‘Mission: Impossible – Fallout’ Focused Marketing On Video, Partnerships

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Mission: Impossible – Fallout topped the box office this weekend. The marketing was concentrated on partnerships and video—the latter including dramatic stunt work, 360-degree video and, of course, Tom Cruise.

The sixth film in Paramount’s Tom Cruise-led Mission: Impossible franchise earned $61.5 million domestically its opening weekend and another $92 million globally.

Marketing for M: I Fallout focused on spectacle, producing behind-the-scenes footage of the film’s considerable stunt work—especially by 54-year-old Cruise who doesn’t appear to be slowing down any time soon. BMW, the exclusive automotive partner for the franchise since 2011, provided several vehicles and marketing campaigns that highlighted chase scenes and its new M5 model.

Buzz quickly spread about one stunt in particular. The HALO (high altitude, low open) jump required Cruise to jump out of a plane flying 25,000 feet in the air and stop exactly three feet in front of a camera mounted on a skydiver’s head in a very short window of light. According to director Christopher McQuarrie, landing the shot took weeks, ultimately requiring 106 jumps—all while Cruise recovered from a broken ankle.

Paramount also released a 360-degree video that placed viewers inside a helicopter cockpit flown by Cruise.  Together with stunt featurettes, audiences were drawn into the high-octane world of Ethan Hunt (Cruise) and his crew as they fight for their lives—with style, of course.

“I think the more you can involve the audience, the better,” Karie Bible, film historian and box office analyst for Exhibitor Relations told AList. “Given the immense popularity of social media and particularly Instagram, audiences want to feel a level of involvement and participation. Films are not just a spectator sport as it were. Audiences (particular younger demographics) like to post and discuss the movie or experience of a movie with their friends. The more they do, the more exposure a film receives.”

Universal leaned on Cruise’s stunt work to promote The Mummy, as well, turning a zero-gravity maneuver into experiential marketing for fans. VR and 360-degree video have become a popular means of film promotion, with studios producing content for Jigsaw, Star Wars: The Last Jedi and The Meg just to name a few.

All those stunts are even bigger on an IMAX screen—26 percent more, in fact. Since M: I Fallout is specially formatted for IMAX theaters, a video spot asked the film’s stars a series of questions based on “26 percent more,” such as “Would you rather be 26 percent stronger or faster?” In addition, a time-lapse video showed how the historic Palais de Chaillot theatre in Paris was transformed into an IMAX theater.

Paramount invested primarily in video content and was one of the first to test Pinterest’s Promoted Video at max width—displaying M: I Fallout videos on users’ home feeds, following tab and in search on mobile devices. A video spot was also produced for ESPN that mashed NBA star James Harden into footage of M: I Fallout before Cruise performs the aforementioned HALO jump.

Of course, every summer blockbuster needs its star, and Paramount knows it can rely on Tom Cruise. The veteran actor boasts nearly 10 million followers between Twitter and Instagram and is active in promoting his latest ventures. In January, Cruise posted, and ostensibly announced, the title of Mission: Impossible Fallout and quickly garnered over 423,000 likes on both platforms.

Cruise may have considerable box office draw—especially in China where the film opens August 31—but star power isn’t enough to ensure a film’s success, noted Bible.

“I think all films need considerable marketing efforts,” she said. “There are so many things competing for attention from streaming services, television, video games, live events, etc. People have so many options that studios have to market heavily to get audience attention.”

User-Generated Video Content A Win For Advertisers, Says Study

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Originally published at VideoInk.

Jukin Media released results from a research study exploring the effectiveness of the use of organic UGC (user-generated content) in advertising. The study, which was conducted in partnership with The University of Southern California Master’s Program in Applied Psychology, revealed that ads which utilize UGC were perceived as more memorable, unique, engaging, authentic and relatable than traditional video ads.

UGC, as the study defines it, are “videos [recorded] by real people—not celebrities or influencers—and captured on personal devices such as camera-phones.” The findings from the study, which included more than 500 US adults ages 18-54, suggests that UGC provides an authentic way for brands to connect with consumers. Here are a few key findings from the report:

  • User-generated ads were perceived to be more memorable (31 percent), unique (+28 percent), authentic (11 percent), engaging (+5 percent), and relatable (+8 percent) than traditional ads
  • Six-second user-generated ads were 55 percent more likely to be described as unique, and 42 percent more likely to be described as memorable when compared with traditional (or non-UGC) six-second ads
  • Ads featuring UGC garner 73 percent more positive comments on social networks than traditional ads
  • Ads that feature videos that are relevant to the advertised product scored significantly higher for positive affectivity in focus group participants

The researchers noted that in the focus group portion of the study, many of the research subjects who were exposed to ads with UGC congregated around the idea that the ads seemed “relatable” and “authentic.”

