Live-service gaming is currently navigating a tumultuous landscape. Despite an increase in player engagement, the launch of successful new titles remains scarce, and the frequency of game shutdowns is on the rise. Several well-known franchises, such as Destiny and Overwatch, have shifted to free-to-play models in an effort to retain their player bases. Unfortunately, premium live-service games—those that require a full purchase price and often seek to monetize players long-term—are witnessing a significant decline.

2024 has already spotlighted two high-profile failures in the premium live-service sector. Rocksteady's Suicide Squad: Kill the Justice League resulted in a staggering $200 million loss for Warner Bros. Games, while Sony's ambitious title, Concord, faced such poor reception that it was abruptly taken offline after just weeks of operation. Although Sony found some success with Helldivers 2, it seemed to be an unexpected win for the company, with marketing efforts falling short compared to their other titles.

Amidst this turmoil, Blizzard's Diablo 4, launched in 2023, shines as a remarkable success story, boasting impressive sales and a strong expansion set for 2024. What differentiates it from its peers in the live-service market? According to Rod Fergusson, the acclaimed producer from the Gears of War franchise and the current general manager of Diablo, the key lies in Blizzard's original intent. They set out to create a Diablo game, not merely a live-service title; the design of the action role-playing game naturally lent itself to that model.

Rod Fergussson explained in a recent interview that, "An ARPG is inherently a live service. The question is what you do about it." He elaborated on how Diablo 3 attracted millions of players each season, reinforcing the idea that action role-playing games foster a continual demand for gameplay, regardless of whether they are explicitly labeled as live service.

Fergusson views live service as an avenue for ongoing improvement and iteration, catalyzed by genuine player interest rather than constructed mandates from publishers. He noted, "People are going to look to play through the campaign, but then they’re going to want to play what I call the hundred- or the thousand-hour game." This intrinsic desire for extended gameplay enables developers to introduce new content regularly to keep the experience fresh, as exemplified by the continual enhancements offered in Diablo 4.

The lessons here for game developers are quite clear: create authentically engaging content that resonates with players. Poorly executed games, like Suicide Squad, which seemed mismatched for a live-service model, illustrate the risks of forcing a live-service framework onto a title that doesn’t fit. Likewise, Concord was positioned within a suitable genre but ultimately fell short because it came across more as a corporate response to market trends rather than a genuine player-driven demand for an alternative.

In contrast, Diablo 4 resonated with fans craving an exciting, long-lasting entry into the series. This sentiment recalls the adage often paraphrased from Field of Dreams: it’s not simply about building it and waiting for players to arrive—true success is found in understanding what players genuinely desire and then delivering a compelling product. The essence of Diablo 4 encapsulates this approach, making it a standout amid the recent wave of failures in the premium live-service gaming realm.

In the end, the gaming industry could learn a valuable lesson: listen to the players, innovate based on genuine engagement, and success will follow.