THE BATTLE FOR THE MARKETING CLOUD–SEE THE HOTTEST MARKETING TECH START-UPS IN SILICON VALLEY TONIGHT

 

This evening, the TriplePoint team will be hanging out at The Battle for the Marketing Cloud, a panel on marketing technology hosted by Mike Maples Jr. (managing partner at FLOODGATE, early investor in Lyft and Twitter, and all around good guy) and featuring our friends at DoubleDutch. The panel will run from 6:00 to 9:30 with plenty of time for networking (and an open bar, to boot), and we invite you to tag along! Continue reading THE BATTLE FOR THE MARKETING CLOUD–SEE THE HOTTEST MARKETING TECH START-UPS IN SILICON VALLEY TONIGHT

The Rise of Valve – Capitalizing on Digital Distribution Domination

Recently, we had some big news from one of the largest, and well respected, companies in the gaming industry: Valve announced that they were officially entering the console market with “Steam Machines,” gaming consoles that aim to bring the PC gaming experience to the living room. I’m pretty excited to see Valve enter a hardware industry that is currently dominated by only three competitors. They’re bringing a lot of new ideas to the table, such as a haptic-based controller, which may shape the future of the console landscape. Yet, what fascinates me the most is looking back and realizing that Valve has been leaving bread crumb trails all along, even during the inception of Steam.

Steam Client: Digital Domination

When Valve debuted Steam in 2003, it was an absolute pain. The amount of time it took me to patch and boot up Half Life 2 was tedious, and if it weren’t for the fact Valve’s flagship title was absolutely one of the best games of all time, I think it would’ve been dead on arrival. Still, Steam eventually became a pioneer for digital distribution. Many third-party publishers including Eidos, iD Software, Take Two and many others joined in to reap the profit margins from selling their titles online. The acceptance of digital distribution paved the way for consoles to develop a similar model on their platforms; if it wasn’t for Valve playing the role of the innovator in the gaming industry, I doubt the Xbox Marketplace or PlayStation Store would be what they are today.

Digital distribution is the foundation of Valve’s Steam Machines, and without proper dominance on that front, there was no way they could move onto building hardware.

Are You Starting to see the Big Picture?

It was made clear that Valve wanted to move in this direction at Sony’s 2010 E3 Press Conference. Valve’s Co-founder and PC enthusiasts’ most beloved figurehead, Gabe Newell, came onto the stage and stated, “As an industry we’re going through a transition. As an entertainment as a product to an entertainment as a service… it’s about giving gamers a complete connected social experience.”

This foreshadowed Valve’s motives. They wanted to grow their platform into something bigger, encapsulating not only the PC Market, but also console gamers. But the PC developer/distributor needed to create something that would make it easier for console gamers to embrace their platform… and that’s where Big Picture comes in – a new way to experience Steam.

Everything about Big Picture was designed to take advantage of the living room experience and bring console gamers one step closer to the PC world. It was a digital platform with an online user interface any console gamer could jump in and understand. Best of all, with over 2500+ store titles already available at launch, Valve was already one step ahead.

The Final Stretch into New Familiar Territory 

But they faced one final problem — most console gamers couldn’t afford a powerful PC rig to take Valve’s offering.

Valve needed to find a way to bring down the cost, and that’s where Steam Machines make their entrance. With multiple models, Valve’s approach to the Steam Machines hardware allows anyone to pick up a console at their own personal price point. Best of all, it’s customizable, making the idea of owning a Steam Machine much cheaper in the long run since you won’t need to buy a brand new console every year. It’s a win-win situation for Valve, its partners, developers, and gamers everywhere.

What makes it even better is Valve isn’t directly competing with the big three (yet). Their focus has been to dominate the digital distribution space; they already have the upper hand due to how much they’ve invested in the market.

Steam Machines are going to be Big

What we do know is this: Valve’s offering and entrance to the hardware industry is giving momentum to PC gamers and console gamers alike. There is something here for any type of gamer here, and the amount of flexibility will be a key strategy they will capitalize on. We’re one step closer in bridging the gap between both console and PC gamers, and I for one, cannot wait.

 

 

The e-Sports e-Splosion: Why Now?

eSports – a term for organized video game competitions around the world – have been gaining popularity since their humble beginnings around the turn of the century. For years, there have been dozens of articles in the most respected of mainstream and enthusiast publications suggesting that eSports are on the verge of exploding into mainstream culture, sharing the type of notoriety and fame typically reserved for pro sports and Hollywood movies. However, that’s yet to truly happen – eSports and their most popular game genre, the MOBA, both remain a relative niche even within the gaming industry, let alone the world at large. But just like the cunning strategies used to succeed in the games themselves, the eSports industry has the potential to execute a come-from-behind win of epic proportions.

The 2013 League of Legends World Championship Finals Trophy
The 2013 League of Legends World Championship Finals Trophy

So here’s the question at hand: eSports… why now? Continue reading The e-Sports e-Splosion: Why Now?

