TRIPLEPOINTS OF INTEREST – JUNE 12

As we wind down and relax from the E3 madness, in this week’s TPoI, Mojang reveals cross-console play for Minecraft, Xbox One X’s price tag is debated, and Anthony Padilla of Smosh leaves the channel to move onto his own solo project.

Minecraft to Feature Cross Platform Online Play

During E3, developer Mojang and Microsoft revealed that gamers will be able to play Minecraft with friends on almost every platform due to a new server update titled “Better Together.” TechCrunch disclosed that Windows 10, iOS, Android, Xbox One, and the Nintendo Switch will be the supported devices allowing for unified gameplay. Mashable states that Minecraft will be moved over to Bedrock Engine, making the cross-platform play possible. As for why PS4 is not listed as a supported console, IGN reports that Sony’s Global Sales and Marketing Head Jim Ryan stated, “While Sony has no philosophical stance against cross-play at all, it’s concerned with its players’ safety on non-PlayStation platforms.” The Verge doesn’t find Sony’s reasoning to be valid, and feels it’s simply an excuse to force consumers to choose between Microsoft and Sony. GameSpot reveals that Microsoft is hoping to put differences aside with Sony and come to an agreement in the future.

Is Xbox One X Price Worth It?

Microsoft announced that Project Scorpio’s official name is Xbox One X, available on November 7, 2017 for $499. In an interview with Business Insider, Head of Xbox Phil Spencer stated that Microsoft wouldn’t be making any money from Xbox One X sales, and did not go into further details for the reasoning. GameSpot reports that Michael Pachter of Wedbush Securities commented, “I think that the price point is too high. Consoles have historically failed at this price point, and consumers seem unwilling to accept anything over $399.” Forbes points out that the Xbox One X is $100 more expensive than the PlayStation 4 Pro and twice as expensive as a PlayStation 4 or Xbox One S, predicting that sales won’t be successful. Washington Post critiques that despite the impressive 4K resolution, it’s definitely a steep price to pay for consumers. PCMag presumes that Microsoft will be taking a loss for Xbox One X hardware sales, is hopeful that the manufacturing price will go down so that a profit margin appears soon.

Anthony Padilla Moves on From Comedy YouTube Channel Smosh

Smosh co-founder Anthony Padilla revealed that he is leaving the channel to pursue and focus on his self-titled channel, which currently has 1.3M subscribers. Variety interviewed Padilla, and he explained that he had been contemplating the change for several months and felt a lack of creativity as Smosh is managed by Defy Media, who approves all of the creative decisions. Vulture disclosed that Padilla and fellow co-founder Ian Hecox remain close friends and that Padilla’s departure is not tied to any personal conflicts. This move has Recode questioning how long a content creator can remain popular and lucrative and at what point would their career potentially come to an end. It’s hard to say for sure, but it’s definitely something for influencers to keep in mind. Whatever Padilla decides to work on moving forward, we wish him the best of luck!

TRIPLEPOINTS OF INTEREST – WEEK OF APRIL 10

Here’s the scoop in this week’s TPoI: Nintendo soars in the US with Legend of Zelda: Breath of the Wild sales on the Switch, Microsoft introduces a new refund program for Xbox One and PC games, and Germany instructs Twitch streamers and YouTubers to purchase a broadcasting license. With spring in the air, we give you full permission to indulge in chocolate covered sweets!

Nintendo Surpasses Own Record With Switch and Breath of the Wild Sales

New data released by Nintendo and NPD reveals that the Switch is now the fastest-selling console in Nintendo history, with Breath of the Wild attributing to its success. IGN reports that in North America, Nintendo sold 906,000 Switch units while Breath of the Wild sold 925,000 copies. WCCFTech explains that this means the title has an attach rate of 100%, possibly due to consumers unable to obtain a console along with the game. TheVerge adds that Nintendo is working hard to ensure that everyone who hasn’t purchased a Switch will be able to do so in the near future. While the numbers are impressive, Business Insider is curious to see how the upcoming launch of Mario Kart 8 Deluxe and Splatoon 2 will affect Switch sales. CNN believes the Switch needs more data before concluding that it’s a hit. Polygon disclosed that Nintendo will unveil worldwide Switch sales on April 27, so a final verdict won’t be made until then!

