GUEST BLOGPOST ON

In 2009, an estimated $2.2 billion in virtual goods were sold to consumers globally, and that number is expected to rocket to over $6 billion by 2013. Although virtual worlds and MMOs have historically driven the growth in virtual goods, today the fastest growing segment is social games.

Social games not only represent a lucrative new revenue channel for social media sites but they also signal a fundamental change in the structure of the social media industry. Social networks can no longer afford to rely solely on advertising revenue—they must master the intricacies of directly monetizing their users via virtual currency, virtual goods, and social games.

The Birth of Social Gaming

Social gaming got its start in mid-2007 with the launch of the Facebook Platform. Since then, Facebook () has grown from 27 million unique monthly visitors to over 500 million unique monthly visitors, and over 70% of those visitors engage with applications every month. Last year, social games, one of the most popular forms of social application, generated over $500 million in revenue — the majority of which came from social games on Facebook.

Although Facebook holds the dominant position in the social networking industry, the site makes up less than 30% of worldwide unique visitors to social networks. There are nearly 40 social networks with over 10 million monthly uniques and nearly 150 with over 1 million monthly uniques. The companies that make up the “other 70%” of social networking traffic are just beginning to realize the engagement and monetization benefits of social games. Some sites, such as MyYearbook and Quepasa, have made social gaming a central part of their strategy and are seeing significant growth despite the fact that more and more users are still being drawn to Facebook.

Social Gaming 2.0: Beyond Facebook

When it comes to social games, smaller social networks, paradoxically, often have the benefit of size. Users of multiple social networks tend to split their time between Facebook and another social network. To these users, Facebook is an indispensable communication tool, but the other social network is essentially the local pub: A close knit community woven around shared affinities and experiences.

Social games are the perfect addition to these communities. They provide a lightweight, social form of entertainment that enriches the interaction of a site’s users. As a result, social games on smaller social networks often meet or exceed the ARPU (Average Revenue Per User) observed on Facebook. And, unlike advertising, which detracts from the social experience of a site, a successful social games strategy will simultaneously increase a site’s stickiness and significantly increase revenue.

However, implementing a successful social games strategy is not easy; new technology, new skills, and an ongoing commitment are required to succeed. There are three main pillars that anchor a successful strategy: The platform, the content, and the distribution. If any one of these pillars is weak or missing, the true potential of social games and the virtual goods sold within them will remain unrealized.

Continue Reading on Mashable.com.

At the Casual Connect conference a few weeks ago, my recurring observation was a tale of woe: casual games are dead. Well, maybe not officially dead, but they are dying pretty quickly because many aspects of the business model are proving to be unsustainable, if they haven’t entirely broken down already.

3 Reasons Why Casual Gaming is Over

1. Monetization Models Are Broken.

The two primary ways that casual games have monetized in the past – through downloads and advertising – no longer work.  Download conversions and revenue have completely dried up, and ad CPMs are dismal.  The one remaining area that seems to be making solid money is cash betting on skill games, such as WorldWinner or King.com.  But even that, to my knowledge, has ceased to grow in the aggregate the past few years.

2. Distribution Models Are Broken.

Many casual game companies had one of two distribution strategies: a) Integrating a games section into a content portals (ex: Oberon), or b) Building a gaming site that played off of Search Engine Marketing. But demand for static content portals has withered in favor of vibrant social products, and relying on SEO for users means competing in a cluttered marketplace that is too crowded for games to break through. Plus, SEM is so competitive that user acquisition costs are way higher than the revenue generated because of how badly the monetization models are broken (see #1). Large traditional studios, such as EA, have made significant moves into social gaming via acquisitions. This has given them access to content, talent and distribution. Casual game companies just don’t have the resources to do the same.

3. Users Are Clearly Opting For Social

Yahoo Games, MSN Games and AOL Games have seen a combined 14% drop in monthly traffic worldwide over the past 6 months, and an 11% drop in US visitors over that same period (Source: Comscore, January and May 2010). Why?  Users are clearly opting to play games with friends on social networks. This trend is only going to increase as more social gaming sites emerge.

So, the situation looks pretty bleak. What’s a casual game company to do? To survive in this harsh environment, the casual game industry needs to adapt to converge with the social game industry. Such a transformation is not going to be easy.  Most casual gaming companies have already missed the massive window of opportunity. But all three players within the industry – casual game developers, distributors and destination sites – need to evolve in different ways if they want to stay afloat.

