Allow me to share a little secret with you: I’m a glass half full of beer kind of guy. I want to see people succeed – most notably game developers, who pour their heart and soul into every project. After all, the more great titles that find their way onto store shelves, the happier consumers are, the larger the profits generated and, naturally, the better things become for our beloved industry as a whole...
But having been to several Game Connection, E3 and Game Developer’s Conference events, I find myself in an uncomfortable position. Personally, I’ve acted as a talent scout since ‘98, helping companies from Microids to Atari and DreamCatcher pick smash hits to acquire dating all the way back to Monolith’s SHOGO: Mobile Armor Division. Embassy Multimedia Consultants further does extensive work on the product acquisitions end for multiple clients as well, advising private and publicly-traded corporations alike on which titles to buy and how to market them. Heck, I even purchase and self-publish the occasional game myself, dipping into my own pocket when the occasion merits. However, if what I’ve seen recently is any indication of the current state of the development community’s approach to publisher outreach, well… all I can say is that not much has changed in the last decade, and it’s no wonder so few original products are finding their way to retail channels. Now don’t get me wrong. I’m not denying that there presently exists a pervasive climate of mistrust, in which a largely hit-driven business model has pushed major players into a situation where they favor sequels and franchises in a perceived effort to minimize risk. But as creative sorts who prefer artistry over accounting and mostly rely on the large cash subsidies publishers provide for their livelihood, developers would do well to remember that interactive entertainment is a serious business. New intellectual property (IP), familiar IP, movie licenses, whatever… From the perspective of many executives, what eventually goes into the box is simply pure product. Therefore what you’re really looking at is a simple game of risk and return, with those able to garner the most trust and deliver the most costeffective content reaping the largest rewards. This being the case, salesmanship is just as important on the back-end as it is the front. In other words, initial product pitches are equally (arguably more) crucial than the ones you’ll eventually use to woo end-users. Essentially, if you’re looking to get your new game project signed, as with any customer, you’ll need to court the suits – only harder, as you’re asking them to part with hundreds of thousands, or even millions, of hard-earned dollars. If the notion strikes you as disingenuous, take a step back, breathe deeply and consider. Remember that many of these people aren’t actual gamers, and yet control not only your destiny, but also those of the employees and co-workers who’ve entrusted you with preserving their stability and sole source of income. Trust me: You don’t want to see the sell-through figures, or success rate, associated with the vast majority of titles that fail to make it to retail. Let alone, for that matter, what happens to a company as well as its people and products when it gets dissolved.
The ultimate point of my little rant being this… Far be it from me to deny that greed, hubris and ambition are factors that weigh equally heavy on any publisher’s decision to add a product to its portfolio as a title’s actual quality level and content. But, as a software developer, if you want to have a shot at getting your first break, keeping your company chugging along or even changing the overall status quo, it’s high time that you learned to play the virtual mating game a little bit better. Following are a few simple tricks that will help you cut to the chase, deliver more compelling presentations and maximize chances of finagling that star-studded deal you dream of. Not to mention (true story), saving me the trouble of yet again watching team after team’s dreams get systematically flushed down the toilet as executives casually dismiss one concept after another over a leisurely continental breakfast.This first, most important point can’t be stressed enough: Do your homework, and always know to whom you’re speaking before opening your mouth. If you’re pitching a $3 million sci-fi first-person shooter, it doesn’t make much sense to hold a publisher of budget-priced casual puzzle games captive for an hour does it? That’s a serious waste of their time – and yours. Likewise, asking for initial funding for a concept from a publisher who specializes in buying near-complete or finished goods? Not the smartest use of your day. Therefore always research potential partners before proposing a meeting, let alone sitting down with them. A simple search of the Internet won’t just reveal their history, size and scope of access to needed resources. It’ll also give you a good look at their current and future lineups, letting you know what type of product or pitch best resonates with corporate heads. And, for that matter, give you a sense of just how successful they are at functions like advertising, marketing and public relations – since, naturally, you don’t want to pick just any partner, but rather the right one for the job.
