I feel like gifting has a bad name in games. Like the term “social” it has been ascribed to Facebook games that often implement interesting features in unexciting ways. Understand the psychology behind gifting in general – the phenomenon that is ubiquitous to all human culture and almost every human interaction – and I think things get a little more interesting, as well as suggest features that would work better than the average Facebook game.

Gifting and exchange are a component of almost every social interaction. This is even apparent in the way you greet your colleagues in the morning. If you see someone for the first time in the day that you work with then you are obliged say hello. They, in turn, are obliged to acknowledge your greeting and respond. If you barely know each other the exchange is short and perfunctory: “hey”, “hey”. If you know each other better, it might spawn a longer conversation or at the very least require more conviction.

Even this mundane situation exhibits what anthropologists know as the three obligations of gifting:

• The obligation to give (to say hello in the first place)
• The obligation to receive (to acknowledge that greeting)
• The obligation to reciprocate (to say hello back)

In such a minor social interaction the exchange is fast and low value. But even so, to omit any of these steps would be rude. If a colleague continually ignored your greetings, then you would think less of them. Let’s examine the three obligations in a little more detail.

Giving

Giving gifts or initiating exchange is an action that is required in certain situations. In western culture we buy each other gifts at Christmas and on birthdays, and we take a bottle of wine or contribution to the meal for a dinner party. Failure to give at these times can be a serious faux pas depending on how well we know the other person.

Receiving

When someone offers you a gift you are obliged to accept it. To refuse a gift is to be unfriendly, if not rude. To turn down an invite to dinner for no good reason would be frowned upon, to refuse a Christmas present from a family member almost unheard of.

Reciprocating

There is an obligation to repay all gifts. In some cases this is more immediate and calculated than in others. If you give a friend a birthday present then you might expect one back from them, and Christmas gifts are often a minefield of social obligations to find gifts that correctly reflect the value previously received and current state of the relationship between two people. The tighter the relationship between two people the more that the value and timing of gifts becomes varied – both parties expect that everything will work out in the long run.

Indeed to repay a gift too quickly or exactly and remove the implied social debt is as unfriendly as not returning it. If your friends help you move house you deliberately repay them with something where the value is hard to calculate, such as cooking them a meal, rather than paying them cash. Relationships typically start with small one-off gifts of time or effort and gradually extend into a continuing cycle of reciprocity. In extremis, almost all major religions advocate giving to charity for benefits in the afterlife or from the universe in general. We have an innate belief in karma of one kind or another that is hard to shake.

Now we’ve gone over the theory, let’s look at gifting in three games, in particular, to see how it’s applied:
1. Pearl’s Peril is a Facebook and mobile hidden object game with fairly typical energy and item gifting. (Disclosure: I’m currently game designer on this game)
2. Clash of Clans gives you the ability to donate troops to your clan members when they request them.
3. Animal Crossing has a sophisticated gifting system with both other players and NPCs.

Pearl’s Peril

As in many Facebook games Pearl’s Peril allows you to send energy, soft currency and low value collection items to your friends. In each case it doesn’t cost you anything to send the gift – the gift is created out of thin air during the gifting process, and the process itself is incredibly streamlined, allowing gifts to be sent from multiple points in the UI and delivered to the recipient’s inbox where they are accepted in a click that is barely noticed coming into the game.

The result is a social feature that is rather like greeting a colleague each morning. In interviews players describe it as a habit that they fall into – almost like a pleasantry of saying hello. It’s a valuable feature because they value the energy, but the gifting act itself is less so. Players do not feel obliged to log in just to send gifts to their friends and maintain the cycle of exchange.

Clash of Clans

In Clash of Clans you can donate troops to your clan members. You have to spend resources to train these troops yourself, and you could use them in your own attacks if you didn’t give them away. In many cases the only value that gifting affords you is allowing you to take a few extra troops into battle: those troops stored in your clan castle and donated to you. It does however give lower level players the opportunity to play with much more powerful troops given by other members of their clan, foreshadowing units they will have in the future if they stick with the game. It also requires some degree of coordination so that you get troops that support your style of play, which stimulates discussion in the chat.

