Month: September 2009 Page 2 of 3

EA Mobile, Namco Bandai and the State of Carrier Decks

After many rumours and ominous statements that it was “reviewing its activities” Namco Bandai confirmed today that EA Mobile will thenceforth act as its distributor for mobile games outside the US and outside any app store.

After Taito and Eidos, EA Mobile just gobbled up another major distribution deal and the exodus from J2ME games distributed via carriers continues. It also means that EA’s dominance over the operator decks has just increased a little more yet again. It had estimated (back in June) that its 2009 mobile revenues would reach $185m (although this arguably includes Apple’s and other people’s app stores as well as embeds).

What is worrying is that this cements the oligopoly of games distribution in all major markets. EA Mobile, Gameloft occupy the top 2 slots very comfortably with Glu an equally comfortable but distant third. I-Play, Digital Chocolate, Real and Connect 2 Media are fighting for place and Xendex, Handy Games and a few others seek (and sometimes find) niches to prosper. THQ Wireless, Vivendi Games Mobile have departed. Player X found a new home under the mighty wings of Zed. And then? If the above companies all manage to maintain a healthy business, this might be enough; there are silverback gorillas in every market segment. If not though, this might become a doomed sub-sector; the limelight would then be on the (failed) ecosystem operators tried to build: overly fragmented with everyone of them wanting it just so and just their way rather than agreeing on a largely unified structure and processes pressed margins from a system that has been tough from the outset (handset fragmentation and international spread mean fairly high cost per capita anyway).

The accumulation of external properties arguably also mean that EA will need to run a business that is almost a combination of a publisher and an aggregator (with its very own challenges). The issue of shelf position (will they give Tetris and the Sims undue preference over Space Invaders, Pac-Man and Cooking Mama?), the commercials of their own deals (they anecdotally paid Hasbro a handsome sum), and the generally dominant position will all come into play and it is inconceivable (well, is it really?) that their partners will continue to play ball.

It might of course only be a brief interregnum on the way to an app store world. Smartphones are very much on the rise and, in that world, such stores seem to rule. Apple has taken the lead, Android followed suit and new stores are springing up almost by the day, which also includes operator-led ones: Orange already has one, Verizon Wireless has announced one (mobile web-based) and so has Vodafone (which might actually be bigger than Apples) as well as many others. The OEM all do the same (even though some carriers want to disallow them): Nokia Ovi, Blackberry App World, Sony Ericsson, LG, Samsung, you name them, they have it. The question of course is if that might mean the same thing all over again: will they again want it all just so? Will they again have it just their way so that a user would have the unique flavour of operator X on handset Y in this unique way, meaning that – again – thousands of SKUs would be required to service them? Groundhog Day? I hope not!

Image credit: http://www.antitrustreview.com/files/2007/07/files51lsaydhrsl.-ss500-.jpg

Carnival of the Mobilists #192

The 192nd iteration of the Carnival of the Mobilists is under way. This week’s edition is hosted by C Enrique Ortiz on his About Mobility blog and features an overview of Opera Mini 5, a background story on app stores (juicy: written by a Qualcomm exec), some stuff on mobile learning and, last but not least, my own “little” contribution on mobile’s role in the transformation of the music business (which also received a “favourite of the week” note; thanks C Enrique!).

Check it out, it is well worth a read! You’ll find it here.

Mobile to Rescue Music Business?!

It seems to be music week this week: Apple running its somewhat anticlimactic “It’s only Rock’n’Roll” event today, lots of folks pondering Spotify Mobile and now this: the good folks at Forrester Research have released an interesting report entitled “Music Release Windows: The Product Innovation That The Music Business Can’t Do Without”. This is some statement.

The Old Model is Broken

Forrester was kind enough to let me have a glance at the report, so let me dive into its revelations and the underlying rationales, which starts off with looking at the broken model of the industry: in (latter part of) the 20th century, the music industry was mainly fueled by record sales (first vinyl, then CD). With the introduction of digital media and, in particular, ubiquitous broadband connectivity in many parts of the world, it shifted to digital downloads. Unfortunately, it mainly shifted for downloads that people did not pay for. iTunes has only taken a piece of the action. And iTunes’ ¢99 per song model has then contributed to people no longer buying whole albums but only the songs they like most, which somewhat squashes profitability.

