Google Plus Source Code Hints at Social Games Future for the Platform

We’re still not sure what form Google’s social games will take, but source code from the new social network points to an integration with games that resembles Facebook’s current model for social games.

A line of code taken by an Engadget tipster reads “have sent you Game invites and more from Google+ Games.” It’s not really a shocker considering that Google was actively acquiring game developers like Slide and SocialDeck last year and has been recruiting for positions on a gaming team. The company also has a form page for developers interested in Google+ as a platform.

While Slide co-founder Max Levchin scored a VP of engineering role at Google after his company was acquired last summer, it’s our understanding that the company’s former employees operate largely autonomously within Google. The company’s various former studios have been responsible for both a photo-sharing app and a messaging app that have launched within the last year. However, they look more like experiments than real products Google has gone out of its way to market and support.

A big advantage that Google has over Facebook at the moment is that it already supports a rich ecosystem of mobile games through the Android platform. Even though Facebook easily has the most popular smartphone apps in the world, it hasn’t been able to make as many in-roads in terms of becoming a platform for third-party mobile apps. The company is prepping an HTML5 platform for mobile applications, but it’s too early to tell if this will work.

If Google+ becomes a gaming platform, there could be some nice mobile and social overlap here with a uniform payments infrastructure underlying both the social network and Android. Before co-heading up the company’s social efforts, consider that Vic Gundotra used to oversee the company’s strategy with mobile apps.

GSN Plans Mobile Expansion, Looks for Games to License on Facebook Portal App

Games portals on Facebook have found varying degrees of success depending on accessibility and marketing, but leading portal GSN has been fairly quiet this year while its competitors raise funding and announce cross-platform plans. Today, the developer shares its mobile aspirations and long-term plans for its Games platform.

When we last checked in with GSN in fall of 2010, the developer had rapidly grown to 8 million monthly active users and 1.4 million daily active users in just a handful of months. That growth has continued at a more gradual pace in the last six months, bringing GSN to present-day levels of 9.9 million MAU and 2 million DAU across all 10 of its Facebook applications. The GSN Games portal makes up more than two thirds of that traffic with Wheel of Fortune and Jeopardy combined making up most of the remainder.

Davin Miyoshi, Vice President of Social Games at GSN, attributes part of this growth to implementing Facebook Credits as an embedded payment method. “We’ve seen on the scale of three times increase in the percentage of users that pay us,” he says. “We’ve also seen revenue growth, but obviously not all of that can be attributed to Facebook… but in that same time period [that we introduced Credits], we’ve seen revenue grow about 40%.”

Another contributing factor to overall growth Miyoshi names is adding more games to the Games portal and optimizing the overall portal experience. Though the standalone Wheel of Fortune and Jeopardy games are still supported by GSN as part of a partnership with Sony Pictures, the plan is to move away from developing standalone games and instead bring more games to the games portal.

“We’re not looking to be a platform so much as a cultivated community,” Miyoshi says. “We want to provide an experience to the end user that’s much more controlled — but we are looking for high quality games for the platform. We’d pay for the right game and they’d potentially make more money with us than they would with platforms like MindJolt.”

Comparisons to the MindJolt games portal on Facebook are inevitable, but to hear Miyoshi tell it, the two are actually after different goals and potentially different audiences. While MindJolt appears to be positioning itself as a home for indie game development across a range of game types and genres, GSN Games are very focused on arcade and casual titles like match-3 or video poker. Most of the games are made in-house or licensed on a game-by-game basis from other developers.

“We coin it as casual games, more than arcade games,” Miyoshi says. “Our focus is building deeper games leveraging similar mechanics. It’s all confusing and blurry — what I hate is when people say ‘casual versus social.’ Enterprise builders or CityVille — those get coined as the typical social game. In my mind, they’re simulations, not casual games because it requires a tutorial to get up to speed and has more complex gameplay. It’s not [using] naturally understood game mechanics, which is how I would [characterize] casual games.”