What Working at a Steakhouse Taught Me about Media Relations

The summer of 2007, I volunteered as a marketing intern at my hometown radio station. My job was to attend local movie premieres (the kindof events you can win tickets for if you’re the fifth caller to the station), check tickets, and hand out swag. I’d even get to watch the film afterward. While watching the best of 2007’s summer movies was a good way to escape the heat, it didn’t pay my college tuition, so I took a part-time job waitressing at a steakhouse.

After a summer in the hot kitchens and a few years working with journalists, it occurred to me that a few months with wood-polished tables and Surf ‘n’ Turf specials prepared me as much for media relations as my more formal training. Beyond learning a few tricks for getting grease stains out of Oxford shirts, my time at the steakhouse allowed me to work with a variety of different people in an environment where each request was time-sensitive. The relationships between customers, restaurant management, and chefs are not unlike those of a journalist, PR staff, and a brand.

Continue reading What Working at a Steakhouse Taught Me about Media Relations

The Other Side: can violent video games be a peacekeeper?

Idomeneus stabbed Erymas in the mouth with the pitiless bronze. The bronze spear passed right through and up under the brain, smashing the white bones. His teeth were knocked out and both his eyes flooded with blood: wide-mouthed he spurted a well of blood through nostrils and mouth: and the black cloud of death covered him over. [i]

In the 8th century B.C., violent video games were the lyre and voice of a blind man called Homer. His narratives were also widely available for consumption by children.

In my 8th grade classroom, my classics teacher told my classmates and I to prepare for the graphic details of Homer’s The Iliad. We were told that Homer believed depicting violence in media served to cleanse the soul, removing violent intentions, not creating them. He even believed that reciting his epic poetry of the brutality of war would disturb listeners enough to prevent them from wanting to go to war.

Most recently, controversy erupted when players discovered Grand Theft Auto V’s torture scene, where the player is required to input commands to torture an NPC. Was Rockstar’s intention to disturb players with that scene? If so, would players who completed the mission be less likely to want to torture in real life due to the feelings they experienced playing through it?

Regardless, the popularity of billion-dollar franchises like Call of Duty and Grand Theft Auto has of course led much of the non-video gaming public to believe that widespread consumption of such media is, in fact, making society more violent. On the other hand, an interview between video game journalist Todd Kenreck and psychiatrist Dr. Tyler Black of the British Columbia Children’s Hospital presents another view: that the rise in violence has been skewed by the amount of media coverage it gets, and that violent crime is at a 20-year low.

Thus far, the two warring arguments state that 1) video games make the consumer more inclined to commit violent crime and 2) video games have no effect on real-world violence.

In February 2013, the New York Times’ Benedict Carey presented a third angle: video games can actually reduce real-world violence.

Mr. Carey presents findings from various scientists’ research, including that of Michael R. Ward of the University of Texas, Arlington. Dr. Ward examined week-by-week sales data for violent video games across a wide range of communities in the United States and Europe. Dr. Ward and his colleagues, in fact, discovered a new trend: surges in violent video game sales led to a decrease in crime, especially violent crime.

Coincidence? The findings of Kimberly Wallace of Game Informer suggest Dr. Ward’s results are anything but one. In her article, she explains the infamous “finger-cutting scene” of Heavy Rain, where Ethan Mars, the protagonist, is required to amputate his finger, the method of which is chosen by the player. Failure to complete this task results in one less clue to finding Ethan’s missing son.

Ms. Wallace explains the trauma she experienced upon completing the scene. She states that all she could think about was the pain she’d endure were she to cut off her own finger in real life, coming to the conclusion that, “It shouldn’t be so easy to watch a man slice off his own finger, especially when you’re behind the wheel.”

Ms. Wallace’s experience suggests that exposing a consumer to gore and violent situations instills the undesirable feelings associated with possibly experiencing the violence themselves. Even in situations where the player is required to inflict pain on a character other than the protagonist, notably the airport scene in Call of Duty: Modern Warfare 2, there is the option to skip the scene in-game. This is due to players decrying its disturbing nature, which is telling that gamers do not enjoy the idea of killing innocent people. Developer Infinity Ward told USA Today that the scene is meant to get players “pretty twisted up.” They go on to say that they hope the scene “makes some people a little upset.”

Infinity Ward’s hope for players’ negative reaction is likely attributed to the fact that they want players to recognize that murdering civilians is a shameful act. If Homer were alive today, would he endorse exposing that scene to people of all ages, including children, to educate them on the immoral nature and damaging consequences of committing violent crimes?

The idea that exposure to violence and undesirable situations reduces the consumer from committing them in real life is hardly exclusive to video games. Scientific American published a 2011 article stating that experts believe consumption of pornography may reduce the desire to rape by offering a safe, private outlet for deviant sexual desires. This is backed by data from Christopher J. Ferguson, professor of Psychology at Texas A&M International University. Dr. Ferguson states that rape and sexual assault are at their lowest levels since the 1960s, thanks in part to porn being nothing more than “a Google search away.” In 1992, psychiatrist Richard Green at Imperial College London found that patients requesting treatment as sex offenders commonly saw that “pornography keeps their abnormal sexuality within the confines of their imagination.”

