Kandidatexamensarbete inom Medieteknik Grundnivå, 15 hp
Stockholm, Sverige 2014
Stephanie Flodman Fiona Stewart Karlsson
Success Factors in Profitable Mobile Games
From the Perspective of Top-Earning Nordic Game Developers
Abstract
The$purpose$of$this$paper$is$to$study$top0earning$Nordic$mobile$games$in$order$to$pinpoint$
what$it$is$that$makes$them$profitable$from$the$perspective$of$the$game$developer.$This$
study$seeks$to$identify$these$elements,$so$that$the$information$can$be$used$as$a$reference$to$
produce$profitable$mobile$games$in$the$future.$The$question$that$drives$this$study$is,$
“which$factors$make$up$a$profitable$mobile$game$according$to$top0earning$Nordic$mobile$
game$companies?”(To$answer$the$problem$statement,$the$study$mainly$employs$qualitative$
interviews$of$representatives$from$two$Nordic$game$development$companies,$King$and$
Rovio,$as$well$a$representative$from$The$Swedish$Games$Industry.$A$small$quantitative$
study$on$user$comments$from$these$companies’$mobile$games$was$performed$to$support$
the$interviews.$Our$findings$show$that$a$well0implemented$business$model$as$well$as$a$
properly$targeted$audience$are$most$crucial$for$having$a$profitable$application.$However,$in$
order$for$a$mobile$game$to$be$profitable,$it$must$first$be$popular$among$players,$which$
entails$that$it$must$be$fun$and$easily$discoverable$by$potential$users.
Sammanfattning
Syftet$med$denna$uppsats$är$att$studera$de$mest$lönsamma$nordiska$mobilspelen$för$att$
sätta$fingret$på$vad$det$är$som$gör$dem$lönsamma$ur$spelutvecklarens$perspektiv.$Denna$
studie$syftar$till$att$identifiera$dessa$faktorer,$så$att$informationen$kan$användas$som$en$
referens$för$att$producera$lönsamma$mobilspel$i$framtiden.$Den$fråga$som$driver$denna$
studie$är,$"vilka$faktorer$gör$ett$lönsamt$mobilspel$enligt$de$mest$lönsamma$nordiska$
mobilspelsföretagen?"$För$att$besvara$problemformuleringen$använder$studien$främst$
kvalitativa$intervjuer$med$representanter$från$två$nordiska$spelföretag,$King$och$Rovio,$
samt$en$representant$från$Dataspelsbranschen.$En$liten$kvantitativ$studie$om$användarnas$
synpunkter$på$dessa$företags$mobilspel$utfördes$för$att$stödja$intervjuerna.$Våra$resultat$
visar$att$en$väl$implementerad$affärsmodell$samt$en$korrekt$målgrupp$är$mest$avgörande$
för$att$ha$en$lönsam$applikation.$Men$för$att$ett$mobilspel$ska$kunna$bli$lönsamt,$måste$det$
först$vara$populärt$bland$spelarna,$vilket$innebär$att$det$måste$vara$roligt$och$upptäckbart$
av$potentiella$användare.
(
Table&of&Contents&
1.(Introduction ... 1$
1.1(Background... 1$
1.2(Relevant(Work ... 1$
1.3(Purpose(and(Target(Audience(for(This(Study... 2$
1.4(Problem(Definition... 2$
1.4.1$Subquestions... 2$
1.5(Constraints ... 2$
2.(Theory ... 4$
2.1(The(Game(and(its(Elements... 4$
2.1.1$Dynamics ... 4$
2.1.2$Mechanics... 5$
2.1.3$Components ... 5$
2.1.4$Aesthetics ... 5$
2.2(The(Experience ... 5$
2.2.1$Flow ... 6$
2.2.2$Fun... 7$
2.3(Marketing ... 7$
2.3.1$Going$Viral ... 7$
2.4(Business(Models ... 8$
3.(Method ... 9$
3.1(Study(1:(Interviews... 9$
3.1.1$Interview$Method ... 9$
3.1.2$Sampling$of$Interviewees... 10$
3.2(Study(2:(Reviews(of(Particular(Mobile(Games(P(The(Players’(Point(of(View ...10$
3.2.1$Process... 10$
4.(Results ...11$
4.1(Results(from(the(Interviews ...11$
4.1.1$Brief$explanation$of$the$process$behind$game$development$from$the$game$idea$until$it$is$ released$to$the$market... 11$
4.1.2$Are$there$any$elements$that$are$more$important$than$others$and$if$so,$which$ones?$Why? ... 11$
4.1.3$Are$there$any$specific$rules$for$game$design?... 12$
4.1.4$What$factors$must$be$included$for$a$mobile$game$to$become$successful$and$profitable? 12$ 4.1.5$What$is$the$most$successful$and$profitable$mobile$game$your$company$has$developed?$ What$audience$did$you$have$in$mind$when$creating$it? ... 14$
4.1.6$Which$elements$in$the$successful$game$have$made$it$so$successful?$What$factors$do$you$ consider$to$have$been$essential$for$this$game? ... 14$
4.1.7$How$have$you$marketed$the$successful$game?$And$what$business$model$is$used?... 15$
4.1.8$Tell$us$about$a$less$profitable$mobile$game$that$your$company$has$developed.$What$are$ the$common$factors$between$the$two$games?... 16$
4.1.9$Are$there$any$differences$between$the$less$profitable$game$and$the$top0earning$game?. 16$ 4.1.10$How$was$the$game$marketed$and$what$business$model$was$used$in$the$less$profitable$ game?... 17$
4.2(The(Google(Play(and(App(Store(Reviews ...17$
4.2.1$Candy$Crush ... 17$
4.2.2$Angry$Birds... 18$
4.2.3$Amazing$Alex ... 19$
4.2.4$The$Croods... 19$
4.2.5$Distribution$of$Positive$and$Negative$Comments... 20$
5.(Discussion ...21$
5.1(Answers(to(Problem(definition ...21$
5.1.1$Business$Model ... 21$
5.1.2$Targeting ... 21$
5.2(Answers(to(Subquestions ...22$
5.2.1$What$are$considered$important$factors$for$the$game$to$be$popular$(high$number$of$ downloads)?... 22$
5.2.2$How$does$a$high0earning$mobile$game$differ$from$a$less$profitable$game$from$the$same$ company?... 26$
5.3(Method(Criticism ...28$
5.3.1$Number$of$Interviewees ... 28$
5.3.2$Interviews ... 29$
5.3.3$Review$Study ... 29$
5.3.4$Literature$Criticism... 29$
6.(Conclusion...31$
7.(Bibliography...32$
8.(Appendix...34$
8.1(Transcribed(interviews ...34$
8.1.1$Johanna$Nylander$Interviews$Responsible$for$Social$Issues$for$Swedish$Game$Industry. 34$ 8.1.1.1$Johanna$Nylander$0$Swedish$version... 34$
8.1.2$Patrick$Liu$Interviews$Creative$Director$for$Rovio ... 47$
8.1.3$Tommy$Palm$$Game$Guru$for$King... 57$
8.2(Collected(Data(from(the(Small(Study(of(User(Comments(in(App(Stores ...67$
8.2.1$Candy$Crush$0$King... 67$
8.2.2$Angry$Birds$0$Rovio... 67$
8.2.3$Amazing$Alex$0$Rovio ... 67$
8.2.4$The$Croods$0$Rovio ... 68$
8.2.5$All$comments ... 68$
1
1.(Introduction
This%chapter%gives%a%brief%introduction%to%the%phenomenon%of%mobile%applications%and%games.%
Furthermore,%it%includes%the%problem%formulation,%its%subquestions,%and%the%constraints%that%
this%study%implements.%
1.1(Background
Today,$smartphones$and$tablets$are$seamlessly$integrated$into$our$everyday$lives.$It$is$not$
uncommon$to$see$people$on$the$metro,$in$restaurants,$and$other$public$places$absorbed$in$
their$smartphones$or$tablets,$catching$up$on$the$latest$news,$posting$pictures$on$Instagram,$
or$enjoying$a$quick$round$of$Sudoku.$In$September$2013,$Gartner,$an$American$information$
technology$research$firm,$claimed$in$a$press$release$that$the$number$of$applications$(apps)$
downloaded$worldwide$nearly$doubled$from$64$billion$in$2012$to$102$billion$in$2013$
(Gartner,$2013).$Games$have$been$a$large$contributor$to$this$phenomenon.$According$to$
research$conducted$by$Canalys$in$November$2012,$games$account$for$145$of$the$300$top$
applications$of$Apple’s$App$Store$and$110$of$the$300$top$apps$in$Google’s$Play$Store$
(Canalys,$2012).
Considering$the$number$of$applications$being$downloaded$in$the$last$years,$it$may$be$
reasonable$to$assume$that$the$app$market$is$reaching$its$saturation$point.$However,$an$EU$
report$conducted$by$Gigaom$Research,$a$technology$news$and$analysis$firm,$maintained$
that$the$contraction$of$the$app$market$is$not$likely$to$happen$in$the$near$future.$Gigaom$
forecasted$that$the$mobile$app$market$will$only$continue$to$expand,$estimating$that$
revenues$will$increase$from$€17.5$billion$in$2013$to$€63$billion$by$2018$(Mulligan$&$Card,$
2014).$Considering$the$current$growth$of$the$mobile$gaming$industry,$it$would$be$both$
relevant$and$interesting$to$research$the$factors$that$make$up$profitable$mobile$games,$from$
the$point$of$view$of$spokespersons$from$successful$Nordic$mobile$games$companies.
