text| DataEye Research Institute
Following "Broken Iron", another two-dimensional turn-based "Back to the Future: 1999" was launched yesterday.
At the end of May and the beginning of June, just before the Dragon Boat Festival and summer vacation, it can be regarded as the official start of the two-dimensional summer file grab war (after that, there are Tencent's "White Night Aurora", Station B's "Sluder", Dawn Lightyear "Crystal Nucleus", and Xishanju's "Dust White Forbidden Zone").
What about the specific data for Back to the Future: 1999? How to do marketing, content? What are the advantages and disadvantages? How to learn from it?
Why do we think it's more like Forever Lost than Broken Iron or other two-dimensional turn-based?
How to evaluate stylized and tonal elements such as "full English dubbing" and "retro occult"?
Advertising aside, soft text, and subjective speculation, today, DataEye Research Institute starts from data and talks in detail about Back to the Future: 1999. Probably the most detailed and insightful article out there.
In order to show objectivity, this article will strictly distinguish between "facts & figures" and "DataEye Institute views".
If you disagree with your opinions, you can only refer to the [Facts & Figures] section, based on your own opinions, see in the comment area.
1. Download revenue performance
【Facts & Figures】
Reservation data: According to official April data, "Back to the Future: 1999" was in the third testing stage, and the reservation on all platforms exceeded 400W.
Download data: Diandian data shows that "Back to the Future: 1999" was available for pre-download the day before it went online, and iOS estimated that it was downloaded about 750,000 times.
On the day of its launch, Back to the Future: 1999 topped the iOS free list, with an estimated 730,000 downloads.
Revenue data: "Back to the Future: 1999" ranked third on the iOS best-selling list after its launch, and the estimated revenue of iOS on the first day was about $1.19 million.
Second, the buying volume side
【Facts & Figures】
(1) Main selling points
DataEye-Tidea Narration High-frequency Words TOP70 data shows that "character" is a high-frequency word that appears in the material narration of "Back to the Future: 1999" in the past 30 days, and the name of the game character is also a high-frequency word. In addition, "skills", "gameplay" and "training" are also high-frequency words.
Specific to the official application introduction of the App Store, "Back to the Future: 1999" mainly displays product skill game content, as well as product features dubbed in English. In addition, like many two-dimensional games, highlight the character's personality, dubbing, and standing drawing.
(2) Delivery volume & delivery trend
From the perspective of delivery performance, "Back to the Future: 1999" started explosively.
DataEye-ADX delivery data shows that "Back to the Future: 1999" directly exceeded 1.3W group of materials on the first day. For reference, "Forever Lost" and "Honkai: Star Dome Railroad" are significantly lower than this game.
From the perspective of delivery trends, "Back to the Future: 1999" began to launch materials a month ago, from an average of more than 300 sets per day to an average of more than 1,500 sets per day, especially the day before its launch, the amount of materials has exceeded nearly 6,000 sets of materials.
In contrast, the warm-up phases of "Forever Lost" and "Honkai: Star Dome Railway" are more Buddhist.
(3) Material creativity
"Back to the Future: 1999" is a TOP50 creative type of efficient materials, mainly divided into: character display, skill & move display, background world view, and gameplay teaching direction.
According to DataEye-ADX data, the number of planned TOP50 high-efficiency video material content accounts for the following figure:
Among them, the proportion of character display types is the highest, about 40%. Skills & Presentation followed by about 36%. There are relatively few "instructional" materials for the introduction of game content and gameplay.
The specific case data is as follows. (For statistical reasons, the following materials are reserved materials)
Material 1:
(1) Main investment platforms: Douyin, Toutiao, Pangolin Alliance
(2) In-depth data:
Click-through rate: A+, more than 75% of games on the same track
Click-through conversion rate: A+, more than 75% of games on the same track
Completion rate: A+, more than 75% of games on the same track
User churn rate in the first 2 seconds: 24.02%
Material 2:
(1) Main investment platform: Douyin, Toutiao
(2) In-depth data:
Click-through rate: A+, more than 75% of games on the same track
Click-through conversion rate: A+, more than 75% of games on the same track
Completion rate: A+, more than 75% of games on the same track
User churn rate in the first 3 seconds: 37.94%
【DataEye Research Institute Viewpoint】
Back to the Future: 1999's volume marketing presents three characteristics:
In terms of product selling points, highlight stylization and tone sense. The project team of "Back to the Future: 1999" highlights the characteristic standing paintings and tonal elements: dark style, European architecture, and British dubbing clothing, which are different from the common second game in the market. In addition to the all-English dubbing, the project team will also highlight the diversity of characters and backstory, hoping to reach traditional two-dimensional users through common second-game ideas such as "selling characters".
