How user-generated content is changing the future of gaming and media

Transmedia storytelling is on the rise – just look at how the popularity of the Five Nights at Freddy’s IP has exploded, or the success of video games based on movies, such as recently. Indiana Jones head. On the other side of the ecosystem, the world of user-generated content (UGC) is growing, with audiences in the hundreds of millions consuming content created by gamers themselves, or modders.

“Seeing these countries go through and start thinking about the tools that are important, the economic models that are needed to support the translation of fandom into a world created by mods, is very exciting,” says Nicholas Tuosto, founder of GoodGame Advisors. “Especially the strength of these IPs is translating to engagement with fandom, and creating new things.”

He spoke with Uri Marchand, CEO and co-founder, Overwolf, Nate Spell, founder and CEO, Barrier Four and Eugene Evans, SVP, digital strategy and licensing at Wizards of the Coast, about their IP and UGC strategies this year. GamesBeat Insider event: “Blurred Borders: The Interchange of Film, Music, Television, and Sports.”

Evans works with the world’s top developers and publishers to create games on a wide range of WoC IP: everything from Dungeons and Dragons and Magic: The Gathering to Monopoly, My Little Pony and Mr. Potato Head.

“We have accepted, as part of this process, to explore the world of UGC in depth,” he said. “We really believe it’s part of how you can be successful – both commercially and in support of fandom – bringing IP to the world and to the fans who want to be able to interact with it in this universe.”

Empowering the fans and keeping the IP alive

UGC is unique in its ability to increase life expectancy and sports engagement compared to traditional updates. The tools and production pipelines available to users make it easier than ever to deploy game content in a safe and controlled way, Marchand says, as opposed to the long and expensive studio release pipeline.

“With UGC they create what people want to consume. It expands and invites everyone to participate,” he said.

The role-playing game bridges the story of video games and social games in exciting new ways, Spell said.

“We took Michael Scott and the other characters and put them in Roblox, put them in the world of Roblox in a way that players recognize and understand and enjoy,” he said. “There is little chance.”

Step 1 is fun, like Office letters. Step 2 is to drop in an existing game or existing integration. Making it playful and immersive takes it to the next level and provides a deeper way to connect with the audience.

“We’re still in the early stages of how we’re approaching this, but Roblox is excited, players are excited, and brands are excited about what’s possible with something like playables,” he added. “The bottom line is, we get to a point where what the players do determines how the story goes.”

Protecting IP value

When IP like The Power Rangers enter the Arkit must be done in the highest quality that is authentic, and fully adheres to the guidelines of the brand. But it’s a whole different ballgame when you invite third-party developers to interact with your game and your IP. This creative activity by modders and developers who want to build on IP raises the issue of the value of IP, and how to protect it. UGC gives fans a lot of freedom of thought, but there’s always a need to draw a line, Evans said.

“As owners of IP, we always try to make sure that there are, at some level, safeguards and safeguards for what can be done with that IP. There are always limits,” he said. “You have to be willing to give up control, but in the end the benefits are there.”

For example, modding in particular has allowed people to go back and revisit Baldur’s Gate in ways Larian could never have predicted – yet these mods remain respectful and true to the D&D-based world of the game.

But there are also situations like a server that plays a part of Grand Theft Auto, where the content is often difficult, and sometimes it may cross the line, Tuosto says, but the game studio controls the original IP and cannot. will be held accountable for user actions.

“I think it comes back to the real question,” Evans said. “Of course, if any organization seems to be trying to do some of the ideas that fans do on platforms like TikTok, it can’t be taken seriously. That’s why the support group exists and it works, because the fans say, ‘Look what I did with this,’ almost in front of the audience.” in charge of the industry.”

Platforms like TikTok and YouTube expand the concept of UGC, providing space for things like mashups and video re-cuts and a hundred other ways that fandom expresses its love for a product.

“As far as what has happened in this case, we have to accept it and try to leave control as much as possible,” he added.

Change in business model

UGC is not a new concept – almost 20 years ago players were creating new episodes of Earthquake, without financial incentives. Their biggest motivation was the team that built around the game. But today, the trends have changed: Many studios believe that if someone spends time and effort to create, and others are paying quickly for the content, the work should be paid.

“One of the north stars we have in this company is the money our developers make,” Marchand said, pointing to developer Likasa who made about $50K selling mods. “It’s one of the things we celebrate internally. This is the future we envisioned. When we provide these tools and the ability to make money, including the experience in the game, to advance people in a fun and authentic way, the developers will be paid.”

Overwolf paid developers $200 million last year, and the company’s growth has been phenomenal. But while UGC almost always adds longevity to the tail end of content that might otherwise have declined and declined, many UGC platforms are still struggling to create a profitable and predictable business that allows for content monetization.

“We’re continuing to try to understand what’s working on the platforms,” ​​Evans said. “But it’s hard for an organization to look at it and say, well, can we predict this the way we can with other platforms and other businesses? We’re not quite there yet.”