1.2(Relevant(Work
Most$of$the$prior$research$that$has$been$done$has$focused$on$computer$or$other$console$
games.$$However,$a$report$about$key$success$factors$of$mobile$games$has$been$written$by$
Hyun$Jung$Park$and$Sang0Hoon$Kim.$They$have$taken$a$Bayesian$network$approach$to$the$
subject,$which$means$they$have$identified$these$key$factors$with$help$of$probability$
calculations.$They$wrote$about$four$different$categories:$product$(the$game),$marketing,$
consumer$and$competition$(Park$&$Kim,$2011,$p.$1355).$The$three$top$factors$indicated$by$
their$research$were$targeting,$or$the$accurate$definition$of$the$target$groups,$which$means$
making$a$product$fit$the$targeted$customers$as$well$as$possible,$brand$awareness$of$the$
game$and$company,$and$finally,$the$customers’$willingness$to$pay.$
Our$study$takes$into$consideration$the$four$categories$of$Park$and$Kim’s$research.$
2 However,$the$focus$during$the$interviews$is$on$the$categories$that$are$within$the$range$of$
influence$of$the$developer,$that$is,$the$product,$marketing$and$business$model,$and$not$the$
consumer$nor$the$competition.$This$is$due$to$the$fact$that$the$developer$cannot$control$the$
competition$or$the$consumer.$
1.3(Purpose(and(Target(Audience(for(This(Study
The$purpose$of$this$paper$is$to$pinpoint$what$it$is$that$makes$top0earning$Nordic$mobile$
games$profitable$from$the$perspective$of$the$game$developer,$and$if$there$are$any$common$
elements$that$are$essential$for$making$a$game$profitable.$This$study$aims$to$identify$these$
elements,$so$that$the$information$can$be$used$as$a$reference$to$produce$profitable$mobile$
games$in$the$future.$
Therefore,$this$study$is$of$interest$for$other$game$developers$hoping$to$develop$profitable$
mobile$games.$The$results$can$help$to$guide$them$on$what$is$crucial$to$include$when$
creating$a$game,$as$well$as$give$helpful$tips$as$to$what$is$recommended$to$incorporate$in$
the$game.
1.4(Problem(Definition
Which$factors$make$up$a$profitable$mobile$game$according$to$top0earning$Nordic$mobile$
game$companies?
1.4.1(Subquestions(
● What$are$considered$the$most$important$factors$for$the$game$to$be$popular$(high$
number$of$downloads)?$
● How$does$a$high0earning$mobile$game$differ$from$a$less$profitable$game$from$the$
same$company?$
1.5(Constraints
One$of$the$reasons$game$developers$produce$games$is$to$generate$revenues.$To$do$so$they$
must$develop$a$game$that$piques$the$gamer’s$interest$enough$so$that$they$are$willing$to$pay$
for$in0app$purchases$or$the$game$itself.$In$this$study,$profitability$is$therefore$the$chosen$
measure$of$success.$
According$to$an$independent$study$conducted$by$Gigaom$Research,$Nordic$companies$
King,$Rovio,$and$Supercell$were$among$the$five$top0earning$game$developers$in$Europe$and$
the$US$(Mulligan$&$Card,$2014).$Therefore,$this$study$focuses$on$these$Nordic$mobile$game$
companies.$
An$additional$constraint$is$that$this$study$solely$includes$mobile$games$that$are$released$to$
Google’s$Play$Store$and$Apple’s$App$Store.$The$reason$for$this$is$to$not$overcomplicate$the$
3 process$of$reviewing$user$ratings.$Therefore,$only$one$store$from$each$platform$will$be$
reviewed.$Microsoft$Windows$apps$have$not$been$included,$as$King$and$Supercell$do$not$
develop$any$games$for$the$Windows$platform.$
4
2.(Theory(
In%this%section,%theory%collected%from%the%literature%search%is%presented.%The%games’%various%
components%are%explained%to%introduce%relevant%aspects%that%according%to%different%authors,%
should%be%included%in%games%in%order%to%deliver%an%optimal%experience%for%its%users.
2.1(The(Game(and(its(Elements
Kevin$Werbach,$a$professor$at$the$University$of$Pennsylvania,$claims$that$games$can$be$
seen$through$three$lenses:$the$game$itself,$the$elements$that$make$up$the$game,$and$the$
player’s$experience.$The$player’s$experience$is$outside$the$realm$of$the$game.$The$role$of$a$
game$designer$is$to$control$the$elements$of$the$game$in$order$to$produce$an$experience$for$
the$user$(Werbach$2014).$$
Werbach$also$states$that$the$two$goals$of$the$game$designer$are$to$get$the$player$into$the$
game$and$to$keep$them$playing.$The$first$goal$refers$to$how$to$make$the$game$enticing,$as$
well$as$making$the$game$easy$and$simple$to$get$into.$Werbach$(2014)$refers$to$this$as$
onboarding.$The$second$goal$is$about$creating$an$experience$for$the$players$that$will$keep$
them$engaged$for$longer$periods$of$time.$$
Jesse$Schell$(2004,$p.37)$in$The%Art%of%Game%Design%defines$games$as$“a$problem0solving$
activity,$approached$with$playful$attitude.”$This$definition$addresses$both$the$challenging,$
goal0driven$aspect$of$a$game,$as$well$as$the$important$quality$that$games$are$played$
willfully$and$for$the$purpose$of$having$fun.$$
Werbach$offers$a$framework$to$approach$the$elements$of$game$design.$He$maintains$that$
games$consist$of$three$elements:$dynamics,$mechanics,$and$components$(Werbach$2014).$
Schell$(2004,$p.43)$offers$a$similar$framework,$but$includes$aesthetics$as$one$of$these$
components.$It$is$important$to$note$that$no$single$element$is$more$important$than$the$
others$and$that$they$each$have$equal$potential$to$affect$the$overall$experience$of$the$player.
2.1.1(Dynamics
Werbach$explains$that$dynamics$are$the$big0picture$aspects$or$hidden$structure$of$the$
game,$including:$
● Constraints:$In$order$to$make$the$game$interesting,$constraints$are$imposed$on$the$
users$to$limit$their$freedom,$thereby$forcing$them$to$make$meaningful$choices.$$
● Emotions:$Games$can$produce$emotions$in$users.$Game$designers$want$to$
implement$emotional$reinforcements$to$keep$players$engrossed$in$their$games,$such$
as$creating$a$sense$of$accomplishment$in$users.$$
5
● Narrative:$Narrative$refers$to$the$structure$that$pulls$the$pieces$of$the$game$
together.$It$can$explicitly$manifest$as$a$storyline,$but$is$not$limited$to$it.$$
● Progression:$Werbach$claims$that$it$is$important$to$give$the$player$the$opportunity$
to$improve,$that$is,$that$the$players$may$start$in$one$place$and$through$playing$the$
game,$they$can$progress$further$in$the$game.$$
● Relationships:$By$relationships,$Werbach$(2014)$means$how$people$interact$with$
each$other,$whether$it$be$as$friends,$teammates$or$opponents.$
2.1.2(Mechanics
Werbach$describes$the$mechanics$as$“the$elements$that$move$the$action$forward.”$In$other$
words,$mechanics$are$the$tools$that$can$be$used$to$get$the$player$in$the$game$to$go$from$
one$state$to$another.$Some$examples$of$these$are$challenges,$objectives,$chance,$
cooperation,$competition,$feedback,$transactions,$turns,$win0states,$and$rewards.$For$
example,$according$to$Saunders$and$Novak$(2007,$p.22),$feedback$is$vital$in$communicating$
what$is$happening$in$the$game$and$the$players’$progress$towards$goals.$It$is$important$to$
note$that$not$all$mechanics$are$used$all$the$time,$and$it$is$not$one$kind$of$mechanic$that$is$
the$determining$factor$(Werbach$2014).$
2.1.3(Components
Components$are$the$specific$ways$to$achieve$the$abstract$concepts$that$dynamics$and$
mechanics$represent.$For$example,$in$order$to$make$a$challenge$in$a$game,$the$game$
designer$can$implement$badges$that$are$a$visual$representation$of$a$player’s$achievement.$
Other$examples$of$components$are$boss$fights,$collections,$content$unlocking,$
leaderboards,$levels,$quests,$points,$virtual$items,$and$teams$(Werbach$2014).$
2.1.4(Aesthetics
Aesthetics$are$how$the$game$looks,$sounds$and$feels$(Schell$2004,$p.$43).$It$includes$the$
user$interface,$the$artistic$style$of$the$graphics,$the$music,$the$color$palette$and$typography$
(Saunders$and$Novak$2007,$p.38).$All$these$elements$create$an$atmosphere$in$the$game.$
According$to$Schell$(2004,$p.$43),$aesthetics$are$very$important$because$they$have$a$direct$
relationship$to$a$player’s$experience.$
2.2(The(Experience
Experience$is$what$the$player$feels$when$playing$the$game$(Werbach$2014).$When$
designing$games,$the$goal$of$the$designer$is$to$create$an$experience$that$holds$the$player’s$
focus$as$long$and$intensely$as$possible.$When$something$captures$the$user’s$complete$
attention$for$a$long$period,$they$are$said$to$enter$a$mental$state$of$sustained$focus,$
pleasure,$and$enjoyment$referred$to$as$flow,$a$theory$developed$by$Mihaly$
Csikszentmihalyi$(Schell$2004,$p.118).$$
6 2.2.1(Flow(
Csikszentmihalyi’s$theory$of$flow$is$a$theory$of$enjoyment,$and$more$specifically,$it$focuses$
