[Editor's Note: The following stats are excerpted from Inside Facebook Gold, our membership service tracking Facebook's business and growth around the world. Click here to visit Inside Facebook Gold and learn more about our complete data and analysis offering.]

When we recently surveyed US demographic data for 18 different leading apps by various developers, we found that, while users for these in apps generally trend young and female, certain apps like Zynga’s Texas HoldEm, with a 72.7% male audience, bucked the prevailing demographic trend.

But what about that other 70% of Facebook’s userbase that resides outside of the United States? Today we look at app demographics for Facebook’s second largest market by audience size, the United Kingdom. The data presented below is a sample of the full research and data offering we make available through Inside Facebook Gold.

In the UK, certain apps on the platform are even more dominated by a female audience than they are in the US. For several of the apps in this sample, women outnumber men two to one. One major exception is Zynga’s Mafia Wars, where there are twice as many male players than female players.

For our UK sample, we included some data on casual skill-based games to see how their player demographics differed from those of social role-playing games like Farmville. In the UK, PopCap’s Bejeweled Blitz has a userbase that’s 69.6% female, and just 29.1% male. Compare that to Farmville’s 60.3% female and 38.4% male userbase.

Recall also that Farmville has been one of the defining titles of social gaming, contributing significantly to social games’ image as the “middle-aged housewives’” go-to online leisure activity. Even so, our data show that Bejeweled Blitz is even more female and more middle-aged (as we’ll see below) than social RPGs like Farmville.

The average gender distribution for the UK mirrors that of the US, but with slightly less gender disparity. In the UK, women make up, on average, 57.9% of social gamers, and men make up 41.0%. For reference, women make up 60.8% of the US social game audience and men make up 38.2%.

While most games fell in line with the average distribution, a few of the titles that didn’t make it into the sample presented here, but whose data is available in Inside Facebook Gold, were more popular with men. Can you guess which ones?

When it comes to age distribution, the UK looks a lot like the US. The 18 to 25 age group make up social gaming’s biggest audience segment, with one interesting exception.

Bejeweled Blitz, represented by the green line in the chart above, is vastly more popular with older (and, as we saw above, female) audiences, and even has a significant following in the 56 to 64 age group. Unlike Farmville and EA’s Restaurant City, it’s not a popular title among young users – only 7.0% of those between 13 and 17 play the game.

For this writer, these stats were brought to life during a recent layover in the Denver airport when I observed a silver-haired woman avidly playing Bejeweled on her laptop, over the airport’s free wifi. I credit this Bejeweled fan and social game influencer, who fell squarely in the 56 to 64 and female demographic overlap, with my current love of the game.

We will be looking at demographics for other countries, one by one, in future articles. The full demographic breakdowns for 12 top apps in Facebook’s UK market, including gender and age group splits and growth data when available, is available through Inside Facebook Gold, our data membership service that also includes the monthly Global Monitor report on Facebook’s traffic growth around the world.

To gain access to the all the data we’re tracking, and to the specific growth projections we’ll soon be adding, please see Inside Facebook Gold at gold.insidenetwork.com/facebook.

Despite the declining numbers on Facebook last month, player-wise, the top social game developers are still making hires left and right according to data reported on LinkedIn. But who’s going where? Who’s doing the most hiring? Well, among notable new team members and major hires are Playdom’s new Development Lead Tim Beres, Zynga’s Director of Product and Game Design, Jon-Paul Dumont, and RockYou’s new Director of Product, Mike Lu.

MindJolt

• Haider Sabri – Just under a week ago, long running social and casual developer MindJolt hired Haider as their new Senior Software Engineer. His prior experience stems from speakTECH, where he was a Principal Consultant.
• Aleksander (Sasha) Ashpis – Also joining MindJolt as a Software Developer, Aleksander previously worked the same role at MyVest.

Playdom

• Rabbit Seagraves – Joins Playdom as a Quality Assurance Analyst, leaving her role as a Software Tester for the more mainstream MMO Fallen Earth.
• Chris Georgenes – Chris becomes the new Studio Art Director at Playdom. Prior, he had a similar role at Say Design as Art & Animation Director.
• Tim Bernes – As noted prior, Tim is a new Development Lead. However, he joins social game development from NBC Universal, where he worked as a Senior Software Architect.
• Rebecca Tortell – Looks like more of a promotion than a new hire, as she moves up from Technical Writer to a Project Manager of Analysis at Playdom.
• Kira Maisel – Another new Product Manager, this time for Publishing. She too, looks to be a promotion, having been a User Acquisition Lead.
• Daniel Igarza – He becomes a 3rd Party Outsourcer for Playdom. Prior, he was a 2D Artist at PoBros Inc.

