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日本开发者MagicAnt如何推动1LINE游戏在美国排名第一 ?|出海日本游戏岛群第81期

2020-01-04 17:19:48

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AppLovin是一个全球品牌和平台,这意味着我们有机会与来自世界各地的不同市场的开发人员合作。在“  询问开发人员”  系列中,我们与开发人员对话,以学习他们的策略,最佳实践和专家见解。

AppLovin今年首次参加了Ad:tech Tokyo,这是亚洲最大的营销会议之一。我们的展位既是客人的聚会点,又是我们就移动行业广泛话题进行演讲的舞台。所有十场会议均在AppLovin Japan官方Facebook页面上进行了现场直播。

 

这份报告将深入探讨我们的主题为如何在美国App Store排名中排名第一!请问用1LINE排名第一的MagicAnt先生。我们欢迎MagicAnt,Inc.的Ryusuke Yamaguchi 担任嘉宾演讲,我们自己的坂本龙夫和田中彰夫担任主持人。 

 

日本和美国的行销差异

 

田中:感谢您今天加入我们。本次会议的主题是如何在美国App Store中排名第一,因此今天我们欢迎MagicAntInc.Yamaguchi先生。

 

山口:谢谢。

 

田中:首先,你能自我介绍一下吗?

 

山口:很高兴认识您。我叫山口龙介,我是MagicAnt的首席执行官。自智能手机诞生以来,我们一直在开发应用程序。我之前曾在一家应用程序开发公司担任经理,我们所有应用程序的下载量总计约3000万。自创立MagicAnt以来,我们总共下载了约5000万次。今年,我们推出了一款名为1LINEiOS / Android)的游戏,在美国排名第一,因此我们一直在努力争取这一排名。

 

田中:能否请您介绍一下您的1LINE游戏?

 

山口:您可以看得出来,但是1LINE是一款单冲程经典益智游戏,具有简单的规则,从您拾起和玩游戏的那一刻起,它在世界范围内都很容易理解。

 

谷中:1LINE达到在美国App Store中排名第一,但在今天的会议上,我想请问你如何销售业务进行了直到应用达到了头把交椅。首先,我想问您北美和日本之间在营销方面的差异。坂本先生,您有什么想法?

 

坂本:您好,我叫坂本达夫。我在AppLovin的媒体部门Lion Studios负责业务开发。

 

海外与日本之间最大的区别在于,海外对在线广告的依赖程度接近100%。

 

简而言之,关于应用程序营销,海外与日本之间的最大区别在于,海外对在线广告的依赖程度接近100%。作为发行商,我们在过去六个月中发布了大约五到六个标题,在美国App Store排名中名列第一,但据我所知,除数字和在线广告外,我们从未在促销上花任何钱。我们通过在包括AppLovin在内的各种广告网络上的广告展示位置上获得非常大规模的下载量来提高排名。

 

田中(Taninaka):这是否意味着您在美国没有投放许多电视广告?在日本,我相信您这样做是因为它非常有效。

 

坂本:最大的不同是,您可以在地面广播信号上观看的主要电视台在日本仅限于112频道]。在美国,人们观看有线电视,因此有数百种频道可供选择。除了超级碗之类的特殊事件,没有任何频道被两位数的观众同时观看。它非常细分。实际上,要通过电视广告宣传并批量生产是极其困难的,因此我们不可避免地转向在线渠道。 

 

在美国应用商店排名中排名第一

 

田中:我想向山口先生回答我的下一个问题。当您在美国排名中名列第一时,您在哪种类型的渠道上进行了什么样的促销?另外,您使用了哪种网络,每个网络的比率是多少?

 

山口:开展促销活动时,我们无法一次花光所有预算,因此我们选择了可以在全球范围内分发的Unity平台,并进行了广播测试作为测试促销。它的测试效果很好,因此我们使用了AppsFlyer的Power排名前五或六家公司(例如FacebookAdWords),并且仅通过可在全球范围内分发的广告网络分发了该应用程序。因为我们制作休闲游戏,所以几乎80%的促销都是视频格式。

由于我们制作休闲游戏,所以我们几乎80%的促销都是视频格式。

 

田中:所以您选择的网络都有大量的视频库存。您大约进行了多长时间的初始测试?

 

山口:测试时间约为一个月。

 

坂本:您在测试过程中看到了什么?什么是CPI,您可以在哪里获得多少?或者,您是否在安装后查看了KPI

 

山口:两个。例如,我们看了一美元就能获得多少下载量。我们的目标是达到第一名,因此我们知道需要多少下载量,并衡量了预算规模。在美国,实际上没有用户,因此,一旦我们积累了一定数量的用户,便计算出LTV(生命周期价值)。

 

田中(Taninaka):顺便说一句,您是从一开始就追赶第一名吗?或者更像是,由于投资回报率高,我们进行投资使我们排名第一?