”Capturing and harnessing real, authentic moments is incredibly powerful,” said Jukin Media Founder and CEO Jonathan Skogmo. “In recent years the advertising community has begun to embrace UGC for the authenticity that it lends to brand campaigns, but there was little hard data around its effectiveness.”

Skogmo believes that the study confirms what Jukin has been saying for years—that consumers respond favorably to seeing ads that incorporate stories of real people in real-life situations.

“You cannot re-manufacture these organic moments captured by everyday people,” adds Skogmo.

Even before the study, businesses have slowly started to incorporate user-generated content into their video advertisements. Companies that have been quick to utilize this type of content include Subway, Google/NCAA, Dignity Health, Kay Jewelers, Advil, Credit Karma, and Samsung.

For those looking to incorporate UGC into their advertising strategy, the report notes a few things to look out for:

  • Because UGC is captured “out in the wild,” rather than on a sound stage or set, many potentially damaging items can appear in UGC videos. Trademarks, personal likenesses, and sometimes unexpected things like buildings and landmarks need to be cleared depending on your project. Consult a clearance professional or a firm who will indemnify you of any potential liability.
  • Don’t assume that just because a person posted a particular video on social media that they are the rightful owner of the video. Videos are often copied and re-uploaded to the web by third parties that have no claim to the copyright. The rightful copyright holder is the only person who can legally grant a brand permission to use a UGC video in a campaign.
  • Don’t expect viral success. Like any ad, the goal should be to make an impression on your target market. If your ad gets shared organically, that’s a bonus.

Nicolas Feuillatte Partners With Cirque Du Soleil For Immersive Champagne Experiences

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Nicolas Feuillatte has become the first official Champagne partner of Cirque du Soleil, hosting luxury guest lounges and “immersive” experiences beginning in September.

The Champagne brand joins Hennessy Black as an official alcoholic beverage partner in an exclusive, multi-year contract. The partnership includes an interactive area called the Champagne Nicolas Feuillatte Lounge where Cirque du Soleil guests will be served Champagne and hors d’oeuvres. The lounge will feature an “immersive” experience, Nicolas Feuillate announced, although details were not provided and the company was not available for comment at publishing time.

In addition to the lounge, Cirque du Soleil will serve Nicolas Feullate Champagne at concessions at more than 800 annual performances in the US and Canada through the year 2020. Shows will include Cirque du Soleil Volta, Luzia, Amaluna and Alegría.

Partnering with Cirque du Soleil is in keeping with Nicolas Feullate’s ongoing campaign theme, “Enchantment Awaits.” Beginning in September, the brand’s marketing campaign will include a new website and visual rebranding in the US.

“Both Nicolas Feuillatte and Cirque du Soleil were founded on the strong ideals of constantly reinventing ourselves and creating moments of awe and inspiration,” said Christophe Juarez, CEO for Champagne Nicolas Feuillatte in a press release.

The US became Nicolas Feuillatte’s largest export market last year, although the brand slipped seven percent in terms of cases sold. A high-profile partnership such as this may aid in brand awareness, especially around emotionally-charged outings like the theater.

While it is the youngest of the major Champagne houses, Nicolas Feulliatte is the fourth best-selling Champagne in the world. The brand has plenty of competition, too. The American market has been the leading export market in terms of value three years running, according to data from Champagne, France.

Spotify Q2 Earnings Show Strong Growth Through Partnerships, Mobile And Emerging Markets

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Spotify reported positive results in its Q2 earnings report, with 180 million monthly active users and 83 million premium subscribers, both of which increased by 30 and 40 percent respectively year-over-year. Growth largely came from emerging markets such as Latin America which have outpaced established ones. That led to €1,273 million ($1,491 million US) in total revenue, up 26 percent year-over-year.

CEO and chair Daniel Ek kicked off the earnings call by clarifying Spotify’s licensing deals, which allow artists, especially independent ones, to license their music directly with the service instead of going through third-party distributors.

As explained during its March Investor Day presentation, Spotify is building a two-sided marketplace to provides tools and services for labels and artists to focus on promotion and marketing. Ek said that, as a platform, it has always licensed music from rights holders both large and small, and will continue to license music from whoever owns the rights.

