Wagner James Au / New World Notes

Author, strategist, virtual world reporter

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    Cajsa Lilliehook covers the best in virtual world screenshot art and digital painting

    Mother Road – Mirage Motel has been around for seven years. In fact, the Flickr group’s seven year anniversary is coming up in just four days, so Happy Anniversary! 

    The group c celebrates that fabulous sim by Paul Cutter, Mother Road-Mirage Motel, and gives you a sample of folks getting their kicks on Route 66. I love Rosie Nova’s untitled picture. It looks like a couple stopped on their way in one of those no-name towns with at most one semaphore. It’s one of those lonely towns where people watch life passing them by. [To Teleport: Click Here]

    For more from the Mother Road, click on:

     

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  • WoW subscribers chart

    Chart via u/Kamikaze4228 based on open source data

    Ever wonder what became of Blizzard’s World of Warcraft? The groundbreaking MMORPG is still successful to be sure, but in recent years, it has fallen far from its 2010/2011 peak of over 12 million subscribers. 

    Since then, its subscriber base has been on a sharp steady decline, dropping in 2019/2020 to below 4 million subscribers. In recent years, it’s wavered between that nadir and around 8 million, enjoying brief growth when a new expansion is released — but never coming close to regaining its commanding heights. 

    For the longest time I assumed this loss was simply typical attrition, as WoW players moved on to newer MMOs like Elder Scrolls Online, or metaverse platforms like Minecraft and Fortnite. 

    But a veteran Blizzard developer just casually told me there were other key factors at work — design changes I’ve seen little discussed before.

    Irena Pereira joined Blizzard in 2006 (a little over a year after WoW’s 2004 debut) with an official role as a UI designer — though that focus rapidly expanded. 

    “[Blizzard] wanted a unicorn, somebody who could code, who could do art and design,” as she puts it to me now. (Disclosure: Irena and I are currently working on an unrelated MMO project, but more on that down the way.) In her three years at Blizzard, she worked on Patch 1.1,  as well as  the expansions Burning Crusade and Wrath of the Lich King, primarily as a UI designer. (“But again, full stack, I did everything, including designing with new features for the game.” She also managed WoW’s add-on community.) 

    From that vantage, her post-mortem for World of Warcraft's declining user numbers (if I had to roughly summarize it) is this:

    World of Warcraft lost its draw as a dynamic, living virtual world and even worse, lost its resilience as a virtual community.

    “WoW as it was when it was first launched, is a very different game than WoW as it is now.” as she puts it. “Initially you’re dropping into a starting zone with an open world.”

    The first-time new user experience now is tightly controlled:

    “But now, when you log into WoW, there's dialog boxes and quest objectives, and NPCs talk to you, and scripted events — all these things that kind of drive you from one moment to the next in a role. That includes making the game very easy at start:

    “Currently with the starting zone for Dragonflight, I think it takes you about 10 minutes to get to level 10. Ten minutes. It's basically a couple of hours through the starting zone, I think you end up level 20.” (Reaching level 10 originally took something closer to week or more of play.)

    The ease and speed of progression for players undermines motivations to talk with other players, and seek their help.

    “The pace of leveling is the very first factor that I think has destroyed the early game and killed the community spaces where people would actually meet,” as Irena puts it. “The strategic shift to drive new users is very scripted on rails. The new user experience makes it so that players are paying more attention to the game than they are paying to each other.”

    This also made WoW feel less like a world:

    “This is a classic blunder that game studios make — they feel they need only to throw more content at players, more storytelling and more narrative. I love storytelling, narrative, don't get me wrong. But the whole point of a great open world is for you to explore it at your own pace, not to be compelled to do things in an order.”

    Now, there’s little reason to spend downtime in WoW talking with other players, let alone helping them out.  

    Or as Irena puts it: “There's no white space in the experience.”

    Which takes us to another problem: 

    “Incentivizing multiplayer gameplay requests are gone. With increasing power levels, you really can solo most content. You don't need anybody, like with talent trees and whatnot. Classes can handle situations by themselves.” 

    Now, high level players can just solo quests with a pet. There’s no need for other people, even to just take down a powerful NPC in the zone. 

    “There's no risk,” Irena argues. “So you don't need help if there's no risk. These are all things that disincentivize finding other people to play with you.” 

    I was surprised to hear all this. Back in its early years, WoW guilds required highly organized group planning and management, especially for complicated, high level raids.

    In recent years, says Irena Pereira, that’s not so much the case:

    “I mean, there's still raids, but a lot of the emphasis on group gameplay is just on the raids. Players want higher end game experiences. They want to take down big bosses. The smaller ten man dungeons like Karazhan, they don't do those anymore. A single five man dungeon like Gnomeregan is gone, like no nobody does that.

    “The gray area, the juicy part of the experience kind of just slowly got whittled away, more and more and more player convenience features to bypass the annoying things. Suddenly you're not really running into people anymore. The player convenience features actually undermined the opportunities for social connection in various places in the game.” 

    Irena pinpoints the problem to the launch of the WoW Cataclysm expansion in late 2010, with warning signs in the run up to the Lich King expansion of 2008, heard during a discussion with fellow WoW designers:.

    “We were talking, I believe, about the Death Knight and planning an expansion for Lich King,” she recalls, “and we're discussing power leveling curves and multiplayer encounters, and [Blizzard VP] Jeff Kaplan said, ‘What about the solo player?’

    “And then from that point on, there just seemed to be a lot of bias for supporting solo gameplay in this multiplayer world. But it was an overcorrection, like way overcorrected.” 