Playfish

• Marc Haxell – One of two new hires for the EA social branch. Marc joins the team as an Online Content Manager. Before, he was a Web Producer for TSL Education.
• Sarah Fisher – Joining Playfish as their other new Online Content Manager, Sarah holds prior experience from 33 RPM Media where she worked as PA & Marketing Assistant.

RockYou!

• Mike Lu – Joins RockYou! as its new Director of Product. Formerly, he worked in the same role at YuMe.
• Jennifer Trujillo – Leaving her role as Community & Customer Service Manager at Lealta Media, Jennifer takes on similar tasks for RockYou! as its newest Community Manager.

Zynga

• Rajagopal Natarajan – Joins as a Software Engineer for the social behemoth, leaving his role as Senior Software Engineer from none other than Yahoo!.
• Debasish Bose – Leaving 3CLogic, where he worked as a System Software Architect, Debasish joins Zynga as Principle Software Engineer.
• Sharon Kotal – Departing Electronic Arts and her position as QA Test Lead, to become a QA Analyst at Zynga.
• Bob Cooksey – Becomes a new Senior Artist for the social developer, leaving Mock Science. There, he worked as a Modeler, Texture Artist, and Environmental Artists.
• Jon-Paul Dumont – Recently promoted to Director of Product and Game Design; formerly, he was both a Lead Designer and Product Manager.
• Grant Stavely – A new Security Engineer, His prior experience comes from Constellation Energy where he was Information Security Management Engineering Lead.
• Cherian Thomas – Joins as a Senior Software Engineer. Prior to this he was at an unnamed startup under incubation.
• Bill Baldwin – Along with the rest of hires from the Challenge Games acquisition, Bill joins as an Architect for Zynga. Before the acquisition, he was a developer for Challenge Games.

Scoreloop, one of the larger white-label social platforms available to mobile game developers, is already available on both the iPhone and Android platforms. Now, through a partnership with Ideaworks, it’s opening up to most of the other mobile platforms: Symbian, Windows Mobile, Brew, Samsung Bada and HP WebOS (formerly Palm).

The tools to develop cross-platform already existed, of course; Ideaworks’ own Airplay SDK was designed to do just that. But the sudden success of the iPhone drowned out the smaller platforms, so most services like Scoreloop were created exclusively for the Apple product.

Now other platforms are beginning to come to light again. Last month, we heard from Scoreloop that it was adding 300,000 new Android users each week — part of a larger press push from a number of mobile companies who were suddenly realizing that Android, too, is important.

It’s unlikely that the hundreds of original games created for Android and the iPhone will suddenly be ported over to the rest of the world’s mobile operating systems — most phones can’t run smartphone  games, after all. But as Android proved, the landscape can very quickly change, and Microsoft, Nokia, HP and other companies are all trying to make their platforms more attractive to developers.

Scoreloop’s features include leaderboards, challenges and virtual goods management; you can check out our Q&A with CEO Marc Gumpinger from last year for more.

A white paper out this morning from Offerpal Media suggests a new tactic for social game developers to make more money from their users: incorporating virtual currency offers into the game itself.

Offerpal is the most prominent of several companies that partner with big brands like Netflix or Visa to create in-game “offers”, which usually ask the player to sign up for or test out a commercial service in exchange for virtual currency. As with other payments, these offers are part of a large “offer wall” that players see when they click to buy currency.

The payment wall, unfortunately, excludes any user who doesn’t bother clicking the virtual currency button — some players are probably never even aware that ways to get currency other than direct payment exist. So Offerpal had several game companies test out placing offers directly into the game in May (note that other monetization companies have been experimenting with similar interfaces for many months).

There’s an obvious place to inject an offer already, of course. Almost all social games include pop-ups asking players to share with their friends. By replacing some of these pop-ups, Offerpal found a few encouraging stats:

• 93 percent of users who tried out an offer through a popup were doing so for the first time
• 10 percent of these returned to complete another offer or make a direct payment
• CPM for all visitors rose from under $1 to $2.03
• The testing developers experienced a 3x increase in offer-based ad revenue

From Offerpal’s perspective, adding offers to the main game window looks like an unalloyed success. As always, though, there are considerations beyond just higher profits.