“Our goal is to get as much music onto the Spotify platform as we possibly can,” he explained.

There are three long-term success metrics:

  • Growing the number of creators on the platform
  • Increasing the number of musicians using the promotional, marketing and career management tools
  • Growing the number of artists and labels paying the platform for those tools and services

“Licensing content does not make us a label, nor do we have any interest in becoming a label,” said Ek. “We don’t own any rights to any music, and we’re not acting like a record label. Our agreements are specific to Spotify and are not exclusive.”

He later added that the number of artists being heard increased by five percent, and the Spotify for Artists platform has hit a new milestone with over 200,000 artists monthly. Meanwhile, artists such as Metallica use Spotify as a kind of engagement tool, changing their setlists according to which songs are most popular in each city.

Spotify’s ad-supported users grew by 23 percent year-over-year during Q2, totaling 101 million. The company credits a revised interface as a major factor in this growth, as it was the first revision since 2014. The music streaming service expects the new interface to continue driving engagement, retention and conversion.

Premium subscribers increased to 83 million, up 40 percent year-over-year. Spotify names the Family Plan promotion as a major driver for subscriptions, leading to lower churn and strong retention. The company also extended its Spotify + Hulu bundle for premium subscribers in the US, which was made available to customers after the successful launch of Spotify Student + Hulu in the fall.

Ek said that Spotify was encouraged by the early results of the bundles, and it will continue to find more ways to bring more value to its members.

Another key objective is to become ubiquitous on all platforms, including devices such as Echo devices, which often promotes the Amazon Music streaming service. Ek explained that, unlike video, music can be experienced virtually everywhere during almost every occasion.

Spotify also plans to focus on increased sell-through, as ad sales are connected to growth rates. To that end, the company reported slowed growth on desktop platforms and fast growth on mobile.

“Increasingly, it’s a mobile-first business,” said Ek. He explained that Spotify has relatively high margins in their five largest markets, with lower margins in emerging markets where its presence is small. Advertisers looking to buy reach need to take those factors into consideration, but Ek also warns that the markets are dynamic and will change as the service continues to grow.

Ek also assured investors that GDPR had very little impact on the service, using the subscriber number growth as evidence. This stands is in deep contrast to social platforms such as Facebook. He mentioned that some advertisers tried to take advantage of the initial confusion GDPR presented when it went into effect to renegotiate data sharing, but the matters were quickly worked out.

According to Ek, “the overall impact of GDPR was relatively short-lived.”

Spotify’s Q2 earnings report also highlights key changes in its metrics policy. Previous quarterly earnings reports did not include users who use various methods to block advertisements, but the most recent one does. The company estimates that less than five percent of its ad-supported users employ ad blockers.

Additionally, the service is in the process of identifying and removing fake users from its metrics. These include bots and “users who aim to manipulate stream counts for purposes of royalty calculations.” Although Spotify is working to identify and remove these users, it admits that some may have made it through into the report.

On Brand: Spotify’s Danielle Lee Discusses Data Storytelling

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Streaming music has become a way of life—and a $5.6 billion industry that has become attractive to brands hoping to reach consumers engaging in a pastime they enjoy. For Danielle Lee, global head of partner solutions at Spotify, data generated on the platform creates more than statistics—it tells a story.

“Data storytelling is something we’re super passionate about. It’s something we use to inform our own brand messages back to consumers and to advertisers,” Lee told AList. “When we think about leveraging streaming intelligence in terms of forming the creativity, we bring that offering to our brand partners in really smart ways using our API tools and consulting on how they can create experiences that are additive.”

Lee used the example of a Snickers campaign that displayed “You’re Not You When You’re Hungry” ads when a Spotify user deviated from their usual music taste. Tapping the ad redirected users to a sponsored playlist called The Hunger Hits.

“People have such a personal relationship to music,” said Lee. “The biggest insight is that [users] learn a lot about themselves based on how they stream.”

In addition to Spotify’s end of year billboard campaign, users get personalized reports on their streaming activity, as well as recommendations for music they might have missed.

“The thing I think a lot about is how to get the most out of the data,” Lee explained. “Big data is just that but if you can extract the insights that are going to resonate with different communities, [those] insights are going to allow us to tell stories that haven’t been told before.”

In this way, Lee hopes to use Spotify as a way to bring consumers closer to themselves and to brands they can enjoy.

