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Blog: A history of game analytics platforms

Since the release of the Dreamcast and the modem adapter, game developers have been able to collect data from players about their behavior in the wild. Game analytics actually goes further back when considering early online PC titles such as EverQuest, which was released in 1999. Game servers were necessary for authenticating users and population game worlds, but also provided the capability to record data about gameplay.

Since 1999, the landscape for collecting and analyzing data has changed significantly. Rather than storing data locally via log files, modern systems can track activity and apply machine learning in near real-time. Here’s the four stages of game analytics systems I’ve noticed during my tenure in the game industry:

  1. Flat Files: Data is saved locally on game servers
  2. Databases: Data is staged in flat files and then loaded into a database
  3. Data Lakes: Data is stored in Hadoop/S3 and then loaded into a database
  4. Serverless: Managed services are used for storage and querying

Each of the steps in this evolution support the collection of larger data sets, and reduce the latency from gathering data to performing analysis. In this post, I’ll introduce example systems from each of these eras, and discuss pros and cons of each approach.

Game analytics really started gaining momentum around 2009. At Bioware, Georg Zoeller built a system for collecting game telemetry during development. He presented the system at GDC 2010. Shortly after, Electronic Arts started collecting data from games post development, to track player behavior in the wild. There was also growing academic interest in applying analysis to game telemetry. Researchers in this field, such as Ben Medler, proposed using game analytics to personalize experiences.

While there has been a general evolution of gameplay analytics pipelines over the past two decades, there’s not a fixed timeline for the progression between the different eras. Some game teams are still using systems from the earlier eras, and it may be the best fit for their use cases. There’s also a number of vendor solutions that are available for game analytics, but I won’t cover those in this post. I’m focusing on game teams that want to collect gameplay telemetry and own the data pipeline being used.

Flat File Era


Components in a pre-database Analytics Architecture

I got started in game analytics at Electronic Arts in 2010, before EA had an organization built around data. While many game companies were already collecting massive amounts of data about gameplay, most telemetry was stored in the form of log files or other flat file formats that were stored locally on the game servers. Nothing could be queried directly, and calculating basic metrics such as monthly active users (MAU) took substantial effort.

At Electronic Arts, a replay feature was built into Madden NFL 11 which provided an unexpected source of game telemetry. After every game, a game summary in an XML format was sent to a game server that listed each play called, moves taken during the play, and the result of the down. This resulted in millions of files that could be analyzed to learn more about how players interacted with Madden football in the wild. During my internship at EA in fall 2010, I build a regression model which analyzed which features were most influential in driving player retention.

The impact of win rates on player retention in Madden NFL 11 based on preferred game mode.

About a decade before I started my internship at EA, Sony Online Entertainment was already using game analytics, by collecting gameplay data via log files stored on servers. It wasn’t until a few years later that these data sets were used for analysis and modeling, but it was still one of the first examples of game analytics. Researchers including Dmitri Williams and Nick Yee published papers based on data analyzed from the EverQuest franchise.

Storing data locally is by far the easiest approach to take when collecting gameplay data. For example, I wrote a tutorial on using PHP to store data generated by Infinite Mario. But this approach does have significant drawbacks. Here’s an overview of the tradeoffs with the approach:

Pros
– Simple: save whatever data you want, in whatever format you want

Cons
– No fault tolerance 
– Data is not stored in a central location 
– Huge latency in data availability 
– No standard tooling or ecosystem for analysis

Flat files can work fine if you only have a few servers, but it’s not really a analytics pipeline unless you move the files to a central location. At EA, I wrote a script to pull XML files from dozens of servers to a single server that parsed the files and stored the game events in a Postgres database. This meant that we could perform analysis on gameplay data for Madden, but the dataset was incomplete and had significant latency. It was a precursor to the next era of game analytics.

Another approach that was used during this era was scrapping web sites to collect gameplay data for analysis. During my graduate research, I scrapped websites such as TeamLiquid and GosuGamers to build a collection of professional StarCraft replays. I then build a predictive model for identifying build orders. Other types of analytics projects during this era include scrapping websites such as the WoW Armory, and more recently SteamSpy.

Database Era

Components in an ETL-based Analytics Architecture

The utility of collecting game telemetry in a central location became apparent around 2010, and many game companies started saving game telemetry in databases. A number of different approaches were used to get event data into a database for analysts to use.