3 Ways the Industry Needs To Adapt to Stay Afloat

1. Casual Studios: Build Social Content

Casual game studios need to rebuild their existing content to deeply incorporate virtual goods and social mechanics.  This isn’t about adding an item store and enabling friend invites; social needs to be baked into the game.

What kind of game? Farm, Fish, Poker, and just about every other theme of social game, have existed for a while in casual games but all of the content has already been copied multiple times in the social space.  Leveraging or adapting current IP and content is going to throw a casual game into a noisy category of me-too social games. So, content studios need to start from scratch to create any sense of differentiation and build something original.

Also, if casual gaming companies try to build new IP and acquire social/viral marketing distribution expertise at the same time, they will probably be biting off more than they can chew and fail at doing both well. The easiest way to get a new game into the hands of eager players would be to partner with a distribution company or social network – reducing upfront user acquisition costs in exchange for a revenue share.

2. Distribution Companies: Partner with Better Games

Most casual game companies who made the transition would need to start at square one in order to gain traction on any social platform.  Viral channels have been shut down and the cost of acquisition is going up. Unless a game is backed up by large marketing budgets or cross-promotional abilities, a new game would not be able to gain a profitable amount of users or mindshare.

In the past, casual game companies would partner with distribution companies such as Oberon and Gamehouse. However, these distributors no longer have a relevant distribution base. Their current distribution channels (i.e. content portals) lack the social context and tools to drive revenue and usage off of virtual goods and social games.  In addition, casual game distribution companies have the challenge of rebuilding their content base with social game developers.

Oberon and Gamehouse both took an initial stab at this adaptation by announcing social game distribution platforms at Casual Connect, however, these platforms involve distributing social games to their current roster of non-social portals.  In this case, there is a clear disconnect between product and user – the examples of social games working on these types of sites are few and far between – so distribution companies need to acquire or enable the right type of distribution to fully adapt.

3. Destination Casual Gaming Sites: Create A Social Context

Instead of adding social games, casual gaming destination sites need to establish the groundwork needed to make social games even work (no, implementing Facebook Connect does not qualify your site as ‘social’). Due to the single player nature of casual games, many sites lack any sort of social context or community between players. Even cash tourney sites, where you are always playing against other members, are extremely lacking in a sense of community, Once a strong social context is established, it opens the doors for incorporating the appropriate social gaming and free to play content they will help drive engagement and revenue back up.

Additionally, destination casual game sites need to look at a roll up.  Distribution on the largest casual game sites – such as WildTangent Network (15M uniques), Nickelodeon Network (15M uniques) and Yahoo Games (12M uniques) – doesn’t even come close to the distribution size of social platforms such as Facebook, Myspace, Orkut, and Hi5.

Conclusion: Time to Sink or Swim

The buzz at Casual Connect confirmed that industry players have begun to recognize these broken models and the need to evolve. However, I wonder to what extent the evolution is being embraced. While social was being talked about at the conference – about one third of the discussions were oriented around social games – the genre seemed oddly siloed from the rest of the conference.  All the social game presentations were across the street at a different venue, while the typical casual game presentations remained in the main hall with all of the exhibitors.  The conference, and thus the attendees, seemed to be split on how to deal with the changing future of casual gaming.  A seismic shift has occurred in the casual gaming industry, and companies need to embrace it quickly, or else they will be lost in the shuffle completely.

Viximo and Virtual Greats just released the Branded Virtual Goods Market Report.
Click here to download the report.

Branded Virtual Goods are a hot topic of discussion in the virtual goods industry right now. In this past month, Zynga partnered with Cascadian Farms to sell the first branded crop in Farmville, and Appsavvy released a study about the effectiveness of branded goods on the mobile platform. But creating a virtual goods campaign around brands isn’t as simple as slapping a logo onto a virtual item. You need to pay careful attention to pricing, product mix, proper context, and merchandising to maximize revenue. After all, Snoop Dogg has earned over $200,000 through his virtual goods sales to date, and the opportunity is only growing (more on Snoop below).

So, first things first, what are Branded Virtual Goods?

Branded Virtual Goods (BVGs) are virtual goods that – in addition to offering some functional or decorative value – display an insignia, copyright protected mark, logo or derivative image of a known brand, and by virtue of being “branded”, command a higher social and monetary value among end users. A plain white t-shirt might cost you a few dollars at Wal-Mart; add the logo of an apparel brand, such as Gap, and the price immediately skyrockets, sometimes over 1000%. When it comes to virtual goods, brands have the same effect – and this represents a significant revenue opportunity for the brand behind and online distributor of Branded Virtual Goods.