Microsoft Store Revamped in Response to User Feedback

 Nothing’s worse than spending money on an app or game online and not knowing what to do with it once you’re done playing. Due to overwhelming response from gamers, Gamespot revealed that Microsoft sent a message to those enrolled in the Xbox Insider program, stating “In support of offering gamers the freedom of choice, we’re making changes to the Microsoft Store purchase experience by offering customers a simple way to instantly return digital products like games and apps through account.microsoft.com.” According to ArsTechnica, only Alpha members currently have access, but the feature should be available to the public soon. Metro reports that Microsoft will monitor activity and block users that attempt to abuse the program. BGR finds it to be almost identical to Steam’s refund system, but commends Microsoft’s decision and encourages other companies to take the same steps. Waypoint foresees that this may entice users to choose Xbox titles over PlayStation, but expects Sony to release their own refund system to keep up with its competition.

Broadcasting License Required for Twitch Streamers and YouTubers in Germany

German broadcast authority Landesmedienanstalt has deemed live-streaming as “radio broadcast”, enforcing YouTubers and Twitch streamers to provide a broadcasting license from now on. VG24/7 reports that YouTuber PietSmiet was informed he’ll need to apply for a license by April 30 if he were to continue making videos. Depending on the number of viewers, a license may cost between 1,000 to 10,000 euros, and SegmentNext believes streamers may have to turn to alternative websites or launch a Kickstarter to receive donations from fans. PCGamesN warns that those who fail to comply to the ruling will have their channel classified as a pirate station and subject to fines. Thankfully, Gamezone states that Germany is aware that this ruling is outdated and may be overruled in the future, but streamers are not exempt until further notice.

TRIPLEPOINTS OF INTEREST – WEEK OF APRIL 3

For this week’s TPoI, we dive into YouTube’s latest partner program update, PETA’s dispute with Nintendo, Atlus’ debatable decision to enact a strict streaming ban, and the launch of Twitch’s very own gaming store.

YouTube Enacts Stricter Creator Monetisation

In an effort to catch suspicious channels, YouTube has changed its partner program by enacting stricter guidelines for channel monetization. The Verge reports that going forward, YouTube won’t allow monetization until a creator has reached 10,000 lifetime views on their channel. MCV speculates that the true reasoning behind the move is to lessen the chances of brands finding themselves aligned with hate speech or racist content, an issue that YouTube has been battling. Aspiring creators will undoubtedly have a harder time earning money with this new policy in place, but ArsTechnica advises that using GoogleAdSense is an option to obtain ad revenue without relying on the total view count. Furthermore, Fortune revealed that YouTube plans to add a new review process for the partner program that will monitor a video publisher’s activity to ensure the creator is adhering to the rules and regulations.

PETA Shames Nintendo For 1-2 Switch Milking Game

Milk, one of 28 mini games on Nintendo’s multiplayer party game 1-2 Switch has been deemed unrealistic according to PETA president Ingrid E. Newkirk. The milking simulator portrays no cows on-screen and the farmers appear to be happy-go-lucky during the entire process. Polygon reports that Newkirk personally wrote a letter to Nintendo to address her concerns stating, “We have more than 35 years of experience investigating dairy farms where cows are exploited for their milk, and it is NEVER that pleasant for these animals. Can we have some realism here, please?” Uproxx adds that Newkirk suggests either Nintendo depicts the cruel reality of animal abuse or consider simulating a game where no animals suffer. Nintendo has yet to respond but we anticipate a thought-out and respectful rebuttal.

