In this talk, Brian will discuss the typical social gamer and how this profile has evolved in the last year. 2009 was about introducing social gaming to the mainstream. In 2010, social gaming has gone mainstream with 65 million people playing FarmVille alone. 2009 was about introducing social gaming to the mainstream. In 2010, the quality bar has gone up with the release of games like FrontierVille, which hit 20 million users in its first forty days. This talk is targeted towards social game developers. In the talk, Brian would discuss the innovation and mechanics it takes to build fun, viral and engaging social games.
It starts with an idea and a handful of creative minds, but where it goes from there can be anyone’s guess. Today’s indie game developers face a unique set of challenges, not the least of which is determining which platform will best aide in their eventual success. Video game publishers continue to change overnight, offering developers new tools to implement into their titles and competitive options for extending the game value. With all of these changes, indie developers are left with several unanswered questions: how do I go about choosing the best distribution method for my game? Which platform harnesses the audience that my game is best suited for? How do I fully take advantage of all the aspects that a platform has to offer? This panel brings together representatives from various platforms as well as indie developers to discuss the lessons learned when developing games for traditional consoles, virtual worlds, portable devices, social platforms and beyond.
The last decade was the decade of social. The coming one will be the decade of games. Over the past years, a few key companies have built, and now maintain, a powerful framework to foster digital connections between our friends, family and colleagues. What comes next is another framework, not another social layer, but a "game layer". And it'll be even bigger. Instead of trading in social connections, the game layer traffics directly in human motivation. It's not about the number of followers you have, or how many people "like" you, but about how you can leverage game mechanics to achieve all sorts of great things. Use them cleverly and they can enhance education, empower local businesses and make your life more fun and more rewarding. Use them incorrectly and well... it's less good. Join Seth Priebatsch, Chief Ninja of SCVNGR, for a deep dive into the coming game layer, what to be excited about, what to fear and why your life is about to become a lot more fun.
With the rise of DIY gamebuilding engines the cost of game production now makes it possible for nonprofits, political campaigns and other public organizations to create a game overnight. Trends in social gaming for the social sector include persistent communities for causes, dynamic solution-based crowdsourcing challenges and transmedia campaigns that fit well with video and web planning for large or small groups.
Are you trying to live video with virtual worlds for your upcoming fundraising event? Need to create a quick game, campaign or experience for your constituents but daunted by the task? Selling virtual goods to raise money for a crisis cause?
Explore mixed reality production, streaming embeds, twitter and comment community integration, game creation on the fly, collaborative processes for production. Figure out how to get your teams building together in 3D worlds, video mixes, challenges and design jams. Play your passion and make it fun for new people to engage with you!
What do Gillette’s Venus, Disney’s Alice in Wonderland and Skittles have in common? They have all successfully used virtual worlds and game play mechanics to engage players online. Social games, in particular, continue to be a growing form of entertainment, reaching nearly one out of every two Internet users and offering a unique platform for marketers to reach a specific target audience. However, social games always face the challenge of engaging players in a meaningful way without annoying them or detracting from the online experience. This session shares case studies from leading companies and discusses practical ways that brands have turned to social gaming to develop immersive campaigns that actually engage users and keep within a game’s narrative – and the serious risks of doing it wrong.
by Alex Hachey
Learn about the latest advancements in augmented reality and mobile game play in this detailed case study about Tag, The Mobile Assassination Game. Track friends using location and social tools, shoot them with your mobile camera, and upload the kill shot to the community for ratings, rankings and, in general, ruckus and entertainment.
by Jon Goldman
The rise of social gaming, and its adoption within the world's mainstream cultures, has had a profound impact on many of the world's cultures, as well as the way in which we interact with each other, with digital content and how we consume media. No longer do people want to simply consume online media in a static and lonely fashion, randomly e-mailing and tweeting links to their friends. Today's consumer aims to mimic their real-life social interactions within their online experiences, bringing the full promise of the Internet - to enhance and expand our real-world lives - with them into their online experiences.
We are entering a time when neither the actual means of distribution, nor the content, are the primary driving forces behind consumer consumption of media, but rather, it is the socialization around that media that leads people to continually want to consume hours and hours of digital content every day and week.
We will take a look at examples of socially-interactive digital content in our everyday lives, as well as the impact it is having on consumers and advertisers. This discussion will also provide examples of how content developers can better incorporate socially-interactive features into their online content--music, videos, photos, etc.--and how they can get site users and other consumers to fully enjoy and appreciate the power of socially-interactive features.
11th–15th March 2011