A few hours’ of Web browsing, email and/or phone calls is all it takes to get a sense of who would make a good fit as a publishing partner in various territories. Several more is also enough to come up with an individually-tailored sales presentation for all possible collaborators. (Sorry, as in dating, one size does not fit all – you wouldn’t approach every woman with the same tired pick-up line, right?) By being choosy and focusing your outreach efforts, you won’t just save time and money, but also maximize chances of success. Not to mention connect better with companies who enjoy shared interests. Ask anyone who’s unsuccessfully marched their adventure game through 50 action-, arcade- and racing-focused publishers – quality trumps quantity every time.
I realize – it’s hot, you’re nervous and uncomfortable, and besides… you work out of your back bedroom anyhow. But please, if you’re going to show up and ask for $10 million with a straight face, at least clothe your product and presentation (not to mention yourself) to look the part. You’ve heard the expression “first impressions are everything,” yes? Well that goes double in sales meetings. Your product, not to mention you yourself, are, essentially, what you are perceived to be – so if there’s one area I wouldn’t skimp on, it would be visual presentation. Screenshots, sell sheets, video trailers, boxes, websites, etc… Supporting assets should all be of the highest caliber, and presented on the best possible machine/setup manageable. The same goes for product demos – I’d rather see a spectacular-looking 10-minute hands-on teaser than dozens of lifeless levels or examples of physics-driven technology in motion. Never forget, it’s all about context: You’ve got just seconds to capture observers’ attention, and even less time to leave a lasting impression. Impact is everything. Ask yourself: If the publisher reps are likely seeing 25+ titles in one day, what’s to make them remember yours? Sales presentations should further be short, sweet and to the point: Gamers have notoriously limited attention spans… If you can’t quickly pique my interest, what’s to make me think you’ll grab theirs? Also worth noting while we’re at it: Such pitches are best delivered by the most charismatic and well-spoken member of your development team, who should be able to bullet-point key features with brief overviews. Oh, and showing up with bed-head, unshaven, in a t-shirt and shorts is ill-advised too – we all know appearances aren’t everything, but taking the time to compose yourself is a simple sign of mutual respect. Less talk, more action – that’s what publishing partners really want to see. You can trot out the biggest, fattest, coolest sounding design document in the world, but if you want to be the beneficiary of a five-, six- or seven-figure check, hoo boy… Brother, you better be able to put a playable demo where your mouth is. (Especially since we’re sure as snot not reading a 50-page essay on the spot, let alone while swamped back at the home office…)
Part of the reason for doing so is showing you’re capable of delivering on claims; part of it is helping partners visualize exactly how the end-product may turn out. On the one hand, we all know things have a tendency to change during extended development cycles – having a clear-cut vision for a title up-front helps. On the other, if you’re going to ask someone to entrust you with life-changing sums of money, you’ve also got to have the goods to back it up. So do yourself a favor: Prototype every concept you’re determined to sell in, and show up to meetings with playable code in-hand. Don’t believe me? Ponder the words of LocoRoco creator Tsutomo Kuono, who unsuccessfully pitched the cult hit PSP smash to Sony twice before they finally gave it the green-light the third time around. The reason, as he told audience members at 2007’s Develop conference: “It’s very important to make a demo and show something that moves.” What’s more, if you really want to be proactive, highlight several applications for the same technology in various settings. For example: Those routines you’ve coded that let a psychic hero toss huge boulders around with their mind might work equally well, if not better, in a comic superhero-style context – or a magic-infused medieval outing. That way, maybe the initial idea you’d intended to create doesn’t get off the ground, but for little immediate cost, you exponentially increase the chances a publisher finds a product that’s potentially to their specific taste, and offers a much-needed contract. A little extra effort is all it takes to give yourself that extra edge, or at least ensure you’re harder to dismiss outright.