Live events, etc used to be a support for record sales. They have recently become the biggest revenue generator for some recording artists (as well as for some labels, at least if they managed to conclude so-called 360-deals with artists) but they cannot alone make up for the shortfall. On top of all that, people like my 14-year-old son use a plethora of services (Spotify, Last.FM, YouTube and probably dozens more of which I do not know) to quench their thirst for music.

Change the Product, not the Business Model

The researchers suggest to re-think the product offering in order to engage the fan more holistically: leverage diverse assets through those maligned 360 deals: they might “feel” a bit tight around the hips but the opportunities are immense: labels and (capable) artist management can create a very rich offering of diverse content. This then ties in into step #2, which sees the industry moving away from (or rather beyond) the classic album model where an artists would release one album per year (or so) and sustain the buzz in promotion thereof (and in between) with concerts, interviews, singles and EPs. With digital distribution, there is no need for that (an album on CD might be maintained as one part of the mix however): one can produce a continual stream of creative products from the artist. This will help build sustainable and longer-term relationships with fans.

The final piece is – put simplistically – the introduction of release windows similar to what the film industry is doing for decades: releases are structured successively with higher product (read: better monetizable) tiers coming first. It is re-vamping a trusty old model though: you want it first and exclusive, you pay more.

The bottom line is – oh, the bliss of buzzwords – the 4 C’s, which are content, convenience, cost and community: The higher the cost, the greater the convenience and the better the choice of content. The authors basically plead a re-introduction of scarcity in order to re-build the perceived value. Convenience ranks above content in terms of the creation of value: and this is where mobile plays a role: it is always with the user, it is always on, it is readily accessible (at least the new generation of phones is). It is arguably why services like Spotify are believed to be a valid revenue stream for labels, at least on mobile…

Community is the Glue

Is community just thrown in for good measure? No, of course not. According to Forrester, “Community enhances social value.” It is the glue that will be the key differentiator from piracy (or so they hope): the thinking is that a sense of community will build some sort of moral cohesion (another C). Here though, Forrester tails off a little. It says:

“Social functionality should be deployed right across the hierarchy.”

Nothing wrong, you say? No, it is not. However, “deploying functionality” is way short of what is needed to build social value. What makes a community? Emphatic engagement with fans, not a set of tools that sits somewhere on the various sites and offerings being operated by some far-away call center. Whilst the principle is right, the suggested execution remains a little shallow. Forums & networks is all they have to offer. Hm. Everyone has them already, so will this work?

The principle does work, I believe, However, the execution is much, much more complex than the analysts reveal. Here, one can make or break this.

Release Windows

The analysts suggest that a release should be tiered by windows: start with a preview, then go into the mainstream for-pay channels (2-3 weeks delayed) and finally release to “free-to-air” (6 weeks delay). The premier window is suggested to being the one where incremental value can be unlocked: first releases, premium value-added content (and no DRM!), etc; users only get this if they pay. Elegant packaging and programming is crucial to convince people of the richness of this. Then they will not defect to P2P sites. CD releases remain in the mainstream window and then, finally after six long weeks, the Spotifys of this world will be able to get it through their ad-supported model, TDC Play, the Danish flat-rate all-you-can-eat model that generated more than 100m downloads in 15 months would be able to add it to their package, etc.

Mobile is in the premium tier (with very few others): Forrester believes that carriers’ and OEM’s efforts, investment and – last but certainly not least – billing relationships merit this. I would suggest that the eye-opener ringtone where one could charge huge premiums for monophonic (!) 20-second-loops would contribute to this conviction, too.

In the “modern world” with smartphones and flat rate data plans, a lot of it of course hinges on how such services tie in with a) the handset (app vs. mobile web), b) the provider(s), namely labels, artists, operators, handset manufacturers, other (mobile) distributors as well as iTunes, and c) the users, i.e. will they adopt it or will they defect to the (free) web side of things after all. The crackdown on piracy in many countries will have something of a disciplinary effect but the jury on this is probably still out.

Is that It?

There must be more in order to create compelling services and products. Otherwise, I cannot see people doing it in sufficient numbers. It could be seen online with Spotify where, anecdotally, only 17,000 in the UK have signed up to the premium service; I cannot believe that the premium music market should be limited to that. The analysts suggest the creation of

“truly 21st century products […] blend[ing] interactivity, multimedia, multi-platform, convenience and social to create something totally new.”