on$the$feeling$of$immersion$that$people$can$experience$when$performing$a$task.$The$theory$
explains$both$the$prerequisites$for$the$creation$of$flow,$as$well$as$the$effects$that$
characterize$flow$(Csikszentmihalyi$1990).$Some$of$the$key$components$for$creating$an$
activity$that$puts$the$user$into$a$flow$state$are$clear$goals,$no$distractions,$direct$feedback$
after$every$action,$a$sense$of$control,$and$a$sustained$level$of$challenge$(Schell$1180119).$
Keeping$players$immersed$in$the$game$is$made$possible$through$giving$feedback$to$players$
about$how$close$they$are$to$their$next$goal,$which$drives$them$to$continue$playing$
(Saunders$and$Novak$2007,$pp.$23024,$30).$The$effects$of$flow$are$described$as$a$fusion$of$
action$and$awareness,$a$loss$of$self0consciousness,$a$distorted$sense$of$time,$intense$
concentration,$and$a$sense$that$the$activity$is$intrinsically$rewarding$(Schaffer$2009).$$$
Figure$1$illustrates$a$goal$of$the$game$designer,$which$is$to$match$the$level$of$challenge$
with$the$supposed$skill$level$of$the$user.$That$is$why$levels$are$easier$in$the$beginning$and$
increase$in$difficulty$as$the$game$proceeds.$The$game$designer$must$strike$a$balance$
between$providing$enough$challenge$to$keep$the$player$from$being$bored,$and$making$the$
game$too$difficult.$This$is$to$avoid$making$the$player$stop$playing$due$to$feelings$of$failure,$
hopelessness$and$anxiety$(Csikszentmihalyi$1990).$The$game$designer$should$also$take$
into$consideration$that$badly$implemented$aesthetics,$such$as$distracting$music$and$lack$of$
usability,$can$disturb$the$user$and$cause$it$to$lose$focus.$Therefore,$well0executed$
playability,$which$is$the$user0friendliness$of$a$graphical$interface,$is$also$essential$
(Saunders$and$Novak$2007,$p.$35).$$
Figure$1:$“The$Relation$Between$Degree%of%Challenge$(Y0axis)$and$Skill%Level%(X0axis)$in$Csikszentmihalyi$‘s$
Model$of$Flow”
7 2.2.2(Fun
Another$theory$of$enjoyment$is$called$the$The%Four%Fun%Keys%Model%of%Enjoyment$(Lazzaro$
2004).$It$is$a$comprehensive$model$for$understanding$the$needs$of$the$players$and$why$
they$play$games.$Different$players$play$for$different$reasons,$and$Lazzaro$has$narrowed$
these$reasons$down$to$four$main$categories,$called$Fun$Keys.$
The$first$is$called$hard%fun.$It$refers$to$the$pleasure$that$is$attained$from$the$pursuit$of$a$
goal.$Confronting$challenges$and$overcoming$obstacles$through$creativity$and$strategy$
drive$the$player,$who$is$rewarded$by$a$sense$of$accomplishment$and$improvement.$The$
second$kind$of$fun$is$soft%fun.$Here$players$are$driven$by$a$strong$sense$of$curiosity.$
Ambiguity,$incompleteness,$and$detail$create$an$immersion$experience$for$players.$This$
kind$of$enjoyment$is$not$about$winning,$but$rather$exploration$and$the$excitement$for$
adventure.$The$next$key$is$called$altered$states$or$serious%fun.$It$refers$to$the$notion$of$
games%as%therapy.$Players$who$enjoy$this$kind$of$fun$attribute$it$to$the$movement$from$one$
mental$or$emotional$state$to$another.$Avoiding$boredom$and$escaping$reality$are$two$
examples$of$this.$The$final$fun$key$is$the$people%factor.$Many$people$derive$enjoyment$from$
playing$with$others$inside$or$outside$the$game.$This$kind$of$fun$is$characterized$by$
opportunities$for$player$competition,$cooperation,$performance,$and$spectacle$(Lazzaro$
2004).
2.3(Marketing
One$strategy$is$having$a$marketing$budget$greater$than$the$development$cost.$This$is$risky$
but$when$successful$it$can$result$in$a$huge$income$(McCarthy$et$al$2005,$p.171).$This$
strategy$is$used$by$Electronic$Arts,$a$dominant$player$in$the$PC$and$console$market$
(McCarthy$et$al$2005,p.167).$It$manages$to$get$its$customers$to$keep$purchasing$their$
games.$This$is$often$due$to$the$fact$that$consumers$would$rather$buy$what$they$are$familiar$
with$since$they$know$what$they$are$getting.
$
Since$most$players$do$not$use$the$instructions$manual,$the$best$way$to$attract$a$wide$range$
of$players$including$casual$gamers,$is$to$implement$intuitive$and$simple$instructions$in$the$
interface$of$the$game$(Saunders$and$Novak$2007,$p.$24).$Casual$games$target$a$general$
audience$and$do$not$require$much$dedication$or$special$skills.$
2.3.1$Going(Viral
The$definition$of$something$going$viral$according$to$McCarthy$et$al$(2005,$p.171)$is$that$it$
is$passed$from$individual$to$individual$and$in$the$end$reaches$a$huge$crowd.$Viral$
marketing$is$one$of$the$most$effective$ways$of$advertising,$but$it$is$a$risky$strategy$and$it$is$
impossible$to$know$if$it$is$going$to$be$successful$or$not.$At$the$same$time,$it$is$easy$for$
advertisements$to$be$intrusive$and$anger$people,$which$can$create$badwill$towards$the$
brand.$
8
2.4(Business(Models
Successful$business$models$for$mobile$games$include$app0purchases,$advergaming$and$in0 app0purchases.$App0purchases,$also$called$premium$refers$to$paying$for$the$game$before$
downloading$it.$Advergaming$is$a$combination$of$advertising$and$gaming$where$
advertisements$are$included$in$the$game$interface.$The$in0app$purchases$model,$also$called$
freemium$or$free0to0play,$means$allowing$users$to$play$the$game$for$free,$while$charging$
players$for$extra$and$optional$functionality,$aesthetics,$and$content$(Feijoo,$Gómez0 Barroso,$Aguado,$&$Ramos$2012,$p.$217).
Mulligan$claims$that$at$the$moment$the$most$profitable$business$model$for$all$applications$
is$the$app0purchase$model.$However,$it$is$predicted$that$in0app0purchases$will$bring$in$
greater$revenue$in$the$coming$couple$of$years$(Mulligan$2014,$p.16)
Another$form$of$revenue$is$merchandising,$or$the$sale$of$memorabilia,$such$as$clothes,$
stuffed$animals,$backpacks,$and$toys,$to$name$a$few.$$$
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9
3.(Method
The%methods%used%in%this%study%are%presented%here.%They%include%the%inductive%method,%and%
interview%methods,%and%the%methods%used%to%categorize%the%reviews%of%the%users.%
This$study$is$based$upon$the$inductive$method,$which$encourages$not$having$a$hypothesis$
before$conducting$the$research$(Flick$2007,$pp.11012).$According$to$the$inductive$method,$
knowledge$is$produced$by$collecting$facts$that$provide$the$basis$for$conclusions$and$
theories$(Flick,$2007,$p.11).$It$is$important$to$note$that$the$knowledge$that$is$collected$is$
evidence$to$support$the$probability$of$a$conclusion;$it$is$not$absolute$proof$of$a$theory.
3.1(Study(1:(Interviews(
The$intention$of$the$interviews$conducted$in$this$research$was$to$ask$mobile$game$
development$companies$what$they$believe$are$the$most$important$elements$in$creating$a$
profitable$mobile$game,$in$regards$to$its$gameplay,$marketing$and$business$model.$They$
were$also$asked$to$compare$a$top0earning$mobile$game$with$a$less$profitable$game$that$
their$company$has$developed,$in$order$to$gain$further$insight$into$the$essential$factors$for$
defining$a$mobile$game’s$potential$for$generating$profits.$
3.1.1(Interview(Method
Interviews$are$a$method$used$in$qualitative$research,$where$the$emphasis$lies$in$analyzing$
the$subjects’$personal$accounts$and$experiences.$These$can$later$be$analyzed$to$develop$
models$or$theories,$as$well$as$to$describe$and$explain$social$issues$(Flick$2007,$p.ix).
The$interviewees$did$not$receive$the$questions$beforehand.$However,$they$were$informed$
about$the$topics$that$would$be$brought$up.$The$interviews$were$semi0structured;$we$had$
an$agenda$of$questions,$the$questions$were$open0ended$in$the$sense$that$the$subjects$could$
answer$freely$within$the$framework$provided$by$our$question.$This$was$due$to$the$fact$that$
the$more$structured$the$interview$was,$the$easier$the$later$analysis$of$the$interview$results$
would$be$(Kvale$1996,$pp.1290130).$In$other$words,$the$purpose$of$structuring$the$
interviews$was$to$make$possible$comparisons$between$the$different$interviews.$$
$
Kvale$advises$researchers$to$start$the$interview$by$specifying$the$purpose$of$the$interview$
to$the$subject.$He$also$recommends$leaving$room$to$the$interviewee$to$ask$any$questions$
before$starting$the$interview,$as$well$as$before$concluding$it$(Kvale,$1996,$p.128).$Finally,$
Kvale$(1996,$p.129)$recommends$setting$aside$time$after$the$interviews$to$recall$and$
reflect$on$the$information$collected.$The$interviews$adhered$to$these$recommendations.$A$
couple$of$days$after$each$interview,$collected$notes$were$compiled$and$sound$recordings$
were$transcribed.
