1. 身处东方，坐拥全球各大应用程序商店

2. Thank you for sparing your time to come into this session.
Established in the year 2000 in Seoul, by a bunch of students from Seoul Nation University, we were one of the first mobile game companies in the world established.
We’re now 10 years old and today I’ll brief you quickly on how we started developing games for the global market as a Korean company.

3. 2000
开发出的第一款韩国手机游戏
In the year 2000, we were one of the first mobile game companies in the world established. The carriers in Korea started introducing virtual machines on cellphones and opened a market where publishers could launch their products.
Year over year, our market grew.

4. 我们需要从韩国走向世界吗?
With 50m population, this is a size that is not too big, not to small.
We knew that we had to go global at one point and thought that we should prepare early.

5. 2003-2005 运营商是我们仅有的客户 市场封闭 分销网络支离破碎 运行设备参差不齐 我们的服务对象是全球游戏发布商
Not sure how many of you have developed in the traditional world, but this was how the market was like.
The carriers were our customers. Brands were important. They selected which game they wanted to publish, and it was important to create a product that the carriers liked rather than focusing on what the customers liked. The market was closed, meaning that publishing rights were only given to certain amount of companies. There were hundreds of carriers worldwide and thousands of handsets to deliver to.
In this situation, our best bet was to work for the global publishers. We worked with a lot of different publishers back then including Hands-On, I-Play (now Oberon Media), Disney, Centerscore (now EA). They had the distribution power and they also were capable of porting the devices to all the handsets in the market.
Some of the titles that we’ve developed back then were CBS Sportsline Baseball, Skipping Stone, Traffic Mayhem etc.

6. 2006
第一款直接在美国发布的手机游戏
While working with different partners we grew our relations within the industry, we also faced an issue that we couldn’t work according to our schedules, had to wait for a lot of launches by the publishers. And being in the industry for a while, we felt confident that we could also get a direct deal with carriers and also market the products well ourselves even without brands.
We opened our US office in February 2006 in order to directly publish with the carriers.
Getting the contracts with the carriers was tough, and it was hard to even break even due to all the cost that we had to spend on porting to multiple devices. Quantity was important, but we couldn’t do a lot of titles knowing that most of them might fail. We slowly focused on developing titles that really made sense to us.
We thought that surviving was important.

7. 我们需要从美国走向世界吗?
We asked this question again after struggling and we decided that we had to reduce headcount in order to survive.
“Do we have to go global?”
Staying alive was a strategy and I almost got pulled back to our headquarters.

8. 2008-2009 iPhone 市场开放 分销网络遍布全球 运行设备统一 新的机会!
In 2007 the iPhone was introduced and then the App Store was introduced.
This was a brand new market. A market that was open, one submission that enabled distribution worldwide, one device to develop for.
It was still a question if this will become mainstream earlier, but it was definitely an interesting new opportunity for us.

9. 十年来我们在韩国与600家公司激烈竞争力争上游.
我们相信我们必将成功.
After seeing the initial trends on the game, we noticed there were lots of independent developers succeeding. As a rather bigger company at that stage, this was perfect because it wasn’t a brand driven market, good quality contents could rise easily to the top too.
It reminded us of the early days in the Korean market where there were up to 600 companies who were competing with us in the mobile gaming market. Throughout multiple years of competition, we rose to the top, and we were confident that one day we will rise to the very top too.
We were confident in succeeding.

10. 已投放市场的棒球超级巨星游戏
We prepared our Baseball Superstars game. There were not enough Baseball games in the market that had enough quality back then.
We simply launched the title and did our best to promote the game. Our first day revenue was $77.

11. 调查和分析
We weren’t sure what the reasons were, so we started reaching out to the users.
We’ve done tons of survey in different formats to understand who the players actually were, how they decide to purchase, what menus they were looking at etc.
We learned a lot throughout this process.