 

山口:在这种情况下,我们从一开始的目的就是争夺第一名。这也取决于会计期间等情况。

田中:如果您不能提供具体数字,那很好,但是花了多长时间?您每天花了多少钱才能排名第一?  

 

山口:达到第一名的那一天,我们总共下载了150,000次。其中,大约有100,000是非有机的,换句话说,是通过广告获得的。CPI约为70日元,因此我们花了大约相同的金额。我要每月说,我们在1LINE的广告上花费了大约1亿日元。

 

坂本:显然,您没有设定的预算。就像这个月,我们只有这笔钱可花。如何管理这方面?

Yamaguchi :基本的想法是,如果购置成本低于LTV,只要产生现金流,我们就会利用它,而且我们不会真正按照设定的预算考虑它。我们基于这样的想法工作,即如果它产生了利润,我们将大发雷霆。

 

广告创意的本地化

 

田中:在为海外市场制作广告素材时,您对日本使用的内容做了哪些修改?

 

Yamaguchi :在本地化方面,由于我们制作的游戏的性质,我们不需要太多文字,因此,我认为如果仅通过显示游戏中的视频即可传达游戏玩法,这是理想的选择。

 

田中:那么您创建这些游戏的目的是正确地将游戏内容传达给观看者?

 

山口:是的,是的。推广实际的游戏玩法比电视广告更为有效。

 

Sakamoto :最初显示的是1LINE的视频,但现在考虑一下,我不记得UI是英语还是日语。我认为,如果您看到该视频,日本人会安装该应用程序,并了解其内容。这就是为什么排除不必要的事物并确保在玩游戏时确保您认为最有趣的时刻是关键的原因。山口先生,您创造了多少个创意?

 

山口:在测试推广阶段,我们准备了垂直和水平两种类型。我们有内部创意设计师,他们通常需要3-4天左右的时间来创建他们。

 

田中:所以,当它们看起来不错并且您准备好要用油的时候,您会继续不时添加它们吗?

 

山口:是的。在测试阶段,我们在不花费过多人力的情况下制作了两个广告素材,在促销阶段,我们增加了广告素材和变体的数量。

 

计算投资回报率

 

田中:这个话题有点过头,但是您能告诉我们如何计算投资回报率吗?

 

山口:我们使用以下计算公式:

 

LTV ARPDAU(每位每日活动用户的平均收入×TAD(每位用户的总活动天数))

 

Sakamoto :使用TAD,假设您当天获得了100个用户,并绘制了一条曲线,该曲线描述了第二天的保留率下降了50%,随后的保留率下降到了40个用户。每位活跃用户每天的获利能力是一定的,因此,如果在第一天有100位用户,您将赚取100倍于ARPDAU,第二天您将赚取50倍,并继续添加数字以产生每个用户的平均LTV

 

田中(Taninaka):所以大约一个星期后,您最会去哪里。

 

山口:这取决于我们继续踩油门多少。例如,甚至在日本在App Store中也排名最高的Happy GlassAndroid | iOS)整整一个月一直名列第一。即使对我来说,它还在继续增长也很奇怪。我们确实花了很多钱,收入还在继续增加,所以我们通过释放资源来查看这些数字。重要的是要进行测试促销和永不放弃的精神。

 

田中:山口先生,我敢肯定,这里有很多人想在海外发布他们的应用程序,主要是在北美。您会提供什么样的建议?

 

在查看数据的同时改进产品非常重要。

 

山口:我相信休闲游戏可以在短时间内开发出来。因此,我认为最好是在核心游戏完成后进行促销测试,得出诸如保留率和CPI之类的实际数字,并迅速确定它们是否好。在查看数据的同时改进产品非常重要。就创建一种可以快速查看数字的情况而言,我认为最好尝试一次测试促销,即使它很小。

 

田中:谢谢。坂本先生呢?

 

坂本:我100%同意山口先生所说的话,如果我能再说一句话,我要说永不放弃的精神很重要。

 

山口:是的,这很重要。

 

坂本:最终,并不是所有的游戏都会大受欢迎,反之,游戏命中率接近10%至20%。考虑到这一点,当您无法确定游戏何时失败时,应该迅速停止生产,然后继续进行下一个项目,就很难了。相反,这就是您将失败的次数。所有开发人员和发布者,无论他们是谁,都多次失败。

所有开发人员和发行商,无论他们是谁,都多次失败。

 

我认为,当您开始期望这可能会失败,但可能会起作用时,请进行一些小测试。您可能会意识到这可能会很成功,并且可以迅速做出决定并向前迈进。我认为最好有这种心态。

 

田中:这是一个非常痛苦的话题。我以前也做游戏,所以我了解挣扎。好吧,这似乎是结束会议的好地方。感谢您的时间。

 


日本游戏主题活动分享报名

             

 


 

 

Ask the Developer: How Japanese dev MagicAnt propelled 1LINE to number one in the US

AppLovin is a global brand and platform, which means we have the opportunity to work with developers from different markets all around the world. In our Ask the Developer series, we speak with developers to learn their strategies, best practices, and expert insights.