10 3.1.2(Sampling(of(Interviewees
The$research$includes$representatives$from$Nordic$mobile$game$companies$that$have$
created$profitable$mobile$games.$In$a$study$conducted$by$Gigaom$Research,$the$Nordic$
mobile$game$companies$King,$Rovio$and$Supercell$were$among$the$top05$earning$game$
developers$in$Europe$and$the$US$(Mulligan$&$Card,$2014).$The$intention$was$to$interview$
all$three$of$these$companies,$but$when$contacted,$Supercell$declined$to$participate$in$this$
study$due$to$time$constraints.$However,$Patrick$Liu$from$Rovio$and$Tommy$Palm$from$
King$both$agreed$to$participate$in$the$interviews.$A$spokesperson$from$the$Swedish$Game$
Industry,$Johanna$Nylander,$also$took$part$in$the$study.$The$Swedish$Game$Industry$is$an$
organization$that$represents$the$gaming$industry$in$the$press$(Swedish$Game$Industry$
2014).$
3.2(Study(2:(Reviews(of(Particular(Mobile(Games(P(The(Players’(Point(of(View(
In$order$to$support$the$findings$of$the$qualitative$research,$this$study$also$includes$a$
quantitative$aspect,$which$comprises$of$an$analysis$of$the$reviews$of$the$successful$and$less$
successful$games$mentioned$by$Patrick$Liu$and$Tommy$Palm.$This$is$done$in$order$to$add$
another$perspective$to$the$viewpoints$of$the$mobile$gaming$companies.$The$method$of$
combining$both$qualitative$and$quantitative$approaches$is$called$triangulation$(Flick$2007,$
p.$43).$It$serves$to$promote$the$quality$of$qualitative$research,$as$well$as$provide$new$ways$
of$comparison.$
3.2.1(Process
The$sampling$method$used$is$called$stratified$sampling,$which$means$the$population,$in$our$
case$the$pool$of$reviews,$is$divided$into$groups,$App$Store$and$Play$Store$(Levi$and$
Lemeshow,$Chapter$5).$This$is$done$so$that$reviews$from$each$app$store$are$properly$
represented$in$the$sample.$The$first$100$reviews$that$are$shown$when$entering$each$of$the$
app$stores$have$been$used$in$this$study.$In$other$words,$200$reviews$from$each$game$have$
been$categorized.$They$were$read$and$categorized$as$either$positive$or$negative.$
Furthermore,$the$comments$in$the$reviews$were$sorted$according$to$similar$opinions$and$
thereafter$categorized$into$three$main$categories:$gameplay,$business$model,$and$
marketing.$All$the$reviews$that$complained$about$bugs$have$been$discounted,$because$
although$they$are$an$important$aspect$of$the$player’s$experience,$they$are$not$intentionally$
implemented$by$the$game$developers.$
$$
$
11
4.(Results
The%results%of%this%study%are%presented%in%this%chapter.%First,%the%relevant%findings%from%the%
interviews%will%be%presented,%followed%by%the%results%of%the%categorization%of%the%user%reviews.%%
4.1(Results(from(the(Interviews
In%this%section,%the%results%from%the%interviews%are%presented.%The%questions%are%written%in%the%
order%that%they%were%posed%to%the%interviewees.%The%questions%are%written%as%a%title,%and%the%
different%answers%of%the%interviewees%follow%each%question.%
4.1.1(Brief(explanation(of(the(process(behind(game(development(from(the(game(idea(
until(it(is(released(to(the(market
Patrick$Liu$of$Rovio$states$that$after$they$have$an$idea$they$believe$in,$they$start$building$
prototypes$to$test$the$game$internally$to$see$if$the$game$idea$is$good.$Then$it$is$tested$on$
consumer$users.$After$the$production$phase,$the$game$is$released$on$a$small$scale$to$see$
what$elements$of$the$game$work$well$or$badly,$and$whether$or$not$the$company’s$backend$
can$handle$the$amount$of$users.$After$the$game$passes$this$stage,$it$is$fully$launched$on$the$
intended$markets.$
King’s$Game$Guru,$Tommy$Palm,$explains$that$they$test$their$new$idea$and$the$actual$game$
mechanics,$which$are$made$as$a$simple$game$in$Flash,$in$an$early$stage$of$the$game$
development$process.$They$do$so$to$see$if$the$game$works$well$on$its$audience$and$if$it$
does,$they$continue$developing$and$making$a$larger$game$out$of$it.$
Palm$continues$by$saying$that$King$is$also$special$in$the$sense$that$they$focus$on$making$
cross0platform$games,$which$means$that$the$game$can$run$on$several$different$platforms$
such$as$mobiles,$tablets$and$computers.$The$immensely$popular$game$Candy$Crush$was$
first$made$as$a$single$level$in$2011,$and$was$later$incorporated$into$Facebook$with$100$
levels$in$2012.$The$popularity$rose,$and$it$became$one$of$Facebook’s$larger$games$with$
millions$of$Daily$Active$Users$(DAU).$Candy$Crush$was$then$released$for$mobiles$and$has$
now$hundreds$of$millions$of$players,$which$is$perhaps$the$most$played$game$in$the$world.
4.1.2(Are(there(any(elements(that(are(more(important(than(others(and(if(so,(which(
ones?(Why?
According$to$Liu$at$Rovio,$the$first$stage$of$having$a$unique$idea$is$the$most$crucial$stage$in$
the$game$development$process.$
$
Tommy$Palm$claims$that$one$of$the$major$problem$areas$is$for$the$game$to$be$discovered.$
Digital$downloads$have$no$shelf$space$like$in$the$regular$game$store.$The$developers$of$the$
app$cannot$influence$for$example$Apple’s$App$Store$since$it$is$the$staff$of$the$App$Store$
who$decides$which$apps$to$feature.
12 According$to$Palm,$Candy$Crush$and$Farm$Hero$Saga$have$been$able$to$find$their$own$
audience,$which$is$one$of$the$keys$behind$their$success.$This$has$been$made$possible$since$
Candy$Crush$was$so$popular$on$Facebook,$which$has$viral$elements.$The$player$can$see$
which$of$their$friends$are$playing$and$it$is$easy$to$invite$others$to$join.$Because$so$many$
already$played$Candy$Crush$on$the$web,$as$soon$as$it$was$released$to$the$App$Store$and$
Google$Play,$many$downloaded$the$game$to$their$smartphones.$That$is$how$Candy$Crush$
reached$the$top$charts$so$quickly.$
4.1.3(Are(there(any(specific(rules(for(game(design?
At$Rovio$there$are$no$official$rules$that$the$company$follows,$but$rather$a$list$of$four$to$five$
points$that$game$designers$focus$on$during$the$creation$process.$This$is$in$order$to$decide$
what$kind$of$game$the$company$will$make.$For$example,$Rovio$will$never$make$a$military$
shooting$game.$$
According$to$Tommy$Palm,$there$are$clear$patterns$found$in$successful$games.$A$mobile$
game$can$be$complex$and$challenging,$but$the$game$needs$to$start$out$with$simple$first$
steps$so$that$the$player$can$easily$and$quickly$understand$how$it$works.$$
$
Console$and$PC$games$are$very$different$from$mobile$games,$according$to$Palm.$The$player,$
having$spent$over$500$Swedish$crowns$(ca.$€55$in$May$2014)$to$purchase$the$game,$has$
more$patience$for$complex$rules$and$does$not$give$up$easily$when$trying$the$game$in$order$
to$get$his$or$her$money’s$worth.$On$the$mobile$platform$however,$it$is$very$different;$most$
games$are$free0to0play$and$there$are$countless$number$of$games$available$in$app$stores.$
Palm$claims$that$it$is$important$to$be$able$to$catch$the$player$quickly.$Because$of$this,$it$is$
essential$to$have$a$theme$that$appeals$to$people$and$to$deliver$an$enjoyable$and$interesting$
experience$in$the$first$few$seconds$0$and$in$that$way,$keep$the$player’s$interest.
King’s$office$in$Stockholm$has$over$15$people$working$on$data$analysis.$It’s$important$to$
see,$for$example,$where$many$players$get$stuck.$If$a$particular$level$is$too$difficult,$
something$has$to$be$done.$That$is$also$a$new$aspect$for$mobile$games$in$comparison$to$
older$generation$console$games$0$the$game$developers$keep$working$on$the$same$game$and$
update$it.$Candy$Crush$has$500$levels$and$there$is$a$team$working$on$more$at$this$moment.$
4.1.4(What(factors(must(be(included(for(a(mobile(game(to(become(successful(and(
profitable?