While I was at Sony Online Entertainment, we had game servers save event files to a central file server every couple of minutes. The file server then ran an ETL process about once an hour that fast loaded these event files into our analytics database, which was Vertica at the time. This process had a reasonable latency, about one hour from a game client sending an event to the data being queryable in our analytics database. It also scaled to a large volume of data, but required using a fixed schema for event data.

When I was a Twitch, we used a similar process for one of our analytics databases. The main difference from the approach at SOE was that instead of having game servers scp files to a central location, we used Amazon Kinesis to stream events from servers to a staging area on S3. We then used an ETL process to fast load data into Redshift for analysis. Since then, Twitch has shifted to a data lake approach, in order to scale to a larger volume of data and to provide more options for querying the datasets.

The databases used at SOE and Twitch were immensely valuable for both of the companies, but we did run into challenges as we scaled the amount of data stored. As we collected more detailed information about gameplay, we could no longer keep complete event history in our tables and needed to truncate data older than a few months. This is fine if you can set up summary tables that maintain the most important details about these events, but it’s not an ideal situation.

One of the issues with this approach is that the staging server becomes a central point of failure. It’s also possible for bottlenecks to arise where one game sends way too many events, causing events to be dropped across all of the titles. Another issue is query performance as you scale up the number of analysts working with the database. A team of a few analysts working with a few months of gameplay data may work fine, but after collecting years of data and growing the number of analysts, query performance can be a significant problem, causing some queries to take hours to complete.

Pros
– All data is stored in one place and is queryable with SQL 
– Good tooling available, such as Tableau and DataGrip

Cons
– It’s expensive to keep all data in a database like Vertica or Redshift
– Events need to have a fixed schema
– Truncating tables may be necessary

Another issue with using a database as the main interface for gameplay data is that machine learning tools such as Spark’s MLlib cannot be used effectively, since the relevant data needs to be unloaded from the database before it can be operated on. One of the ways of overcoming this limitation is to store gameplay data in a format and storage layer that works well with Big Data tools, such as saving events as Parquet files on S3. This type of configuration became more population in the next era, and gets around the limitations of needed to truncate tables and the reduces the cost of keeping all data.

Data Lake Era

Components in a Data Lake Analytics Architecture

The data storage pattern that was most common while I was working at a data scientist in the game industry was a data lake pattern. The general pattern is to store semi-structured data in a distributed database, and run ETL processes to extract the most relevant data to analytics databases. A number of different tools can be used for the distributed database: at Electronic Arts we used Hadoop, at Microsoft Studios we used Cosmos, and at Twitch we used S3.

This approach enables teams to scale to massive volumes of data, and provides additional fault tolerance. The main downside is that it introduces additional complexity, and can result in analysts having access to less data than if a traditional database approach was used, due to lack of tooling or access policies. Most analysts will interact with data in the same way in this model, using an analytics database populated from data lake ETLs.

One of the benefits of this approach is that it supports a variety of different event schemas, and you can change the attributes of an event without impacting the analytics database. Another advantage is that analytics teams can use tools such as Spark SQL to work with the data lake directly. However, most places I worked at restricted access to the data lake, eliminating many of the benefits of this model.

Pros
– Scales to massive amounts of data
– Supports flexible event schemas
– Expensive queries can be migrated to the data lake

Cons
– Significant operational overhead
– ETL processes may introduce significant latency 
– Some data lakes lack mature tooling

The main drawback with the data lake approach is that usually a whole team is needed just to keep the system operational. This makes sense for large organizations, but may be overkill for smaller companies. One of the ways of taking advantage of using a data lake without the cost of operational overhead is by using managed services.

Serverless Era

Components in a managed Analytics Architecture (GCP)

In the current era, game analytics platforms incorporate a number of managed services, which enable teams to work with data in near real-time, scale up systems as necessary, and reduce the overhead of maintaining servers. I never experienced this era while I was working in the game industry, but saw signs of this transition happening. Riot Games is using Spark for ETL processes and machine learning, and needed to spin up infrastructure on demand. Some game teams are using elastic computing methods for game services, and it makes sense to utilize this approach for analytics as well.

After GDC 2018, I decided to try out building a sample pipeline. In my current job I’ve been using Google Cloud Platform, and it seems to have good tooling for setting up a managed data lake and query environment. The result was this tutorial, which uses DataFlow to build a scalable pipeline.