One problem with Offerpal’s idea is that the game window is already a noisy place. Viral sharing is still the most effective way for developers to spread their games, so most games pop up sharing windows repeatedly, even during just a few minutes of play. Including offers in the mix could mean either reducing the opportunities for virality or increasing the potential for irritating users.

But figuring out the best mix of inducements to pay and share is still very much a work in progress for developers, so Offerpal’s short study may help some strike a better balance. The paper is available here.

Though the Apple iPad has been out for a little while now and new apps are constantly emerging for it, there are plenty of veteran titles more than worth a look. One of these is Flight Control HD, from developer Firemint. This path drawing game is actually a new and improved rendition of the popular iPhone version, allowing players to guide a sea of aircraft to their proper destinations while, hopefully, avoiding a crash.

This game is a wonderful addition to any iPad app collection, well worth the $5 price tag for its simple, yet satisfying design, fun core play, and social mechanics. The only downside is that the concept does get old after a while, and single player longevity may not be as long as other iDevice titles.

In a nutshell, the premise of Flight Control HD is to use your finger to guide incoming airplanes and helicopters to their appropriate landing sites, going for as long as possible before a collision occurs. The landing zones are easy enough to find, as the color of the landing strip corresponds to the color of the aircraft. Airplanes must land from a specific end of the runway, and helicopters on a helipad. It’s all very intuitive and easy to control. Once you’ve drawn a connection from the vehicle to the landing zone, it will turn white to signify it is on its approach, but the path can still be changed at any time.

Unfortunately for the player, the actual airport is quite possibly the world’s most disorganized and poorly designed, with aircraft tending to fill the screen before long. This is further complicated by various speeds of aircraft, the number of runways/helipads, and the occasional extra concerns that appear in certain levels like wind, whose direction can temporarily shut down runways, or emergency vehicles that make a beeline to a runway that you cannot control.

With the chaos that the game creates,the iPad version certainly makes the game easier; the increased screen size and a less cramped feel , the game is a bit simpler to control (not to mention better visuals). But what makes the iPad version even better than the iPhone rendition is new social ways to play.

Firemint has carried over, from the iPhone, a basic competitive element by integrating global leaderboards. What’s new on the iPad is a synchronous play option. With the increased screen real estate, friends can actually play in one of two ways on the same device.

If you feel like playing together, you can actually team up with a friend and attempt to guide the slew of aircraft together. This works logically enough, as there are typically airfields on either side of the level, and the two players score points for landing the correct planes on their respective sides. This is actually a lot of fun, though it is a little difficult with someone else poking the screen.

If you’re looking to compete, there’s also the versus mode, which offers half the screen to each player. Interestingly enough, this is more than scoring competition or trying to survive longer than the other, as you can actually send planes into each other’s airspace to try and cause some accidents. Doing so, however, has you lose control of those planes until they capture (get near) an “enemy” plane on the opponent’s side and bring it back to your side. This takes some getting used to, but it’s actually very fun and addictive once you get the hang of it.

As an added bonus, you can also synch devices and compete via WiFi or Bluetooth (like you could on the iPhone). And if you’re not in the same room, you can join the Flight Control Facebook application and compete with friends through high scores. Other social elements are available through the game’s Cloudcell Community, which offers a means to post high scores to both Twitter and Facebook.

It’s also worth noting that from the community site, users can not only view other players’ high scores as they could in the app itself, but through Google Maps, can actually see the global locations of the various players.

The sheer number of social features in Flight Control makes it stand out from other iPad titles — many of which offer only bare-bones social features, and a few none at all. Other developers could take a cue from the additions to the game, as they truly add to the experience.

If there’s any downside to Flight Control HD, it is that if you’ve played any other path drawing games like this, there is nothing really new here, save the same device multiplayer. However, the game is very easy to pick up, put down, and pick up again later, so it certainly has that potential to be fun to player again after a while of not playing — or when you just want to procrastinate for 5-10 minutes. If you enjoy simple games that are just about the play, and can be played for a few minutes, then this is a great application to buy.