According$to$Liu,$there$are$two$factors$that$are$of$highest$priority:$a$clear$target$audience$
and$an$effective$business$model.$Liu$states$that$the$targeted$audience$determines$who$the$
game$is$made$for$and$decides$even$what$type$of$game$it$is.$As$there$is$no$universal$or$
objective$definition$of$a$good$game,$Liu$claims$that$it$is$important$to$make$the$game$of$
good$quality$for$the$intended$target$audience.$By$a$quality$game,$Liu$means$the$whole$
13 experience$of$the$game.$In$other$words,$knowing$your$audience,$their$needs$and$wishes,$
contributes$greatly$to$whether$or$not$the$game$will$be$perceived$as$polished$and$of$good$
quality$by$the$target$audience.$$
Liu$continues$by$saying$that$when$it$comes$to$the$business$model,$at$this$moment$in$the$
mobile$gaming$industry,$the$freemium,$or$also$called$the$free0to0play$model,$is$very$
popular.$This$is$because$today’s$mobile$game$users$almost$expect$games$to$be$free,$and$
95%$of$all$revenues$from$mobile$games$come$from$free$games.$Therefore,$if$one$uses$the$
app0purchase$business$model,$one$is$only$targeting$5%$of$the$revenue$pie.$
In$Rovio’s$case,$however,$they$are$in$a$unique$position$due$to$the$fact$that$their$brand$is$so$
strong.$In$that$sense$they$have$other$financial$goals$compared$to$a$more$traditional$app$
game$development$company.$Rovio$works$on$building$and$strengthening$their$brand$so$
that$they$can$sell$more$merchandise$and$clothing.$They$even$have$a$Hollywood$film$and$
cartoon$series$in$the$works.$In$other$words,$in$their$case,$even$if$the$games$themselves$do$
not$generate$profits$like$other$top0selling$games,$they$have$other$sources$of$income,$so$the$
games$serve$to$continually$strengthen$their$brand$awareness$among$consumers.
King’s$Palm$claims$that$a$clear$trend$at$the$moment$is$the$popularity$of$free0to0play$games.$
In$the$past,$games$were$purchased$by$users$without$getting$a$chance$to$test$them.$Now$
game$developers$earn$revenues$through$in0app0purchases,$where$the$player$can$play$the$
game$free$of$charge$and$then$choose$to$buy$objects$in$the$game.$Therefore,$the$game$
developers$need$to$know$what$they$can$charge$for.$King$decided$to$never$stop$a$player$
completely,$that$is,$a$player$can$complete$all$500$levels$of$Candy$Crush$without$paying$any$
money.$However,$sometimes$a$player$needs$to$wait$if$they$do$not$want$to$pay.$This$has$
proven$to$be$a$successful$method$for$King.$Palm$continues$by$saying$that$the$consumers$
will$see$more$of$the$in0app0purchases$model$in$future$game.$He$also$claims$that$this$is$a$
better$model$and$more$fair$for$players$and$developers,$since$the$player$can$try$the$game$
without$actually$paying$for$it$beforehand.$
$
According$to$Johanna$Nylander,$who$is$responsible$for$policy$affairs$at$the$Swedish$Games$
Industry,$the$payment$model$is$the$most$important$factor$for$securing$a$game’s$
profitability.$On$iPhone,$everything$is$sold$via$iTunes$to$which$a$credit$card$needs$to$be$
connected,$even$when$downloading$a$free$app.$This$is$not$the$case$on$Google$Play,$where$
one$can$download$free$apps$without$connecting$a$credit$card.$In$the$past,$Google$had$drives$
where$they$sold$good$apps$much$cheaper$just$to$get$people$to$make$their$first$purchase$
and$thereby$getting$the$customer$to$connect$their$credit$card.$With$a$connected$credit$card,$
it$is$easier$to$make$purchases$within$apps$and$to$buy$apps.$Since$having$a$linked$credit$
card$is$not$a$requirement$on$Android’s$app$stores,$there$are$more$free$games$on$Google$
Play’s$top$charts.$Free$games$are$an$important$stepping0stone,$opening$the$doors$for$the$
14 freemium$model.$
$
Nylander$continues$to$say$that$to$make$a$lot$of$money,$the$freemium$payment$method$is$
the$best$and$it$is$one$of$the$essential$elements$a$game$needs$to$have$to$make$the$game$
profitable.$At$the$moment$the$top$games$on$the$Top$Grossing$charts$use$the$freemium$
model.$However,$Nylander$points$out$that$one$can$still$have$a$successful$game$company$
that$charges$for$apps$in$a$more$traditional$way,$but$one$will$not$get$the$gigantic$success$
that$is$possible$with$the$freemium$game$model.$The$freemium$games$usually$have$infinite,$
or$close$to$infinite,$gameplay$where$one$can$buy$objects$in$the$game.$Freemium$games$
often$require$this$infinite$gameplay$because$you$need$to$get$people$to$invest$both$time$and$
money$in$the$game,$which$is$difficult$to$combine$with$a$game$that$ends$relatively$quickly.$
Premium$games$that$cost$7022$Swedish$crowns$(ca.$€0.80$0$€2.50$in$May$2014)$may$have$a$
shorter$lifespan,$since$they$are$usually$fun$in$the$beginning,$but$after$the$novelty$of$the$
game$wears$out,$there$is$not$much$left.(
Another$factor$that$is$necessary$for$making$a$game$successful,$according$to$Nylander,$is$the$
fun$factor$0$the$game$needs$to$be$fun.$Those$are$the$two$must0haves$for$games:$the$
freemium$model$and$fun.$The$game$should$also$not$be$too$difficult.$There$are$also$some$
other$common$factors$in$games,$for$example$social$functions$like$Facebook$Connect.$This$is$
used$to$see$which$of$one’s$friends$are$playing$the$game$in$order$to$challenge$them,$as$in$the$
case$of$Quizkampen$or$Wordfeud,$or$to$ask$for$extra$lives$and$compare$high$scores,$like$in$
Candy$Crush.$
4.1.5(What(is(the(most(successful(and(profitable(mobile(game(your(company(has(
developed?(What(audience(did(you(have(in(mind(when(creating(it?
Rovio’s$most$successful$game$is$still$the$original$Angry$Birds.$Spread$out$over$all$of$the$
Angry$Birds$games,$it$has$over$2$billion$downloads.$Liu$argues$that$it$is$probably$the$
world’s$most$downloaded$game.
Candy$Crush,$created$in$Stockholm,$is$King’s$most$successful$game,$and$it$is$a$so0called$
casual$game.$Palm$claims$that$they$tried$to$create$the$game$so$that$it$appeals$to$as$many$
people$as$possible.$In$general,$they$never$include$violence$in$their$games.$An$interesting$
observation$from$King’s$side$is$that$the$testing$is$mostly$performed$by$women$between$250 55,$since$it$is$they$who$play$on$King’s$website.$Testing$is$thus$conducted$on$that$group.$If$
the$game$has$been$popular$and$has$worked$well$for$them,$it$has$also$shown$to$work$great$
for$the$whole$family.$
4.1.6(Which(elements(in(the(successful(game(have(made(it(so(successful?(What(
factors(do(you(consider(to(have(been(essential(for(this(game?
In$the$case$of$Angry$Birds,$Liu$believes$it$is$the$game’s$unique$and$“bizarre”$visual$identity$
that$has$made$it$so$appealing$to$users,$as$the$actual$gameplay$is$not$revolutionary$in$itself.$
15 Rovio$has$succeeded$in$packaging$the$game$idea$with$the$visual$identity$in$such$a$way$that$
it$feels$fresh.$It$is$very$satisfying$to$tear$down$buildings,$to$destroy$things.$Additionally,$
everything$happens$so$fast,$and$the$game$is$very$simple;$there$is$no$extra$storyline$or$goal$
the$player$is$working$towards$to$make$the$game$interesting$in$those$respects.
According$to$Palm,$some$factors$that$have$been$important$to$Candy$Crush’s$success$are$the$
availability,$the$social$factor$and$the$fact$that$Candy$Crush$is$still$under$development.$By$
availability,$Palm$means$that$Candy$Crush$is$free$to$download,$easy$to$learn$and$there$are$a$
lot$of$different$platforms$to$play$it$on.$There$is$a$high$chance$that$a$player$can$play$Candy$
Crush$whether$it$is$on$a$Mac,$PC$or$on$an$Android$phone.$The$ability$to$easily$switch$
between$different$devices$and$still$play$the$same$game$has$been$essential$for$the$game.$
This$has$made$the$lifespan$of$the$game$so$long$that$it$allows$people,$even$if$they$have$
started$at$different$times,$to$talk$about$it$together$outside$of$the$actual$game.$Palm$thinks$
that$this$is$a$big$need$among$humans.$He$continues$by$saying$that$one$of$the$key$factors$has$
been$the$viral$elements$that$are$integrated$into$the$game.$The$candy$theme$has$worked$
very$well,$as$has$the$game$mechanism$to$match$three.$
4.1.7(How(have(you(marketed(the(successful(game?(And(what(business(model(is(
used?