The system is much more powerful than energy gifting in Pearl’s Peril. Clan members can see how many troops they have donated vs. received and compared to other clan members helping them keep track of a number of different relationships and making sure that gifting doesn’t get too imbalanced. Donating troops was really the only thing that clans allowed you to do originally, but the system has been further reinforced by clan wars, which provide an obvious occasion to donate troops.

Players that fail to keep up their side of the bargain – not giving as many troops as they receive, or not giving troops when they should – face being kicked from their clan to make room for more committed players. Higher ranking clans often state these obligations and enforce them rigorously. At GDC this year, Supercell stated that the 2 year retention for Clash of Clans is 10%, and I believe that the gifting economy that they have created in the game is a key component driving this.

Animal Crossing

Anyone that has played Animal Crossing will tell you it is a magical game that creates quite a unique atmosphere. Dropped off in a village of anthropomorphic animals you can gather fruit, fossils and flowers, catch butterflies and fish, design your own clothes and furniture and develop relationships with the NPCs and other players in your village. There is no real goal, but players typically spend their time collecting things and exploring the world, which changes season by season and through a day / night cycle.

It is perhaps the game that shows the best giving mechanics that I have observed. The calendar gives you a natural context to give things due to birthdays, other occasions or simply because you found something you know they want or don’t have space for yourself. NPCs also prompt you to gift on a regular basis, by asking you for things, letting it known they are looking for particular items, and occasionally sending you gifts themselves.

Most of the activities in the game drop items on a semi random basis, with some items rarer than others, but the selection constrained by the time and place that you are collecting. This makes gifts unique items, with each one requiring time and effort to find in the game world. In contrast to the commoditised resources that are given in Pearl’s Peril, you know each gift is special.

Indeed even sending the gift requires effort as you need to find the recipient in the game world or visit the post office to send it to them. Even if players do have multiple items that they want to give, each one needs to be given individually, rather than sent off as a bulk action. Similar to sending someone a hand written note over an email, it enhances the sense that the donor really cared about giving something to you.

The result is a powerful system with real emotional weight behind each gift. Gifting is one of the key systems that runs throughout the game and gives it such a unique and magical feel. The series consistently gets superb ratings from critics and is listed as one of the best selling games ever with c.27m copies sold across 4 titles. However the real demonstration of how effective this gifting system is comes from anecdotes like this one, about a mother with multiple sclerosis’s gifts to her son. It’s impossible to imagine either Clash of Clans or Pearl’s Peril creating this kind of story.

Conclusion

Gifting and exchange are ubiquitous human behaviours found in all cultures and a huge variety of situations. Gifting consists of three obligations:

1. To give in certain situations
2. To receive gifts offered
3. To reciprocate gifts received

Increasing the value of gifts increases the emotional engagement and social obligations that players experience. Increasing the power of gifting can be done by:

• Making gifts unique rather than commoditized
• Making gifts require more investment from the giver
• Making the giving process itself require some effort
• Prompting players to give in clear situations

Great gifting systems support strong long-term retention, player satisfaction and by extension commercial success.

Games are content, and so the economics of games are largely the economics of content. Content is what players pay for, and content is what takes time and money to build, with both the quality and amount of content increasing production costs. I’ve been playing a lot of Dragon Age: Inquisition recently, and having a great time. I’ve already sunk just over 20 hours into it, and if friends and reviews are to be believed, I have at least another 30 to go before I finish the main storyline.

Dragon Age Inquisition has a huge amount of high quality content to explore

The world you can explore is vast, filled with scripted missions, side quests, wild beasts, roaming bandits and hidden secrets. Romping across the landscape from rocky deserts to dank marshes I am both awestruck at the variety and volume of content in the game, and slightly sickened by it. Sickened, because now I work in the industry I know how much time will have been invested into producing everything I see, and how countless days must have been put into dark corridors, rock formations and other mundane details that give the world authenticity, but will be largely forgotten and ignored by players.