Atlus Threatens Gaming Community With Harsh Consequences

The long awaited Japanese RPG series Persona finally launched its fifth entry to the series Persona 5 outside of Japan on April 4. The day after its release, a report from Kotaku revealed that developer Atlus threatened to issue channel strikes and content ID claims on any streamer or YouTuber that showed footage beyond 7/7, a date in the calendar of the game. The purpose of the ban is to prevent spoilers for those who haven’t obtained or played the game, but Forbes argues that users could easily search for a playthrough of the game considering it’s been released in Japan for a whole year. Atlus’ concerns are valid, but ArsTechnica adds that in this day and age, gaming companies should view gameplay videos as a way to boost exposure not hinder it. In recent news, Polygon reports that several streamers and YouTubers are showing content past the 7/7 mark and are well aware of the potential repercussions to follow.

Shop and Stream: The Future of Twitch

Amazon-owned Twitch has released a purchasing system for streamers and audience viewers. The Escapist disclosed that users will now be allowed to buy a game while watching a stream, with over 50 different titles released so far. Games can be downloaded and played through the Twitch launcher or on a publisher’s service, such as Uplay. Not only that, streamers will get a cut of the sales as well, with partnered streamers earning up to 5% of the sales that originate from their channel, according to The Verge. This is a smart move on Twitch’s part, as it offers revenue for both the company and streamers. Although Engadget believes this is a smart move, it worries that content creators may abuse the system and only stream games purely for financial gain. PCWorld agrees, but also argues that it’s a great way to showcase a game and see a streamer’s honest reaction and feedback.

The Brand Benefits of Publisher Conventions – BlizzCon

Conventions and the video game industry go hand-in-hand: there’s the Penny Arcade Expo (PAX), Germany’s Gamescom, Comic-Cons, and more. Other than QuakeCon (and EA Play this year), it’s rare for publishers to host their own consumer-facing “mega event.” Most companies like Capcom, Ubisoft, and Nintendo share the stage and make special reveals during E3 (which is no longer open to the public) and other general gaming events.

Blizzard Entertainment is not like many companies, though as its 10th annual BlizzCon wrapped on November 4-5 celebrating all of the brand’s biggest franchises. Selling out in roughly 10 minutes, it is safe to say this annual convention is one of the most popular in the industry with no signs of slowing down!

Hosting a convention to promote your own properties and celebrate your fan base can be an extremely effective brand marketing strategy — evidenced by Blizzard. Publisher conventions can make fans feel rewarded, important,and valued. It gives attendees a chance to meet the artists and developers behind their favorite games, creating a personal connection that helps strengthen their brand affinity.

In order to understand why publishers should host conventions of their own, TriplePoint takes a look at what makes BlizzCon an impressive marketing tool, unique from other experiences, and what other companies can do to provide that same value. TriplePoint has taken all of this into account and has established five key BlizzCon 2016 brand marketing takeaways:

 

Surprising Announcements / Unique Information Distribution Structure

Each year, BlizzCon is home to new reveals and big surprises surrounding its IPs (World of Warcraft, Starcraft, Diablo, Hearthstone, Heroes of the Storm, and Overwatch). Key highlights from this year’s BlizzCon included the eagerly awaited new Overwatch hero, Sombra, the Overwatch League announcement, Diablo 3’s upcoming Necromancer class, and Hearthstone’s new expansion Gadgetzan, and more. Interestingly enough this year Blizzard chose to separate its product news from esports news, with product on the first day and esports on the following day.

Blizzard’s strategy to lead its announcements with product news is because unlike product, which has more timing flexibility, esports stories need time to develop — tournaments need to be played and winners need to be determined. Having designated days for both types of stories ensures a steady flow of information for the press and consumers. Press will have enough time to cover, news will be easier to digest, and information won’t get lost — they can dominate the news cycle.