As an example, Miyoshi demos one of many match-3 style games available under the Strategy tab on the Games portal called Vegas Nights. This game asks players to match Las Vegas-themed items like gold bars and poker chips to complete the match-3, but matching four or more items won the player a free spin on a slot machine simulation to the right hand side of the match-3 board. Winning in the slot machine sim nets the player one of several power-ups that can be deployed to the match-3 board to achieve higher scores.

“What we do is take this [match-3] game and make it into a much deeper gameplay experience with multiple levels, more social [features], making it more engaging than similar types of games that we’ve already done,” Miyoshi explains, further clarifying what he means by “deeper” casual experience. The social element comes more from tournament play, which appears to be a standard component for games portals.

Beyond Facebook, GSN is just starting to explore a mobile expansion. Already, the company has a small mobile team formed at the company’s Massachusetts location — but Miyoshi is interested in bringing on additional staff here in the San Francisco Bay Area.

“We’re still working through the [mobile] strategy at the moment,” Miyoshi says. “Clearly one strategy would be to take our existing games and run them through Flash on the Android through a browser. But obviously they want to have a presence across all major platforms. The next major step is the iOS platform and finding out if HTML5 is the right answer.”

New Hires in Social Gaming: CrowdStar, Digital Chocolate, iWin, & More

Heavy hiring continues in the social gaming space this week as several companies bring on new faces. That in mind, the average number of hires per company was also hire, though this only means that most hired a pair of individuals as opposed to only one, according to data from LinkedIn and other sources. As for major leadership hires, iWin brings Scott Arpajian on board as its new vice president of product. Prior to his joining, he was the co-founder and CEO of Dizzywood.

As always, if your company is hiring new people or making a notable promotion, please let us know. Email editor (at) insidesocialgames (dot) com, and we’ll get it into this or next week’s post. Also, please note that the information about most new hires, below, comes directly from company updates from LinkedIn, and is only as current as people’s profiles.

Looking for new opportunities? The Inside Network Job Board presents a survey of current openings at leading companies in the industry.

Here’s this week’s full list:

CrowdStar

Digital Chocolate

  • Abhijat Thakur, Senior Engineering Architect — Kicking off a pair of new Digital Chocolate hires is Thakur, a former senior engineering architect at Social Concepts.
  • Timothy Yee, Software Engineer — Also joining Digital Chocolate, Yee was previously a software engineer (test) at Coupons.com.

iWin

  • Scott Arpajian, VP of Product — As noted prior, Scott Arpajian joins the iWin team as their new vice president of product. Prior to this he was the co-founder and CEO of Dizzywood.
  • Jesse MacNish, Social Game Manager — MacNish also joins iWin. He was previously a lead software engineer for Yahoo Games.

Kabam

  • Daniela Aguirre, Receptionist — Joining Kabam this week, Aguirre was most recently an administrative assistant at Aviat Networks.
  • Amie Chan, Senior 2D Artist — Also joining the team is Chan, whose prior experience is unknown.
  • Geoffrey Hung, Associate Producer — Kabam hosts a third hire. Hung was previously an associate producer at Total Immersion Software.

King.com

  • Daniel Gustafson, Product Manager (Social/Mobile) — Now at King.com, Gustafson was formerly a product and public relations manager at PlayStation Sweden(Nordisk Film).
  • Cherry Yang, Advertising Operations Manager — Yang was most recently an online production manager for Betfair.

LOLapps

  • Sergei Bezborodko, Software Engineer — The first in a pair of new LOLapps hires this week, Bezborodko was previously a junior game programmer at Antic Entertainment and is also currently co-founder and a developer for GooseChase Adventures.
  • Philip Chan, Flash Programmer — Chan was most recently an image processor at Teranet Inc.

Loot Drop

  • Chris Koeppel, Game Designer — Joining Loot Drop this week, Koeppel was previously a senior game designer at Sony Online Entertainment.
  • Daniel Gutierrez, Software Engineer — Also joining Loot Drop, Gutierrez was a former designer and lead engineer for Konami.