AppLovin attended Ad:tech Tokyo for the first time this year, which is one of the biggest marketing conferences in Asia. Our booth served both as a meeting point for guests and as a stage where we gave talks on a wide range of topics regarding the mobile industry. All ten of the sessions were broadcast live on the official AppLovin Japan Facebook page.

This report will take a closer look into our session titled, “How to reach number one in the US App Store rankings! Ask Mr. MagicAnt, who achieved the number one ranking with 1LINE.”  We welcomed Ryusuke Yamaguchi from MagicAnt, Inc. as a guest speaker, and our very own Tatsuo Sakamoto and Akira Taninaka served as the moderators. 

The differences between marketing in Japan and the United States

Taninaka: Thank you for joining us today. The theme of this session is “How to reach number one in the US App Store,” so today we have welcomed Mr. Yamaguchi from MagicAnt, Inc.

Yamaguchi: Thank you.

Taninaka: First off, can you please introduce yourself?

Yamaguchi: Nice to meet you. My name is Ryusuke Yamaguchi and I am the CEO of MagicAnt. We have been developing apps since the early days of smartphones. I previously worked as a manager at an app development company, and we had a total of around 30 million downloads for all of our apps. Since founding MagicAnt, we have had a total of around 50 million downloads. This year, we reached number one in the US with a game called 1LINE (iOS/Android), so we are working on continuously taking that number one spot.

Taninaka: Can you please tell us about your game, 1LINE?

Yamaguchi: You can tell by looking at it, but 1LINE was developed as a “one-stroke” classic puzzle game with a simple rule that is easy to understand throughout the world from the moment you pick it up and play it.

Taninaka: 1LINE reached number one in the US App Store rankings, but in today’s session, I’d like to ask you about how the marketing operations were carried out until the app reached the top spot. First, I’d like to ask you about the differences in marketing between North America and Japan. What are your thoughts, Mr. Sakamoto?

Sakamoto: Hello, my name is Tatsuo Sakamoto. I am in charge of business development at Lion Studios, a media division of AppLovin.

“The biggest difference between overseas and Japan is that overseas, the reliance on online advertising is close to 100%.”

Plainly speaking about app marketing, the biggest difference between overseas and Japan is that overseas, the reliance on online advertising is close to 100%. As a publisher, we have released around five to six titles in the past six months that have reached number one in the US App Store rankings, but to my knowledge, we have never spent any money on promotions except for on digital and online advertising. We increase our rankings by earning downloads on a very large scale through ad placements on various ad networks, including AppLovin.

Taninaka: Does this mean that you do not run many TV commercials in the United States? In Japan I believe you do so because it is very effective.

Sakamoto: The biggest difference is that the key stations that you can watch on a terrestrial broadcast signal are limited to channels 1 to 12 in Japan]. In the United States, people watch cable television, so there are hundreds of channels to choose from. Excluding special events such as the Super Bowl, there aren’t any channels that are watched simultaneously by a double-digit percentage of viewers. It’s very segmentalized. Realistically, it’s extremely difficult to reach out and produce volume with a TV commercial, so we inevitably turn to online channels. 

Reaching number one in the US app store rankings

Taninaka: I’d like to address my next question to Mr. Yamaguchi. When you reached number one in the US rankings, what kind of promotions did you run on what types of channels specifically? Also, what kind of networks did you use, and what was the ratio for each one?

Yamaguchi: When we carried out promotions, we couldn’t spend our budget all at once, so we selected the Unity platform, which can distribute on a global scale, and ran a broadcast test as a test promotion. It tested well, so we used the top five or six companies in AppsFlyer’s Power Ranking, such as Facebook and AdWords, and only distributed the app through ad networks that could distribute globally. Because we make casual games, almost 80% of our promotions were in a video format.

“Because we make casual games, almost 80% of our promotions were in a video format.”

Taninaka: So the networks you selected all have a big video inventories. Approximately how long did you conduct the initial tests?

Yamaguchi: The test period was around one month.

Sakamoto: What did you look at during the tests? What was the CPI, and where and how much could you acquire? Or, did you look at the KPI after the installations?

Yamaguchi: Both. For example, we looked at how many downloads we could acquire with one dollar. We were aiming to reach the number one ranking, so we knew how many downloads we needed and had measured the budget scale. There were actually no users in the United States so we calculated the LTV (lifetime value) once we accumulated a certain number of users.