 

Watch the Best of the Best Play

Esports are another unique aspect of BlizzCon that is surprisingly not explored by other video game conventions.The best players from around the world gather to BlizzCon to showcase their skills and compete for huge prizes. The convention center is split into several parts where each space is devoted to specific tournaments in Blizzard’s gaming library. Having world championship tournaments during BlizzCon generates tournament results and team interview coverage, fandom, and an overall event spectacle.

 

Green screen by PhotoBoothless, find out more at http://www.photoboothless.com/

Network with Industry Professionals

BlizzCon serves as a mecca, drawing in fans from all over the world and from different backgrounds. Since there is something for everyone, BlizzCon was filled with cosplayers, community managers, artists, press, developers, representatives from other games, tech companies and more. BlizzCon is a dense concentration of video game industry professionals and offers immense opportunity to connect with key industry players.

 

Get Up Close and Personal with Devs and Artists

One of BlizzCon’s greatest strengths is being able to generate a personal connection with fans through intimate events like Signing Areas and Q&A’s. Often times at conventions developers have little time to talk about their games, only showing cutscenes and trailers of games without being able to provide details on other aspects — not the case at BlizzCon. Not only should developers and artists interact with press, but the community itself is just as crucial. Q&A’s set time aside for the community and helps them understand where developers and artists are coming from when designing a game. Blizzard understands this and does it well.

 

Hands-On Experiences

BlizzCon had many demo stations for Blizzard’s key titles, filled with new content yet to be released to the public. This concept is not new for video game conventions, but BlizzCon has the advantage of knowing virtually all consumers will be interested in all demo stations; therefore can optimize and personalize the content for the trade show attendees (vs. a content free-for-all at an event such as PAX). BlizzCon’s demo stations allow players to take their time, experience the new changes implemented into franchises they are deeply invested in, and provide valuable feedback. Sure, companies can host events for press to test a demo, but it’s equally important for the game’s community to experience it. It brings insight from different skill levels and backgrounds as well as tests what works and doesn’t work with its most important stakeholders — the fans.

 

Red Shirt Guy!

BlizzCon is a celebration of not only Blizzard’s video games but also its dedicated community they’ve cultivated for many years. Conventions can serve as an effective marketing tool, providing long-term value and building faith with your audience. In the end, players want games to succeed and to have fun. Personalized trade events such as BlizzCon are a great way to connect and celebrate with the fans.

 

The Fault in VR: Oculus Widens the Rift Between Gamers

"Huh, did you say something?"

Oculus Rift has already won the hearts and minds of geeks everywhere, without a finished product on shelves. At trade shows like CES and E3, the chance to get even a brief demo of the virtual reality headset has spawned endless, snaking lines of near-Disneyland proportions. There’s no doubt that the Rift has the potential to change entertainment as we know it, but it’s a step in the wrong direction that will further divide gamers from the mainstream.

Continue reading The Fault in VR: Oculus Widens the Rift Between Gamers

Pushers–Why Titanfall will not save the Xbone (yet)

Titanfall launched a couple of weeks ago, and the reviews are very good. The game has an 86 on Metacritic, which reflects (if nothing else) a unanimously positive response from the aggregated gaming media, and players are raving about how great the game is. I myself participated in the Beta test for Titanfall on PC, and found the game fast-paced, intense, and generally fun to play.

But it won’t sell Xbox Ones. Not yet. Continue reading Pushers–Why Titanfall will not save the Xbone (yet)

Smartphone Game Controllers – More of a Game Changer Than You Think

Ask any game developer on iOS and Android today about the challenges they face in succeeding (i.e. turning a profit, making a sustainable living), and chances are there will be expressions of frustration and negativity. Save for companies that have already established themselves in the mobile marketplace and can afford to build and sustain a customer base, an overwhelming majority will never see a penny of profit.