If Dr. Ferguson and Dr. Green’s findings on pornography apply to violent video games, then perhaps there is a fourth side to this argument: that violent video games not only reduce the inclination to commit violent crime, but can be a tool for making violent criminals less likely to re-offend.

I am by no means suggesting that Charles Manson should be released from prison if he reaches the top of the leaderboards in Call of Duty: Black Ops 2. However, the data presented does suggest we might be asking the wrong question when it comes to violence and video games.

Do video games cause violence? Do video games reduce violence? Or is there no link between the two? Perhaps we cannot find the right answer before we find the right question.

Which do I believe is correct? I believe that being traumatized after the much more traumatic “Trial 4” scene of Heavy Rain made me a better person. I also believe that bettering myself after experiencing that mission was a conscious choice I made.

I believe that video games have the ability to heal and make you a better person. I also believe that video games can only accomplish the above if you let them.

I don’t know if I am right. But I believe that a medium is only as good or bad as you decide. How do video games influence you? I believe only you know the answer to that.


[i] The Iliad: A New Prose Translation by Martin Hammond (Penguin Classics, 1988)

Images:

The Wrath of Achilles (1819), by Michel Drolling

Grand Theft Auto V, from Pixel Enemy

Heavy Rain “The Lizard,” from IGN

Call of Duty: Modern Warfare 2 “No Russian,” from PC Gamer

Checkmate, Journalism?

Today, you’re much less likely to read an article about the final season of Breaking Bad and its impact onto television writing than you are to know that Twitter is blowing up about it and therefore it must be worth your time. You’re more likely to know something bad happened in Syria because it trended on Twitter for a few days. Frustratingly, you’ll most surely know the score of the game you’re DVRing before you get home. News still breaks, but we’re not reliant on traditional news sources to get it anymore. Is the traditional model of journalism now officially dead?

Recently, TriplePoint’s Richard Kain led a led a review of, “Did Twitter Kill the Boys on the Bus?,” a paper written by CNN Political Analyst Peter Hamby. Among the paper’s many twists and turns, much attention is paid to illuminating opinions about the effect of social media had on the last presidential election. #Spoiler, when Twitter was for a candidate it was viewed by the campaign as a mostly positive thing. When it was against a candidate it was deemed annoying and immature. Old journalists felt threatened by social media, whereas the young guns embraced it.

Despite my ability to recall life before the Internet, new technology excites me, particularly when it affects journalism. I’ve always been fascinated about how the tools of the trade have evolved and how often technological advancements have forced journalism to react and reevaluate itself in an effort to remain valuable and profitable.

When I studied journalism, social media didn’t exist and websites were just taking root. (Insert get off my lawn statement here.) Working for the daily student newspaper, our professors and editors taught us how to file stories over the phone and how to use light tables to prepare news for print. The mini cassette recorders we carried were the most expensive piece of equipment we had at our disposal, save the the photo teams and their fancy SLR cameras. The pica wheel still terrifies me.

But as the tech has evolved, so has journalism’s boundaries. Journalism used to be a term reserved for professional news organizations that sought out and reported the daily news or covered the developments of a particular industry. It was a field dominated by men who wore hats and were fixated on scoops. Those who practiced journalism came from diverse backgrounds and had equally diverse interests and biases, but shared a common set of standards. These standards governed how news was cultivated, analyzed, and reported.

While most stem from actual news accounts by actual journalists (e.g. Christiane Amanpour), much of what is ‘reported’ through social media channels also comes to us via citizen journalists (e.g. CNN iReport) and (unorganized) regular people who capture life’s moments through the eyes of their smartphones.

The fact that Twitter, which requires users to make their points in less than 140 characters, has altered the way in which we consume information is not a new idea. The Internet, after all, has had a profound effect on the communication of information ever since the first tubes were installed.

After e-mail, bulletin boards, blogs, and social networking, Twitter has emerged and taken control of community-driven communications. After its announcement to IPO last week, which they tweeted of course, the media’s current darling will be subjected to near-constant dissection of its importance, usefulness, and value. Unlike many of its walled-garden predecessors, Twitter’s openness and simplicity appears to have more fully ingrained itself in the mainstream public’s conscious. (The full history of social media is articulated here.)

Sure, Facebook had a nice ride, but its numbers are declining, particularly its younger demographic who no longer think it’s cool. Friendster, MySpace, and Second Life had profound effects on social media and community, but are all but forgotten. Scoff as you might, but leading news agency Reuters opened a bureau office in SL back in 2006. Adam Pasick was the embed – today you can find him on Twitter.  Per Dunbar’s number, many people are actively unfriending people on Facebook. When a social network like Facebook falls victim to grossly overblown communities of ‘friends,’ can it succeed in the long run as a viable information platform? Twitter seems immune from this issue.

With Twitter, consumers are exposed to fragments of new information very quickly. But in much the same way that skimming headlines doesn’t provide any tangible information, Twitter’s brevity means that erroneous information can propagate quickly.