Playfish

PopCap Games

  • Brian Lawson, Senior Designer — Now at PopCap Games, Lawson was formerly a mentor at Dare to be Digital.
  • Marc Templin, Sr. Game Tech Engineer — Templin was previously a technical director for Her Interactive.
  • Daniel Tabor, Business Systems Analyst — Tabor was a data analyst at Electronic Evidence Discovery, Inc.

RockYou!

  • Mariana Dominguez, Localization Tester — RockYou! makes a single hire this week. Dominguez was previously admin and sales support at SymBPO Europe Limited.

Zynga

  • Dawn Willis, Executive Assistant to the Chiefs — Starting off the string of new Zynga hires is Willis, a former executive and personal assistant to CEO at Viewzi, Doublewide Labs, and Blinksale.com.
  • Jaime Mendez, Production Manager — Also joining Zynga this week is Mendez. He was most recently a senior consultant for Deloitte Consulting.
  • Charles White III, UI UX Game Designer — Now at Zynga, White was previously a Flash designer at The Walt Disney Internet Group.
  • Melissa King, Art Intern — King was previously a marketing illustrator for Kabam.
  • Aaron Bowyer, QA Engineer — Bowyer was formerly as QA tester at Namco Bandai Games America.
  • Marimuthu Ponnambalam, Principal Software Engineer — Joining Zynga, Ponnambalam was most recently the founder of Vindhai.
  • Craig Kitzmann, Associate 3D Artist — Kitzmann was previously a character rigger at WishB.

Virtual World Smeet Sees Fluctuations in Users as Summer Vacation Starts

Smeet is a virtual world served through Facebook via a pop-up window described by Berlin-based developer Smeet Communications GmbH as a free browser-based 3D social chat game. Roughly 40% of its users are under the age of 18, giving the game an odd traffic life cycle as recorded by our traffic tracking service, AppData.

Smeet launched in September of 2010 and steadily climbed in monthly active and daily active users to a high of 582,000 MAU and 63,000 DAU between February and May 2011 when it first turned up on our list of emerging Facebook games. The game took a heavy hit to its numbers between late May and mid June, tapering down to just over 360,000 MAU and 32,000 DAU. We surmise that the drop coincides with school exams and finals, with the number of users picking up again in the last week now that summer vacation has officially begun.

The core experience of the game is to hang out and have fun by chatting, customizing your home and sharing your favorite YouTube movies. Smeet gathers information from your Facebook profile and populates a Smeet profile for you, displaying an avatar of your stated Facebook gender and your age and location. Your name and location may be changed in the game, but age and gender cannot. Clicking on another avatar displays that user’s profile, including Facebook profile photo, Smeet screen name, age, gender and location. Interaction tools range from animated actions (emotes) to private chat (whisper), as well as in-game messaging and friend invitations. In almost every public space, there are video screens streaming YouTube videos that players have shared.

Smeet Communications addresses the safety of minors with a page on their website and also a “For Parents & Teachers” category in their blog. There was an area in the game that the reviewer could not access because they were “too old.”

Players complete missions in the game which range from adding a location or uploading photographs to your profile to playing mini-games in specific areas. From missions, players earn badges as well as Fame Points that are used to level up your character and unlock new locations or rooms in your virtual home. Some mission rewards are paid out in coins, the game’s soft currency, which can be used to purchase customizations and other premium content. Mini-games abound in the world of Smeet and each shows a daily ranking when you access it. Like missions, some mini-games pay out in coins while others pay out Fame Points.

The 3D home building is not very sophisticated at time of writing. To move an object, players first have to put it away in their inventory, then walk their avatar to where they wish to place an object and access their inventory to place it, then save the room. Objects also come in boxes which have to be unpacked, some using many clicks, each spaced several minutes apart.

The game monetizes through that sale of its soft currency via Facebook Credits and several other pay methods we expect to see phased out after July 1. Third party advertizing also plays a large role in the game from sponsored clothing available and branded stores like the NBA store to video ads that plays as you wait to receive a reward after completing a mini-game. All around Smeet, players will also encounter characters carrying signs that say “Free Coins.” These are not player scams; they are actual characters placed in the world by the developers that link to third party offers which are tied to a coin reward.