Great minds think alike – especially when they’re trying to capitalize on successful commercial trends. A recent big theme is Nintendo DS titles… Next year, it could just as likely be social networks and MMOs. Either way, publishers aren’t stupid: With a flood of similar product coming down the pipeline, succeeding at retail involves more than simply trotting out titles for a popular platform. Certainly, there may be more price points and options for us to choose from, but acquisitions experts are still looking for games than give them an edge over the competition. Meaning that saying “OK, let’s do a DS title” isn’t enough. You’ve also got to figure out how to do one with a minimum of one to two immediately-recognizable unique sales points (USPs) that set it apart from the competition. Thus, instead of presenting a basic touchscreen-enabled strategy game, maybe you do one that’s housed in a contemporary setting like the Middle East, or come up with the first offering based on aerial combat. Choices of subject matter or features don’t need to be complex or visionary – just interesting enough to immediately separate the title from the rest of the pack at a glance. Otherwise, you run the risk of being lumped into the has-been category, or worse, going head-to-head with several products being shopped around by rivals, any one of which would satisfy prospective corporate buyers’ needs.
As above, prototyping a range of concepts helps in this regard – heck, just swap out art assets if you’re feeling lazy. That way, you can see what connects with acquisitions experts, and/or quickly pursue a different concept if you should find out someone’s doing your original idea already. As Sun Tzu explains in seminal tome The Art of War, the trick isn’t going head-to-head with an opponent, but rather learning to strike where your enemy isn’t. You can still capitalize on irrational thirsts for products on certain platforms or in certain genres… Merely make sure you’re offering different ways to quench them in unique flavors before guzzling that corporate Kool-Aid.
Development times, release dates, projected costs, company background, manpower, track record with similar titles, budget breakdown, relationship with platform manufacturers… Acquisitions and executive teams are going to walk into any meeting looking to ask dozens of relevant questions pertaining to any new development. Do you have the answers ready on the tip of your tongue, and in printed materials they can take away and reference later? If not, you’d better rethink your strategy: It always pays to be prepared. Being able to think fast on one’s feet is also a virtue: The one rule of publisher meetings is to always expect the unexpected. A good way to practice would be to stage faux meetings with internal staff where one or more individuals in the room assumes the role of the publisher representatives – and plays devil’s advocate. Smart publishing concerns always keep at least one guy in the room when meeting developers to do just that. (Often myself… maybe it’s shaved head and earrings, or imposing midget-like stature.) It’s further imperative you handle any and all questions with grace and calm – many developers get visibly hot under the collar when you challenge a statement, never a good sign. And if you or an associate don’t have an answer handy, don’t be afraid to say you’ll follow up… and make sure you do so in record time.
What’s more, keep the focus on your own titles – never reference another successful game unless hard-pressed. Rest assured everyone else is comparing their products to or aping the market’s current best-sellers. A good basic litmus test for general viability is whether or not your game has enough of an identity to stand on its own, with no prior knowledge of the topic, genre or play style required to comprehend it. If publishers, whose business it is to hock games, can’t figure out where a title fits in the marketplace without your prompting, how’s a media/trade member to create buzz surrounding it or consumer to decide whether it’s worth adding to their collection? Why yes, you have built a very nice bocce or badminton simulation. And indeed, the graphics on that cel-shaded piñata-smashing title of yours positively have to be seen to be believed. But, you know, before making me sit through a 20-minute demo, perhaps it’s best to understand whether the subject matter even makes sense for the territory in question.
There’s only one thing worse than hashing it out with an Eastern European developer for ages as to why their latest “smash hit” works in Prague and not Peoria. And that, of course, is when said blockbuster features an absolutely great theme and premise, but either play centered on intensive stat-crunching or artwork straight out of the Sunday funnies. One word, people: Localization. I realize that the last thing you want to do is tweak your title, at added cost, to make it more marketable in certain countries, especially once the product’s finalized elsewhere in the world. Nevertheless, if nothing else, at least take the time to research whether or not region-specific updates may be necessary just to show a given title… and to what extent. You do yourself no favors (and in many cases burn goodwill) spending large amounts of time attempting to present prospective partners with product they know at a glance that they can’t use outright.
Here’s a thought too: At some point during the development cycle, why not bring in a native of each key distribution territory, and solicit their honest opinion? It’s at this stage where you’re most able to implement any needed changes in terms of alternate play options and graphic sets, and will be most willing to make the adjustment. After all, I fully understand: Following a protracted 12- to 16-month development cycle and smashing commercial reception throughout the Germanspeaking world, I’d be loath to start from scratch and rework that criticallyacclaimed cycling manager too. But if you want to crack the US market, remember… Sometimes, change is good.