“[Spotify sits] at the intersection of the music industry, tech and media spaces and it has been quite remarkable. We’re super focused on creating amazing consumer experiences—ones that are personalized and help people discover more about themselves and the communities we live in.”

Cord-Cutting Picks Up Steam; Cable TV Continues Rapid Decline

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Things are not looking well for cable TV providers such as Comcast, Charter and Dish, as a recent eMarketer study shows that cord-cutting—quitting traditional pay TV services—is continuing to outpace projections. The number of viewers who will give up their cable television subscriptions is expected to rise by 32.8 percent this year to 33 million, which is about 10 percent higher than July 2017 projections.

The decline in subscribers is happening despite how traditional TV providers are putting aside rivalries and establishing partnerships with OTT rivals such as Netflix, in an effort to retain customers. Both Comcast and Charter Communications—two of the largest cable providers in the US—have integrated services such as Netflix and Hulu into its set-top box offerings. Comcast in particular also includes Netflix, YouTube and Sling TV on its X1 service in the hopes that subscribers will prefer to have everything on one platform instead of having to switch between inputs and figuring out which remote control to use.

“These partnerships are still in the early stages, so we don’t foresee them having a significant impact reducing churn this year,” said eMarketer senior forecasting analyst Christopher Bendtsen. “With more pay TV and OTT partnerships expected in the future, combined with other strategies, providers could eventually slow—but not stop—the losses.”

Conversely, these digital streaming platforms are growing at the expense of traditional television, driven by demand for original programming and multiple services. These services continue to invest heavily in original shows to attract viewers. As a result, eMarketer has increased its viewer growth estimate for YouTube, Netflix, Amazon and Hulu—in spite of Netflix’s subscriber growth underperforming in the last quarter.

According to the report, about 186.7 million adults in the US will watch cable television in 2018, which is 3.8 percent less than last year. Of the major cable operators, satellite providers will suffer the biggest decline due to cord-cutting.

Bendtsen explains, “Consumers increasingly choose services on the strength of the programming they offer, and the platforms are stepping up with billions in spending on premium shows. Another factor driving the acceleration of cord-cutting is the availability of compelling and affordable live TV packages that are delivered via the internet without the need for installation fees or hardware.”

The projected growth of OTT platforms comes in stark contrast to the June study conducted by Parrot Analytics, which found that almost half of US viewers refuse to pay for even a single video streaming service. In comparison, 45 percent of British respondents, 43 percent of Brazilians and 82 percent of Italians said that they were willing to subscribe to one or more digital service.

Shark Week 2018 Counts Record Number Of Partnerships; Is Marketing Boon For Discovery

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Discovery Channel debuted its 30th annual Shark Week this week. It is currently the longest-running cable-TV programming event in history. The event is so popular that it rivals shows such as Orange is the New Black and could generate an estimated $18 million in sales of themed retail products with additional partner tie-ins—according to Discovery.

Shark Week 2018 boasts the highest number of licensed partnerships in the event’s history, with 26 partners spread across nine product categories. Some of the most prominent partners are Walmart, the Build-A-Bear Workshop and apparel company Vineyard Vines—all of which launched themed collections to coincide with the event. Shaquille O’Neal is the official spokesperson for this year’s Shark Week (get it: Shaq Week) and starred in the week’s premiere show.

Southwest Airlines launched a shark week fleet with five aircraft featuring exterior artwork of different species of shark. This marks the fifth consecutive year the airline has partnered with Discovery. Southwest is also hosting the “Dare to Dive” contest, which offers a five-day all-inclusive Great White Shark cage diving trip as its grand prize. The winner will be flown to San Diego, then transported to Guadalupe Island, Mexico to swim among great white sharks. Swedish Fish is also hosting sweepstakes where it will fly one family to Oahu for a real-life shark encounter. The candy brand is giving away prize packs that contain themed Shark Week swag as well.

Discovery Channel is incorporating other partners through an extensive social media campaign where researchers, filmmakers, conservationists and others engage with audiences by sharing stories, photos and videos in addition to having sponsored factoids. Discovery also released 100 shark-themed GIFs and stickers for fans to use via the GIPHY platform.

“Shark Week is all family viewing; it’s fun, educational and entertaining,” Leigh Ann Brodsky, executive vice president at Discovery Global Enterprises, said in an interview. “What better way to bring families closer together than by buying great gear and tuning into the event each night.”