While we sometimes see older games with larger userbases on our weekly list of Facebook games that picked up the most new daily active users, this week it’s dominated by a particularly strong lineup of newer titles that are all growing quickly.

Hello City leads, just as it did on Monday’s monthly active user list. The new CrowdStar title is the latest and greatest in the city building genre — although EA’s My Empire is also in the running. The latter title is still growing in terms of MAU, but appears at the bottom of today’s list, mostly because it’s a few weeks older and thus doesn’t show as many of its new players as DAU.

Here’s the full AppData list:

	Name	DAU	Gain	Gain, %
1.	Hello City	619,495	+321,453	+107.85
2.	EA SPORTS FIFA Superstars	430,985	+229,086	+113.47
3.	Birthday Cards	791,670	+169,834	+27.31
4.	Baking Life	414,130	+150,693	+57.20
5.	Fashion World	192,629	+113,620	+143.81
6.	Millionaire City	168,003	+84,135	+100.32
7.	Lovely Farm	84,118	+76,718	+1,036.73
8.	Zoo Paradise	900,202	+67,749	+8.14
9.	Vampire Wars	459,100	+65,315	+16.59
10.	Bola	665,127	+60,637	+10.03
11.	Games	601,892	+56,412	+10.34
12.	Crazy Cow Music Quiz	176,075	+44,996	+34.33
13.	Animal Paradise	759,290	+41,817	+5.83
14.	Happy Aquarium	2,603,572	+39,953	+1.56
15.	Zoo World	1,259,674	+38,318	+3.14
16.	Texas HoldEm Poker	5,792,645	+35,765	+0.62
17.	Wild Ones	559,190	+32,958	+6.26
18.	Jeux Flash Gratuits	99,973	+32,731	+48.68
19.	Goooaaal	33,653	+31,618	+1,553.71
20.	My Empire	942,062	+31,540	+3.46

EA SPORTS FIFA Superstars is a new soccer game, taking off along with the World Cup tournament; we reviewed it here. Another game that we should be seeing here is Zynga’s newest, FrontierVille, but reporting problems are affecting the game’s stats for now. It has probably gained about 300,000 DAU in its first week.

There’s more interesting territory below FIFA, starting with Baking Life, which has players running their own bakery. If that’s not up your alley, Fashion World offers an alternative: managing a clothes shop. These two games, by ZipZapPlay and Metrogames, have been moving up the charts in tandem.

With Millionaire City, we return to city building, with a twist of Monopoly in that players can buy properties and gather rent from their city’s tenants. It’s actually the second city title from Digital Chocolate, which previously tried the market with Nanotowns, but that game never became particularly successful.

Lovely Farm is another new appearance. A fairly typical but well-drawn farming game, it’s by IT Territory, a Russian developer. Unlike some other games we’ve seen localized for the English-language audience, Lovely Farm is also well translated.

Finally, Zynga’s Vampire Wars comes in at number nine. Like other Zynga games, this one was, until recently, losing players. However, it appears to have pulled out of its decline with just over two million MAU and a slowly growing DAU.

[Editor's note: The following post was originally published in Inside Facebook.]

Performance advertising, and the offer walls that are familiar pitstops for many social game users, have been central to the discussion on monetization of social platforms since last fall. When criticism of low-quality and less-than-transparent offers came to light in that season’s offers controversy, developers, payments providers and observers wondered if the offers concept could regain not only its public image but also its monetization potential under new policy restrictions.

This spring, Inside Network held a sold-out summit on the growth and monetization of apps and games on social platforms. Inside Social Apps 2010 presented speakers representing many of the leading companies in the social gaming industry, including veterans from payments and monetization.

Alex Rampell, CEO and co-founder of TrialPay, shared his thoughts in a panel discussion looking at performance advertising within social apps after the offers controversy and Facebook’s advertising policy changes. Others speakers on this panel included George Garrick (CEO, Offerpal Media), Adam Caplan (VP Virtual Currency, Adknowledge), Lisa Marino (CRO, RockYou), Jim Bobowski, (Director Online Partner Marketing, Netflix), and Jay Weintraub (Founder, LeadsCon)

A clip of the highlights from this presentation:

Alex Rampell also spoke with us in an exclusive interview backstage about where he thinks offers will go next, and how brand advertisers and monetization companies will need to work together to optimize the performance advertising of tomorrow.