Why should you invest in BVGs?

If you’re a Brand:

• Revenue! Virtual goods are cheap to create; can be priced at a premium due to the associated brand equity; have no inventory costs and infinite online shelf space; benefit from viral demand across the social graph; and can drive real-world product sales. All in all, a win-win situation for the brand.
• It’s an exciting new way to engage with your customers online. When brands enable their fans to “flaunt” their choices and engage them through self-expression in online avatars and personas, customers perceive a higher level of familiarity with and authenticity from the brand, and this translates into a more effective impression.

If you’re a Social Network:

• Revenue! Unlike ad inventory and in-game offer incentives, virtual goods generate a strong and reliable stream of revenue. Branded Virtual Goods also help social networks differentiate from each other and have the ability to keep users coming back to engage in loyalty-driven customization, gaming and gifting behaviors.
• More Relevance. Social networks that target a particular niche can leverage unique, premium brands and benefit by association. For instance, by offering virtual gifts branded with rapper Jay-Z’s clothing line, Rocawear, Viximo partner BlackPlanet.com (the largest social networking site targeting African Americans) benefits by providing unique, targeted and highly valued content to their members.

If you’re a Game or Virtual World Developer:

• Again, Revenue! Gamers are likely to be more comfortable spending money on virtual goods that are branded, rather than unbranded, due to perceptions of associated value. On Gaia Online, Snoop Dogg’s Branded Virtual Goods sell at a 300% to 1,800% price premium in the secondary marketplace, versus similar, generic virtual items. Gaia users clearly value the branded items more highly than their generic counterparts, leading to significant inflation in their selling price on the secondary market.
• Differentiation. In an cluttered and competitive industry, virtual worlds and games that offer Branded Virtual Goods are able to differentiate themselves and increase their own credibility. On average, 95% of users in social gaming or virtual environments never buy anything; they play for free. BVGs have the ability to get that huge majority off the sidelines and drive revenue. Also, when players make brand-related purchases, they share this information with their social graph and attract other brand loyalists, thereby amplifying the revenue potential for BVGs.

The Snoop Dogg Story

Celebrity rapper Snoop Dogg has seen success with Branded Virtual Goods first hand: the artist works with Virtual Greats and Viximo to extend his name and likeness into the online world by selling Branded Virtual Goods – from avatar clothing, to pets, to virtual gifts – across a number of teen-oriented social networks and virtual worlds, as well Viximo’s network of social networking partners. These items have been, and continue to be, very successful, generated over $200,000 in sales (download Branded Virtual Goods Market Report for more data). Virtual goods have become a rapidly growing part of the artist’s merchandising and endorsement mix, and he’s incredibly excited about them:

“My virtual items are off tha chain jacc! It’s a world and a movement that I have been down with since day 1 and we are gonna continue to hit u with hot products and virtual items until tha wheels fall off. Be on da lookout for more items in an internet hood near u – ya dig?!?”

-Snoop Dogg

Viximo and Virtual Greats just released the Branded Virtual Goods Market Report. It describes the business opportunity for Brands, Social Networks and Game/Virtual World Developers; provides strategic guidelines and considerations for developing a BVG campaign; and estimates the current and future market size for Branded Virtual Goods.
Click here to download the report.

CAMBRIDGE, Mass., August 5, 2010 – Two leaders in the virtual goods industry, Viximo and Virtual Greats, have joined forces to publish the industry’s first comprehensive Branded Virtual Goods (BVG) Market Report. Click here to download the report.

The report identifies key trends that will play a major role in the explosive growth of Branded Virtual Goods, which is projected to see a compound annual growth rate of 113% over the next three years.  The new report also provides insight into strategic business opportunities for brands, game developers, virtual worlds and social networks.

“Virtual goods are rapidly becoming ubiquitous with the social online experience, and Branded Virtual Goods represent a unique differentiation opportunity for savvy brands that want to create a deeper dialogue with their customers and benefit from a new revenue-generating marketing channel,” said Ravi Mehta, vice president of product for Viximo. “We’ve used deep market knowledge and previously unpublished information to give brands a guide to leveraging the unprecedented opportunity presented by the burgeoning $3.1 Billion virtual goods industry.”