But unlike most second games, "Back to the Future: 1999" has dubbing introduction + screen display, as well as UGC-like materials, as well as behind-the-scenes voice actors appearing and recommending, overall the material is more diverse, more "Guangzhou style" rather than the pure idea of two-dimensional manufacturers pursuing immersion.
In terms of delivery performance, it is eye-catching. In the past, most second tours would be relatively conservative and low-key purchases, relying on the content of platforms such as Station B to win. But "Back to the Future: 1999" entered the market with a saturated, overwhelming attitude on its first day of launch. On the one hand, because the product has no IP, no company brand, and less preheating investment marketing, it wants to be a hit; On the other hand, as a Guangzhou manufacturer, it may be somewhat affected by the large buyers.
In terms of packaging form, the gameplay is concealed, and the characters/backgrounds are emphasized. "Back to the Future: 1999" animation is very rare, mainly "dynamic standing painting", KV focuses on vertical painting, theme, the display, DataEye Research Institute believes that "Back to the Future: 1999" does not borrow from Mihayou's idea of "showing the character character with a large number of animations and plots, pursuing immersion", but more like the idea of "Forever Lost" - more "paper people".
"Back to the Future: 1999" Efficient Material TOP50 - Character Show
"Back to the Future: 1999" Efficient Material TOP50 - Skills & Moves Display
Character display and skill display are the focus of the creative content of Back to the Future: 1999, but its material is more prominent in tone and style, avoiding gameplay and strategy, and just showing skill casting.
Third, the transmission side
【Facts & Figures】
In terms of social media communication, we invited DataStorytelling to provide relevant data (DigitalStory's official profile: China's leading one-stop big data and AI intelligent application provider, built a full-value chain solution from data collection, processing, analysis, modeling to commercial applications, and has 50+ applications such as DataStory's radar, DataStory, and DataStory).
In terms of the number of content: As of 10 a.m. on June 1, the number of content on the entire domestic network was about 457,900. Among them, in March, the product obtained the version number and the third test was opened, forming a small-scale outbreak on Weibo and B station. In May, the official Weibo announced that the product was finalized, and the number of related content gradually increased, until the number of Weibo content was fully released on the day of launch, generating more than 100,000 blog posts.
In terms of network-wide interactions: "Back to the Future: 1999" reached 1.03 million times on the day of its launch, of which medium and long videos (including station B) had the highest number of content interactions, exceeding 700,000 times. This is followed by mainstream social media such as Weibo and short videos, which are about 160,000 times.
In terms of platform proportion: Weibo is the main communication base, accounting for more than 90%, medium and long videos are only 5.6%, and the rest of the platforms basically do not exceed 1%. In terms of content distribution, UGC content is as high as 94.78%.
In terms of focus: In addition to the name of the game and the name of the company, "open test", "gift package" and "online" are the contents that players focus on. In addition, many users will also pay attention to product features such as art style and music.
【DataEye Research Institute Viewpoint】
As a small and medium-sized two-dimensional enterprise, Deep Blue Interactive cannot be compared with large manufacturers such as Mihayou, Tencent, and Perfect, and has not been fully rolled out on the whole network at the communication level, and has not invested too many resources in the early stage. More through its own official media platform for game exposure.
Therefore, we see two characteristics of the communication side of "Back to the Future 1999": first, the number of Weibo content is the largest; Second, station B has the largest amount of interaction.
There are two reasons for the large number of Weibo content, one is to increase the exposure and operation of core users through the good news that the product has obtained a version number, and through the operation of private domain traffic pools such as Weibo lottery; Second, after announcing the finalization, the product strength will be displayed with key characters and plots, and it is expected to accumulate more core users after the product is launched.
In terms of platform and release content, the project team of "Back to the Future: 1999" is a regular operation, focusing on the B-station platform with a strong two-dimensional atmosphere, through high-quality PV videos, characters & plots, product production documentaries and voice actors' messages and other traditional two-dimensional communication modes.
"Back to the Future: 1999" did not invest much in the communication side, but the number of interactions of 7.88 million is outstanding. Especially for a mid-sized factory that doesn't have a few games. The main reasons for this are: differentiation, stylization, and sense of tone, which brings a unique sense to the two-dimensional track, superimposed on the few new products on the second-trip track in the past two years, and the sense of expectation comes naturally. An example is that among the high-frequency words on the whole network, "sonnets", "rainstorm", and "occult" are all listed, these words are unique labels worthy of relishing by players and media.
Fourth, the advantages and disadvantages of stylization and tone sense
【DataEye Research Institute Viewpoint】
A major obvious trend in the two-dimensional track this year lies in the new concepts and differences in concept and gameplay.
