for game developers and publicity personnel to go to the target market in person. Xue Yu believes that this will lead to a lack of “body feeling” for the market, and it will be difficult to analyze and digest the data in depth during the publicity and release stage, so that Brings some uncertainty to developing a truly effective distribution strategy.
Ashley suggested that developers can first look for some new data indicators horizontally, such as evaluating from CPI, ROAS, ROI, etc., to have overall expectations and control over the purchase results. Secondly, at the strategic level, according to the differences in customs and consumer demands in different countries and regions, it is judged where a product meets the demands. More importantly, game manufacturers must have a sense of “breaking the circle” in the marketing process. For example, when promoting a strategy game, in addition to showing its core SLG gameplay, Cuiyi will suggest exploring other hobbies of such gamers. , to see if there is a high degree of overlap between groups.
Cuiyi once combined an SLG game marketing campaign with the American College Basketball League, and achieved good results. Ashley said that games with male users as the main audience can also invite sports stars to do cross-border cooperation when promoting them. Similarly, female-oriented games can also consider female users’ favorite idols for cross-border cooperation.
When it comes to “high cost”, Ashley believes that no matter how much the marketing budget is, it may not be enough. What game owners and marketers should consider is how to do a good job of the marketing funnel when the budget is limited. Here, she particularly emphasized the point of view of “quality effect synergy”, to make brand building and marketing effect go hand in hand. For example, in the early stage of going overseas, a game can do content-oriented publicity through social media, smart large screens and other channels, allowing users to “plant grass” on the brand first, establish a good brand impression, and lay the foundation for subsequent advertising campaigns that purchase volume. for more efficient business growth.
Hotspot 4: Understand the portraits of overseas players, strategic layout and subdivision marketing
Although the epidemic has restricted developers from going to the front-line experience of the market, they have never slack off in understanding user preferences. During the dialogue, Xue Yu also shared the user characteristics of several key markets.
Source: ESA: Video Game Industry Report 2021
The first is the US market. According to the “2021 Game Industry Overview” released by the American Entertainment Software Association (ESA), there are nearly 227 million video game players in the United States, and many of them are “hardcore” users who like strategy games. Xue Yu said that the preferences of American players are polarized. They favor SLG games and also like casual games. There are two types of games with different styles in the United States. That is to say, do a good job Segment marketing.
The latest survey report of Cuiyi on American players shows that players prefer different types of games on different devices. For example, action/adventure games are most popular with game console players, while strategy games are more popular with mobile and tablet users. ; For new games, 70% of respondents said they would prefer to try games they have heard of but haven’t actually played yet. In addition to games, watching TV and reading are the two most popular preferences of the interviewed American game users, which also provides direction and ideas for segmented marketing.
In the Japanese market, where the game industry is also developed, users prefer games that they can play with peace of mind and are more willing to pay than the PvP mode. It is very difficult to promote high-level mobile games, so if the developer is targeting Southeast Asia, Xue Yu suggests trying small-sized card and chess games. Only by understanding these market characteristics can we carry out targeted delivery and marketing.
Hotspot 5: The game life cycle is shortened, IP is the “panacea”?
At present, the life cycle of games is shortened, and player stickiness is gradually decreasing, which brings more pressure to R&D and marketing. If you are not careful, a well-made game will become a loss-making business. The reason is that the guests believe that the current game industry The homogenization is seriously related, and the “IP medicine” that has been hyped by the industry is actually a double-edged sword, not a panacea.
On the one hand, IP will naturally attract the first batch of loyal users, but after attracting a large number of users, whether the product can undertake this IP is another question. At present, many game manufacturers are subject to the overall R&D strength, and there will be deviations in the restoration of IP, and this deviation will affect users’ expectations for IP, but may lead to a shortening of the life cycle of a product. It disappeared from the market within two months. On the other hand, many IP parties have extremely high or even harsh requirements for game cooperation. For example, some Japanese IP parties have a strong sense of protection of their own IPs, which leads to manufacturers facing huge challenges when productizing and gamifying IP. Resistance, developers and issuers will also face issues such as cost, efficiency, and revenue.
However, with the increase of Chinese cultural confidence and output, more game developers try to create their own IP, integrate culture into the game system, and strengthen the attributes of their own IP rather than relying on foreign IP. At a specific level, the production of IP content can be divided into two parts: in-game and out-of-game. In the game, developers can continuously introduce new characters and new plots, and launch sequels after the IP develops to a certain scale; outside the game, they can also enhance the stickiness between players and game IP by launching fan stories and peripheral products. Xue Yu believes that if a product wants to last longer, it must be brand-oriented, not only to make players like the game, but also to love the brand outside of the game, and the unique cultural attributes going overseas can help enhance this. A kind of “love” to enhance the stickiness of overseas players.
Ashley also mentioned that in the past, when developers were making a game, they would consider whether to make a theme song for the game, but now they are considering how many songs should be made, because the game theme song is a part of the gameplay. Expose how IP attributes attract users.
Plants vs Zombies game peripherals
Hotspot 6: Metaverse – games empower innovation in traditional industries
Xue Yu said that the Metaverse has been analyzed and analyzed, and the game is the industry closest to this concept. “The Metaverse is actually divided into two layers. The first layer is how to create a virtual world, and basically all games meet this definition. The second layer is how to formulate a general rule in the game world, which is actually what we think of games. Many game manufacturers have created a very beautiful open world, which has laid a good foundation for the development of the Metaverse.” At present, the basic practices of the game industry have been used for traditional fast-moving consumer goods, durable goods, automobiles, etc. The industry empowers innovation. For example, the virtual beauty blogger “Liu Yexi” who was born on Douyin has only released 5 videos and has already gained nearly 8.37 million fans.
In addition, Huaxizi, Watsons and other brands have launched their own avatars. Using such avatars as endorsements may become a new idea for brand marketing in the future. “risk.
Combining avatars with traditional industries can also make brands more interesting and younger, and can also generate closer connections with users in operations, which can not only empower traditional industries, but also help the game industry. Practice social responsibility. Ashley also expects that in the future, through the connection in the Metaverse, virtual images can be used to experience various cultures and understand the market.
Posted by:CoinYuppie，Reprinted with attribution to:https://coinyuppie.com/edition-number-ip-metaverse-2021-hot-topic-inventory-of-games-going-overseas/ Coinyuppie is an open information publishing platform, all information provided is not related to the views and positions of coinyuppie, and does not constitute any investment and financial advice. Users are expected to carefully screen and prevent risks.