Interested readers can follow the progress of Smeet with AppData, our traffic tracking application for social games and developers.

LOLapps Acquires Fliso Engine & Creator, Enters Licensing Business

Ravenwood Fair developer LOLapps announced the aquisition of both the Fliso Flash-based social game engine and its creator, Sean Cooper, today as the developer expands its business model to include technology licensing. Cooper joins LOLapps as Chief Flash Architect reporting to CEO Arjun Sethi.

Fliso — named for a combination of the words “Flash” and “isometric” — is a graphics engine that builds 3D environment on an isometric grid, a visual model that most social games employ. At present, several game developers currently use the engine for active games, though LOLapps declined to name any of the current licensees. Sethi says LOLapps intends to continue all existing license agreements and offer the current version of Fliso for free until it works out a new licensing model for the engine. Additional feature support for the current version is planned.

“It was more of a strategic asset for us, like what we want to build longer term,” Sethi tells ISG. “Sean is committed to making high quality social games, to pushing limits on what the games can do. There are developers out there that are going to use some of the Facebook APIs, but some people don’t want to focus on cross-promotion or publishing or getting a lot of traffic. They really just want to focus on the quality of the game. Hopefully from a development perspective, it’ll be easier for a lot of developers already working with [Sean] to make games better and faster.”

As Cooper based out of the United Kingdom, LOLapps intends to bulk up a studio around him from that location, starting with two to three new employees to be brought on in the next couple of months.

Meanwhile, LOLapps is currently developing a new version of the Fliso engine for use in its Ravenworld series of Facebook games, which it will also license to interested developers at a later date. Sethi says that the new version of the engine pushes the visual elements of the existing game and its future installments beyond what the developer was originally able to do with hand-drawn tiles laid along an isometric grid. The new engine allows developers to simply draw a complete map and lay it out without even the appearance of a grid on the map, giving the entire level design a smoother, painterly style uninterrupted by lines. The new engine also makes it possible to increase the overall world size.

The acquisition puts LOLapps in an interesting position somewhere between publisher and technology developer. While not uncommon in the traditional video games space where Epic Games’ Unreal engine series dominates the technology licensing market, this is a relatively new concept to social games, where developers are really only just beginning to experiment with traditional developer-publisher models.

“We look at [licensing] as supporting the developers, letting them use the platform to actually build a game itself,” Sethi says. “Whatever model that comes out of that, we’re still thinking about it and what the best thing would be for the developers that we work with. I mean, we’re all friends in the industry, so it’s better to have higher-quality games out there that you could start pooling together with. Sort of like Steam-style attitude with Half-Life.”

The price of the acquisition was not disclosed. LOLapps’ next announced game is Ravenshire Castle, which will be launched before the end of this year using the current Fliso engine. The following game in the series, tentatively called Ravensky, will be the first Ravenworld game to use the new Fliso engine, though Sethi says all its Ravenworld games will be retrofitted to keep the aesthetic consistent.

Zynga Signs Deal With AT&T for Custom Android Content

Zynga and wireless service provider AT&T announced a partnership today that brings customized content in Zynga mobile games like Words With Friends and Zynga Poker to AT&T’s shelf in Android Market later this year.

Though the content was not described in detail, the press release indicates that it will be available from within the game. Additionally, Zynga will offer free in-game currency as part of the partnership and participate in giveaways at AT&T sponsored events. The partnership also features a testing component for different game mechanics, network solutions, and battery-saving techniques for games on various AT&T Android devices.

> Continue reading on our sister site, Inside Mobile Apps

New This Week on the Inside Network Job Board: Seismic, Atakama Labs, Spooky Cool Labs, Atari, Wild Needle and More

The Inside Network Job Board is dedicated to providing you with the best job opportunities across social and mobile application platforms.