At the same time, the mobile game market is at a crossroads. On one hand, you have casual experiences being churned out that can be monetized through growth hacking, a.k.a. the ability to target, but and convert players into paying customers. On the other hand, unique game experiences with deep and engaging levels of gameplay that can appeal to true “gamers” are finding it incredibly challenging to succeed, experiences that might command an upfront payment for a quality experience, one that such gamers are willing to pay.

Yet, the touchscreen experience doesn’t match the deep level of gameplay that sufficiently satisfies the needs of the average gamer. A few hours of playing a serious shooter, and you’re left with finger burn and a crooked wrist. This is why I adamantly support Nintendo’s strategy to continue building out their own platform with dedicated portable consoles, but that’s best left said in another blog post that I previously wrote.

While these challenges will persist in the near future, there is a bright spot in the mobile industry, steadily growing to help push development of high quality, deep gaming experiences that consumers might be willing to pay for – Bluetooth game controllers. Yes, multiple companies exist that provide such solutions, such as Green Throttle, Nyko, MOGA and others, but the tipping point will come with native integration of controller support by Apple and Google.

We already know about Apple’s controller API released with iOS 7, one that any developer can integrate into their game to support any wireless Bluetooth game controller. Google can’t be far behind, and we can be confident that we’ll see the support in the next year, at the most.

Free-to-play games rule the roost, and likely will for some time to come, if not permanently. This has allowed companies with the most capital to execute “growth hacking” techniques weighed heavily on user acquisition to build and sustain a player base. This has unfortunately led to an incredibly difficult marketplace for less capable developers to navigate and get discovered, especially the indie tier where the best ideas are generated and the least analytical capabilities lie. And we certainly can’t count on a quality game to succeed based on a one-time payment model. Free-to-play becomes even more challenging for the serious gamers, an incredibly difficult balance to manage in avoidance of pay-to-win perceptions.

As for “quality” games following the paid download model, $1.99 is unfortunately the maximum a majority of smartphone gamers will pay, with $9.99 and $19.99 being special price points for console ports – generally not optimal experiences built from the ground up for the touchscreen.

With universal game controller support built into iOS and Android, we can count on gamers playing for longer periods of time. With such higher engagements, developers can build deeper experiences with flexible game mechanics and backstories that have gamers investing tens of hours of time. Such game experiences are why 35 million gamers around the globe own a 3DS, and games that sell for $40 each sell in the millions within several days of release. These are the games, like Grand Theft Auto V and Call of Duty, that smash entertainment sales records, surpassing movies and music. Many of these games just wouldn’t work on a free-to-play model.

We’ve witnessed a variety of companies enter the market to disrupt the console business, most of which have been categorized as “microconsoles”, dedicated set-top box hardware usually build on top of Linux/Android. Yet, I can’t help but think that the last thing developers need to worry about right now is another platform, particularly one with little install base to justify the additional resource investment.

Why the need for a microconsole, when we all already own one, sitting right in our pocket? The smartphone and tablet, both iOS and Android, will quickly displace the need for dedicated microconsoles that offer the same value. Connectivity to the TV an issue? Tap and stream, enabled by Apple TV and, soon, the likes of Chromecast, will eliminate this hurdle for mainstream consumers. Don’t worry about the gamers – they’re savvy enough to make it happen now, as long as they have a reason to.

 

To summarize why I’m optimistic about the smartphone and tablet gaming space for the future of gaming:

1.) Native integration of controllers accelerating developer adoption into games.

2.) Games built from the ground up with controller support can lean on deeper experiences that please core gamers.

3.) High quality game experiences that can be played for hours (and avoid finger burn) can command premium price points and not rely on free-to-play access and conversion.

4.) Smartphone and tablets significantly increasing in power and capabilities can offer an experience that pleases the core gamer.

5.) One-tap streaming from smartphones/tablets to TV will all but eliminate the need for dedicated consoles tethered to the TV.

6.) More freedom and flexibility for gamers – one game file and experience no matter where you are, whether played on the road or on your living room TV.

