Tag Archives: Draw Something

Alternative App Acquisition Strategies

Acquiring users continues to be one of the more difficult parts of getting your app to grow.  The number of apps has tripled since 2012 and so have the costs – where you could once get installs pretty solidly at $1 you are now paying $2.50 or more.  This creates more pressure on your monetization so that you can generate a strong ROI on those acquisition dollars.

You can try to get featured by the app stores, but these are one-week lottery tickets that need to be supplemented with acquisition or solid word-of-mouth.  Here are some other ways that apps are testing to see if they can create the word-of-mouth virality to help them effectively grow.

Creating Viral Buzz

Last month,  Adam Besvinick posted about the going cost of getting a frat or sorority to latch on to your app:

The idea is following up on Tinder’s initial success,  where 1) they need a core group of users in close proximity to use the app, 2) they had a USC frat throw a party where admittance was based on people downloading the app.

Knozen tried to get users by offering up ice cream cakes
Knozen tried to get users by offering up ice cream cakes

New York-based developer Knozen has an app where people rate friends like “which one is more likely to do X” and have your friends agree or disagree.  But the difficulty was getting a group of users that knew each other to make things work.  Instead of getting a frat, they found other startups in New York and offered to give their offices a ice cream cake break if the office got six or more people to sign up.  An interesting way to get people a bit involved, but ultimately not scalable.

In each of these cases, this alternative to buying Facebook ads is driven by the need to get a very connected cohort – something that is very difficult to do now on Facebook where requests and invites to your real friends have been suppressed and seen as spam.

YouTube, Twitch and Meerkat, Oh My!

YouTube and Twitch channels were a key topic of conversation at GDC: a favorable review or stream of your app can drive a ton of downloads.  Mike Rose of tinyBuild games gave a great in-depth piece about what makes these guys tick (you can see some great writing he’s done on the “The YouTube Effect” for Gamasutra), but it almost exclusively dealt with Steam-based game development, and very few actually review or stream mobile apps.

If you can’t get the attention of the key YouTubers, how about using these tools yourself?  These channels (as well as the fledgling Meerkat) do provide you the tools to interact with your audience, get feedback and hopefully hype for your new app.  But it requires a dedication to creating content and truly engaging your audience that might be difficult for a small developer to take on.

Side note: Watching Jimmy Fallon and Jim Gaffigan experiment with Meerkat, you can see the power of being let in behind the scenes for a stolen moment with someone or some brand you are interested in. Imagine Taco Bell giving you a sneak peek into their new recipe kitchen, Marvel giving you small snippets from filming the next Avengers movie or EA giving you some insight into a play test. Where Meerkat (or Snapchat Discover) can be interesting to interact for a fleeting moment with an existing engaged fan, a game or app developer can probably get a lot more mileage by giving away free keys to their game and creating videos to share with the press.

Paying Users for Engagement

Tons of money is wasted in user acquisition via advertising - why not pay users directly for engaging and getting hooked on your app?
Tons of money is wasted in user acquisition via advertising – why not pay users directly for engaging and getting hooked on your app?

One of the more interesting ideas I saw at GDC came from a former colleague of mine, Oliver Kern.  Instead of paying companies for ad impressions, clicks or installs, his Tiny Loot company empowers developer to pay end users for time spent engaging in the game. Ultimately I’ve talked about how getting someone deep into your game is the best way to retain users long term (see how games are giving more and more “free” play in their freemium games).  And a highly-engaged user is one that is more likely to tell their friends about it and/or spend money.  If that is the behavior you really desire, then this acquisition model seems to pay for just that.