Twitter has thrown jet fuel on the fire of the 24-hour news cycle. By today’s standards, being a leader doesn’t necessarily mean providing the deepest, most unbiased content. It means being first. In a race to keep pace with social media, traditional news outlets have made errors, as David Carr’s piece on the TV new business illustrates. While there are many examples of Twitter getting it wrong, there are also instances where Twitter got it right, including the Boston bombing tragedy where Twitter was the first tool media, first responders, and citizens grabbed hold of to make sense of a horrible situation.

As an aggregator of information, Twitter is awesome. Though a topic of debate, nobody actually reads Twitter. Instead, they skim personal curations for information that interests them and (hopefully) with a simple click are transported to the full context. In this scenario, the second step is critical but highly underused. With so much competition for information consumption, Twitter’s elegant 140-character flag has proven to be a good way to capture attention and fuel the desire to learn more.

Just as person-to-person communications evolved from telegraph to mobile device, so too will social media. The future of journalism will continue to be shaped by advances in new technology. Much buzz is being created by Google Glass, big data analytics, sensors, global Internet use, and the continuing evolution of social networking technology.

All of these developments will have profound effects on the way in which we humans capture information about the world around us and share said information with the world. In the end, however, the craft of journalism may become faster and more personal. It will still have failures and success. It will try new things to make money. But ultimately, the core of what made reporting good — quality analysis and writing — will remain of paramount importance to the craft.

Extra, extra, #readallaboutit

Finally Independent’s Day

Trite but true: video gaming has come a long way since the days of Donkey Kong. No other form of entertainment or industry has ever grown so quickly and in so many iterations. I could continue with another banality about how this is “a particularly interesting time for gaming” – but hasn’t it always been? That there seems to be another innovation just around the corner all the time is one of the most exciting things about working in this industry.

Will indies take over the world?

That said, the landscape for independent developers is changing in this next-gen cycle (or perhaps, the upcoming cycle is illustrating a change that already happened). Indies have been in the spotlight since Sony’s initial PS4 unveil, and it’s clear that “winning self-publishing” is a major goal for both Sony and Microsoft. While Sony has led the race (E3 was an incredible win on almost every front), Microsoft isn’t slouching. Its decision, revealed at Gamescom, to set pricing for self-published games seems a brilliant move to help indies have a real shot at success on Xbox One. Because, after all, who has all the pretty monetization charts we’d all love to get our hands on?

While the support the next generation will offer indies is more robust, and high-profile, than many people expected, it’s not surprising when you examine the market over the past few years. Apple changed the game for us all with the App Store, attracting a huge community of both users and developers – and making tons of money in the process. From constantly tweaking discoverability to providing developers with the tools and resources they need to build products as efficiently as possible, the App Store has made an extraordinarily strong argument for independent self-publishing. That’s not, of course, to discount Steam. Valve’s platform has also been ahead of the curve, with recent updates like Greenlight and the Early Access program providing even more ways to help great developers meet interested gamers.

Of course, Apple, Valve and the others’ efforts towards indies aren’t just proof of the power of a self-published, digitally distributed model. It’s a natural evolution, sure, but the – oh fine let’s just call it this – the “indie revolution” isn’t solely based on increased support from platforms. We have to consider the changing attitudes of both game developers and players. Many genres and franchises have been done to death. If you’ve been a gamer as long as I have (call it 18 years), you’ve killed millions of aliens, terrorists and zombies over and over and over again. At a certain point, a longtime gamer craves a new, more mature experience. At the same time, many developers at AAA studios feel a similar lassitude about creating yet another shooter. Indie games fill a void on both sides – creator and consumer.

Indies come in all shapes and sizes now. Outlast (by Red Barrels) looks like a AAA game…

I’ve been lucky enough to work with a number of indies founded by developers who quit big studios to create the games they’ve always wanted to make. This is one area where the interests of gamers and creators align perfectly, and it’s been amazing to see such substantial interest for Papo & Yo’s unique, personal storytelling, Tiny Brains’s truly social co-op mechanics and Outlast’s full-throttled commitment to scaring the crap out of everyone.

There are fantastic opportunities for indies on the horizon, which is good news for everyone. Developers will find it cheaper to bring games to market, with a better chance at success through built-in promotion and distribution. Gamers can expect veteran AAA devs to leave their jobs to make the projects they’ve dreamed of for years. Alongside the efforts the platforms are making, this means more unique, meaningful games that are easier to find. Platform holders will develop, iterate and improve the digital model through which all content will be ultimately distributed. Microsoft may have put the cart in front of the horse, but it’s clear that the endgame for all entertainment is the consolidation to one, integrated entertainment unit.

…while FTL: Faster Than Light has been very successful with basic graphics

Ok, I’m going to go back on my word and proclaim this “a particularly interesting time” for indies. With all the efforts from the platforms, increasing consumer preference for digital distribution and big, AAA-style independent titles like The Witness and whatever thatgamecompany is working on, the next year may set a new standard for how games are brought to market.

I’ll be sharing more thoughts on the market for indie games, as well as some best PR practices for mobile, PC and console games, at the Boston Festival of Indie Games (BostonFIG) this Saturday.