But having been to several Game Connection, E3 and Game Developer’s Conference events, I find myself in an uncomfortable position. Personally, I’ve acted as a talent scout since ‘98, helping companies from Microids to Atari and DreamCatcher pick smash hits to acquire dating all the way back to Monolith’s SHOGO: Mobile Armor Division. Embassy Multimedia Consultants further does extensive work on the product acquisitions end for multiple clients as well, advising private and publicly-traded corporations alike on which titles to buy and how to market them. Heck, I even purchase and self-publish the occasional game myself, dipping into my own pocket when the occasion merits. However, if what I’ve seen recently is any indication of the current state of the development community’s approach to publisher outreach, well… all I can say is that not much has changed in the last decade, and it’s no wonder so few original products are finding their way to retail channels. Now don’t get me wrong. I’m not denying that there presently exists a pervasive climate of mistrust, in which a largely hit-driven business model has pushed major players into a situation where they favor sequels and franchises in a perceived effort to minimize risk. But as creative sorts who prefer artistry over accounting and mostly rely on the large cash subsidies publishers provide for their livelihood, developers would do well to remember that interactive entertainment is a serious business. New intellectual property (IP), familiar IP, movie licenses, whatever… From the perspective of many executives, what eventually goes into the box is simply pure product. Therefore what you’re really looking at is a simple game of risk and return, with those able to garner the most trust and deliver the most costeffective content reaping the largest rewards. This being the case, salesmanship is just as important on the back-end as it is the front. In other words, initial product pitches are equally (arguably more) crucial than the ones you’ll eventually use to woo end-users. Essentially, if you’re looking to get your new game project signed, as with any customer, you’ll need to court the suits – only harder, as you’re asking them to part with hundreds of thousands, or even millions, of hard-earned dollars. If the notion strikes you as disingenuous, take a step back, breathe deeply and consider. Remember that many of these people aren’t actual gamers, and yet control not only your destiny, but also those of the employees and co-workers who’ve entrusted you with preserving their stability and sole source of income. Trust me: You don’t want to see the sell-through figures, or success rate, associated with the vast majority of titles that fail to make it to retail. Let alone, for that matter, what happens to a company as well as its people and products when it gets dissolved.
The ultimate point of my little rant being this… Far be it from me to deny that greed, hubris and ambition are factors that weigh equally heavy on any publisher’s decision to add a product to its portfolio as a title’s actual quality level and content. But, as a software developer, if you want to have a shot at getting your first break, keeping your company chugging along or even changing the overall status quo, it’s high time that you learned to play the virtual mating game a little bit better. Following are a few simple tricks that will help you cut to the chase, deliver more compelling presentations and maximize chances of finagling that star-studded deal you dream of. Not to mention (true story), saving me the trouble of yet again watching team after team’s dreams get systematically flushed down the toilet as executives casually dismiss one concept after another over a leisurely continental breakfast.This first, most important point can’t be stressed enough: Do your homework, and always know to whom you’re speaking before opening your mouth. If you’re pitching a $3 million sci-fi first-person shooter, it doesn’t make much sense to hold a publisher of budget-priced casual puzzle games captive for an hour does it? That’s a serious waste of their time – and yours. Likewise, asking for initial funding for a concept from a publisher who specializes in buying near-complete or finished goods? Not the smartest use of your day. Therefore always research potential partners before proposing a meeting, let alone sitting down with them. A simple search of the Internet won’t just reveal their history, size and scope of access to needed resources. It’ll also give you a good look at their current and future lineups, letting you know what type of product or pitch best resonates with corporate heads. And, for that matter, give you a sense of just how successful they are at functions like advertising, marketing and public relations – since, naturally, you don’t want to pick just any partner, but rather the right one for the job.