For example, "White Night Aurora" is positioned as a "strategy-style war chess elimination mobile game", "Back to the Future: 1999" is a "retro occult strategy RPG", the self-developed "Sluder" of Station B is a "3D flying shooting mobile game", "Crystal Nucleus" is a "large-scale box-court action RPG with a magic guide punk theme", and "Dust White Forbidden Area" is a "light science fiction 3D third-person shooter". ——These gameplay and concept positioning are rare in the previous two-dimensional track, or lack of head products.
Under the circumstance that roll quality and industrialization cannot bypass Mihayou, new concepts, differentiation, stylization, and tone sense have become a must for the two-dimensional track. Previously, "Life Lost" was a successful case.
"Back to the Future 1999" is precisely in such a situation that it achieves a sense of tone and stylization.
However, the theme background of "retro occult", the configuration of "all-English with plot performance", and various characteristics of pursuing a sense of tone and stylization have advantages and disadvantages for this two-dimensional new product.
1. Benefits:
In 2021, in the first PV of Back to the Future: 1999: London streets, English BGM, broken glass, British style dress... All these elements form a unique, exquisite and elegant style. As the timer zeroed, raindrops on the ground drifted towards the sky.
Space-time theme, exquisite two-dimensional, combined with Nolan's space-time issues? Differentiation and uniqueness are full, and the expectations brought about by this are bursting - this two-dimensional game seems to be different from all second games?
The background of the theme of "retro occult" can carry a large number of Western modern and modern cultural elements:
the glow tube timer on the protagonist's arm;
twins in The Shining;
imitating Chaplin's female character;
It seems to be the color scheme of the "The Great Gatsby" movie
The second tour, in addition to the industrialization of rolls, could have been able to get rid of the head-on competition with "that group of Shanghai roll kings" through a huge leap in themes, details, and cultural elements. Stylization to the extreme, you can "bypass" the old way of roll quality to a certain extent. The aesthetic tone is unique enough, there is still room for the market, and "Forever Lost" and "Back to the Future: 1999" are examples.
The social communication data mentioned above is enough to show that Back to the Future: 1999 relies on content to achieve great success.
2. Disadvantages:
Combined with TapTap, B station comments and the author's own experience, the feeling is: looking at the two-dimensional exquisite cute girl paper person, speaking authentic English, I always feel that something is wrong (I personally will always feel that I have returned to the high school English listening test).
"Retro mysticism" and "all-English drama performance" can certainly connect the two-dimensional elements with mystery, nobility, and elegance. However, it is also dramatic, weird, and not immersive, and I always feel that I have traveled back to "Harry Potter: Magical Awakening", or a Japanese animation from the American movie "The Great Gatsby".
The core reason for this kind of drama, weirdness, and lack of immersion is the difficulty of combining Eastern and Western cultures.
How to say?
"Retro occult" and "British accent" originated from Western culture. Western occultism has three main origins: ancient Egypt, Hebrew, and Greco-Rome. Often accompanied by religion-related magic, witchcraft, alchemy, astrology, astrology, group gatherings, mysterious elegance, ancient tranquility.
The two-dimensional exquisite cute girl painting style and the large-headed Q fierce standing painting come from the ACG culture of Eastern Japan. Often accompanied by fantasy elements: academy, heroes, comics, novels, loli, magic, exciting, cute and fresh.
Although the two have the same combination of magic and superpowers, such a "large-scale" "all-English plot performance" still makes people have a sense of stitching, a sense of violation, and "foreign and not earthy". The East Asian cultural circle, natural and elegant and exquisite British style, is difficult to match. Even in other cultural product fields, such as "Japanese British Anime", few works with similar themes can be out of the circle (those who like it will be intoxicated and obsessed, and those who don't like will scoff).
"Back to the Future: 1999" is somewhat radical, pursuing a sense of tone and stylization, while ignoring audience acceptance and the difficulty of blending Eastern and Western cultures behind it.
In a world that feels fragmented, stitched, and strange to accept, no matter how brilliant your story is, how innovative the setting, how unique the narrative, and how charming the characters, it will seem a little "out of place and difficult to enter".
"Forever Lost" was only a momentary scenery and failed to become the next "Ark of Tomorrow". Does this mean stylization, if you lose the continuous blessing of gameplay and content, it will also be reduced to a small and beautiful work of art.
Of course, having said that, stylization and a sense of tone are a clear way out of the two-dimensional track.
In particular, a Guangzhou manufacturer established in 2020 has delivered a unique two-dimensional new product without deep accumulation, which should be encouraged and admirable.
Each product has its own merits, and players have their own advantages.
Amazing, unique, unique? Or is it fragmentation, discord, and non-conformity?
The market has its own conclusion, and the word of mouth is in the hearts of the people.