“A key driver behind the mainstream growth of the virtual goods industry will be the entrance of iconic consumer brands, celebrities, sport leagues and other intellectual property into this relatively new and untapped space,” said Dan Jansen, CEO of Virtual Greats. “In this report, we identify viable opportunities for brands to encourage online purchases of virtual goods by offering the right mix of products in the right environments and by addressing real world value propositions.”

The report highlights a case study that describes how multi-platinum recording artist Snoop Dogg has used virtual goods to extend his brand’s reach into new channels and to grow merchandising revenue.  Snoop Dogg partnered with Virtual Greats and Viximo’s social networking  associates to create and sell branded clothing, virtual pets, and online gifts offered in a multitude of social networks and virtual worlds. To date, Snoop Dogg’s Branded Virtual Goods have generated nearly a quarter of a million dollars in sales and have become a rapidly growing part of the artist’s merchandising and endorsement strategy.

Additional examples of iconic brands highlighted in the report are Nike who partnered with Gaia Online to offer Nike-branded sneakers that enabled the wearer to run faster than other players in the virtual world, and 7-11, who branded its physical products with codes that helped buyers unlock limited edition virtual goods in various Zynga games.

The highlight of the report is how the Branded Virtual Goods market is expected to outpace the growth rate of the overall virtual goods industry, growing to $150 million by 2013. Additionally, the report discusses how market research forecasts that in five years, 1 out of every 25 virtual goods sold will be associated with a brand. This growth is expected to be driven by fundamental market factors, including:

• Entry of Super Brands into the Branded Virtual Goods Market – With Disney, Nike and the NBA already making advances in virtual goods, the market is ripe for other “super brands” to make an early entrance into social games and virtual worlds, and monetize their intellectual property online, while engaging their customers in a fresh, exciting way and – by increasing the opportunity for users to interact with real brands online – creating the favorable effect of potentially driving real world product sales.

• Increased Penetration of Mobile/GPS Applications – As mobile “check-in” apps like MyTown, Foursquare and Gowalla grow in popularity and engage users through virtual good rewards like badges and medals, brands are becoming compelled to take part in this experience by creating Branded Virtual Goods.

To learn more about Viximo or Virtual Greats, or to view a copy of the complete Branded Virtual Goods Market Report, visit http://blog.viximo.com or http://virtualgreats.com/blog.

About Viximo:

Viximo is the largest virtual goods platform that connects social app and game developers with numerous social networks across the web. With Viximo’s platform, Developers get access to over 60 million users across multiple social networks with a single easy implementation. Additionally, Social Networks are able to quickly set up a robust virtual currency, enable third parties to easily develop to their site, and instantly offer the highest quality social apps and games. For more information visit http://viximo.com or http://blog.viximo.com.

About Virtual Greats:

Virtual Greats connects celebrities and artists, intellectual property owners and brands with a new generation of fans, unlocking value through digital representations of real world content in online communities. Virtual Greats’ unique team of specialists is based in Los Angeles and San Francisco, helping partners develop new revenues from the complex relationship between content, technology, and virtual goods while reaching out and connecting with young audiences in social networks, casual gaming, virtual worlds and mobile applications. For more information, visit www.virtualgreats.com.

GUEST BLOGPOST ON

Immediately after Facebook announced its open developer platform in 2007, Google quickly launched Open Social, its initiative to create a common standard for social sites across the web. Its purpose was to enable developers to create and distribute applications easily – write once, deploy everywhere. Social networks around the world quickly joined the “OS Alliance” and a PR frenzy followed, suggesting that the “entire social networking world” was backing Google as they were ganging up to take on Facebook.

Unfortunately, Open Social did not live up to the hype. The project lacked follow-through and support from Google (more on this below), and consequently failed to connect non-Facebook social networks and developers with a common development platform. The great second coming of the social networking world remained a pipe dream.

Today, despite the growing need for more distribution options beyond Facebook, developers continue to express hesitation and uncertainty with Open Social. In our recent survey, we asked 85 of the industry’s top game developers which social networks they were interested in expanding to in the near future. A significant percentage of developers responded “Never/Not Interested” to these Open Social platforms:

MySpace – 32%, Hi5 – 40%, Orkut – 47%, Bebo – 51%, Mixi – 59%, 51.com – 62%, VKontakte.ru – 64%, Hyves – 65%.