The Silver Bullet for Word of Mouth

All of these are interesting, but they don’t solve the key issue: Your app has to provide a great user experience that makes a user talk about it with friends in order to create word-of-mouth:

  • Tinder was successful because it was simple, people had great experiences and funny stories around it to share with friends.
  • Crossy Road had a unique look and simple game play that makes you laugh every time you fail.  They harnessed those great end of game “splat” moments to drive about 2/3 of it’s million shares a day.
  • Draw Something harnessed user-generated content that got people laughing and sharing images

To me it really comes down to the product.  Every so often someone will create that out-of-the-gate viral sensation (notice how all the examples above were simple to use and harnessed humor).  For the rest of the time, you have to create an engaging experience and drive the user deep into the game to get them in the habit of returning to your app.  The deeper the engagement, the more likely you can drive a higher LTV and afford acquisition.

What alternative acquisition channels are working best for you?

 

 

 

 

 

From Draw Something to $40 million TV Ad Campaigns

OMGPOP's first Facebook game was Cupcake Corner
OMGPOP’s first Facebook game was Cupcake Corner

I’ve spent the last four years on quite the ride, so pardon the long absence. I jumped into OMGPOP in 2010 as the product lead for a Facebook game; we delved into mobile apps in 2011 as the market shifted and then I was fortunate enough to be part of the crazy explosion of our game Draw Something. After getting acquired by Zynga, I jumped crosstown to FreshPlanet to grow and monetize SongPop as well as try to develop more social causal mobile hits. And here in 2015 I’m watching the market shift yet again as mobile game developers are now turning to traditional brand marketing by spending tens of millions on TV ads.

So here’s a couple things I’ve observed along the way:

#1 Overnight success takes years to perfect

Two of the biggest hits I’ve been associated with (Draw Something and SongPop) came after years of iteration.

Draw Something started off as a real-time flash game Draw My Thing on the now defunct OMGPOP.com site (but you can still play the embedded game on sites out there if you are looking for it). Drawing with your mouse sort of sucked but it was fun in real time – you had to beat the timer and draw well enough that others in the group could guess it.

Before Draw Something on mobile, there was Draw My Thing on OMGPOP - a synchronous game where you had a timer to draw and other users tried to be the first to guess the word you were drawing
Before Draw Something on mobile, there was Draw My Thing on OMGPOP – a synchronous game where you had a timer to draw and other users tried to be the first to guess the word you were drawing

We ported the game to Facebook which greatly expanded the audience, peaking at about 2.1 million Monthly Active Users (MAU) – but that was a mere blip compared to what we saw when we jumped to mobile. The iterations on mobile were huge: In 2012 doing real-time mobile play wasn’t an option so we shifted into asynchronous game play; the clock and “winning” or “losing was eliminated; and typing out your guess on a mobile device was a pain, so we shifted to a sort of scramble-like listing of letters from which to make your guess.

Before SongPop, an initial iteration was The Crazy Cow Music Quiz
Before SongPop, an initial iteration was The Crazy Cow Music Quiz

SongPop too had an earlier incarnation – can you believe The Crazy Cow Music Quiz? Obviously we ditched the cow, and a bunch of pre-game power ups, opting for a simpler and more direct game play.

Neither of these game ideas were a success overnight. And that’s about the same for every indie darling that makes it big, the latest being today’s #1 hit Trivia Crack by Etermax. Trivia Crack was built on the success of its Spanish-language version predecessor Preguntados which was built on the success of it’s Scrabble-like game Adworded which was built on the company’s past experience as a third-party developer.

#2 Sometimes there CAN be too much of a good thing

People binged on Draw Something similar to the same extent people now binge on NetFlix - games now have to figure out how to not let the player get sick of the game and burn out
People binged on Draw Something similar to the same extent people now binge on NetFlix – games now have to figure out how to not let the player get sick of the game and burn out

When Draw Something first came out, it was like crack. People couldn’t get enough of it. They played non-stop, during class, over night – it was this incredible social binge event. But unlike binging on Breaking Bad episodes on NetFlix, when you were “done” on Draw Something, there were a ton of opponents waiting for you to draw back. Unlike Scopely’s Dice with Buddies where a round is literally a couple seconds, Drawing took quite an investment of time and thought. That’s cool with three or five of your close friends, but having to draw for 50 people gets a bit overwhelming.