Rovio’s$case$is$very$unique.$They$succeeded$in$becoming$one$of$the$world’s$most$
recognizable$brands$within$three$to$five$years.$Liu$claims$that$this$is$partly$due$to$luck;$
Rovio$came$out$with$the$right$kind$of$game$on$the$right$platform$at$the$right$time.$Angry$
Birds$was$released$at$a$time$when$the$App$Store$was$relatively$new$so$it$became$the$“de0 facto”$standard$for$downloadable$games$in$the$iPhone.$Due$to$this,$Rovio$could$gain$
momentum.$After$that,$they$have$not$used$traditional$marketing$techniques,$but$rather$
have$performed$“crazy$stunts”$that$gain$attention.$For$example,$Rovio$took$over$Red$
Square$in$Moscow$for$Red$Bird’s$birthday$(a$character$in$Angry$Birds),$and$sent$Angry$
Birds$out$to$Mars$in$a$cooperation$with$NASA.$
Angry$Birds$was$a$premium$game$when$it$was$first$released$in$2009.$The$free0to0play$
model$has$only$gained$a$big$following$in$the$last$couple$years,$but$before$that$time,$paid$
games$were$the$standard.$In$that$sense,$Rovio$is$very$new$to$the$free0to0play$model,$and$
has$as$of$now$released$two$games,$The$Croods$and$Angry$Birds$Go$as$free0to0play$games.$
As$for$Candy$Crush,$the$most$important$channel$for$marketing$has$been$that$it$spreads$
between$players$who$speak$about$the$game$to$their$friends$and$families.$They$have$also$
used$digital$marketing$with$banners.$King$calculates$how$much$money$they$get$per$user$
and$based$on$that$they$can$estimate$how$much$money$they$can$spend$on$marketing.$
Recently$they$have$also$released$a$TV0commercial.
Palm$says$that$it$was$an$early$design$choice$to$make$Candy$Crush$available$offline$and$that$
16 is$also$one$of$the$reasons$why$it$has$become$so$popular.$Candy$Crush$is$a$free0to0play$game,$
and$a$player$has$the$possibility$to$reach$the$last$level$without$paying$for$it.$King$has$said$
that$over$50%$of$the$players$that$have$reached$the$last$level$have$not$made$a$single$
purchase$in$the$game.$
Nylander$emphasizes$the$importance$of$marketing$mobile$games,$due$to$the$countless$
number$of$apps$in$the$different$stores.$It$is$not$easy$for$a$potential$user$to$discover$a$new$
app,$unless$Google$Play$or$The$App$Store$includes$the$app$in$their$editorial$work.$However,$
this$is$in$the$hands$of$Google$and$Apple;$it$is$not$something$a$game$developer$can$influence$
beyond$having$good$branding$and$PR.$In$that$sense,$bigger$companies$have$the$advantage$
because$they$can$utilize$their$current$games$as$an$ad$platform.$Nylander$comments$on$the$
difficult$nature$of$marketing$in$the$mobile$game$market,$due$to$the$fact$that$the$type$of$
marketing$depends$a$lot$on$the$type$of$game.$Social$games,$such$as$games$where$you$play$
against$a$specific$friend,$can$easily$gain$free$marketing$and$exposure$through$word$of$
mouth.$Facebook$is$a$giant$ad$platform$that$is$particularly$effective.$Here$one$may$
participate$in$community0building$by$spreading$Facebook$pages.$
4.1.8(Tell(us(about(a(less(profitable(mobile(game(that(your(company(has(developed.(
What(are(the(common(factors(between(the(two(games?
Liu$mentions$two$examples.$The$Croods$was$a$movie0licensed$game$and$those$sorts$of$
games$do$not$fare$well$historically,$unless$the$movie$has$been$very$popular.$In$the$case$of$
the$movie,$the$film$was$not$a$Hollywood$blockbuster,$and$the$game$did$not$fare$too$well$
either.$
The$other$game$was$Amazing$Alex.$It$was$the$first$game$after$Angry$Birds$that$did$not$have$
the$Angry$Birds$branding.$Liu$states$that$there$is$no$obvious$explanation$as$to$why$the$
game$did$not$fare$well,$as$it$was$a$decent$puzzle$game.$He$suspects$that$Rovio$may$have$
underestimated$how$strong$the$Angry$Birds$brand$was.$
King$released$some$mobile$games$before$Candy$Crush.$However,$they$only$tried$making$
games$specifically$for$mobile$devices,$and$the$games$were$not$linked$to$other$platforms.$
Palm$states$that$one$of$these$games$was$Bunny$Hop.$It$was$also$a$free0to0play$game$like$
Candy$Crush,$and$it$targeted$the$same$audience$and$had$the$same$kind$of$colors.$It$is$also$
an$easy$game$to$learn$how$to$play.$However,$in$the$end,$it$did$not$perform$as$well$as$Candy$
Crush.
4.1.9(Are(there(any(differences(between(the(less(profitable(game(and(the(topPearning(
game?
In$the$case$of$The$Croods,$Liu$states$that$the$game$had$many$flaws,$as$it$was$the$first$time$
Rovio$had$implemented$the$free0to0play$business$model.$Graphically,$it$did$not$share$
Rovio’s$style$either,$as$it$was$modelled$after$the$visual$appearance$of$the$film.$On$the$other$
17 hand,$even$though$Amazing$Alex$and$Angry$Birds$share$a$graphic$profile$that$is$consistent$
with$Rovio’s$style$and$is$of$a$similar$puzzle0genre,$Amazing$Alex$did$not$feature$the$popular$
Angry$Birds$characters.
Bunny$Hop$was$a$game$with$a$rabbit$hopping$up$on$platforms,$the$goal$was$to$get$as$high$
up$as$possible.$According$to$Palm,$while$Bunny$Hop$used$the$mobile’s$built$in$
accelerometer,$Candy$Crush$is$a$different$type$of$game$which$uses$the$touchscreen.$An$
important$difference$is$that$Bunny$Hop$demands$more$skills$and$the$player$needs$to$have$
good$fine$motor$skills.$In$Candy$Crush$it$is$enough$to$think,$and$at$the$same$time$there$is$a$
balanced$mix$between$skill$and$luck.$Bunny$Hop$simply$demanded$too$much$skill.$
4.1.10(How(was(the(game(marketed(and(what(business(model(was(used(in(the(less(
profitable(game?
Amazing$Alex$was$a$premium$game,$while$The$Croods$was$a$free0to0play$game.$In$order$to$
market$its$games,$Rovio$relies$heavily$on$its$own$cross0promotion.$That$is,$they$advertise$
their$latest$games$in$already$existing$games,$such$as$Angry$Birds.$This$system$has$worked$
well$in$the$past,$but$did$not$work$with$Amazing$Alex.$
King’s$Bunny$Hop$was$a$free0to0play$game.$The$game$was$marketed$with$digital$banners$
but$it$did$not$have$the$same$social$distribution$mechanisms$as$Candy$Crush.$Bunny$Hop$
was$also$not$connected$to$Facebook.$
4.2(The(Google(Play(and(App(Store(Reviews
Results%from%the%small%study%on%users’%reviews%of%games%are%presented%here.%The%games%
included%are%Candy%Crush,%Angry%Birds,%Amazing%Alex%and%The%Croods.%Bunny%Hop%is%not%
included%since%it%is%no%longer%available%in%app%stores.%%
4.2.1(Candy(Crush
$
Table$1:$Candy$Crush:$Percentage$of$positive$and$negative$comments$referring$to$gameplay,$marketing,$and$
business$model.
Category Total(comments(of(each(category Percent
positive Gameplay 76/77 98.70%
Marketing 0/77 0.00%
Business$model 1/77 1.30%
negative Gameplay 22/73 30.14%
Marketing 4/73 5.48%
Business$model 47/73 64.38%
TOTALS
Positive 51.33% Negative 48.67%
$
Table$1$shows$that$when$the$player$left$a$positive$review,$98.7%$of$the$time$it$was$in$
18 regards$to$a$game’s$gameplay.$$Most$comments$claimed$that$the$game$was$“fun,”$
“challenging,”$and$“addicting.”$
The$biggest$percentage$of$occurrence$of$negative$comments$was$about$the$business$model,$
in0app$purchases.$Users$frequently$commented$that$the$game$felt$too$“money$
oriented,”$“expensive,”$and$that$“the$waiting$time$for$new$lives$is$too$long.”$They$
complained$that$one$“needs$to$pay$to$succeed.”$
51.33%$of$all$the$comments$were$positive$and$48.67%$were$negative.$
4.2.2(Angry(Birds
Table$2:$Angry$Birds:$Percentage$of$positive$and$negative$comments$referring$to$gameplay,$marketing,$and$
business$model.
Category Total((comments(of(each(category Percent
positive Gameplay 151/151 100.00%
Marketing 0/151 0.00%
Business$model 0/151 0.00%
negative Gameplay 20/41 48.78%
Marketing 0/41 0.00%
Business$model 21/41 51.22%
TOTALS
Positive 78.65% Negative 21.35%
According$to$Table$2,$in$Angry$Birds,$100%$of$the$positive$comments$referred$to$the$
gameplay$as$a$basis$for$their$liking$the$game.$Some$examples$of$these$comments$were$“fun$
and$challenging”$and$“addicting.”
While$as$for$the$negative$comments,$there$was$an$even$distribution$between$gameplay$and$
the$business$model.$Comments$that$commonly$came$up$for$the$gameplay$was$that$the$
game$was$“boring,”$“repetitive,”$and$“too$difficult”$and$that$“it$did$have$not$enough$levels.”$
The$51.22%$of$the$negative$reviews$about$the$business$model,$advergaming,$mentioned$
that$there$were$“too$many$intrusive$ads.”$
In$total,$78.65%$of$the$all$the$comments$were$positive$while$21.35%$of$the$user’s$reviews$
were$negative.$$
$
$
$
$
$
$
$
19 4.2.3(Amazing(Alex(
Table$3.$Amazing$Alex:$Percentage$of$positive$and$negative$comments$referring$to$gameplay,$marketing,$and$
business$model.