Pros
– The same benefits as using a data lake 
– Autoscales based on storage and query needs
– Minimal operational overhead

Cons
– Managed services can be expensive 
– Many services are platform specific and may not be portable

In my career I had the most success working with the database era approach, since it provided the analytics team with access to all of the relevant data. However, it wasn’t a setup that would continue to scale and most teams that I worked on have since moved to data lake environments. In order for a data lake environment to be successful, analysts teams need access to the underlying data, and mature tooling to support their processes. If I were to build a pipeline today, I would definitely start with a serverless approach.

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Altered Ventures launches $36M fund to help devs succeed in emerging markets

Altered Ventures has established a new $36 million venture capital fund to help indie game developers find their feet in emerging markets. 

Created in partnership with venture capital outfits Mountain Nazca and Streamline Media Group, Altered Ventures has offices in Silicon Valley, Mexico City, and Kuala Lumpur

The company is offering indie developers every single cent they need to both develop and publish their title in exchange for a revenue share from the project’s top-line. 

It currently has around $36 million to invest “in new development projects with a special focus on emerging markets.”

“Our investment thesis is fair to developers and very concrete, since we provide real cash-flow for development and marketing,” explained company co-founder, Mario Valle-Reyes, in a press release.

“It’s also very attractive to investors, because they don’t need to wait 5 to 8 years to see their returns as with traditional venture capital.”

Those interested can find out more, including out to get in touch with Altered Ventures, over on the company website.

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Korean companies fined $950K for deceptive loot box practices

The Korean Fair Trade Commission (FTC) has fined three video game companies, including heavy-hitters Nexon and Netmarble, for employing deceptive loot box practices. 

As reported by The Korea Herald, Nexon Korea — the publisher behind Lawbreakers, MapleStory, and the Korean version of Counter Strike — was hit with a $882,700 penalty and a $5,200 fine, the biggest among the three. 

Star Wars: Force Arena and Marvel: Future Fight publisher Netmarble was handed a $42,300 penalty and $14,100 fine, while Destiny Child creator NextFloor received a fine $4,700. 

All three have been asked to review and reform their monetization practices, with the Korean FTC specifically taking issue with way randomized loot crates are being promoted.

Indeed, the commission believes the offending outfits have been employing ads that display incorrect or misleading odds for loot crate drops.

For instance, it claims Nexon’s promotion campaign implied all loot crate drops had an even chance of dropping, when in reality the odds of receiving certain items were as low as 0.5 percent. Nexon has since spoken out against the decision, claiming the FTC misinterpreted the wording of its ad campaign. 

“In our puzzle event, we used the phrase ‘random provision’ to suggest the items would be provided at random, and that the odds of obtaining each puzzle piece were different,” said the company. “However, the FTC interpreted the phrase as suggesting equal odds. We plan to work on obtaining an additional review of this issue in the future.”

The Korean FTC isn’t the first organization to take issue with the use of loot boxes. Politicians and officials from around the world have been reviewing the “predatory” monetization method, with some calling for the controversial mechanic to be banned outright

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Play nice! Nintendo celebrates National Siblings Day

Play nice! Nintendo celebrates National Siblings Day

A sibling can be many things. Sometimes they’ve got your back in times of trouble or sometimes they take over the TV at the most crucial, inconvenient moment. And sometimes they have really impressive mustaches.

No matter the case, we’re celebrating brothers and sisters in honor of National Siblings Day. Check out the fun ways you (and your siblings) can celebrate with Nintendo!

Play Nintendo
Mario and Luigi are two of the most famous siblings in video game history. Which set of video-game siblings do you think would be fun? Take a very special Siblings Day poll on Play Nintendo to choose between Mario and Luigi, Cappy and Tiara, and more!

My Nintendo
My Nintendo is offering rewards that put a spotlight on brotherly love. You can redeem your My Nintendo Platinum points for a free Luigi Mustache HOME Menu theme for the Nintendo 3DS™ family of systems. Plus, you can redeem points for a free Siblings Day wallpaper featuring Mario and Luigi!

Let your siblings know how much you care with a cheerful “Happy Siblings Day” card sheet to download and print. Redeem your My Nintendo reward points, then say “I love you, bro!” or “You’re the best, sis!”

Nintendo Switch News
Do you and your siblings play well together? Challenge them to a day of fun with co-op games for the Nintendo Switch™ system! Just remember to play nice…because that’s what siblings do, right?

In Super Mario Odyssey, Player 1 controls Mario while Player 2 controls Cappy! If your sibling is significantly younger than you, the new Smart Steering feature in Mario Kart™ 8 Deluxe helps rookie racers stay on track.