    The result, Irena would argue, can be seen in the declining subscription numbers since 2010:

    “They saw a precipitous population decline in a late stage, post-Cataclysm, the WoW population dropping, dropping, dropping. It got so low. But [Blizzard was] struggling with figuring out how they were going to improve revenue.” 

    WoW unleashed games Brian Birmingham Irena
    Above: Irena with fellow Blizzard veteran Brian Birmingham

    A partial solution originated from her colleague Brian Birmingham, who lobbied for the re-release of the original version of WoW in 2019, dubbed World of Warcraft Classic, where play progression took more time investment, and more interactions with other players:

    “When WoW Classic came out, it boomed. It became more profitable than retail because it brought back the original game and all the slower gameplay and all of those things that made WoW special came back. Players ate it up.”

    You can see the subscriber numbers climbing back up after the advent of WoW Classic and successive Classic versions of previous expansions:

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  • Matt Ball Roblox Rtrack

    Matt Ball has a must-read post on the paradoxical phenomena of Roblox: In terms of active users, it's both the most popular metaverse platform by far and most popular online game in the world, but somehow continues to be unprofitable. (Second Life, despite a tiny user base compared to Roblox, makes an estimated $20-30 million in annual profit.)

    Roblox began this year with 354 million monthly active users, counted 400 million MAU in July, currently has 380 million MAU, and averages 350 million MAU through 2024. (Data via Matt, citing RTrack.) In other words, the platform already started 2024 with more users than the entire United States has people, but Roblox is still likely to reach half a billion MAU in the very near future.

    As to why it's currently unprofitable, Matt's post delves deep into all the details. Key factors include heavy research and development spending, deep app store fees charged by Apple and Google for payments through Roblox's mobile app, and low monetizing users (since most of them are kids).

    But as Matt writes, Roblox the company is working to address that last challenge:

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  • 53892420929_172124ccea_cCajsa Lilliehook covers the best in virtual world screenshot art and digital painting

    This untitled picture by “UGLY” is something that could inspire nightmares, but not for her. They seem copacetic, but what if she simply wanted cake? I love this, it is creative. I mean, where did the idea come from? It’s genius.   

    For more extraordinary innovative pics, click here:

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  • As a sign of Linden Lab's continued focus on its new mobile app, the company is hiring an engineering manager to grow the offering:

    We’re looking for an Engineering Manager to help bring Second Life to mobile devices. This is a technical lead role, reporting to Second Life's Viewer & Server Director of Engineering. In this highly collaborative position, you will write software, architect new systems, mentor staff and manage a small team responsible for bringing the mobile Second Life viewer to life.

    Pretty good salary range too, paying $140,500$223,000/year where you're able to (mostly) work remotely. Job requirements include building "strong relationships between internal and external teams, working closely with our mobile development partner, Sine Wave". By which they mean Sine Wave Entertainment. whose CEO Adam Frisby recently gave us a long, detailed breakdown of the app's evolution. So if you're thinking about applying for this role, maybe read that first.

    Speaking of which, a couple points Adam made are worth repeating — how the SL community can better support improvements to the mobile app, and how SL user creators can prepare to sell content for mobile users:

     

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  • Daughter Of The Sea...

    Cajsa Lilliehook covers the best in virtual world screenshot art and digital painting

    Jeanette StellaMarina is very much into cosplaying the women of fairy tales and mythology. Most of them from the sea as this mermaid taking a little sun on the shore. I suppose we might guess that she would be fascinated by the sea since it’s right there in her name. Stella means star and marina you can guess. And StellaMarina means starfish in her native Italian. Well, she is certainly the most glamorous starfish you can find. For those who are interested, she also provides credits and a musical interlude. 

    For more of her cosplay, click here:

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  • Real life game museums

    Here's a whole huge list of real life video game museums compiled by my colleagues at the Virtual Worlds Museum. Featuring places across North America, Europe, Asia, and Australia, it's a handy reference for your upcoming travel plans. 

    For instance, the SF Bay Area is home to The Museum of Art and Digital Entertainment (in Oakland near the 12th street BART station), featuring thousands of games across decades of platforms, including a playable version of Habitat, the first virtual world. Here's a fun news segment on the The MADE:

     

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  • NeutralTones New SL brand

    Loving the variety of new-ish SL brands recommended by readers so far, including:

    • Dope Pixels (Facebook): "We make beautiful, scene-changing skyboxes from real-world photos, renders and AI, but mostly AI lately! It's gotten so good," says owner Adrienne Lowe (Andi Ayashi in SL) 
    • Neutral Tones (Instagram): "They started off with really unique shoes but branched out into doing more interesting fashion accessories that could only exist in Second Life," writes Anya Ohmai. (Like the balloon-lifted wiener dog accessory, above.) "Brilliant mind and creative!"
    • Star Quake Shapes & Beauty (Primfeed): "Definitely check out Starquake by my dear friend Theo (Lore Olivieri)," writes Peter Stindberg. "They are very new, aspiring, but with already good items. Theo makes unique shapes and focuses on non-binary niche – they even run their own blog about queerbodies."

    I'm still looking for more recommendations to highlight, so please add more in Comments! Here's the full criteria to include for consideration:

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  • Patreon New World Notes creator ad

    The Creator supporter level for my Patreon ($50/month) is designed for virtual world creators who want to promote their brand to New World Notes readers. Benefits include:

    • A permanent 300 x 300 ad on New World Notes with 100K+/monthly visits.
    • A special sponsor shout-out post on NWN highlighting your brand and offerings.
    • A monthly social media shout-out to my 20,000+ followers tagging your brand/social account and plug for your project/offering.

    All that plus a free signed hardcopy of Making a Metaverse That Matters! Check it out here.