When Zynga bought us, Draw Something was barely a month old and no one had a clue what the eventual retention curve would look like. I won’t second guess anything we did in Draw Something to become such a cultural phenomenon, but today social mobile games put a lot of effort into gating the content a bit, to get users to stay a while instead of binging and leaving.

SongPop limits the number of opponents you can have at any one time. Many games like Two Dots or Candy Crush have “life” systems – you lose lives when you fail a level and either have to ask friends, wait or pay to regenerate those lives and keep playing. Trivia Crack sort of combines the two – limiting opponents you can play by a “life” system. The balancing of these gates and when they appear are key both to monetization, but also regulating the consumption of your content.

#3 Deja vu all over again

When I was younger, I remember a movie would stay in the theaters for weeks. Today, most movies are gone in a flash — maybe two weekends at the cineplex and then gone. But hits last longer – just not as long as they used to. In 1977 Star Wars was in 40% of it’s max theater release for 29 weeks. For last year’s Guardians of the Galaxy, it was in 40% of it’s max theater release for only 10 weeks. The economics have changed – there are about 4x as many theaters today so more movie-goers can see them in the first couple weeks. Looking ahead it’s becoming more clear that theaters will eventually give way to direct-to-home streaming.

Hit games like Luxor would remain at the top of the charts for six months before the downloadable PC game market got saturated
Hit games like Luxor would remain at the top of the charts for six months before the downloadable PC game market got saturated

When I was marketing downloadable games in 2005, a hit game like Luxor was at the top of the sales charts for six months – a game we all called a “AAA” game back then. Within two years the top selling game was at the top of the charts for just two to four weeks. The economics changed – there were 3x as many games being made. And then this little platform called Facebook started making it easier for users to get free games instead of paying $9.99 a pop for the downloadable game.

Are we seeing a similar trend in mobile? Saturation makes it hard for a new game to get heard. The majority that do break through — with either a burst campaign or the lottery ticket of an Apple feature — don’t end up lasting long on the charts.

Developers in the download space tried to pivot to Facebook games, but it was the early adopters on the platform like Zynga and Playfish that were able to take advantage of looser viral channels. Few other developers were as successful than those early entrants on the Facebook platform.

Are we seeing a similar trend in mobile? Over half of the top grossing games (Clash of Clans, Candy Crush, Big Fish Casino, Hay Day, Soltomania) were released in 2012 or earlier. In 2012 there were 500,000 apps to compete with in Apple’s App Store – today there are 3x as many. The companies that were able to establish hits in or before 2012 have been able to maintain those franchises as early adopters on the platforms.

King.com has saturated select cities with branding campaign for Candy Crush Soda Saga - including the tops of yellow cabs in New York City
King.com has saturated select cities with branding campaign for Candy Crush Soda Saga – including the tops of yellow cabs in New York City

So while we all know it’s been getting more and more expensive in the last two years to create a new app (more depth and polish required) and acquire new users (CPIs easily can climb over $3), the money accumulated by these early adopter developers have allowed them to grow and move to an entirely different level: full-fledged brand marketing (cue Kate Upton). With city take overs by King.com and apps buying commercial time during NFL football playoff games, these are the marketing tactics that a small to mid-size developer can’t even begin to compete with.

So what’s an indie developer to do?

Well the great thing is that based on #1 above, there’s always room for iteration and innovation. When you can provide a unique experience, tell a unique story, change the way you interact with a device, then you might be able to find that big hit. Just realize you might have to fail 20 times to get there.

Second, be on the look out and try different platforms. Facebook disrupted the downloadable/PC games market and created new developer power houses. Mobile disrupted the Facebook games market hierarchy and has created new developer power houses. Eventually new platforms will come, we just don’t know where. So innovation and iteration is key for the indie developer to find a new market where they can be successful. Can someone crack Instagram and Twitter to create a new mash up of game play with social? I’m betting they can.

But this is my big question going into 2015: Can the medium-size developer shop survive? Or will we continue to see consolidation with a bunch of power house developers and a lot of small 1-3 person teams trying to create something new and unique?