Here are a few more co-op games to help strengthen your sibling-y bond:
ARMS™
Bayonetta™ 2
Fire Emblem Warriors
Kirby™ Star Allies
Snipperclips™ – Cut it out, together!
Splatoon™ 2

Additional games, systems, and accessories may be required for multiplayer mode. Games, systems, and some accessories sold separately.

Games Shown:

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GTA V producer hits speed bump in $150M lawsuit against Rockstar

Former Rockstar North chief and Grand Theft Auto V producer Leslie Benzies has suffered a setback in his lawsuit against Rockstar.

Benzies is currently suing Rockstar, its owner Take-Two, and studio co-founders Sam and Dan Houser for unpaid royalties in excess of $150 million after alleging he was unlawfully dismissed on April 1, 2015. 

He claims all three parties worked together to force him out of the company and terminate his royalty payments, which would’ve entitled him to an equal three-way split of profit sharing payments with the Housers. 

However, the New York Supreme Court has ruled that the profit sharing agreement Benzies signed doesn’t actually grant him a $150 million cut, as it “contains no language mandating equal payments.” 

Despite that, the court agrees that Benzies is entitled to “certain royalties” as part of his compensation, and that Rockstar did indeed breach its employment agreement based on salary and stock withheld. 

In short, that means Benzies could still be in line for a significant payout, given GTA V continues to bring home the bacon for Rockstar and Take-Two

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Blog: Recapping the IGDA’s localization roundtable from GDC

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.


Localization Roundtable at GDC presented by the IGDA

This one hour session was hosted on Thursday morning (March 22nd) and we had about 60 attendees from all perspectives. 
The audience had localization managers, developers, translators, students, executives from localization companies and other attendees curious about localization and the session was moderated by Simone Crossignani and Laura Gutierrez (board members of the IGDA Game Localization SIG) and Seb Ohsan Berthelsen (Operations Manager at Square Enix). This was the only session about localization at GDC.

We tried a new format that had already been used in the previous GDC and at TGS which was to prepare macrotopics and questions and moderate the discussion between attendees and we asked the audience to vote on the macro topic which interested them the most.

The topics (in order of less to more interest were):

1. Practices

2. Audio

3. Technology

4. LQA

Practices

On the hard to find language pairs, an attendee pointed out that Indonesian to English for Board games is a rare pair, and then the conversation moved quickly towards evaluating the quality of translators and more specifically that of fan translations or crowdsourced translators.

A few developers said they are using fan translations because it’s cheaper and the people doing them are actually playing the game and it seems like they can be faster than translation agencies or professional translators (work over hours and on weekends), they get the feedback directly from players (as they are players themselves) however some of the issues pointed out were that they are not always reliable and the quality is also not necessarily there, therefore, another developer suggested using fans do the translation and professional revise it.

Another problem raised concerns the credits because it is uncertain who gets credit for the translation plus fans cannot handle high volumes or be too quick with bigger projects.

Audio

The question we asked was: what are the common grounds and differences between translating for the movie industry versus for the gaming industry?

Here are the similarities (in red) and the differences (in black)

Movie

Gaming

Dubbing with rhythm lip sync

Dubbing with rhythm lip sync

Context provided by the screen

Context given by the file

Excel File

Different formats

One audio track

Multiple files

Audio specialized translators

Gaming specialized translators (who know how to deal with technical implementations and understand the game)

English recording is done first for dubbing

English recording is done first for dubbing

Volume and time challenging

Volume and time challenging

Very slow process

Fast process (challenging deadlines)

Subtitling tools used

CAT tools used

Another issue raised regarding audio is the rising cost of voice talent.

With more and more developers creating licensed IPs, the voices of the movie characters dubbed into the certain market need to be used as per player preference. This raises the cost of the production of the game as the unions have higher prices than regular voice actors and it’s not a good practice to use another actor for the voice of a certain character.

Technology 

To the question if machine translation is being used and in which context the answer was yes, either a trained machine translation for in-game content or for the chats. The trained machine translation worked apparently well for some languages like FIGS but not too well with Asian languages. For the chat, it’s a solution that works really well according to the developer.

Machine learning was mentioned as an interesting solution for the future of the industry for context that is fairly simple but not for texts that require creativity or a deeper cultural context.