Taninaka: By the way, did you go after number one from the get-go, or was it more like, “we reached the number one ranking as a result of making investments because the ROI was good?”

Yamaguchi: In this case, our intention from the beginning was to grab the number one spot. It also depends, as there are circumstances such as the accounting period.

Taninaka: It’s fine if you can’t provide specific figures, but how long did it take, and how much money did you spend per day to reach the number one spot?  

Yamaguchi: The day we reached number one, we had a total of around 150,000 downloads. Of them, around 100,000 were non-organic, or in other words, were acquired through ads. The CPI was around 70 yen, so we spent about that same amount. I’d say on a monthly basis, we spent around 100 million yen just on ads for 1LINE.

Sakamoto: Obviously you don’t have a set budget. Like, this month, we only have this amount of money to spend. How is that aspect managed?

Yamaguchi: The basic idea is that if the acquisition cost is lower than the LTV, we’ll utilize it as long as cash flow is generated, and we don’t really think about it in terms of a set budget. We work based on the idea that if it yields a profit, we’ll hit the gas.

Localization of advertising creatives

Taninaka: When creating ad creatives for the overseas market, what are some things that you’ve modified from the ones used in Japan?

Yamaguchi: In terms of localization, due to the nature of the games that we make, we don’t require much text, so I think it’s ideal if you can convey the gameplay just by showing in-game videos.

Taninaka: So you create them with the objective of properly conveying the content of the game to the viewers?

Yamaguchi: Yes, that’s right. Promoting the actual in-game play is much more effective than TV commercials.

Sakamoto: In the beginning, a video of 1LINE was shown, but thinking about it now, I don’t remember whether the UI was in English or Japanese. I think that if you saw that video, Japanese people would install the app, understanding what it’s about. That is why leaving out unnecessary things and making sure that the moments you believe are the most enjoyable when playing the game is key. Mr. Yamaguchi, how many creatives do you create?

Yamaguchi: During the test promotion stage, we prepared about two types, vertically and horizontally. We have in-house creative designers, and they generally take around 3-4 days to create them.

Taninaka: So when they look pretty good and you’re ready to hit the gas, you continue adding them from time to time?

Yamaguchi: Yes. During the test stage, we make around two creatives without spending too much manpower, and during the promotions stage, we increase the number of creatives and variations.

Calculating ROI

Taninaka: This is a bit off topic, but can you tell us how you calculate ROI?

Yamaguchi: We use the following calculation formula:

LTVARPDAU (average revenue per daily active user × TAD (total active days per user))

Sakamoto: With TAD, say you acquire 100 users on that day and you graph a curve that depicts retention rate decreasing by 50% the following day, and down to 40 users for the following retention rate. The profitability per one active user per day is a certain amount, so if you have 100 users on day one, you’ll make whatever 100 x that ARPDAU is, and on the second day you will make 50 x, and continue adding the figures to produce the average LTV per user.

Taninaka: So around a week after is the where you’re looking the most.

Yamaguchi: It depends on how much we continue to step on the gas. For example, Happy Glass (Android | iOS), which ranks high in the App Store even in Japan, has been in first place for an entire month. It’s strange even for me that it continues to grow. We do spend a lot and the revenue continues to increase, so we look at the figures by freeing up the resources. Test promotions and a “never give up” spirit are what’s important.

Taninaka: Mr. Yamaguchi, I’m sure there are many people here that want to release their apps overseas, mainly in North America. What kind of advice would you offer them?

“Improving your product while looking at data is extremely important.”

Yamaguchi: I believe that casual games can be developed in a short period of time. Therefore, I think that it is best to run test promotions once the core game is completed, produce actual figures such as retention rate and CPI, and quickly determine whether they are good or not. Improving your product while looking at data is extremely important. In the sense of creating a situation where you can quickly view figures, I think that it’s good to first try a test promotion, even if it is small.

Taninaka: Thank you. How about you Mr. Sakamoto?

Sakamoto: I agree 100% with what Mr. Yamaguchi just said, and if I can add one more thing, I’d say that having a “never give up” spirit is important.

Yamaguchi: Yes, that’s very important.

Sakamoto: Ultimately, not all games will be a hit, and to put it the other way around, the chances of a game hitting is closer to 10-20%. With that in mind, it’s tough when you can’t determine when a game is a flop and that you should stop production quickly, and move on to the next project. Conversely, that’s how many times you will fail. All developers and publishers, no matter who they are, have failed many times.

“All developers and publishers, no matter who they are, have failed many times.”

I think that when you start off with an expectation of “this will probably fail but it might work,” and carry out small tests. You may realize that “this may be a hit,” and can quickly make a decision and move forward. I think that it’s better to have that type of mentality.

Taninaka: It is a pretty painful topic. I used to make games as well, so I understand the struggles. Well, this looks like a good place to conclude the session. Thank you for your time.


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