Here are this week’s highlights from the Inside Network Job Board, including positions at Seismic GamesAtakama LabsSpooky Cool LabsAtariVoxerWild NeedleAcquinity Interactive and SolutionSet.

Listings on the Inside Network Job Board are distributed to readers of Inside Social Games, Inside Facebook and Inside Mobile Apps through regular posts and widgets on the sites. Your open positions are being seen by the leading developers, product managers, marketers, designers, and executives in the Facebook Platform and social gaming industry today.

IP Aggregators Aim to Connect Brands and Developers

[Dan Jansen is Founder and CEO of Virtual Greats, an "IP aggregator" company that specializes in organizing partnerships between brands and social game developers to provide what we term "light" level brand integration in our ongoing article series on the subject. In this guest post, Jansen explains strategies for choosing to offer either branded virtual goods (BVG) or integrated virtual goods (IVG) to make money.]

Companies like Virtual Greats broker deals between intellectual property holders and game developers to drive revenue for the brand by selling BVGs. We believe this is an emerging multi-billion dollar product category that most brands have not entered. While General Mills and McDonalds have gotten attention through their recent Zynga promotional campaigns, most brands have only begun to consider advertising in the space, let alone selling; and though an entirely new revenue stream is great, the gross margins available in this category are even better than what most brands realize in their physical products. With minimal marginal cost and almost infinite shelf space (i.e. server capacity), gross margins can exceed 90%. One of our best selling items cost approximately $200 to develop, and we have sold more than $80,000 worth of the item.

While in-game virtual items may appear similar, there are two different economic models behind them: branded virtual goods are purchased by the user, while integrated virtual goods are funded by the brand and offered for free to the user. This is analogous to the television model where some of the stations are “free,” or ad supported, and some of the stations are consumer funded (i.e. pay TV for premium content on cable or satellite). Using targeted partnerships, BVGs allow brands to unlock value and capture dollars previously uncollected or unrealized. While all brands may not be appropriate for BVGs, there are still thousands of brands that have yet to realize a new audience and consumer base in social games.

Bridging the Gap between Brands and Developers

This concept moves brands from a traditional advertising model to a consumer-funded model by turning brand’s advertising costs into a new revenue stream. Instead of brands advertising their goods, they are sold as BVGs in the social media marketplace while still achieving many of the promotional goals for free. While this model is still “light” integration, it approaches the partnership from a revenue creation point-of-view and a different source of funding (i.e. consumer paid).

Because of the massive fragmentation of the social media market, licensed IP aggregators are able to bring scale to both the brand and game developer. IP aggregators like ourselves are trying to help a brand sell itself to multiple game developers at once, and help a developer to find licensed IP from brands to include in a game. This is especially useful for developers who are trying to get access to entertainment and consumer brands.

The Business of Branded Virtual Goods

Business models vary, but the business of branded virtual goods partnerships can be structured as flat rate fees or revenue shares. In the consumer-funded model, the end user is paying for the BVG and from these funds the IP holder takes a percentage. In the brand holder funded model, the brand advertiser pays, and the end user receives a free asset. Typically, the goal for this particular model is for the brand to create awareness for its product and not to generate revenue. This is an important distinction and the business model used will depend on the brand and the brand’s primary end goal: directly drive revenue (use consumer funded model/paid for BVGs) or drive awareness to achieve other promotional goals (use brand funded model/free BVGs).

All BVG campaigns are highly customized and collaborative between the brand and platform, with both parties focused on the goal of generating user engagement to lead to additional revenue and brand recognition/awareness. This collaboration helps determine which brand assets would be most attractive to platform users and how to maximize user response. Typically, assets are designed by host platforms, based on current looks and imagery to best incorporate the true style of the brand. From a brand’s perspective, they want mass distribution and exposure to create additional revenue. Authenticity and a high level of integration are paramount when designing a successful BVG for both the brand and the platform.