Out of those who said they were interested, in all cases less than 10% said it was a priority within the next 9 months.

Additionally, when given the statement “Open Social is succeeding at making it easier and more efficient to develop applications to run across multiple social networks”, a majority of 56% said they Disagreed with or were Undecided about this statement.

It’s clear that developers think that Open Social is not succeeding in its intended purpose, but what exactly is causing the issues?

Continue Reading Guest Blogpost on SocialTimes.

GUEST BLOGPOST ON

In the two years since social gaming has taken hold, Facebook as a distribution platform has largely driven the success of the industry. But there is a huge, largely untapped opportunity for social games beyond the site, and although game developers are slowly beginning to tire of the challenges of distributing on Facebook and are thinking beyond it, it appears that they may not be fully aware of the size of this opportunity.

Consider this: the world’s top 100 worldwide social networks have a user base of approximately 1.9 billion monthly visitors (duplicated), and while Facebook holds the number one spot in this list with 471 million visitors, it only accounts for 25% of the worldwide audience. Seventy five percent of the world’s social network visitors – around 1.4 billion users – remain largely unaddressed on the remaining top 99 social networks. (Source: Comscore 1/2010)

Do social game developers know about this huge, lucrative market? Apparently not. Last month, we conducted a survey of the industry’s top 85 social game developers, and when asked to estimate the size of the worldwide opportunity beyond Facebook, only 13% correctly estimated the opportunity as greater than 1 billion worldwide users.

Although the opportunity is greater than most game developers think, it’s clear that they have already recognized that there is a world beyond Facebook; of those surveyed, 64% said they have tried distribute their games on at least one non-Facebook social network.

When going beyond Facebook, developers seek social networks that meet three key priorities:

• They must offer a large user base (62%);
• This audience must be sufficiently engaged with the site and therefore easily monetizable (59%);
• Developers should have access to viral channels and native notification systems to benefit from a low cost of user acquisition (42%).

But developers face some hurdles when developing a non-Facebook distribution strategy.

Continue Reading Guest Blogpost on SocialTimes.

GUEST BLOGPOST ON

With over 450 million worldwide users, it isn’t news that Facebook is the biggest player at the social networking table. Viximo recently conducted a survey of 85 of the top app and game developers to learn about their development and distribution strategies, and 79% of respondents indicated that they currently develop social applications and games for Facebook.

Developers also indicated that when assessing distribution platforms, their top priorities are:
• Access to a large audience (62%)
• Ability to monetize users (59%)
• Low cost of user acquisition (42%)

These are the factors that lead directly to profitability, and since Facebook offered all of these benefits, its rapid rise to ubiquity was not surprising. But the honeymoon period is slowly coming to an end. Our survey indicated that Facebook now presents some major challenges to game developers who are becoming increasingly frustrated with it and are starting to look for options beyond the stalwart site. The two key concerns with Facebook platform that rose to the surface were:

• Competition with other games (54% of developers)

Facebook is an attractive distribution channel for game devs because of its ability to deliver large, engaged audiences. But that also means that every developer is attempting to make its mark on the same territory. With big players like Zynga, EA/Playfish and Playdom dominating the developers’ DAU leader board, the market is all but closed to smaller developers with new ideas. Facebook’s user base growth rate has also begun to slow down, creating even more competitive conditions as developers strive to launch fresh, new games, that can break free from the clutter, and extend the longevity of active users who continue to  experience game wear-out over time.

• User acquisition costs (42% of developers)

High competition also means higher overall costs for developers looking to break through the cluttered marketplace, and the costs are rising. Facebook removed its viral notification system, limiting the ability for game developers to acquire new users through viral channels. Facebook also adjusted its Facebook Ads model and has made it more expensive and less effective to buy CPM based ads. These increasing advertising costs, combined with Facebook’s fees and 30% revenue share agreement from Facebook Credits, are making Facebook increasingly expensive to compete in, and developers are seeking new, more
cost effective channels from which they can acquire more users and generate greater revenue.

Interestingly, not only was this the feedback provided to us by Facebook developers, but 36% of respondents who do not develop for Facebook raised the exact same concerns, choosing Competition and High User Acquisition Costs as their top two reasons for staying away from Facebook.