12. 极简版及其销售情况 Of course we tried doing lite editions and also sales.
After a couple of months after launching the lite version of our games, Baseball Superstars Lite game suddenly started to pick up momentum and made it to the Top 20 of all games.
Baseball Superstars ended up doing more than a million dollars in sales, and we started getting busy.

13. 接下来呢?
So now that we have a successful title? What title do we do next?

14. 构建航班控制系统?
We saw that Flight Control was extremely good game optimized for the platform.
Everybody loved it and thought we should create a game like this.

15. 0.99美分的游戏 激烈的竞争 自下而上的项目构建 公司战略难以制定
But at the same time there were people who were concerned about $0.99 cent games in general.
How can we do something that’s almost like aiming for a lottery ticket? Can we build a corporate strategy saying it is to create multiple “Flight Control”s?
This didn’t give us an answer, and we weren’t confident we could sell million copies of the game.

16. RPG
Our next best game was an RPG game. It was extremely successful in Korea, everybody thought it was a great game.
But traditionally there were no mobile game companies doing role playing games.

17. RPG 对印度开发者而言成本高昂 大型发布者缺乏重视 客户需求巨大 产品价值高
This was an opportunity for us.
RPG was a category that indie developers couldn’t easily develop due to the high production cost.
Bigger Western publishers were interested in developing for other categories since RPG was lower priority, and Japanese publishers still haven’t committed to RPG category back then. It was a wide open battlefield for us.
We knew that people loved RPG games on their Nintendo DS, so we definitely thought it would be worth the shot.
And on top of that we could charge a premium price for the game since everybody would think that this game is worth $20 on handheld consoles.

18. 不是行家? 缺乏资金?
I remember that there was a debate on whether we change the graphics this time for ZENONIA.
The characters of ZENONIA had big heads and short legs. But this was exactly what people were used to playing on their GBA, so we positioned the game as “The Return of Classic Action RPG”.
In the past we changed a lot of our art when launching for the US market. No big heads, no short legs…
As a matter of fact, it’s almost exactly the opposite nowadays if you want to succeed on App Store. Look at all the games on the right.
Although we did have a lot of typos, a lot of people loved the witty dialogue within this game. Our team actually did the translation ourselves since we were tight on budget and wanted to make sure it was translated well. We still handle the majority of our translation internally. People want to have fun on their devices. 
We believe if it is a great game, it doesn’t necessarily require specific type of art. People love colorful cute art!
Original Version of Path of a Warrior, 2006
Path of a Warrior, 2007

19. 不是行家? 缺乏资金?
I remember that there was a debate on whether we change the graphics this time for ZENONIA.
The characters of ZENONIA had big heads and short legs. But this was exactly what people were used to playing on their GBA, so we positioned the game as “The Return of Classic Action RPG”.
In the past we changed a lot of our art when launching for the US market. No big heads, no short legs…
As a matter of fact, it’s almost exactly the opposite nowadays if you want to succeed on App Store. Look at all the games on the right.
Although we did have a lot of typos, a lot of people loved the witty dialogue within this game. Our team actually did the translation ourselves since we were tight on budget and wanted to make sure it was translated well. We still handle the majority of our translation internally. People want to have fun on their devices. 
We believe if it is a great game, it doesn’t necessarily require specific type of art. People love colorful cute art!

20. 各种社会媒体渠道
2009 was a huge year for social media channels. Traditional definitions of PR was swiftly changing and we thought it was a great opportunity for companies like us.
We didn’t have enough money to afford PR channels and I didn’t have much contact there too. I set up our Twitter and Facebook channel myself and started talking with our customers.
Now we have more than 9000 fans on twitter. Although you don’t have an office in the US, you can start talking with your US fans immediately through Twitter.
We also set up our forums too to talk more with our customers and let our fans talk to each other too.

21. 各种视频
Not sure if you can see all the numbers here, but we showed our games and let the reviewers video tape our games at different conferences and also ran our own YouTube channels. Tens of thousands of views racked in really quick, and the forum threads on our games went up to almost 100,000 views.
This was great promotion for the game.

