The Strange, Scary, Fascinating, Exciting Future of Video Games, According to A Giant

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“We’re going through, as an industry, just an unbelievably difficult transformation, that is not from one business model to another but from one business model to a myriad of different business models,” Moore said to me as we chatted in L.A.

Business models. Not the sexiest of topics. We were definitely in the realm of Things COOs Care About. But it does involve you, so bear with me.

“It is a very interesting period,” he said. “And I”ll say interesting period in our industry’s history when the conventional wisdom of ‘We’re going through a console transition and, when the new consoles come out, everything is going to be fine again’, is no longer the case. Consoles are still going to be a very important part of what we do. But so are browsers. So are iOS devices. So are Android mobile phones. So are PCs, which are feeling a renaissance. It’s all coming together in this potpourri…”

Moore: “I think, ultimately, those microtransactions will be in every game, but the game itself or the access to the game will be free.”

OK, stop again. A little more context is needed. The mood of my chat with Moore was the mood of much of E3. Many game creators and business people with whom I spoke seemed tired of this generation of gaming and said they felt gamers were ready to move on. Some, of course, are excited about selling games to the huge numbers of people who own Xbox 360s now rather than to the relatively tiny number of people who will own a next-gen Xbox in, say, the fall of 2013 when that machine is just getting started. But coming in from the sides, breaching the walls of the hardcore gamer’s paradise that is E3 are the Zyngas and the Apples, the people making games for Facebook and iPad and Android. Companies like EA have been branching out to all of those fresh areas, just as they’ve been trying out new or imported business models—making their games free-to-play (you download the game for free and pay for gameplay-relevant upgrades and/or cosmetic items later); selling downloadable expansions even on the day a game launches, and so on.

Overall, there’s a sense of confusion as to what is really going to take hold, whether one form of gaming—primarily the $60 console game—is going to be dominant in the future. Hell, you’re about to hear from a COO who raises the question of even how relevant the $60 console game will be. In fact, let’s get to that part now:

Kotaku: “How do you balance the effectiveness of any microtransaction-based game design or business model with the anxiety a gamer might feel that they’re being nickel and dimed?”

Moore: “I think, ultimately, those microtransactions will be in every game, but the game itself or the access to the game will be free. Ultimately, my goal is… I measure our business in millions of people have bought our game. Maybe when I’m retired, as this industry progresses, hundreds of millions are playing the games. Zero bought it. Hundreds of millions are playing. We’re getting 5 cents, 6 cents ARPU [average revenue per user] a day out of these people. The great majority will never pay us a penny which is perfectly fine with us, but they add to the eco-system and the people who do pay money—the whales as they are affectionately referred to—to use a Las Vegas term, love it because to be number one of a game that like 55 million people playing is a big deal.”

Kotaku: “You’re saying inevitably all games are going to be that model?”

Moore: “I think there’s an inevitability that happens five years from now, 10 years from now, that, let’s call it the client, to use the term, [is free.] It is no different than… it’s free to me to walk into The Gap in my local shopping mall. They don’t charge me to walk in there. I can walk into The Gap, enjoy the music, look at the jeans and what have you, but if I want to buy something I have to pay for it.”

Kotaku: “I understand how that would work for Madden. I can’t imagine how that would work for a Mass Effect. That’s a storyline game.”

Moore: “That’s the point. If the business model… what do you do? It may well be that there will be games that survive and they are the $60 games, but I believe that the real growth is bringing billions of people into the industry and calling them gamers. Hardcore gamers won’t like to hear this. They like to circle the wagons around what they believe is something they feel they have helped build—and rightly so. But we have seen, whether it was with the Wii getting mom off the couch to do Wii Sports or whether it was, more recently EA Sports Active, where we get females who love to work out, all the things that social gaming did—Rock Band did it, Guitar Hero did it—all of the things that elevated it from being a dark art of teenage boys usually sequestered in the bedroom—that it was testosterone-filled content that everybody railed against—to where everybody is a gamer…if you can move your index finger and swipe it this way, your’e a gamer. And that has got to be the way it goes.”

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You really could have called this E3 the anxiety E3, the E3 when people wondered and even worried about what was coming next. But why confine that to E3? The feeling’s been rumbling for a while and there are people—younger gamers, I imagine—who might tell codgers like me who grew up playing Super Mario Bros. to get over it and embrace our free-to-play League of Legends era.

Anxiety?

Moore: “We can’t end up being music.”

A big gaming chain went out of business in Europe. So, here’s Moore, cheering for the big chain in the U.S.: “We all love going to GameStop and chatting with the guys. You want these guys to stay in business. You’ve got to provide them with opportunities to play in digital, otherwise they become Blockbuster. Otherwise they become Tower Records. ”

Under threat?

Moore: “We can’t end up being music.” (I’ll get back to that one.)

***

Peter Moore, the polished COO, gives the impression of a man who is bushwacking, hacking at the reeds and swatting at the gnats, squinting at the sun while trying to find a clearing. And the last thing he yearns for now—though he likes constructive criticism—is what he thinks are unfair potshots.

Moore: “You’ve got this potpourri of things coming together in this fabulous kind of soup that we need to figure out as an industry… I just ask for patience. You know me pretty well. I read all of this stuff…. I think at times gamers need to understand that we need to work our way through this stuff. They need to be patient with us as we try to figure out what are the business models of the future. I am the chief operating officer of a company that has offices in 70 countries and is responsible for the employment of over 9000 very creative, hard-working talented people. And when you see the things—look, I know it’s the Internet, I know it’s anonymous…

Kotaku: “It’s not all anonymous. Somebody with a name called you ‘cynical bastards.’ You referenced that [in an earlier speech].”

Moore: “I did. I took umbrage to that in front of you. I just read that story and, what we’re referring to—I’m almost doing the interview for you—is the fact that we decided to help some indie developers and bundle some stuff up…”

Kotaku: “Right, those were partner games, right?”

Moore: “Yeah, these were Partner games. EA Partner games… before I even came to EA, I was in awe of what EA had done in terms of EA distribution and EA Partners, to get out there and help provide a platform of distribution for developers that just couldn’t’ put their stuff out on the market. We were the guys that would do that. I don’t know of anybody else in this industry that’s got the record that Electronic Arts have, way before I got here, welcoming stuff. Look, we do it to make money. No bones about it. But we do it so that we can share money and put games out in the market. And you can name a hundred of them that you know EA has published as an EAP or, previously, EAD operation. Probably the biggest one was Rock Band, which was an EAP title which we helped market. We worked with MTV and really helped that little bit of a social change to what gaming was all about. Yes I know Guitar Hero was there, but Rock Band became a bigger… that was an EAP title. So, the ‘cynical bastard’ thing, and, of course, because of who it was and it got so much coverage that I just thought: ‘This is not right for the employees who have worked hard to put this together. My team at EAP had worked with these developers and said, ‘let’s just bundle this together and offer up a deal.'”

Kotaku: “Did you call Notch?”

Moore: “No. ”