John O’Leary

@JohnOLeary4

 

Room for Everyone

When the subject of gaming comes up in conversation, it’s not dissimilar from discussing movies, television, or literature. “What are you playing these days?” is the gamers’ equivalent of “Did you catch the last episode of…” or “Did you go see…?” There are several unspoken questions that go with it; our friends are assessing where our interests lie, whether we’re keeping up with a franchise or a genre, which spoilers are safe to discuss, and so forth. Answering the question, though, involves assessing the party asking it, as well. If I’m asked what I played last week, do I open with the one about the bittersweet love story told through atmospheric exploration, or the one about punching the alien in the balls so hard he blew up a gas station? Continue reading Room for Everyone

The Six Principles of Influence, and How to Use Them: Part 2

Two weeks ago we debuted part one of our Six Principles of Influence, and How to Use Them, and today’s post will focus on the remaining three principles: Reciprocity, Commitment/Consistency, and Liking/Rapport.

4. Reciprocity

Reciprocity, or the Law of Reciprocity as it is known, states that people want to give back to others who have given to them. Like consensus, this dates back to hunter-gatherer times, where the hunters would go out to get food while the other tribe members stayed and watched over the village and tended to other needs. Reciprocity developed here because the village knew that they would be getting meat and food when the hunters returned, which they needed to survive. On the flip side, the hunter who brought the food needed to know that if they returned frail or hurt there would someone in the village to take care of them and nurse them back to health.

Reciprocity started out mainly as a symbiotic relationship and has stayed ingrained in our consciousness and subconsciousness ever since. Reciprocity can be seen at play with holiday cards, a tradition that many people take part in each year. If the Smith family sends you a card, you will feel indebted to them and want to send them a card back, even if you don’t like the Smith Family! With the law of reciprocity in play, we often find ourselves in situations like this with gifts, favors, and help, because people want to give back to those who have given to them. They are compelled to give back in order to remove the feeling of indebtedness they have from the original action or deed. Continue reading The Six Principles of Influence, and How to Use Them: Part 2

The Six Principles of Influence, and How to Use Them: Part 1


Back in the end of June, I had the opportunity to attend a massive marketing event in Atlanta. Titled “Conversion and Compliance 3.0,” the event was held over two days, bringing in a range of speakers who covered a number of different marketing and communication topics.

One such speaker was Dr. Robert Cialdini, who is internationally known for his best-selling book, Influence: The Psychology of Persuasion. In it, Cialdini breaks down what he describes as the six core principles of influence. They include Scarcity, Authority, Consensus, Reciprocity, Commitment/Consistency and Liking/Social Proof.

All of these principles are incredibly powerful and can be utilized in many different daily environments. This post delves into the first three, giving an in-depth look at what each principle is and how they can be used.

1. Scarcity

Scarcity is based around the idea that we want more of something the less there is of it. Scarcity can apply to physical items, such as a popular menu item that is being discontinued, or an offer that is only available for a limited time. Think back to every infomercial you have ever seen on TV, “order in the next 20 minutes and receive double the offer for no extra cost!” This is scarcity in action: if you don’t act soon you’ll be stuck with only one of the thing that you don’t really need, and thus your life will be worse.

Applying Scarcity to your life can be done best in relation to time. Your time is finite, and thus incredibly valuable. However, if you are always giving it out to people, they will not respect it and you will be worse off for it. If your time is scarce, people will value the interactions they have with you even more because they will subconsciously know that those interactions are not something they have whenever they please. A few months back, Apple CEO Tim Cook took part in a charity auction for a coffee meeting with him. The initial offering valued his time at $50,000, but the auction ended up closing for $610,000. How could one person’s time ever be worth that much? Scarcity.

2. Authority

Authority is important for people because authority builds credibility and trust. If you’ve ever had someone break into your car or steal something from your home, you call the police because they are the “authorities,” someone who you can trust to help with your problem and help you obtain a desired solution, whether that is getting the stolen goods back or finding the perpetrators.

Authority extends far beyond law enforcement, and can be seen in many different business settings. Think of Best Buy, who has brilliantly branded their computer tech and service department as the “Geek Squad.” When everyday people don’t know what is wrong with their computers, they go to the Geek Squad because they have a link to geeks being an authority in fixing all things technical.

You may be an authority figure in a given field; however you must tread carefully when peddling your wares. Telling others you run the hottest new startup in Silicon Valley will not showcase you as an authority figure, but instead will make others look at you with disdain as someone who is pompous and egotistical. What is better is to have others validate your authority for you. If I tell someone that my friend John is an incredibly smart guy who runs Silicon Valley’s hottest startup, this will seem much for credible to the listener. Whether or not this is true doesn’t necessarily matter; subconsciously, my building up John’s company is perceived as true, because it is coming from a second party who the person knows and who seems to have no reason to lie.

With Authority comes great power, so it is important to not abuse the power given to you by authority.