Discovery’s 30-year blockbuster event has grown into a cultural phenomenon, driven largely by audiences’ fascination with these sea creatures, but also by both aquariums and pop culture icons alike. With popular children’s brands such as SpongeBob SquarePants, Pokémon and the Schultz Museum giving Shark Week shout-outs on social media, along with immensely popular video games like Fortnite getting into the action, it will likely remain a marketing boon for Discover, Inc. for years to come.

Marketers Increase Ad Spend In Q2; Growth In Digital And Primetime TV

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The national advertising market gained five percent in the second quarter, led by digital platforms and cable TV, according to data provided by Standard Media Index.

Marketers poured their budgets into digital platforms in the second quarter, increasing spend in the category by 12 percent. Out-of-Home spending wasn’t far behind with an increase of nine percent. National TV and radio experienced modest drops of one percent each, while print declined 22 percent.

The Telecommunications industry was the largest spender in the second quarter spending two percent more year-over-year (YoY) across platforms. The automotive industry increased its overall spending by 10 percent YoY but 12 percent less on TV than the first quarter. Similarly, Quick Serve Restaurants increased YoY spending by 23 percent across all platforms but just three percent more than the first quarter.

National TV revenue declined in the second quarter due to a 3.4 percent drop in the average paid unit cost for a 30-second commercial.

“As upfront season comes to a close, the industry now needs to quickly move its attention to the Scatter market,” James Fennessy, CEO of Standard Media Index said in a statement. “In Q2, revenue from the Scatter market grew by 11 percent YoY while revenue from Upfronts fell four percent and Direct Response advertising remained flat.”

Primetime Original Programming led the way in terms of TV ad revenue this quarter. Of all the TV networks, 21st Century Fox grew the most, gaining nine percent revenue thanks to shows like Empire and The Big Bang Theory. At $322,659, TV spots for Empire were the second most expensive after AMC’s The Walking Dead.

June marked the premieres of several talent competition programs across NBC and Fox. New episodes of America’s Got Talent, World of Dance, So You Think You Can Dance? and The Four: Battle for Stardom earned $76.9 million combined.

Excluding the World Cup, revenue from Sports fell 6.6 percent YoY in the second quarter. Standard Media Index attributes this drop to changes in basketball schedules both at the professional and college level.

“This year’s NBA Finals only lasted four games compared to five last year, causing the series to earn 12 percent less revenue YoY,” noted the analyst firm. “However, when looking at average revenue per game, this year was up 10 percent, having brought in $45.7 million per game for ABC.”

Brands Say Increased Spending On Influencers Hinges On Transparency

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A study conducted by the World Federation of Advertisers found that 65 percent of multinational brands are planning to increase the influencer marketing spend over the next year. The survey covers 34 companies, representing 15 categories and about $59 billion in global media and marketing spend.

All of the study’s respondents partner with influencers to market products online, with 54 percent stating that they do so “only occasionally/in some markets” and 46 percent of those surveyed reporting that they rely on them “very often.”

The main reason brands work with influencers, as stated by 86 percent of respondents, is to boost brand awareness. At the same time, 74 percent use influencers to reach new and targeted audiences while 69 percent said they improve brand advocacy. A majority of respondents (96 percent) stated that “reach and views” was a key KPI used to assess influencer activity. About 40 percent reported that they used influencers as a means of researching audience sentiment.

However, that willingness to invest more is accompanied by higher expectations for transparency standards. An overwhelming number of brands (96 percent) said that the quality of followers was “absolutely essential” or “very important.”

The higher influencer standards come as companies such as Unilever have taken a stance to better ensure that influencers act ethically. Historically, the marketing through influencers has skewed higher for clothing, beauty products, travel and gaming—but is increasingly extending to other industries.

In the US, video game publishers have had issues with influencers not disclosing sponsors or ads through YouTube. But, legally, at least int he UK and US, the burden of educating influencers of disclosure and proper procedure is on the advertiser or brand–according to both the Federal Trade Commission and the Advertising Standards Authority.

Hence, companies are putting the credibility and reputation of their influencers at the top of their priorities list, with almost all, 93 percent, reporting that they are critical, and that view extends to how the relationship is presented to consumers. Seventy-one percent of brands said that that the way influencers disclosed their relationship was an essential or important part of the selection process.

