Igre objavljene u Japanu moraju prodati 100,000 ili više da biste ostali u crnom

Prodaja CyberConnect2

Prema riječima izvršnog direktora CyberConnect2, Hiroshija Matsuyame, ako ste programer ili izdavač koji proizvodi softver za video igre u Japanu, morate premjestiti najmanje 100,000 XNUMX primjeraka u zemlju ako želite ostati u plusu.

Vijest dolazi s tribine koja je Matsuyama održala u sklopu virtualnog Otakuthona koji se obično održava svake godine u Quebecu u Kanadi. No, zbog COVID-19 događaj je premješten u virtualni prostor.

Otaku-extraordinaire, Lunar Archivist, snapped some screen-caps of the Matsuyama’s video game panel, where he outlined some very fascinating stats about sales, marketing, investments, and growth sectors within the industry.

U temi objavljenoj na Kolovoz 15th, 2020, Lunar Archivist highlighted some of the noteworthy segments from the panel, such as the fact that Japanese publishers are releasing fewer and fewer games each year, with their peak being 983 releases in 2007, but down to just 411 in 2019. That’s a near 58% drop over the course of 12 years.

Dodatne statistike pokazale su da hardcore igrači svake godine kupuju igre po stopi gotovo 2.5 puta većoj od casual igara. Također, Nintendo u osnovi dominira na japanskim prodajnim ljestvicama kada je u pitanju softver za konzole, popunjavajući osam od deset utora kada su u pitanju objavljeni naslovi i devet od deset utora kada je riječ o izdanjima platforme.

In essence, Japanese really love Nintendo’s titles or software made for Nintendo devices.

To tada dovodi do gusta grubost prodajnih podataka i naslov ovog djela: Ako želite to učiniti u Japanu kao izdavača, morate se preseliti najmanje 100,000 jedinica u zemlji.

To se možda ne čini mnogo s obzirom na to da izvještavamo o indie i AA igrama koje prodaju 100,000, 200,000 ili 500,000 primjeraka u nekoliko tjedana, kao što su Frost punk or Atelier Ryza, ali u konačnici su to rijetki. U stvari, u Japanu takve vrste naslova - 100 tisuća plus izdanja - čine samo 20% ukupnog softvera objavljenog u Japanu.

If you’re unable to view the images, there are links below so you can see what the costs are and what the returns need to be in order to stay out of the red.

The next bits are all common sense… well, common sense to anyone who knows a thing or two about making a dime or two.

You need to know your audience and sell to your audience. In Japan, investors expect you to be able to turn a profit by making a product that people will actually want to buy… opposite of the ideologically driven investors and publishers who dominate the Western market, where spiting fans and making products where the development cycle doesn’t include the word “fun” are top priorities.

Let me highlight the one panel image above the others related to the investors, because it really bears repeating as to what works and what doesn’t.

See here’s the thing, if you’re trying to pitch some kind of subversive, trans-romance story about how evil cishet-heterosexual white males are, chances are your game will bomb. Not only that, but chances are that the only way you’ll see any kind of levity in sales is through disruptive promotion by ideologically-driven media outlets and Big Tech social media stepping in to bolster your product because it adheres to the Liberal Progressive agendas that they, too, foster.

Međutim, jednom kada balon od lažne promocije pukne i Big Tech više ne može zaštititi sliku vašeg proizvoda, usmenom predajom ostatak će apsolutno uništiti sve šanse za profitabilni dugi kraj.

But how do you make the next big hit? Well, as Matsuyama pointed out… you first have to be a fan of the products you’re trying to sell.

These aren’t hollow words coming from Matsuyama, though. He’s a legitimate geek and otaku.

Kao što je spomenuto na Web stranica Otakuthon...

"Kao jedan od najvećih obožavatelja mange od malih nogu, Matsuyama vjerno čita više od 60 manga časopisa mjesečno."

Being a geek and being in-tune with the culture and audience you’re trying to sell your games to play a huge part in managing to tap into the success of that market.

CyberConnect2 is proof of that, as they’ve managed to move millions of copies of licensed games over the years, such as Naruto Ultimate Ninja Storm 4 (između mnogih drugih), koji je uspio tijekom četiri godine premjestiti 6 milijuna primjeraka. To se uglavnom ruši na 1.3 milijuna primjeraka godišnje.

But it’s not just the Naruto naslovi koji su se dobro prodali za CyberConnect2. Njihov najnoviji naslov, Dragon Ball Z: Kakarot uspio prodati 2 milijuna primjeraka diljem Xbox Jedan, PS4, i Nintendo Switch, kako je izvijestio KitGuru.

It’s kind of odd that the game wasn’t made available for the Nintendo Switch, especially when you look at the sales data for the top selling games and top selling platforms in Japan, and they all include the Nintendo Switch.

And finally, what’s also quite interesting is that the console market has been shrinking in Japan over the course of nine years.

Industrija je u 15.5. godini procijenjena na 2018 milijardi USD, pri čemu je najveći dio prodaje bio u velikoj mjeri PC i mobilno igranje, dok se od prodaje konzola sastojalo samo 400 milijuna USD.

Zapravo je PS4 očito premjestio samo 8.3 milijuna SKU-a u Japanu, unatoč tome što je isporučio 110 milijuna jedinica širom svijeta.

Ukratko, PlayStation marka više ne predstavlja Japan.

Mislim da je većina ljudi to već shvatila, posebno nakon što je Sony počeo agresivno provodeći cenzorsku politiku na PS4 budući 2018.

Apparently even Japanese consumers no longer see the PS4 as a representation for their interests, hence why they’re now duly focused on supporting Nintendo. At least Nintendo recognizes that majority of consumers are straight males and that straight males love lovely ladies, something that’s now become a foreign concept to Sony as they dive headfirst into trying to indoctrinate their audience into forcibly accepting trans culture.

(Hvala za savjet za vijesti Lunar Archivist)