3. Consensus

Consensus refers to the idea that people look to others around them, who are like them, to see what they should be doing in a given situation. This is ingrained biologically from our hunter-gatherer times, where if one member of a given community didn’t follow the pack and acted differently from others (whether in hunting, traveling, or mating) they were not as likely to survive. In a behavioral sense, consensus makes it easier to fit into an unfamiliar situation. If you’ve never been to an opera, you’re going to look at other members of the audience for cues when to clap, when to stand, and when to stay quiet, because it is easier for you to follow the crowd rather than test out new behaviors on your own.

A big part of consensus also revolves around relating to others: if we have like behavior or find something in common with another person we are more open and receptive to them and are more likely to find them friendly.

Where this applies in an influence sense is that consensus can be used to elicit specific behaviors from those you interact with. As a Doctor, you could use consensus to help guide people towards particular procedures that are beneficial but which the patients may be hesitant about: “Most patients who are like you with X ailment choose to go through with this procedure, and most of them have a quick and easy recovery.” In this case, the patient is more likely to be convinced to have the surgery because others like them have done it before. This is consensus in action.

Ready for more? Check out The Six Principle of Influence, and How to Use Them: Part 2.

8 PR Tips for Kickstarter Projects

Over the past year, we’ve been hearing from developers who want PR support not for the launch of their game, but for their Kickstarter projects. Promoting a Kickstarter project bears some similarity to a traditional product PR campaign; however, there are some major differences that will influence the way you approach a PR effort. Like any game, product, or service, it must be of high quality and there must be a demand for it in order for PR to be effective. If you’ve got that covered, then the next step is getting the word out in the right way; here are some tips and best practices we’ve learned through experience and observation.

1) Ask Not for Money

A common complaint we’ve heard from members of the press is that writing about Kickstarter projects puts them in an awkward position, or worse, a conflict of interests. The reporter’s job is to inform their readers, not to help a struggling artist raise money. If one goal accomplishes the other, so be it, but in your outreach to press, you must avoid asking for help or assistance in reaching your fundraising goal. Your objective should be to show and tell about the amazing game you’re developing, not to put the pressure you feel to reach a fundraising goal on other people.

2) Early Access for Media

One of the greatest advantages any game developer has in terms of PR is being new and unannounced. Once you’re live on Kickstarter, you’re not quite as new anymore. So treat your Kickstarter launch as a proper launch and offer a select handful of press some early access to the info, assets, and/or game preview you plan to share when your Kickstarter goes live.

3) Target Wisely

Some journalists have tweeted or written about “Kickstarter fatigue” and not wanting to hear about or write about any more Kickstarters. Avoid these people. Before you contact someone, read their work to make sure they are interested in the type of game you’re making, and that they’ve shown interest in promising Kickstarter projects before.

4) Update Often

We’ve seen a direct correlation between Kickstarter project updates, and the flow of donations, so keep your community informed with lively and regular updates and your chances of success and building a fanbase will increase. You should prepare a schedule of updates before you go live so you can drip-feed them over the course of the campaign. Hasty or hollow updates can actually deter backers.

5) Tap into Nostalgia or Unmet Demand

The projects that fare the best on Kickstarter, for the most part, all have something in common. Some tap into a nostalgia we all have for a long-forgotten game franchise or defunct IP from our childhoods and the collective desire to bring it back. Some play into a sense of unmet demand for a game or product that people clearly want to have but no big company has yet devoted the resources to produce. Others instill a sense of confidence in their backers because the team behind it has an incredible pedigree and a track record of success. Most successful games on Kickstarter will tick one of these three boxes. Note that the successful “nostalgia” projects typically also offer something new and innovative, not just a revival of something old.

6) Get Ready Before Launch

You need to have a working game to show before you launch the Kickstarter. Don’t let Kickstarter be the debut of your concept — you should have a working prototype or more. John Rhee, an indie developer who recently ran a successful Kickstarter for his game Liege, wisely advised, “Your development progress should be inverse to your studio pedigree. Only established studios can expect to get funded off a concept. If you don’t have recognizable IPs under your belt, you’ll need to be well into development and have a lot to show.”

7) Time Your Project Deliberately

Think carefully about the launch, middle and end of your project. Be ready to wow people at launch, but sustain the flow of info and updates over the course of the campaign. Prepare for the “middle dip”, knowing support for projects tends to slump around the halfway mark. Know where your final 48, 24 and 8 hours will land. Like any other online business, purchases tend to increase on Sunday evenings. You’d be wise to end your campaign near standard paydays, when people have more disposable income handy. Likewise, avoid launching during major holidays, particularly shopping holidays like Christmas or Thanksgiving (Black Friday).

8) Leverage Kickstarter for PR

Use Kickstarter as the powerful marketing tool it can be. Around 50% of your backers will originate from within Kickstarter, as opposed to referrals from external sites. Pay close attention to your project blurb and how it appears on Kickstarter and in search results. Also, look for opportunities to cross-promote your project with other Kickstarter projects. Many successful Kickstarters got a huge bump in backers from working with fellow projects in similar genres. You’re reaching an ideal demographic of existing backers who’ve already linked their accounts to Kickstarter and have shown interest in similar projects.