A few hours’ of Web browsing, email and/or phone calls is all it takes to get a sense of who would make a good fit as a publishing partner in various territories. Several more is also enough to come up with an individually-tailored sales presentation for all possible collaborators. (Sorry, as in dating, one size does not fit all – you wouldn’t approach every woman with the same tired pick-up line, right?) By being choosy and focusing your outreach efforts, you won’t just save time and money, but also maximize chances of success. Not to mention connect better with companies who enjoy shared interests. Ask anyone who’s unsuccessfully marched their adventure game through 50 action-, arcade- and racing-focused publishers – quality trumps quantity every time.
I realize – it’s hot, you’re nervous and uncomfortable, and besides… you work out of your back bedroom anyhow. But please, if you’re going to show up and ask for $10 million with a straight face, at least clothe your product and presentation (not to mention yourself) to look the part. You’ve heard the expression “first impressions are everything,” yes? Well that goes double in sales meetings. Your product, not to mention you yourself, are, essentially, what you are perceived to be – so if there’s one area I wouldn’t skimp on, it would be visual presentation. Screenshots, sell sheets, video trailers, boxes, websites, etc… Supporting assets should all be of the highest caliber, and presented on the best possible machine/setup manageable. The same goes for product demos – I’d rather see a spectacular-looking 10-minute hands-on teaser than dozens of lifeless levels or examples of physics-driven technology in motion. Never forget, it’s all about context: You’ve got just seconds to capture observers’ attention, and even less time to leave a lasting impression. Impact is everything. Ask yourself: If the publisher reps are likely seeing 25+ titles in one day, what’s to make them remember yours? Sales presentations should further be short, sweet and to the point: Gamers have notoriously limited attention spans… If you can’t quickly pique my interest, what’s to make me think you’ll grab theirs? Also worth noting while we’re at it: Such pitches are best delivered by the most charismatic and well-spoken member of your development team, who should be able to bullet-point key features with brief overviews. Oh, and showing up with bed-head, unshaven, in a t-shirt and shorts is ill-advised too – we all know appearances aren’t everything, but taking the time to compose yourself is a simple sign of mutual respect. Less talk, more action – that’s what publishing partners really want to see. You can trot out the biggest, fattest, coolest sounding design document in the world, but if you want to be the beneficiary of a five-, six- or seven-figure check, hoo boy… Brother, you better be able to put a playable demo where your mouth is. (Especially since we’re sure as snot not reading a 50-page essay on the spot, let alone while swamped back at the home office…)
Part of the reason for doing so is showing you’re capable of delivering on claims; part of it is helping partners visualize exactly how the end-product may turn out. On the one hand, we all know things have a tendency to change during extended development cycles – having a clear-cut vision for a title up-front helps. On the other, if you’re going to ask someone to entrust you with life-changing sums of money, you’ve also got to have the goods to back it up. So do yourself a favor: Prototype every concept you’re determined to sell in, and show up to meetings with playable code in-hand. Don’t believe me? Ponder the words of LocoRoco creator Tsutomo Kuono, who unsuccessfully pitched the cult hit PSP smash to Sony twice before they finally gave it the green-light the third time around. The reason, as he told audience members at 2007’s Develop conference: “It’s very important to make a demo and show something that moves.” What’s more, if you really want to be proactive, highlight several applications for the same technology in various settings. For example: Those routines you’ve coded that let a psychic hero toss huge boulders around with their mind might work equally well, if not better, in a comic superhero-style context – or a magic-infused medieval outing. That way, maybe the initial idea you’d intended to create doesn’t get off the ground, but for little immediate cost, you exponentially increase the chances a publisher finds a product that’s potentially to their specific taste, and offers a much-needed contract. A little extra effort is all it takes to give yourself that extra edge, or at least ensure you’re harder to dismiss outright.
Great minds think alike – especially when they’re trying to capitalize on successful commercial trends. A recent big theme is Nintendo DS titles… Next year, it could just as likely be social networks and MMOs. Either way, publishers aren’t stupid: With a flood of similar product coming down the pipeline, succeeding at retail involves more than simply trotting out titles for a popular platform. Certainly, there may be more price points and options for us to choose from, but acquisitions experts are still looking for games than give them an edge over the competition. Meaning that saying “OK, let’s do a DS title” isn’t enough. You’ve also got to figure out how to do one with a minimum of one to two immediately-recognizable unique sales points (USPs) that set it apart from the competition. Thus, instead of presenting a basic touchscreen-enabled strategy game, maybe you do one that’s housed in a contemporary setting like the Middle East, or come up with the first offering based on aerial combat. Choices of subject matter or features don’t need to be complex or visionary – just interesting enough to immediately separate the title from the rest of the pack at a glance. Otherwise, you run the risk of being lumped into the has-been category, or worse, going head-to-head with several products being shopped around by rivals, any one of which would satisfy prospective corporate buyers’ needs.