Categories Total(comments(of(each(category Percent
positive Gameplay 88/88 100.00%
Marketing 0/88 0.00%
Business$model 0/88 0.00%
negative Gameplay 35/44 79.55%
Marketing 0/44 0.00%
Business$model 9/44 20.45%
TOTALS
Positive 66.67% Negative 33.33%
100%$of$the$positive$comments$left$by$Amazing$Alex$players$have$made$a$reference$to$
gameplay$(See$Table$3).$Keywords$mentioned$were$$“challenging,”$“fun,”$“addicting.”
However,$79.55%$of$the$negative$comments$were$also$about$the$gameplay.$Common$words$
were$“boring”$and$“too$difficult.”$20.45%$of$the$negative$reviews$were$about$the$business$
model,$which$is$advergaming,$and$the$comments$often$included$“too$many$ads”$or$
“intrusive$ads.”$
Overall,$the$comments$were$66.67%$positive$and$33.33%$negative.
4.2.4(The(Croods(
Table$4.$The$Croods:$Percentage$of$positive$and$negative$comments$referring$to$gameplay,$marketing,$and$
business$model.
Category Total((comments(of(each(category Percent
positive Gameplay 37/37 100.00%
Marketing 0/37 0.00%
Business$model 0/37 0.00%
negative Gameplay 34/85 40.00%
Marketing 0/85 0.00%
Business$model 51/85 60.00%
Totals
Positive 30.33% Negative 69.67%
Table$4$shows$that$all$the$positive$comments$for$The$Croods$were$about$the$gameplay.$
Users$said$they$“loved”$the$game,$and$that$it$was$“fun$and$addicting.”
However,$for$the$negative$reviews$there$were$60%$comments$about$the$business$model$
and$40%$about$the$gameplay.$Some$repeating$remarks$can$be$summarized$by$the$phrases,$
“too$expensive$and$too$long$waiting$time$if$not$making$purchase”$and$“want$new$levels,$
update.”
20 In$total,$30.33%$were$positive$comments$and$69.67%$of$the$comments$were$negative.$
4.2.5(Distribution(of(Positive(and(Negative(Comments
Table$5$shows$the$distribution$of$positive$and$negative$reviews$for$all$four$games.$99.72%$
of$all$positive$comments$referred$to$the$gameplay,$while$1$person$out$of$353$commented$
positively$about$the$business$model.$
45.68%$of$all$negative$comments$in$all$four$games$were$directed$at$the$gameplay$of$the$
games.$1.65%$commented$negatively$about$marketing,$while$52.67%$made$negative$
comments$about$the$business$model.$
$
Table$5:$$Summary$of$all$negative$and$positive$reviews,$in$three$different$categories$across$all$four$games.$
Category Amount Percent
positive Gameplay 352/353 99.72%
Marketing 0/353 0.00%
Business$model 1/353 0.28%
Total(pos: 353/353 100%
negative Gameplay 111/243 45.68%
Marketing 4/243 1.65%
Business$model 128/243 52.67%
total(neg: 243/243 100%
TOTAL(ALL 596
21
5.(Discussion
((In%this%chapter,%the%common%points%of%the%result%and%theory%are%discussed%as%well%as%our%own%
observations%and%the%weaknesses%of%this%study.%
5.1(Answers(to(Problem(definition
Which$factors$make$up$a$profitable(mobile$game$according$to$top0earning$Nordic$mobile$
game$companies?
5.1.1(Business(Model
All$three$of$our$interviewees$have$stated$that$an$effective$business$model$is$crucial$for$
being$profitable.$They$have$also$stated$that$the$branch$standard$for$mobile$games$at$the$
moment$is$the$in0app$purchases$model.$This$is$not$in$accordance$with$the$EU$report$
conducted$by$Gigaom,$which$shows$that$the$app0purchase$model$is$the$most$popular$
business$model$at$the$moment.$However,$this$report$refers$to$all$categories$of$mobile$
applications,$not$just$games.$Furthermore,$the$report$does$forecast$that$revenues$for$in0app$
purchases$will$increase$in$the$future,$while$app0purchase$revenues$will$decrease.$
Based$on$this,$we$draw$the$conclusion,$that$a$well0implemented$business$model$seems$to$
be$the$difference$between$a$game$that$generates$high$revenues$and$one$that$is$popular$but$
ineffective$at$yielding$profits.$However,$we$contend$that$a$game$must$be$popular,$with$a$
high$number$of$players,$for$it$to$have$the$potential$to$generate$profits.$$
5.1.2(Targeting
Liu$also$identifies$a$clear$target$audience$as$a$deciding$factor$in$the$making$of$a$successful$
and$profitable$game.$Knowing$the$needs$and$wishes$of$the$target$audience$makes$it$easier$
to$deliver$a$game$that$is$of$high$quality$in$their$eyes.$This$resembles$Kim$and$Park’s$
definition$of$targeting0$making$a$product$fit$the$customer.$It$is$also$consistent$with$Kim$and$
Park’s$results$that$targeting$is$a$key$success$factor$for$mobile$games.$When$Liu$makes$this$
statement,$he$seems$to$refer$to$the$actual$gameplay,$but$we$reason$that$it$also$is$applicable$
to$the$business$model.$If$the$company$does$not$know$its$targeted$audience,$it$will$not$be$
aware$of$how$much$customers$can$pay$or$how$much$they$are$willing$to$pay.$In$other$
words,$knowing$the$intended$target$audience$is$also$crucial$for$implementing$a$suitable$
business$model.
Interesting$to$note$is$that$King$does$their$testing$on$women$between$25055$years$old,$and$if$
the$game$is$popular$with$this$group,$they$find$it$usually$works$for$the$whole$family.$Women$
in$this$age$range$are$not$the$stereotypical$gamer$and$we$believe$that$this$shows$trends$of$
who$the$players$are$today.$They$belong$to$the$group$casual$gamers,$which$is$a$wider$target$
group$than$the$niched$hardcore$gamers.$$
$
Figure$2$summarizes$the$factors$presented.$$
22
$
$
Figure$2:$Summary$of$the$important$factors$for$the$game$to$earn$money.$
5.2(Answers(to(Subquestions
The$factors$mentioned$as$answers$to$the$subquestions$are$considered$to$be$important$for$a$
game’s$possibility$to$become$popular,$which$is$a$vital$stepping0stone$to$a$game’s$ability$to$
generate$profits.
5.2.1(What(are(considered(important(factors(for(the(game(to(be(popular((high(
number(of(downloads)?
5.2.1.1(Fun(and(Flow
Johanna$Nylander$identifies$fun,$as$one$of$the$most$important$factors$for$making$a$
successful$game.$This$statement$is$confirmed$by$players$that$left$positive$comments$for$
Candy$Crush,$Amazing$Alex,$the$Croods$and$Angry$Birds.$In$these$cases,$users$commented$
often$on$the$fun$and$addicting$nature$of$these$games.$In$fact,$as$seen$in$Table$5,$almost$all$
of$the$positive$reviews$made$references$to$the$nature$of$gameplay$in$these$four$games.$We$
draw$the$conclusion$that$the$experience$the$game$gives$the$player$is$the$most$important$
factor$for$the$player,$though$it$may$not$necessarily$equate$to$revenues$for$the$game$
developers.$However,$if$a$game$is$not$fun$and$engaging,$regardless$of$how$well$the$business$
model$is$implemented$or$how$effective$the$marketing$is,$players$will$not$play$the$game$for$
long.$In$other$words,$a$game$has$to$be$worth$the$time$and$money,$in$the$eyes$of$the$players,$
if$it$is$to$have$any$chance$of$being$profitable.$In$order$to$offer$a$strong$foundation$for$
revenues,$a$game$must$deliver$the$hours$of$fun$and$distraction$that$the$players$are$after.$
• All$three$of$the$interviewees$stated$that$
an$effective$business$model$is$crucial$
for$a$game$to$be$prouitable$
• Without$a$business$model$a$game$
cannot$generate$revenue$
Business$
Model$
• Quality$is$subjective$
• Know$target$group$to$create$quality$
game$in$their$eyes$$
Targeting$
23 This$supports$Lazzaro’s$statement$that$different$players$play$games$for$different$reasons,$
but$in$the$end,$everybody$plays$in$order$to$have$fun.$It$also$is$in$alignment$with$Schell’s$
definition$of$a$game,$which$describes$a$game$as$a$goal0oriented$activity$that$is$carried$out$
for$the$purpose$of$having$fun.