 

I truly believe that there’s still a bright future ahead for experiences that gamers can enjoy and would be willing to pay a premium price point for on mobile devices. The hurdles that face development and adoption of such titles is a technology challenge already being solved in the form of native controller support and mobile-to-TV streaming. This is an exciting opportunity for developers to harness and create rich game experiences that meets the behaviors and consumption habits of gamers both casual and core. For all the gamers out there, we get to enjoy great games using the hardware that we own coupled with an affordable controller, anytime, anywhere.

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.

 

 

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.

 

New Marketing for the Socially Digital Age – TiE CON East 2013

Can a room full of experienced VC’s learn some new tricks about digital marketing, from the perspective of video game PR? That was my hope today as I represented TriplePoint during the 7th annual TiE CON in Boston.

It’s a conference that brings together both established and startup entrepreneurs in Technology, Life Sciences, Education, and Cleantech. I lead a boot camp with help from two other marketers, on the topic of New Marketing for the Socially Digital Age. The panel touched upon everything from Facebook and YouTube to email blasts, lead-generation, and timing for advertising campaigns.

Continue reading New Marketing for the Socially Digital Age – TiE CON East 2013

Wii U to Ditch Friend Codes, Welcomes Convenient Social Gaming

Wii U

One of my biggest gripes about the Nintendo Wii was the idea of having to jot down lengthy friend codes to play with friends and colleagues online. Talk about counterproductive measures to experience “social” gaming. However, earlier today, it was revealed that multiple user IDs will be able to be stored on the Wii U, which also means Friend Codes are now a thing of the past.

Sites like Destructoid are confirming that Nintendo has officially set the record straight, stating, “Our plan is to replace Friend Codes with a much more user-friendly Account ID system, which employs user-created account names.”

Finally, Nintendo has caught up to the consoles (and mobile devices for that matter), allowing quick, immediate connectivity to friends without the ridiculous number sequences previously required to connect. This just went a long way in getting me further intrigued in the Wii U’s launch, which is slated for November 18.

With a handful of launch titles featuring multiplayer capabilities, including Call of Duty: Black Ops II, Wipeout 3, FIFA Soccer 13, and Sonic & All-Stars Racing Transformed to name a few, you can bet friends looking to play together across the country breathed a collective sigh of relief around today’s Nintendo reveal – myself included.

Part of Me: On the Smithsonian’s Art of Video Games

In the farthest reaches of the Smithsonian, at the end of a dark corridor, was a large screen indicating the entrance to the Art of Video Games exhibit. On the large screen were snippets of video game cut-scenes from various video games, old and new, from Pac-Man to Heavy Rain. What really caught my eye were not the images on the screen but the statement by guest curator, Chris Melissinos.

Last month, Destructoid’s Ryan Perez expressed his disdain for the industry’s need to validate itself by calling video games “art.” Mr. Perez notes at the beginning of his article that he is neither the first nor the only one to be tired of the “games as art” argument. I personally never bothered to validate video games as art or not art as I felt that if a medium—an experience—could mean so much to me and be such an important part of myself, does it really matter if the public believes it to be art or not?

I believe this to be the reason why I was refreshed to see the words written on the wall. In three short paragraphs, Chris Melissinos explains the importance of video games in his life, as some of the deepest personal and globally connecting experiences in human history. More importantly, Mr. Melissinos makes it clear that the exhibit was not created to educate viewers on why video games are art, but for viewers to make that decision for themselves, that video games “may even be” art.

The adjacent room, with concept art from a few games and videos of facial expressions captured while playing, housed a small gray panel which explained the goal of the exhibit further.

If I had ever argued that games are art, it was because I believed the definition of art was any piece that made a bold statement that resonated with me when I viewed it. I wondered after reading this panel if Mr. Melissinos wished viewers to leave the exhibit believing games to be art, while still allowing them to come to the conclusion themselves.