Just like the App Store, Kickstarter is a crowded marketplace full of many different products for sale. Both marketplaces share a common problem: discovery. It’s hard for users to find the content they want, and the platform owners struggle to surface the right content for the right people. Until this problem is solved, you must take it upon yourself to promote your Kickstarter and use PR to your advantage. Follow these tips and you will improve your chances of success on Kickstarter.

 

Plenty of Fish in the Sea: Gaming, Ego, and Missed Opportunities

For those of you loyal readers who are less games-industry inclined, things got preeeetty exciting at the end of last week. Notable industry sour-puss Phil Fish, the creator of puzzle/platform game Fez, took a special kind of offense to some strong words from Marcus Beer, a journalist and commentator most known for his Annoyed Gamer segment on GameTrailers. Beer was upset that Fish and fellow indie designer Jonathan Blow had refused to comment when approached about Xbox One’s decision to allow for Indie publishing. Mean things were said, a Twitter war started, and at the end of the day Mr. Fish announced his retirement from game development, and the subsequent cancellation of his much anticipated game Fez 2.

It was a strange turn of events. Fish has long been an outspoken member of the gaming community, and has not been afraid of stepping on toes—he once declared that Japanese games, on the whole, “suck.” But despite his polarized opinions and regular flack he received for them, never before had he given an indication that he would quit the industry entirely. Journalists, commentators, and gamers are in a kind of stunned state, some siding with Fish against the very personal attacks leveled against him, others basically telling him to toughen up.

Fez 2 will not remain cancelled. Fish will return to the industry. Many commentators with more experience and understanding than I have already broken down the arguments for and against what happened. My interest in the story is not about the dramatic exit of a recognized industry figure: rather, it’s frustrating and completely predictable that attention would be given to the childish behavior of Beer and Fish, and not the actual topic that started it all.

Beer’s complaint with Fish and Blow was that they did not appreciate the two-way street of journalist-developer relations. Many journalists had worked closely with the two of them to promote their games, but when asked to give a thoughtful comment on this pressing industry issue, both had laughed in journalists’ faces—they very publically (e.g. on Twitter) stated their disdain at games journalists who dared to approach them for their thoughts and belittled the journalist trade on the whole. In short, Beer’s argument was simple: if developers don’t help journalists with commentary on industry issues, journalists should stop helping developers with reviews and coverage of their games.

The relationship between journalists and the people they write about is an interesting conversation topic that extends far beyond the realms of the games industry. The profession of PR is a testament to the complicated nature of journalist and subject, particularly in an industry defined by creativity and personal expression, such as gaming. Positive reviews make or break games: do developers “owe” journalists for positive coverage? If that’s the case, are they entitled to recompense from negative coverage? Is there a responsibility for successful people, people who define industries, to be available to discuss major movements?

Now, we’ll never know. A shining opportunity for a mature, adult discussion about the nature of gaming media and responsibilities of developers has been almost completely destroyed by the fact that some people are far too childish for the real world.  Marcus had a valid point about reciprocity in the gaming industry, but he wrapped it up in name calling and cussing that completely obscured the kernel of rationality. Phil Fish and Jonathan Blow (probably) had a rational reason for refusing the opportunities—specifically, they were being asked to comment on rumors and speculation before the news actually broke—but instead of being rational adults, they tried to turn it all into a rage against the media. Names were called, and one of the industry’s most talented creators has walked away.

On the surface, this is a sad story about a fight that got out of control, and how damaging trolls are in the gaming industry. But on a deeper level, this inability to engage in conversations stops the gaming industry from growing up. It’s remarkable that this conflict occurred, but it’s not surprising. Name calling and yelling louder than the next guy have become an accepted part of gaming culture, even at the highest levels of professionalism, just like rampant sexism and racism are the norm in online gaming communities. This is not the first time a journalist and developer will fight like children in the public eye, and it will not be the last, but this is the first time that the damage these childish spats cause is clear.

Two gaming experts had the chance to have a real conversation to improve the gaming industry, but they were too busy calling each other “tosspots” and f***faces to realize it.

A Console Gamer’s Transition; or, How I Learned to Love PC Gaming

In my last blog post, over a year ago, I wrote about how I learned to love my iPad for the gaming device it is, and about how the gaming experiences I had been having on it were changing my previously narrow-minded stance on what defines a true video game.

I was very much a console – and console only – gamer until jumping into mobile gaming. I still love my iPad for its gaming prowess, and in fact have since then expanded my handheld gaming to a Nintendo 3DS XL. But, while that portion of my gaming habits has not changed, another has: the time I spend on my console (an Xbox 360) has decreased dramatically.

Sometimes an entire week or two will go by without firing up the 360 hidden in my TV stand. The cause of this sea change is the dreaded nemesis of console gaming – a PC. Ever since upgrading to a gaming PC, I have found that the vast majority of my gaming time over the last few months has been spent at a desk in my living room rather than on the couch. This is a situation I would never have imagined a year ago.