Rampell’s full interview covers:

* How online advertisers can profit from social game users’ transactional intent
* What lessons publishers and monetization companies can learn from offline complementary goods and services
* Why he thinks both advertisers and users shouldn’t write off offers yet

The full interview is available through Inside Facebook Gold.

Collecting is easily one of the most addictive hobbies someone can have. Granted it’s not for everyone, but Backstage is banking on finding enough pack rats for their most recent Facebook game, Vinyl City. Don’t let the “city” part fool you, as buildings and contracts have nothing to do with this app; rather, it is almost exclusively about the collection of classic music albums of the past and present.

This isn’t the first time we’ve seen music incorporated into a game. In February, for instance, Conduit Labs released its pet caring game, Music Pets, which still holds over 800,000 monthly active users. To that end, Vinyl City is certainly in the right ballpark for some success. But with a handful of questionable usability choices, Vinyl City feels like it may run into trouble.

Even the classification of “game” feels loosely applied for Vinyl City. Players are initially greeted by a robot avatar that walks you through the basics, though it’s nothing terribly difficult. Every hour, users may pull a lever on the Vinyl-Matic 3000. This machine then spits out a box of random albums that the player can then sort through.

Think of it like collecting cards. For each box you open, there are set number of albums that you may or may not own. If you already own an album, you can toss the extra to earn part of its value in coins, or keep it towards a collection. Once you own an album, you can then visit your collection and listen to a sample of it via Amazon. Of course, if you like it, you can conveniently buy the Mp3 from the same place.

Thus far, there seems to be a respectable number of records to collect, with more unlocking as you level up. Unfortunately, earning experience is not quite as easy as in other social games. You don’t get any for picking up an album, but only be either finishing an entire set (i.e. all the possible Nirvana songs in the game), using the Vinyl-Matic to spit out a box, or collecting a set of memorabilia.

This is actually another aspect of Vinyl City’s collection mechanic. In addition to just music, players can collect any number of interesting music items like guitars and guitar picks, rocker sock puppets, and the very odd “Metal Lunch Items” (think Ozzy and the bat). They are a bit pricey, but if you have friends playing with you, it’s not too bad.

Having friends to play with is logical for this type of game. After all, part of collection is trading. Vinyl City has made it somewhat indirect; whenever you toss out an album, a friend can come pick it up (once per day). As an added bonus, when they do take out your trash, you receive the rest of the album’s coin value.

Buddies playing with you also have an added benefit in dealing with the occasional locked box that pops out of the Vinyl-Matic. As a matter of fact, this is probably the single most game-like feature in Vinyl City, as the box is actually a mini-game puzzle of sorts that tests just how much you know about music. The catch, however, is that the player can only unlock one of two locks, and the second must be unlocked by a friend. Should you successfully open both, the locked box will contain various rare albums and memorabilia.

Beyond just friends, players can also unlock the “Marketplace.” From here, you can actually use your in-game coins to purchase items — both albums and memorabilia — from other players. Unfortunately, this aspect of the game comes with the rather odd choice of forcing players to earn a set amount of experience until they can even access the area. This feature makes little logical sense, especially as it’s the entry point to using the game’s virtual currency. Moreover, when you consider how slowly one gains experience, it seems likely that many users will quit before they even unlock the market.

This wouldn’t be as much of an issue, except for the fact that Vinyl City is actually pretty boring. Nothing has a point other than collection. In the case of Music Pets, you were at least trying to decorate a virtual space and keep you own digital pet happy, but all of that is lost here. Collection is great for longevity, but there is nothing that really grabs hold of the user in the first place. Granted, this is all the same as literal, physical collection — there’s no real game in that, either — but at least that’s tangible and often worth real money. Collecting the virtual counterparts of real items just doesn’t feel as appealing.

In the end, Vinyl City is going to be pretty hit or miss with most people; it looks good, plays smoothly, and has some good social implementations, but they all just feel like parts with no unifying factor of fun. As it stands, the game has been growing steadily the past three or so days, and now closes in on the 3,000 MAU mark. However, its an app that’s going to need an extra push to reach the level of its predecessors.

With the tragic oil spill in the Gulf of Mexico dumping tens of thousands of gallons of crude oil into the ocean daily, social game developer Zynga is bringing its virtual goods fundraising strategy to bear. Partnering with the National Audubon Society, the pair are seeking to raise both funding and awareness of the crisis with a virtual item dubbed the “Gulf Coast Turtle” within Zynga’s popular virtual aquarium app, FishVille.