Activations in the virtual goods marketplace are most profitable, if the consumer is able to integrate the brand into their social media or game playing experience. For example, if a pair of branded Skechers shoes can help an avatar get fit/change body shape, there is a compelling reason to purchase that asset versus a regular pair of shoes. The brand goal is to use the virtual good’s functionality to support the brand promise from the real world. In general, some asset types typically sell better than others; for example, we find that hats are more popular than hoodies. Our data also shows counter-intuitive findings like more expensive items selling better than less expensive ones. We find that bundling items is also a powerful sales driver.

Measuring campaign results from both the brand and platform perspective can vary greatly, however most are judged on revenue, new user acquisition, conversion of non-buyers to buyers, growth in average price points, and other levels of engagement. In our experience at Virtual Greats, there is value for all parties and our partners frequently renew, with our average platform conducting several campaigns each year. One of our leading fashion brands is launching its seventh release in one game alone.

Case Study: Garfield Goes to Brazil

Brands need to understand that this is also a global market with fewer restrictions given the lack of physical product. As an example of a successful brand integration with a social media platform, Virtual Greats brought the classic cartoon character Garfield into the popular social game Vila Magica published in Brazil on Orkut by Latin American social gaming giant Mentez.

Together, we devised an asset list and product line that reflects the best game use experience, but adheres very closely to the authentic Garfield look and style. What followed was a youth focused line of Garfield hats, shirts, and even furniture items. While Virtual Greats created product ideas with Mentez, Garfield helped refine the proposed BVGs to ensure authenticity and keep consistent with the brand so that Brazilian Garfield fans bought in.

Virtual Greats was able to launch Garfield assets with Mentez within a few weeks of Mentez’s request for the brand. With price points for this particular brand ranging from $0.15 – $1.50 in Brazil, close to one million units have already been sold during this campaign. The Garfield assets are still live on Mentez and available for purchase.

The Facebook Factor

In addition to the numerous social media platforms in the U.S. and abroad, Facebook continues to be a dominant force within the industry. Brands have been very successful on Facebook and are making tremendous use of the platform for marketing purposes. However, the Facebook canvas does not easily allow for an individual brand to sell its own BVGs because Facebook no longer sells virtual goods outside of its games and apps, as opposed to advertising, which Facebook does sell directly.

In response, many brands must scale their own campaigns outside of Facebook by creating customized integration across multiple platforms at the same time in order to achieve scale in this fragmented space. This is not like traditional media where the same thirty second spot or print ad can be rolled out across numerous outlets as each activation should be customized to a specific look and feel or game mechanics. At times a brand’s assets can be repurposed with logos being swapped out and replaced with existing assets, however, so more time and investment is not necessarily required to diversify platform options for users.

Beyond Light Integration

Light integration means more than just placement of a BVG within a game. It is a revenue driving opportunity; in addition to the brand awareness impact any particular asset creates. We see continued growth in this sector on both consumer-funded BVGs and brand-funded IVGs. Both models are thriving and can be mutually reinforcing. The science of integrating brands into social games on this level is making a match between the platform and the brand and then focusing on creating a compelling BVG that is functional, relevant and popular.

Gardens of Time Growing Again on This Week’s List of Fastest-Growing Facebook Games by DAU

Playdom’s hidden object game, Gardens of Time, climbs back into the top two on this week’s list of fastest-growing Facebook games by daily active users as tracked by AppData. Looks like strategy games haven’t squeezed out the casual genre just yet.

Meanwhile, Empires & Allies continues to dominate the top 20 lists by growth across DAU and monthly active users as the game turns a month old today. Its nearest competitors by genre, Kabam’s Global Warfare and Digital Chocolate’s Army Attack, also continue to grow, though the latter’s DAU leveled off in such a way as to exclude it from appearing on this week’s list.

A quick note about strategy versus casual: Empires & Allies and its nearest competitors are turn-based strategy games where artificial intelligence controls a player’s opponents and awaits the player’s move before attacking. This type of gameplay is considered more “casual” than the kind found in true real-time strategy games like Kixeye’s Battle Pirates, where the player can control individual units during a synchronous battle against a player or AI-controlled opponent. The reason for this has to do with time invested by the player; the more time required to achieve victory conditions, the less “casual” the game is considered to be.