Analysts Say Battle Royale Mode Presents Opportunities For Marketers

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A growing craze for battle royale-themed game video content (GVC) has presented tremendous opportunities not just for game developers but marketers as well. Titles like Fortnite and PlayerUnknown’s Battlegrounds (PUBG) have proven that video games are no longer just for players, spawning an active community of passionate spectators. Here’s what brands need to know:

Battle Royale Fans Watch A Lot Of Video

The battle royale genre naturally lends itself to being a spectator sport similar to the Hunger Games. Matches pit up to 100 players against one another either individually or in teams. The players are dropped into an environment where they can pick up weapons, vehicles and take advantage of the terrain. The play area shrinks over time and the last team or player standing is crowned the winner.

According to a new report by SuperData Research, viewers watched nearly 700 million hours of battle royale video content over the last year (from May 2017 to May 2018) across all platforms.

A majority of those hours (83 percent) were attributed to Epic Games’ Fortnite. In fact, 600 million hours of Fornite video content was viewed in May 2018. To put that into perspective, Nielsen estimates that Americans view an average of 150 hours of traditional live or DVR TV per month based on a 30-day month.

Brands are taking advantage of this growing viewership through sponsorship, ads and building communities around battle royale content.

“Gaming video content (GVC) platforms and sponsors are adapting to the rise of battle royale,” SuperData’s principal analyst Carter Rogers told AList. “Microsoft’s Mixer platform now has ‘HypeZone’ channels for several battle royale titles. Much like the NFL RedZone TV station, these channels jump between different matches to only show action-packed gameplay.”

Not All Battle Royale Fans Are Alike

Consumer attitude may vary depending on which battle royale titles they are engaged with. Fortnite appeals to a larger audience of gamers and spectators, compared to PUBG.

“The differences in player demographics may be explained in part by the fact that Fortnite is free to play, has a more accessible aesthetic and features less demanding system requirements on PC,” Newzoo market analyst Tom Wijman told AList.

These players see themselves differently, too. PUBG players are also more likely to identify as core gamers, while 24 percent of Fortnite players identify as a casual gamer (compared to 17 percent of PUBG players).

Marketing to these groups isn’t limited to online interaction. In June, Lyft let users enter a promo code to unlock Fortnite-themed icons on the app and enter to win tickets to a Fortnite Battle Royale tournament, Rogers added.

Social Networks Play Host To Battle Royale Fans

Twitch is the most popular social network to view battle royale GVC, according to both SuperData Research and Newzoo. In addition to the sheer volume of streaming content on the platform, Twitch’s appeal may also lie in its laid-back approach to livestreams.

“The pace of battle royale games is slow during the early parts of matches, which gives livestreamers a chance to provide commentary and interact with their viewers,” noted Wijman.

Fortnite attracted more than five billion minutes watched in the month of June, a source familiar to the matter told AList. The genre is growing on Twitch, as well. In June, Fortnite and PUBG were among the top five games on the platform in terms of minutes watched, with Realm Royale cracking the top 10.

“Established video platforms like Twitch and YouTube still stand to benefit the most [from streaming battle royale video content],” said Rogers. “Facebook is working to make itself a destination for game videos by doing things like creating a dedicated games homepage (fb.gg) and signing exclusive broadcasting rights to esports tournaments. However, Twitch and YouTube both have established game video communities and it will be difficult for Facebook to chip away their entrenched status and networks of content creators.”

Sponsoring a livestream or gameplay video is a popular way for brands to reach battle royale fans. Brands both endemic (Nvidia, Intel, Square Enix) and non-endemic (Chipotle, Nike) have been known to donate products, services or pay online personalities to mention their products. As this genre continues to build momentum, Facebook’s influencer marketing search engine, once released, may prove timely.

More Than A Trend

Based on growth and revenue, this video game genre shows no signs of fading out any time soon. Newzoo observed a significant positive impact on Steam’s revenue in 2017 due to PUBG and might have played a role in bringing Steam to China.

Game publishers are hopping on board the battle royale bandwagon by adding modes to existing franchises like Call of Duty: Black Ops 4 and Battlefield V.

Battle royale has become so popular that it has expanded onto mobile devices, as well.

“Tencent launched PUBG Mobile on Android globally almost at the same time as Fortnite launched on iOS, with PUBG Mobile going live on iOS one week after,” observed Wijman. “PUBG Mobile is a Western adaptation of China’s PUBG: Exciting Battleground that mirrors the PC and console versions almost identically. With the ongoing battle royale phenomenon, more mobile titles are expected to hit the Western market, but in the short run, Fortnite and PUBG Mobile will still dominate the genre, neck-and-neck in rivalry.”