As above, prototyping a range of concepts helps in this regard – heck, just swap out art assets if you’re feeling lazy. That way, you can see what connects with acquisitions experts, and/or quickly pursue a different concept if you should find out someone’s doing your original idea already. As Sun Tzu explains in seminal tome The Art of War, the trick isn’t going head-to-head with an opponent, but rather learning to strike where your enemy isn’t. You can still capitalize on irrational thirsts for products on certain platforms or in certain genres… Merely make sure you’re offering different ways to quench them in unique flavors before guzzling that corporate Kool-Aid.
Development times, release dates, projected costs, company background, manpower, track record with similar titles, budget breakdown, relationship with platform manufacturers… Acquisitions and executive teams are going to walk into any meeting looking to ask dozens of relevant questions pertaining to any new development. Do you have the answers ready on the tip of your tongue, and in printed materials they can take away and reference later? If not, you’d better rethink your strategy: It always pays to be prepared. Being able to think fast on one’s feet is also a virtue: The one rule of publisher meetings is to always expect the unexpected. A good way to practice would be to stage faux meetings with internal staff where one or more individuals in the room assumes the role of the publisher representatives – and plays devil’s advocate. Smart publishing concerns always keep at least one guy in the room when meeting developers to do just that. (Often myself… maybe it’s shaved head and earrings, or imposing midget-like stature.) It’s further imperative you handle any and all questions with grace and calm – many developers get visibly hot under the collar when you challenge a statement, never a good sign. And if you or an associate don’t have an answer handy, don’t be afraid to say you’ll follow up… and make sure you do so in record time.
What’s more, keep the focus on your own titles – never reference another successful game unless hard-pressed. Rest assured everyone else is comparing their products to or aping the market’s current best-sellers. A good basic litmus test for general viability is whether or not your game has enough of an identity to stand on its own, with no prior knowledge of the topic, genre or play style required to comprehend it. If publishers, whose business it is to hock games, can’t figure out where a title fits in the marketplace without your prompting, how’s a media/trade member to create buzz surrounding it or consumer to decide whether it’s worth adding to their collection? Why yes, you have built a very nice bocce or badminton simulation. And indeed, the graphics on that cel-shaded piñata-smashing title of yours positively have to be seen to be believed. But, you know, before making me sit through a 20-minute demo, perhaps it’s best to understand whether the subject matter even makes sense for the territory in question.
There’s only one thing worse than hashing it out with an Eastern European developer for ages as to why their latest “smash hit” works in Prague and not Peoria. And that, of course, is when said blockbuster features an absolutely great theme and premise, but either play centered on intensive stat-crunching or artwork straight out of the Sunday funnies. One word, people: Localization. I realize that the last thing you want to do is tweak your title, at added cost, to make it more marketable in certain countries, especially once the product’s finalized elsewhere in the world. Nevertheless, if nothing else, at least take the time to research whether or not region-specific updates may be necessary just to show a given title… and to what extent. You do yourself no favors (and in many cases burn goodwill) spending large amounts of time attempting to present prospective partners with product they know at a glance that they can’t use outright.
Here’s a thought too: At some point during the development cycle, why not bring in a native of each key distribution territory, and solicit their honest opinion? It’s at this stage where you’re most able to implement any needed changes in terms of alternate play options and graphic sets, and will be most willing to make the adjustment. After all, I fully understand: Following a protracted 12- to 16-month development cycle and smashing commercial reception throughout the Germanspeaking world, I’d be loath to start from scratch and rework that criticallyacclaimed cycling manager too. But if you want to crack the US market, remember… Sometimes, change is good.