Top Gainers This Week – Games

Name DAU Gain Gain,%
1. Empires & Allies 6,831,823 +358,651 +6%
2. Gardens of Time 3,067,611 +141,540 +5%
3. Global Warfare 201,481 +83,567 +71%
4. Slotomania – Slot Machines 789,603 +70,730 +10%
5. inFAMOUS Anarchy 118,975 +63,147 +113%
6. Feevo 119,912 +58,072 +94%
7. Cooking Mama 96,696 +54,032 +127%
8. Akvaryum 208,373 +53,884 +35%
9. แฮปปี้คนเลี้ยงหม 948,694 +52,727 +6%
10. Monster World 1,470,431 +51,704 +4%
11. Social Empires 242,004 +51,167 +27%
12. BOSS維加斯 169,108 +44,739 +36%
13. Diamond Dash 1,580,558 +38,771 +3%
14. Dragons of Atlantis 442,281 +36,406 +9%
15. Draw My Thing 151,741 +35,216 +30%
16. Foursquare 309,731 +33,216 +12%
17. Addicting Games 133,735 +33,080 +33%
18. Mynet Çanak 101 Okey 114,389 +27,561 +32%
19. Mi Pecera 44,907 +25,485 +131%
20. MMA Pro Fighter 88,142 +25,319 +40%

Playtika’s Slotomania continues to show consistent growth across both DAU and MAU, though its DAU is vulnerable to outages due to game maintenance. In the past month, the developer has released new content to the game in the form of a pirate-themed slot machine and multiple upgrade periods that are reflected in the DAU. Interestingly, the developer today is asking players to vote on which mobile device they’d most like to see Slotomania playable on as the developer commits to a cross-platform strategy.

All data in this post comes from our traffic tracking service, AppData. Stay tuned for our look at the top emerging apps on Friday.

AltEgo Set to Sell Cross-Platform Avatar Solution to Social Game Devs

AltEgo has recently emerged as a cross-platform 3D avatar pipeline solution that allows players to integrate their in-game avatar into all parts of their digital life — Twitter, email, mobile and social games. It also could serve as a shortcut for developers looking to go cross-platform thanks to some services AltEgo provides to developer partners.

The way it works is AltEgo stores all avatar and avatar items within its system along with a marketplace feature. Game developers can import all their art — meshes, character models, animations, etc. — to the system. Once there, the developer can set parameters for individual avatar items; for example, making a set of fairy wings a giftable item or setting a turkey hat to be a limited edition item for sale. The developer can then use AltEgo to bring the avatar and avatar items into any platform on which the developer’s game runs, be it mobile or social. Any change a player makes to their avatar in-game is reflected across all platforms (except email) instantaneously.

AltEgo CEO Seth Gerson walked us through a product demo that spanned a social game, a blog, and an email thread. Using his wife’s Goth-themed avatar, he purchased a hat in-game that immediately appeared on the avatar’s head when he exited the store screen. Clicking over to her blog and refreshing reflected the updated avatar. Email was a slightly different matter with the avatar not updating until he’d actually sent a new email.

“The reason for that is we want [the avatar] to match your emotion [at the time the email was sent],” Gerson explained. “Like if you send an email that says ‘I’m happy,’ but you just bought a fist-pump animation, that wouldn’t make sense.”

The value for developers goes beyond essentially renting a 3D pipeline and avatar marketplace as AltEgo is currently brokering deals with different platforms. Though not ready to reveal the extent of their partnerships just yet, Gerson did confirm partnerships with social network hi5 and with social game publisher 6waves. Additional announcements are expected toward the end of the summer.

What will be interesting to see is how indie and mid-market social game developers can make use of AltEgo to reduce development and user acquisition costs. Everybody wants to be cross-platform these days, but not many existing developers have the resources to hire mobile engineers or HTML5 programmers.

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