Zynga’s Dan Porter has weighed in on the issue of originality in games – he doesn’t think it’s that big a deal. At least nowhere near as important as “running games as a service”. Game cloning has been an increasingly visible and debated issue, with Zynga at the forefront after it released Dream Heights, an almost carbon copy of NimbleBit’s Tiny Tower.
“Before making Draw Something we ran OMGPOP for four years and made lots of games that were inspired by games we loved and we emulated the mechanics from games with great UI,” Porter said. “This is no great revelation.”
“After making games for years, it was joining Zynga that made me understand the art, science and special sauce running games as a service. When someone on the ZNY team came back from spending two weeks with Bill Allred and the WWF team and schooled us on all best practices of keeping a game popular for four years, I really started to get it. It’s been a huge learning experience.”
The Importance of Games as a Service
Porter’s comments highlight a significant shift in the gaming industry towards the concept of “games as a service” (GaaS). This model focuses on providing ongoing content and updates to keep players engaged over a long period. Unlike traditional games that might be played once and then set aside, GaaS aims to create a continuous revenue stream by keeping players invested in the game world. This approach has been particularly successful in mobile and online gaming, where frequent updates and community engagement can significantly extend a game’s lifespan.
For instance, games like “Fortnite” and “League of Legends” have thrived under this model. They continually introduce new content, events, and updates to keep the player base active and engaged. This not only helps in retaining players but also attracts new ones, thereby increasing the game’s overall popularity and profitability.
The Debate Over Originality
While the GaaS model has its merits, it has also sparked a debate over the originality of games. Critics argue that focusing too much on service aspects can lead to a lack of innovation in game design. The controversy surrounding Zynga’s Dream Heights and NimbleBit’s Tiny Tower is a prime example. Dream Heights was criticized for being too similar to Tiny Tower, raising questions about the ethical implications of game cloning.
However, Porter seems to downplay these concerns, suggesting that emulating successful mechanics from other games is a common practice in the industry. He points out that many successful games have borrowed elements from their predecessors. For example, “PUBG” popularized the battle royale genre, but it was “Fortnite” that took the concept to new heights by adding unique features and a robust GaaS model.
“This is no great revelation,” Porter said, emphasizing that the real challenge lies in maintaining a game’s popularity over time. He believes that understanding the intricacies of running games as a service is what sets successful games apart from the rest.
“When someone on the ZNY team came back from spending two weeks with Bill Allred and the WWF team and schooled us on all best practices of keeping a game popular for four years, I really started to get it. It’s been a huge learning experience,” Porter added.
In conclusion, while the debate over originality in games is far from settled, it’s clear that the GaaS model has become a cornerstone of modern game development. By focusing on continuous engagement and community building, developers can create lasting experiences that keep players coming back for more. Whether this comes at the cost of originality is a question that each developer must answer for themselves. However, as Porter’s comments suggest, the ability to run a game as a service effectively may ultimately be more crucial to a game’s long-term success.
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