22. 视频的传播效应 不同年龄人士对蝴蝶女郎的不同反应
There were even parodies of our videos due to the cosplay that we’ve done for promoting the sequel of ZENONIA.

23. 新闻发布会
Since it was a “different” game, the media also picked up the title very easily too. There weren’t that many RPGs, and game review websites love to write about RPG games. We were also easily one of the Best RPG of the Year too.
We got numerous contacts with the press through ZENONIA.

24. 荣登榜首
Apple also noticed our success and started featuring our games through their promotion, iTunes and even stores.

25. RPG! RPG! RPG!
So we kept on making RPG games. We made millions of dollars from these games. And we continously cross promoted our games to new RPG games.

26. ILLUSIA
Here’s the latest RPG that we’re releasing this week on Thursday, December 9th. An example of our videos that we’ve created for YouTube.

27. 2009-2010 更大的市场 更广阔的分销网络 更多元化的运行设备 多平台战略
After the success of the App Store, huge companies started trying to replicate the success of the App Store. More markets, more distribution, more devices…
We wanted to catch all of our audiences and layed out a multi-platform strategy.

28. 各种应用程序商店 Samsung Application Store
Which App Store is the biggest? Is it the carriers? Apple & Google? The Console Players? Facebook?
We’ve kept track of all the latest figures through various press releases and continuously set priorities on new platforms to pick.

29. 各种不同平台的屏幕大小
The screensizes were all different and we created libraries to easily scale our games. As the screensize of handheld games continuous grew every year, more work kept on piling on us. Look at how small the one of the first devices on mobile we worked on were, and how big it currently is. The screen resolution is the same as a 720P HDTV!

30. 平台开发战略
开发项目复杂程度
着重于品牌
XBLA
着重于开发
高度重视
iPhone
PSP
Mini
Casual PC
DSiWare
Zeebo
WIPI
BADA WM
Android
We couldn’t do all due to technical constraints and we tried to hit the most efficient spot possible.
We thought staying Laser Focused was missing out too much of the opportunity and couldn’t do all platforms like EA or Gameloft does.
We didn’t have strong distribution power and focused on the smartphone sector and chose to go a little wider onto the handheld consoles and larger screens. FB
BREW
JAVA BB
着重于分销网络 手机
智能手机
可移动操作台
操作台/个人电脑

31. 多平台项目开发
We developed porting layers for every new platform we started supporting using our existing library so that we could easily port to iOS, Android, DSiWare, PSP minis and multiple other platforms.

32. GAMEVIL 销售情况数据
This is how our sales looked year over year. Through this efficient one-source multi-use strategy, we believe our profit margins will increase even more with more opportunities on the horizon.
We were writing new history from 2009 and now a lot of people recognize our brands in the US.

33. 2010 应用程序商店 社会媒体 多种平台 易于创建全球性品牌
It doesn’t matter where you have your offices. Flight Control is from Australia, Angry Birds is from Finland, Doodle Jump is from New York. Speaking in statistics, the next one will probably be from the Eastern World!!
The world is truly flat.
App Stores are providing ways to distribute games everywhere in the world from your home office.
Social Media is allowing you to talk to any of your fans around the world.
Platforms are defragmented and you can develop from any place around the world.

34. 我们一往无前
Our Journey Continues….

35. 适应变化
制作伟大的游戏
从不言弃
I’m just a normal guy who is interested in tech and games. You are probably a better person than I am.
The biggest reason why we believe that GAMEVIL is where we are now is because we never gave up, continuously adapted to changes, and created great games with passion.

36. 谢谢! contact@gamevil.com
I’m just a normal guy who is interested in tech and games. You are probably a better person than I am.
The biggest reason why we believe that GAMEVIL is where we are now is because we never gave up, continuously adapted to changes, and created great games with passion.