Regarding the tools, developers for PC and console expressed a preference for MemoQ whereas mobile developers talked about Memsource. Some developers have also created their own tools which allow an easier collaboration between developers and translators and to ease their own workflow (minimize the manual tasks). Some have also built their own API internally.  A recommended format for localization which would work both for translator and developers was XLIFF, and Excel was mentioned a few times for being the devil devil

Localization Quality Assurance

The last point we discussed was how to integrate the player’s feedback into the localization workflow. It seems like gaming companies are making a bigger effort to have player support more integrated with localization which means that they can channel the player’s feedback about localization in an easier way to their provider. 

A Localization Manager from a big gaming company mentioned scouting the forums and the community actively for feedback as well as customer support tickets (tagged) to then analyze the feedback and select internally which one is valid and which one isn’t, then submit the changes, but besides the tagging the process still is manual.

The last point mentioned was that the Chinese market cares more about the quality than other markets as some players are used to translating games themselves.

Unfortunately, it seems like the timing was short and there could have been many more topics covered or explored as the community had a lot to say.
We also regret not having informed everyone in a clearer way about our Facebook Page so they could check out our cute new logo but mainly so they could follow us and participate in the discussions happening there. But we were overall very happy with the discussion and the sharing of practices and look forward to the next sessions! Hope a lot of you can make it there, we will inform you about them on our Facebook Page, our Blog and our Newsletter (subscribe here).

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Keywords extends audio service line with Cord and Laced acquisitions

Game service provider Keywords has extended its audio service line by acquiring Cord and Laced from parent company Cutting Edge. 

Based in London, Cord offers a range of music focused branding and strategic consultive services. Laced is a music services outfit and record label specializing in video game scores and soundtracks, and has worked with the teams behind Ruiner, Halo Wars 2, and The Talos Principle

Keywords claims the deal will help its developers create games with better production values by giving them access to more music, and offering them consultancy on how to best implement it. 

Both Cord and Laced will continue to work wit Cutting Edge, and will be able to take advantage of the “extensive” catalog of media music rights owned by the company. 

“We are delighted that we will be able to add further value to our games clients through Laced’s specialism in licensing video game soundtracks for game companies and from music composers, and Cord’s expertise in music composition, rights management, music strategy consulting and audio branding,” said Keywords CEO Andrew Day. 

“We also see a clear opportunity to bring our localization, voice over and trailer creation capabilities to Cord’s broader client base of leading brands.”

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Daily Deal – Cossacks 3, 50% Off

7.13:
==

* Aegis now has an alt tooltip that explains how to pronounce the item

* Tier 1 Tower Team Bounty reduced from 120 to 100
* Tier 2 Tower Team Bounty reduced from 200 to 120
* Tier 3 Tower Team Bounty reduced from 200 to 140
* Tier 4 Tower Team Bounty reduced from 200 to 160
* Range barracks team bounty reduced from 150 to 100
* Filler buildings gold bounty from 125 to 75

* Ranged creep average gold bounty reduced from 57 to 54

* Glyph duration increased from 5 to 6
* Melee Barracks HP increased from 1500 to 1800

* Shrines HP increased from 1500 to 1750
* Shrines now have 5 HP regen

* Rescaled Level 12->25 respawn time curve to be slightly less early and the same later on (changed from 48/52/54/56/58/60/70/74/76/78/82/86/90/100 to 44/46/48/50/52/54/65/70/75/80/85/90/95/100)

* Removed hero class specific perks, the bonuses now affect all classes.
* Removed Status Resistance as a Strength based attribute bonus
* Rebalanced str/int/agi bonuses below (they still provide +1 bonus damage to primary attribute holders)
* Primary Attribute now provides +25% more benefit to the bonuses it provides

Old Strength:

20 Health
0.71% HP Regen
0.15% Status Resistance

New Strength:

18 Health (+25% for str heroes: 22.5)
0.55% HP Regen (+25% for str heroes: 0.68%)
+0.08% Magic Resistance (+25% for str heroes: 0.1%)

Old Intelligence:

12 Mana
2% Mana Regen
0.07% Spell Amplication
+0.15% Magic Resistance

New Intelligence:

12 Mana (+25% for int heroes: 15)
1.8% Mana Regen (+25% for int heroes: 2.25)
0.07% Spell Amplication (+25% for int heroes: 0.087%)

Old Agility:

0.17 Armor
1 Attack Speed
0.06% Movement Speed

New Agility:

0.16 Armor (+25% for agi heroes: 0.2)
1 Attack Speed (+25% for agi: 1.25)
0.05% Movement Speed (+25% for agi: 0.062%)