A$prerequisite$for$being$able$to$experience$fun$is$to$create$an$environment$for$the$user$to$
enter$a$state$of$flow.$As$stated$earlier,$the$theory$of$flow$focuses$on$the$feeling$of$
immersion$that$people$can$experience,$in$this$case$while$playing$a$game.$Though$he$does$
not$directly$refer$to$the$concept$of$flow,$King’s$Tommy$Palm$echoes$the$importance$of$
matching$the$level$of$challenge$with$the$assumed$skill$level$of$the$user,$as$stated$by$
Csikszentmihalyi$and$Werbach.$Both$maintain$that$it$is$important$to$make$the$game$easy$in$
the$beginning$and$increase$the$level$of$difficulty$as$the$player$improves$his$or$her$skills$in$
the$game.$Palm$continues$by$saying$that$a$mobile$game$can$be$complex$and$challenging,$
but$needs$to$start$out$with$simple$first$steps$so$that$the$player$can$easily$and$quickly$
understand$how$it$works,$which$supports$Werbach’s$idea$of$onboarding.$Palm$states$that$
this$can$be$achieved$by$having$a$theme$that$appeals$to$users,$in$order$to$deliver$an$
enjoyable$experience$within$the$first$few$seconds$of$playing$the$game.$
According$to$Csikszentmihalyi,$there$must$be$a$balance$between$having$good$challenges,$
which$will$encourage$the$player,$and$not$making$the$game$too$difficult,$which$will$
eventually$make$the$player$want$to$stop$playing.$We$can$see$from$our$results$that$this$is$a$
relevant$statement;$in$the$reviews$left$by$users$for$the$Candy$Crush,$Amazing$Alex,$The$
Croods$and$Angry$Birds,$comments$pointing$to$the$fact$that$the$game$was$too$easy$or$too$
difficult$were$often$times$the$reason$for$leaving$a$negative$rating.$King$understands$this$
concept$as$they$have$people$working$on$data$analysis$to$see,$for$example,$where$many$
players$get$stuck$so$they$can$adjust$levels$and$in$that$way$create$a$better$flow.$This$is$also$
in$alignment$with$Werbach’s$second$goal$for$the$game$designer,$which$is$to$create$an$
experience$that$immerses$the$player$in$the$game$and$keep$them$playing.$
In$order$to$create$this$experience,$there$needs$to$be$a$smooth$user$interface$in$the$game.$
For$Angry$Birds,$Patrick$Liu$claimed$that$the$visual$identity,$which$is$both$bizarre$and$cute,$
appealed$to$people.$He$continued$by$saying$that$the$gameplay$is$not$revolutionary,$but$that$
they$have$succeeded$in$making$the$game$feel$fresh$and$also$in$creating$a$pleasant$
experience$for$the$user.$The$Candy$Crush0theme$has$also$worked$great$for$King.$These$
observations$echo$Schell’s$statement,$when$he$claimed$that$the$aesthetics$are$directly$
connected$to$a$player’s$experience$and$can$therefore$have$a$big$impact$on$the$player’s$
feelings$towards$the$game.$$
According$to$Saunders$and$Novak,$interface$and$aesthetics$like$graphics,$music,$and$
feedback,$can$also$disturb$the$user$if$not$implemented$correctly.$This$is$confirmed$by$the$
24 fact$that$the$majority$of$the$negative$user$reviews$for$the$game$Angry$Birds$complained$
about$the$amount$of$intrusive$advertisement,$which$disturbs$the$user’s$flow$in$the$game.$
Users$that$left$negative$comments$for$Candy$Crush$often$times$made$references$to$King’s$
business$model.$While$there$are$more$physical$distractions$in$the$user’s$flow,$such$as$the$
waiting$time$for$new$lives,$we$maintain$that$there$seems$to$be$a$strong$“psychological$
distraction”$as$well.$The$in0app$purchases$model$seems$to$cause$suspicion$amongst$its$
users.$Despite$the$fact$that$50%$of$players$have$reached$that$last$level$without$paying$
money,$due$to$the$difficulty$of$more$advanced$levels,$players$tend$to$suspect$that$levels$are$
designed$to$not$be$possible$to$beat$without$paying$for$boosters$or$extra$lives.$This$seems$to$
have$caused$players$to$stop$playing,$as$they$feel$levels$are$impossible$to$beat$without$
paying,$and$therefore$not$worth$their$time$and$energy.$Instead$of$attributing$their$inability$
to$win$to$their$own$lack$of$skill$or$to$the$level’s$difficulty,$players$blame$King’s$greed$and$
strong$focus$on$profits$in$their$comments.
Based$on$these$observations,$though$they$are$essential$components$in$a$profitable$game,$
advergaming$and$in0app$purchases$can$have$the$opposite$effect$if$they$are$too$intrusive;$
instead$of$attracting$players$and$generating$profits,$players$can$get$frustrated$and$leave.$
This$can$be$seen$in$the$summary$of$the$user$reviews$in$Table$5,$where$only$one$of$550$
reviews$was$positive$about$the$business$model,$while$there$were$78$negative$reviews$
about$the$business$model.$Accordingly,$we$make$the$assumption$that$when$the$business$
model$is$well$implemented,$it$is$not$as$noticeable,$so$a$“good”$business$model$is$one$that$
does$not$aggravate$the$players,$but$is$seamlessly$integrated$in$the$game.$This$puts$pressure$
on$the$game$designers$to$think$through$their$business$model$from$the$beginning.$We$
maintain$that$the$business$model,$not$just$the$game$itself,$needs$to$undergo$user$testing$so$
that$game$developers$can$see$how$the$different$implementations$of$their$business$model$
and$advertisements$affect$users.$This$was$an$unexpected$finding.
5.2.1.2(Discoverability(and(Viral(Marketing
A$major$problem$area$for$the$mobile$games$is$to$become$discovered$by$players.$Candy$
Crush$has$found$its$own$audience$and$this$was$possible$due$to$that$it$was$a$Facebook$game$
first.$Facebook$has$viral$elements;$the$player$can$see$which$of$his$or$her$friends$are$playing$
and$can$invite$friends$to$play.$There$is$also$the$social$factor$where$people$can$talk$with$
their$friends$about$the$game$and$even$compete$or$cooperate$with$each$other.$This$social$
aspect$of$the$game$was$mentioned$by$Werbach$as$an$important$dynamic$that$should$be$
included$in$games$and$is$also$called$the$people$factor$by$Lazzaro.$$$
When$Candy$Crush$was$released$to$the$mobile,$many$people$who$were$already$familiar$
with$Candy$Crush$downloaded$it$to$their$smartphones,$which$made$it$reach$the$top$charts$
quickly.$According$to$Palm,$the$cross0platform$factor$and$the$availability,$or$the$fact$that$it$
is$free$and$easy$to$get$into,$contribute$to$the$high$likelihood$that$if$a$player$tells$a$friend$
25 about$Candy$Crush,$they$will$probably$have$access$to$a$platform$to$play$it$on.$
Nylander$also$says$that$it$is$difficult$for$users$to$discover$new$apps,$unless$app$stores$
feature$the$app.$$The$only$thing$a$game$developer$can$affect$is$having$good$branding$and$
PR,$and$because$of$that,$bigger$and$more$well0known$companies$have$an$advantage,$since$
they$can$use$their$current$games$as$an$ad$platform.$This$is$also$something$that$both$Rovio$
and$King$do,$cross0promoting$their$new$games$in$their$already$released$games.$Cross0 promotion$is$a$good$way$to$market$a$game$since$the$companies$are$targeting$their$target$
audience$who$already$are$familiar$with$the$brand.$Targeting$and$brand$awareness$are$two$
of$the$three$most$crucial$factors$that$Park$and$Kim$mentions$as$key$factors$for$a$successful$
game.
One$of$the$techniques$to$strengthen$a$company’s$likelihood$to$be$discovered$by$potential$
users$is$viral$marketing.$Viral$marketing$is$mentioned$by$all$of$the$interviewees,$even$
though$they$did$not$call$it$viral$marketing.$McCarthy$et$al$stated$that$viral$marketing,$when$
successful,$is$the$most$effective$way$of$advertisement.$However,$it$is$highly$unpredictable$
since$it$relies$on$individuals$to$pass$the$game$or$advert$on$to$their$friends$and$families.$
Tommy$Palm$stated$that$the$most$powerful$marketing$tool$for$Candy$Crush$has$been$how$
it$has$spread$between$people$who$speak$about$the$game$to$their$families$and$circle$of$
acquaintances.$This$has$also$been$possible$due$to$the$viral$elements$in$Facebook.$Palm$
claimed$King’s$Bunny$Hop$was$not$connected$to$Facebook$and$did$not$have$the$same$social$
distribution$mechanisms,$which$is$so$well$implemented$in$Candy$Crush.
$Johanna$Nylander$also$mentioned$how$games$can$get$free$marketing$when$players$talk$
about$the$games$with$new$possible$players.$She$also$claimed,$just$as$Palm,$that$Facebook$is$
an$particularly$effective$platform$for$advertisement.$Even$if$viral$marketing$is$difficult$to$
plan$for,$King$shows$that$priming$a$game$for$social$elements$does$make$it$more$likely$to$
spread.$For$example,$in$Candy$Crush$players$who$connect$to$Facebook$can$receive$extra$
lives$and$unlock$new$levels$for$free$by$asking$Facebook$friends$for$help.$This$offers$more$
features$and$a$better$experience$for$players$connected$to$Facebook,$thereby$encouraging$
its$use.$In$return,$King$receives$more$exposure$and$spreads$awareness$of$its$brand$and$
games.$
According$to$Liu,$Rovio$has$very$special$marketing$and$in$just$a$few$years$they$have$
become$one$of$the$most$well$known$brands$in$the$world.$Rovio$have$just$recently$started$
with$a$bit$of$advertisement$banners$for$Angry$Birds$but$in$the$past$they$have$not$had$any.$
Instead,$they$perform$crazy$stunts$that$get$a$lot$of$attention$and$become$viral.$This$shows$
that$viral$marketing$can$be$approached$in$different$ways;$the$game$does$not$necessarily$
need$to$be$connected$to$social$media.$We$believe$that$having$viral$elements$or$attempting$
to$make$a$game$go$viral$is$worth$the$effort,$even$though$it$is$unpredictable$and$difficult$to$