Another observation coming out of the survey was that game developers appear to be uneasy about Facebook Credits. When asked to characterize their overall attitude towards Credits, only 33% viewed Credits as Somewhat or Strongly Positive, and the 67% that did not have a positive opinion of Credits, said that their main concerns are Facebook’s 30% revenue share model and a perceived “strong arming” of developers into complying with increasingly unfair policies. A few also referenced privacy issues in light of recent press coverage of Facebook’s new privacy settings.

Overall, the recurring theme expressed over and over again in the survey is the growing need for more viable distribution channels in the social games market where independent third-party developers have an opportunity, on and beyond Facebook, to access and monetize a large, engaged audience. There are a number of additional distribution opportunities for developers including Viximo’s recently launched Social Game Platform. So are developers aggressively on boarding to these platforms? In addition, what is different when approaching platforms beyond Facebook? Where is Open Social in this equation? Those  are all questions we will address in Part 2 of this series.

Continue Reading Guest Blogpost on SocialTimes.

CAMBRIDGE, Mass., June 9, 2010 – Viximo today announced the launch of a highly-anticipated social game platform to enable easy expansion of social gaming beyond a single social network. The Viximo platform enables game developers to deeply integrate their social games to Viximo’s premium social networking partners, through a simple, single point of integration. Viximo’s developer partnerships already include IGG, Playtaki, Frosmo, Synapse Games and Mob Science.

“Social game developers see both need and opportunity to expand beyond one dominant community, but until now it has been difficult and costly for them to manage their own distribution and integration across multiple communities,” said Dale Strang, Viximo president and chief executive officer. “Viximo’s solution seamlessly integrates social games across our network of communities, enabling game developers to quickly and easily expand onto more sites while providing our social networking partners with content that drives revenue and user engagement.”

“There is a large opportunity to reach millions of socially engaged users across multiple social networking sites” said IGG game developer Kevin Xu. “We are extremely enthusiastic about the opportunities that Viximo’s distribution platform offers us – it mitigates our risk, lowers costs, opens new channels, and drives user adoption across a wider network of communities.”

Viximo’s distribution network reaches over 60 million monthly users and includes premium social networks such as BlackPlanet, Quepasa, Multiply, Zorpia and others. By joining Viximo’s network, social networking partners can easily set up a virtual currency, enable third party development, and have access to leading social games and application content.

About Viximo, Inc.
Viximo is the largest platform that connects social app and game developers with numerous social networks across the web. With Viximo’s platform app and game developers get access to over 60 million users across multiple social networks with a single easy implementation. Additionally, Social Networks are able to quickly set up a robust virtual currency, enable third parties to easily develop to their site, and instantly offer the highest quality social apps and games. For more information visit http://viximo.com or http://blog.viximo.com.

Are you a Social Game Developer? If yes, all the changes introduced by Facebook to its gaming platform probably affect you.

At Viximo, we are committed to providing game developers with the opportunity to distribute their games and applications to millions of online users beyond the Facebook network, and we believe that it’s time to understand the world of social games, outside of Facebook, could look like.

To that end, we are conducting a short online survey to understand the challenges faced by developers who are creating and distributing social games. If you are a social game developer, we would really appreciate your feedback. The survey will take less than 5 minutes to complete and you can click here to start the survey right away.

ALSO: if you provide your name and contact information, you will automatically be entered to win a $100 gift certificate from Amazon.com!

All responses will remain confidential and secure. But we’ll be sure to share the anonymized results and insights with you so you can learn about the trends sweeping the industry.

If you have any questions, please contact us at info[at]viximo[dot]com.

Thank you in advance for your valuable insights and support!

PS: The survey closes on Friday May 21st, so make sure you complete it right away!

Viximo will be speaking at and attending a number of engagements in coming weeks (details below).

Brian Balfour, Co-founder and VP Product Marketing will be speaking at tomorrow’s MIT Sloan’s Business in Gaming (BiG) event on a panel entitled Mass Effect: The State of Gam­ing in Massachusetts. We will also be attending the Inside Social Apps Conference next week in San Francisco, CA.

If you’d like to connect with us at any of these events, please email us at info@viximo.com and let us know. We’ll see you there!

Details

MIT BiG Conference
Friday, April 16th 2010
Microsoft Nerd Center, 8am – 8pm
11am – 12pm: Viximo on panel about Mass Effect: The State of Gaming in Massachusetts.

Inside Social Apps Conference
Tuesday, April 20th 2010
UCSF Mission Bay Conference Center, 8am – 6pm

Contact us at info@viximo.com.