I believed that to be the case when I saw the next room, which was filled with demos of games from the original Super Mario Bros. to The Secret of Monkey Island to thatgamecompany’s Flower. Visitors were invited to play through a few minutes of each of those games in the hope that it would either bring back fond memories or help non-gamers understand the meaning of video games and the experiences they offer. Though I could not read what each player in the room was thinking when they were playing, I knew this room was intended to complete the equation explained in the gray panel: the conversation among the game, the artist, and the player.

The final room of the exhibit had a timeline of consoles on display, with video clips from games of different generations from the Atari VCS to the PlayStation 3. After getting my dose of knowledge and nostalgia (and an array of new photos in my camera), I wondered if the hundreds of strangers around me actually believed games are art, refused to believe they are, or were indifferent of the answer. Did each visitor fulfill Chris Melissinos’s goal of at least deliberating the question?

I took one last look at the gray panel: Three Voices—Artist, Game, Player. In this instance, the Artist is the game developer, the Game is the physical product created by the developer, and the Player is the consumer; the one experiencing the game. As I read the passage one more time, the definitions of each voice began to blur in my mind. I believed this to be the goal of the exhibit as well: to allow viewers—the players—to insert themselves into the concept art they saw, into the game demos on display, and into the memories that returned when looking at the different generations of consoles and games. Though we will never know what exactly emerges within each visitor, we can safely assume that each is wholly unique.

Personally, I still do not believe there is a universal truth on whether or not games are art. I could write an entirely separate piece arguing for the importance of the medium, but for now, I have at least come to this conclusion:

Each visitor of the exhibit is the creator of what they took away and of what they believe video games are to them. I chose to focus on what video games have made me and why I chose to agree with Chris Melissinos’ beliefs on the sacred bond the player makes with the game. For these reasons, I believe that the conversation between the game, the artist, and the player—and the blurring of the lines separating the three—brings about a fourth voice. And it is for these reasons that the identity of the fourth voice is up to the player to decide.

Surviving E3 2012

Whether or not E3 is still the games industry’s foremost gathering, or whether that honor has been usurped by shows like GDC or PAX, one thing about E3 remains true every year: It’s nuts. Whether you’re an exhibitor or a reporter, you can expect to run yourself ragged, staying on your feet for hours on end, scrambling to meet your various appointments while trying to wedge in just one more meeting in between the big presentations. Then, you’ll try to see just how much socializing you can do while trying to finish the rest of your workload that evening — assuming the Wi-Fi works in your hotel room — and convince yourself that 4 hours of sleep will be enough to let you get up and do it all again the next day.

This pattern of self-inflicted abuse is true for most conventions and expos, of course, but the brutal traffic of Los Angeles and the mainstream appeal of the biggest names in gaming makes E3 especially trying for even the most seasoned attendee. Thankfully, your friends at TriplePoint are here with another helpful set of tips and reminders to help ease the pain of next week’s quagmire. Continue reading Surviving E3 2012

Hardcore casual gaming: How I learned to stop worrying and love my iPad

I have a confession to make: I was once a biased, prejudiced gamer. I was a zealot on the front lines of a civil war ravaging the United States of Video Gaming. This war wasn’t about the color of a character’s pixels, nor even the content of that character’s coding – it was over the definition of a video game.

I thought that video games were played on corporate-designed consoles and overclocked PC towers of graphical prowess. I was of the belief that a game had to have hours upon hours of immersive content and require a controller, joystick, or other peripheral.

Then, I bought an iPad. I had just joined TriplePoint PR and would be working to help launch a number of iOS games. With newly acquired iOS device in hand, I started digging into the world of mobile games. My assumption was that I would find a market flooded with cute, cartoony, physics and puzzle-based games that wouldn’t hold my attention for more than 10 or 15 minutes each. Boy, was I wrong. Continue reading Hardcore casual gaming: How I learned to stop worrying and love my iPad