Mobile is some way behind the production values of consoles. Partly the hardware isn’t as good yet, and so cannot support such high end graphics. Partly developers have not needed to deliver such high quality games to win customers. But mobile is rapidly catching up, and whilst the quality of content may not be as high, the amount of content needed is already probably larger. The F2P business model dominates mobile, and success here is highly dependent on retaining your players for months or even years. Having something for players to do a year after they start playing your game is no mean feat. Wooga’s hidden object game Pearl’s Peril has 90 weeks of content – something that few if any console games can match, and as a result of this the retention in the game is phenomenal.

Content is a key competitive angle

It’s clear on both console and mobile that the amount of content you can deliver, and its quality are key factors for success. It’s hard to imagine an RPG without the amount and quality of content that Skyrim or Dragon Age has being a success. For a competitive  HOG you need to deliver a similar amount of content as in Pearl’s Peril – something that only one or two developers apart from Wooga can hope to do. One of the reasons that World of Warcraft has become so entrenched is the amount of content that it has built up over the past decade is now almost impossible for other MMOs to replicate.

Pearl’s Peril has 90 weeks of content, each with 5 hidden object scenes and a point-and-click adventure scene

For many games the number of man-hours that have been put into content determines the production quality and amount, together with the efficiency that this time is converted into content, given the tools utilized. The older a genre is, the higher the production values are – by pushing the content bar ever higher, developers shut out competition and establish themselves in franchises for the long term. With each game developers up the stakes, both because they can due to improving tools and existing assets to start from, and because they must to continue attracting players.

Maximizing content

To be successful developers must therefore invest in their tools and production pipeline to match the incumbents in the genre they are going head-to-head with. Failure to do this sort of preparation can only result in failure. Indies and smaller developers that cannot match the content output of bigger companies must innovate on the gameplay mechanics more to succeed. By innovating they can produce a new experience that players will not directly compare with established games. No one compares Realm of the Mad God to World of Warcraft, or Faster than Light to Mass Effect. There are also a number of techniques that can be used to stretch content for as long as possible, and all developers, regardless of their content output are wise to use as many of these as possible.

Randomness: Games with randomness are far more playable than those without some element of randomness. In Candy Crush Saga, levels are different each time they are played due to the random way that gems drop into the board. Players replay levels effectively waiting for the right combination of gems to drop. Imagine the game without this randomness and each level has a solution that can be found by trial and error relatively quickly, and the levels become boring.

Alternative choices: Allowing players to customize their play experience in different ways allows them to go back and replay the same content to explore how their decisions influenced the game. Whilst this requires some additional content that not all players may see, it allows die hard fans to play through most of the same content several times with minor variations. A good example here is how Telltale games allow you to replay episodes making different decisions each time. These decisions allow you see how the other characters react and the story pans out. In Dishonored the skills you upgrade give you different ways to complete each level, and the amount of violence that you employ throughout the game affects the way the story pans out to give replayability significant appeal.

The way you play Dishonored affects how characters interact with you, the overall ending and even the weather in levels.

Events: Most successful mobile games run timed events of some form. Often the mechanics of the event are very similar, but the appearance of exclusive content that is only available for a limited period engages players extremely well. For the chance of getting a new unit, building or item players will happily grind through a lot of content that they have already seen before, and the most active players will often only be playing for the events schedule, having already exhausted the other content in the game.

Difficulty levels: In games where the difficulty of levels can be increased, then replaying the same content is fun because it requires players to master a higher skill threshold than before to complete. Changes in difficulty can often be made with config changes that are cheap to implement, and the players will still enjoy the content. Guitar Hero or Rock Band use this mechanic to allow you to replay the same tracks again and again at a level that is always challenging.

Rock Band lets you play through the same songs at several different difficulty levels

User Generated Content: In Clash of Clans, players spend most of their time attacking the bases of other players. As the layout of each base is set by the defending player then an incredible amount of variation is generated by the players. All Supercell needed to do was to give players the tools reason to vary their base layout and the players take care of the rest. Different bases require different tactics to attack and so even though additional buildings and units are released only very slowly, players stay engaged in the game.

Conclusion

In any genre, games compete on the amount of content offered and its quality, both of which drive up the cost of production. It is important to recognize the demands of producing this content before starting production and only choose genres where you can compete. Having chosen a genre it is vital that developers build the tools and pipeline to deliver the required content, as well stretch the playtime from their content however possible.