Offered for a limited time, and recently discovered by FriskyMongoose.com and Games.com, users can purchase the virtual pet for a cost of 25 or 200 Sand Dollars, FishVille’s virtual currency. With each purchase, 50% of all proceeds would go to the Audubon Society to help clean up Gulf Coast animals. To give an idea on tangible value, 25 Sand Dollars costs $5 while you can purchase 240 for $40.

In addition to the purchase, Zynga has also recruited common social game viral tactics to help awareness as well. Typically speaking, many social games containing a virtual space have random animals “appear” in the player’s game, which they are able to post it to their Facebook feed for others to adopt. One such animal has been a “lost baby Gulf Coast turtle,” whose primary purpose was to virally spread the word on how everyday social network users could potentially help combat the disaster.

Sadly, the purchasable Gulf Coast Turtle appears to be gone at the moment, but had only been launched last Friday (June 11th). Moreover, Monday still noted four days remaining to purchase and contribute. Hopefully, it will be back soon.

On a side note, this is not the first time Zynga has participated in such charities. Notable contributions of the past have been their partnership with World Food Programme to fight hunger in places such as Cameroon, its Sweet Seeds program that helped feed children in Haiti, and the sale of a number of virtual goods in the top titles of FarmVille, Mafia Wars, and Zynga Poker to send donations to aide in the recovery of the Haitian earthquake disaster. As a matter of fact, Zynga players managed to raise $1.5 million in less than a week for the latter.

[Second image via FriskyMongoose.com]

Another day, another quiet release from a large game developer. This time it’s Playdom with Verdonia, a strategy game that we found out about via Gamezebo, where you’re tasked with building up a high fantasy kingdom.

The game is, to say the least, an odd duck, especially considering Playdom’s lineup of straightforward social gaming fare. It’s certainly social — the bottom toolbar snaps open to a friend list, and a major component of the game is attacking, and defending yourself from, other human players.

What makes Verdonia stand out, though, is that it’s a serious strategy game. There are only a handful of similar games on Facebook; one called Evony, for example, recently launched on Facebook.

The problem, one might think, is that this sort of game is generally too complex to pick up many users. The most successful Facebook title of this type is Kingdoms of Camelot. It has just under four million monthly active users, many months after launching.

Playdom is almost certainly going for a niche gamer audience here, not your typical FarmVille player.

There’s a more obvious cue for gamers, too. Evony infamously went beyond the already-suggestive imagery found across traditional gaming with a set of revealing Google ads, a few years back. Those ads worked, because lots of gamers clicked through and then stayed to play.. You can see that this point was not lost on Verdonia creators:

But before we speculate on Playdom’s motivations, more about how Verdonia is played. On entering the game, players find themselves in an empty village. Literally empty — it’s up to the player to add in the various hovels, farms, barracks, academies and other buildings. These all require time to be built, but players can use a special fast-forward ability to instantly finish the simplest structures.

Building out this starting town serves as the tutorial. However, even this guided process could quickly become confusing to a new player. In all, there are 16 basic building types, all necessary, with associated upgrades; 13 units, which have to be led by heroes; 20 skills to research; four different world areas; and an assortment of upgrades, items, quests and achievements.

An hour of play will be enough to teach most veteran gamers how all of these components work together, but the average FarmVille user will probably feel afloat within seconds. Of course, Verdonia probably isn’t meant for FarmVille users.

A hint of this is provided in the chat window, which is also a rarity in Facebook games. Although players can join and chat with a guild at some point, the game opens up in the Global channel, which broadcasts the chatter of all Verdonia’s players. Many games have thus far avoided global communications on Facebook.

With Verdonia, though, Playdom is almost certainly going for a smaller, more dedicated audience.If a hardcore audience can be built for a Facebook game, it’s probable that they’ll also offer a much higher average revenue per user than the typical crowd.

Games like Verdonia and Evony are inevitably compared to Civilization. But that’s not a particularly accurate or helpful description, when you really get down to the details. The truth is that these games are a growing hybrid category of their own, created by through mixing time management and social features.

In that sense, Playdom is being fairly pioneering with Verdonia. We’ll be interested to see where the game goes; but for now, the company hasn’t even officially announced its existence.