The lure of Starcraft II: Heart of the Swarm was too much for me, and it spurred me to update a hand-me-down gaming rig to modern capacities. From there my wallet and gaming sensibilities were assaulted by Steam.

If a crime was committed here, Steam truly was the villain. I dove into the Steam store, its multitude of games and its many sales. It bewitched me with its treasure trove of games, both past and present, and the ease with which one can go on a shopping spree of immense digital proportions.

The barrier to getting my thumbs on lots of great games became so much lower once I set up a Steam account than had been the case on Xbox Live! What’s this? FTL is on sale for five dollars? Sure! I can get my hands on that Total War: Shogun 2 game I remember from a couple years ago for only $15? Wham, bam, thank you ma’am!

My newfound obsession with PC gaming is beyond the deals though. The rise of indie games on Steam has brought some incredible content my way. FTL is outstanding. Rogue Legacy is more addicting than Cinnamon Toast Crunch, and Dungeons of Dredmor is roguelike heaven. In this, my views on what it means to be video game worth my time have continued to evolve as well. I may still have a controller in my hand, but it’s hooked up to a PC so I can play a spectacular indie game that I can’t access on my Xbox.

Not only have I found an incredibly stark contrast between Steam and Xbox Live, I’m also perplexed by it. Why isn’t Microsoft more open to open the indie floodgates? Does it really take a new console generation to allow self-publishing on a Microsoft platform?

Whatever the answers are, my newfound PC gaming glory has me seriously doubting my own participation in the next console generation. Only time will tell if I am able to stay strong or if the hype of the upcoming holiday season will turn me toward a big purchase. Whatever the outcome, my gaming horizons continue to expand and, regardless of the cause, my interactive entertainment is better off for it.

Lend Me Your Ears: A Guide to Selecting Podcasts

Management theorist Peter Drucker wrote many tips on how executives should obtain knowledge. Here’s one tip from his book The Effective Executive:

“The first thing to know is whether you are a reader or a listener. Far too few people even know that there are readers and listeners and that people are rarely both. Even fewer know which of the two they themselves are.”

President Kennedy was a reader, President Johnson a listener. Drucker contends the passage of administrations was fraught with problems since the aides who managed the transition — trained to convey information in written form — didn’t get through to the listening-oriented Johnson.

Consider your coworkers. It’s probably good to know which type they are. If you convey to someone multiple times “I emailed you” or “I told you,” perhaps it’s time to flip the method. You’ll likely have to conform to what works best for them.

But what works best for you in gathering knowledge? How should you choose what to read or listen to? Listeners are at a disadvantage. Continue reading Lend Me Your Ears: A Guide to Selecting Podcasts

Think Again: Mobile Will Not Kill Console Games

For the past two years, media, publishers and players have been talking about the shift in the gaming industry from console to mobile. Console revenues are starkly declining as mobile revenues and players inversely increase. I think they are missing the point.

Sure, mobile is shaping up to be a goliath $9 billion industry and is broadening what it means to be a gamer. My mom doesn’t shoot down zombies in The Last of Us, but she is definitely addicted to solitaire on her phone, and now she is a gamer — along with 125.9 million people (39.8% of the population) in the US alone.

These mobile gamers are also getting more sophisticated. They require stories, characters, high-def graphics, polished art, balanced monetization tactics, and games-as-a-service upkeep to maintain their attention and spending.

I’m not saying this will slow down, but the idea that mobile games will cannibalize console game spending is an oversimplification. One market does not directly influence the other.

The reality is that mobile and console games offer different experiences, not mutually exclusive ones, and people will pay for both in different contexts. Gamers that want immersive, deep play sessions are not abandoning consoles all together and filling the void with Angry Birds, they are just waiting.

You know what they are waiting for — the much anticipated, much criticized next generation of consoles and games which have shaped up in the PS4 and XBox One. (Sorry, Wii U, you under-delivered.)

Unlike console games, people play mobile games for a short distraction while they are bored, waiting, or have nothing else to do. Short and sporadic sessions characterize their play. If a game is particularly compelling, maybe a player will shell out a few bucks for an extra crack at that Candy Crush level or another chance to sprint past the leaderboard in Temple Run.

A few minutes of a mobile game here or there does not replace what game lovers prefer: plopping down on the couch after school or work, and diving into two hours of Bioshock Infinite or their game of choice. The “hardcore gamers” aren’t sick of gaming, they just don’t want to buy games for consoles that are seven years old when new software and hardware will arrive with Santa in a few short months. And, though a few of these guys and gals play games on their phones, a lot of them don’t do so regularly, as mobile gaming caters to a broader (though also lucrative) market.

Right now, it’s too early to tell from pre-orders what the reception will be for the next-gen and if mobile will kill the console industry. It’s important to note that, PC gaming – a more synonymous experience – is better positioned to do so. We’ll also have to wait a bit longer for the first price-drop and the second round of software, since many a gamer evaluates these developments before paying up for new platforms.

Until then, I say halt your judgments on whether or not mobile will truly eat up the console industry. I suspect the bite will not live up to its hype.

Header image courtesy of GameGavel.com