That sounds awesome but how do you create it? The starting point needs to be the relationship between artist and fan. I have long held that this bond is more than actual musical tastes; it is a lifestyle decision, which is why fans crave to belong to “their” artists’ circles. As early as 2002, a “Britney Spears Mobile Fanclub” was successfully running, and that did not even involve her label! What it did involve though was access (or at least the promise thereof) to Britney (who was, at that time, arguably one of the biggest recording artists in the world). The service combined text (real-time backstage reports from Britney herself!), live concerts, editorial, merchandise, and special promotions to create a rich and comprehensive experience around the artist. And this at a time when a ringtones were just on the rise and premium SMS not widely available! The principle works! It does take however (and that’s a big IF) active involvement of a complex ecosystem of artists, management, labels, merchandise firms, media, etc.

The new generation of artists is of course significantly more tech-savvy (see e.g. upcoming singer Remi Nichole‘s video blogs and tweets): one sees a much higher willingness to participate actively and – even more importantly – authenticly in engaging the fans (“audience” is probably an overcome term in this respect). This can work, and on mobile it can work as a revenue generator, too! But the core is the revised approach to the people (and this is not limited to the music industry): they are not sheep that want to be exploited; if you treat them that way, they bolt. Treat them honestly, fairly, transparently, and you have at least a fighting chance!

Carnival of the Mobilists #191

This week, the Carnival of the Mobilists is hosted by Phil Barrett on his blog “Burning the Beacon” (I like the title). He gives us the heads-up on posts covering things (seemingly) mundane as SIM cards, a look at augmented reality (also check my post on this here), mobile learning and on how to connect with young users in today’s world. Oh, and speaking of today’s world, he also features a post pondering the implication of technology in our lives. Go on then, head over here and read it!

Judi Dench Movie Launches on Mobile First!

On today’s is a stunningly beautiful Indian summer morning in England’s North-West and I have been indulging in the Guardian‘s weekend supplement. One of the features was an interview with Dame Judi Dench, the iconic actress of Shakespearean as well as James Bondian fame. It is well worth a read but the little bit that caught my attention for the sake of this blog was to be found at the very end: Dench’s upcoming movie (Jude Law and a few others star, too), “Rage”, a project with arthouse director Sally Potter, will see its world premiere not in some swish viewing room or cinema in SoHo but on mobile phones. The prosaic announcement read:

Rage premieres on mobile phones on 21 September and in cinemas on 24 September. For details, go to ragemovie.com.

And that was that.

I find it noteworthy not only that it would happen at all but also that it appears to be somewhat normal, so that no one would actually bother to point it out specifically. Sometimes, progress moves in indiscernible little steps that can happen on stunningly beautiful mornings. This is one of them.

Top 10 Mobile Phones in August 2009

With what seems a month taken off for summer vacation (at least there was no list available), Swedish phone accessory maker Krusell has again provided us with their top 10 list of mobile phones for the last month. As you probably know by now, they are measuring this by looking at handset-specific accessory sales.

So here it is:

1.(2) Nokia 5800
2.(3) Nokia N97
3.(4) Nokia 6303 Classic
4.(5) Nokia 3109/3110 Evolve
5.(-) Nokia E51
6.(7) Nokia 6301/6300/6300i
7.(-) Samsung i8910 Omnia HD
8.(-) Nokia 6700
9.(8) Samsung B2100
10.(-) Nokia E71

() = Last month’s position.

This list is a bit of an odd one (and, yes, I know that I have voiced concerns about its accuracy before): how come the iPhone 3G shot in from nowhere to #2 in June and, by August has disappeared again completely? What happened to all the HTCs? Gone? Sudden shift in customer demand? Or were Krusell’s products for the respective models maybe just pulled from some stores? Or maybe it’s the looks? It’s odd, odd, odd…

Carnival of the Mobilists #190

This week’s Carnival of the Mobilists is brought to you by the wonderful Caroline Lewko who single-handedly blessed the world with her WIP Jam sesssions!

Caroline has put together an interesting string of contributions ranging from an analysis of Google’s app store via mobile learning (anyone in e-learning is so last year…), social impact of mobility and much, much, much more.

Go ahead, you may – just this once – leave this site and read up on the Carnival. It’s here!

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