Thoughts on the indiepocalypse


One of the current “trending” subjects that has been talked about in the last year/month/days or so is the infamous “indiepocalypse”, or the possible popping of an indie “bubble”. So today, I thought I would share a few interesting reads that I’ve recently stumbled upon.

The first one is a (sad?) tale about a developer having trouble getting sales and all the work he did to develop and market his game. You can find the article here. I also really recommend reading the comments at the bottom of the article. A lot of people seem to critique his musings and conclusions and the whole page makes for a good read.

The second article I’m linking was written by Ryan Clark, maker of the Crypt of the NecroDancer. His opinion is basically that we should not worry about the “Indiepocalypse”. You can find this article on Gamasutra again.

The next set of articles is by Jeff Vogel, an old-school indie (1994!), who originally wrote an interesting article on the indie bubble last year. One of this latest articles is basically a follow-up to that article and actually links the other two articles that I’ve mentioned above. I recommend reading both.

Another really good article is this one here. It looks back at the history of video games and compares past events to the one we are currently witnessing. It also makes an interesting parallel between indie game development and photography.

My opinion on the indiepocalypse

Really, there is no apocalypse. It’s all really just another market that is quickly, and chaotically, transforming as more players enter to fray, trying to get a part of the money in the “market”. Let me give you a similar example.

Back in 2005, Nintendo released Brain Age, a casual brain training game for the DS. It  quickly sold millions of copies, while also moving many of Nintendo’s handheld system along with it. And the people buying these “gaming” products were basically people that didn’t usually buy this type of product. Seeing this opportunity, many of the big names in game publishing also tried their hand at the market. While a few companies made some money in the process, a lot of them didn’t, and one of the reasons why this happened is easy to understand.

Competition, with different levels of product quality.

When Nintendo released Brain Age, no one was doing products like this on this market. They basically (sort of) invented a new market. Being the only ones in that market, along with a strong marketing machine and some inexpensive hardware, they took the industry by storm. But when other companies tried to do the same, they quickly hit a wall as dozens of similar products, varying wildly in quality, entered this new market.

If you feel like you’ve heard this story before, it’s because you have. The same story can more of less be told with the release of the Nintendo Wii console, and with the iOS/App Store (and everything mobile that followed). New markets in which new developers have struggled as the competition became more fierce.

Now, each of the three stories I briefly explained are similar, but existed in different times and social context, so they all evolved differently. And I believe the same can be said about the “indie market”.

The biggest difference with the indie situation is that instead of large companies butting heads in the cutthroat market of making and selling games, you now have “ordinary people”.  And because of the high number of people who have decided to take the indie plunge, we tend to hear a lot stories of people failing. Not only that, but we also tend to identify to those people more easily than a large company.

With this in mind I think that what we are seeing is simply the following: people are realizing that developing games is a business, just like any other. You need to build your company from the ground up, think of everything to make it run. You need to get the word out about what you do and find some clients (players).

The romantic ideal of making a game you like and then thousands of people saying “Look! It’s an indie game” is over. It may have lasted a few years, months even maybe, but now that more players are in the game, just like any other market, playtime is over. It’s time to get down to business.

I don’t want to end on such a dire note. Making games is still fun and it doesn’t have to be a chore, nor does it have to be your life, professional or otherwise. But if you want it to be, you’ll still need to work hard, just like any entrepreneur.


Followers on Twitter: What to do?


So, I have a Twitter account for me and my company. Just like all the other indies, I try to use it to promote my stuff, whether it’s this blog or my company-in-the-works Morchella Games. Everybody mentions how Twitter is important and should be used on a daily (hourly? minutely?) basis. That’s fine and I get it. However, there is one thing that has been nagging at me for a while now: what is the best way to gain followers? I looked for answer in (so, so many) different articles on how to use social media for indie game developers, on the best content independent developers should put on them, etc. Most authors agree on the content that should be put on social media. But there is one point on which authors don’t agree and that is how to gain followers.

Twitter Followers?

Twitter Followers?

Indies and experts on gaining followers

The different articles I’ve read are typically written by either indies that have succeeded or marketing working in the gaming industry. From these articles and testimonials, there seems to be three main “techniques”.

Some experts say that the best use of Twitter for marketing is to simply use the social media “normally”. This means showing your personality in your tweets, creating and sharing interesting content, both visual and written and asking questions to elicit responses. This high-quality content should attract natural followers and the idea behind this technique is that these followers will eventually build up. This is probably what Twitter had in mind when it first started, though this is not how it works for many people. This technique has its merits though, as theoretically, it should be the best one. People who are genuinely interested in you or your content will naturally find you or will discover you through others will similar interests. The biggest problem with this technique is that you will gain followers, but it will be very slow.

Other say you should mostly follow journalists and people with influence, trying to engage them so that they might re-tweet you, follow you back or show an interest in your projects. This also feels like a good way to approach Twitter, as you are using the real-time communication aspect to engage with people you would not be able to engage with normally. Be prepared for a lot of work though, as you can imagine, lots of other people are trying to do the same thing. So good luck being the wittiest, funniest, most interesting one in the group.

Finally, there is the follow-as-many-people-as-possible approach, possibly using tools such as CrowdFire or gasp!, companies that will sell you followers. This is the one that can be best describe as an actual “technique”. Indeed, on a daily basis, people using this strategy will add as many accounts as possible, hopefully getting a few follow backs in the process. Using a (mostly free) tool such as CrowdFire will actually help you clean up your followers, non-followers and even automate tweets or even direct messages for new followers. It’s all very mechanical, but the numbers will go up quickly. In theory, you could target the “right” people and get a high follow-back rate, so this would also qualify as a good technique. In practice, many people just basically add anyone they come across or that Twitter suggests. The phenomena is even worst when you realize many of the people you follow are basically doing the same thing. So you’re following a lot people that you’re not really following, because there is no way you have time to read all that, and they in turn are following you but never check out your stuff. Sure, the numbers are big, but are these “real” followers? A number of people I ended up following have 45K followers, but are following 43K. Is this really a useful contact? Finally, I also don’t trust the companies that sell you followers. I’ve never used those services, but there is no way that the followers gained from this are useful (let alone even real).

What I do to get followers on Twitter

What I try to do (emphasis on the word try), is do all three at the same time. You can actually use all three techniques if you do it intelligently: they are mutually exclusive. You can create good content and show personality; in fact, it should be your default behavior. You can try and engage with journalists and influencers, but maybe you need to target very specific people and not go after the “big fish” right away. And finally, it’s normal to follow some people and hope that they follow you back. The tools that are out there are useful if used in a smart way.

All in all, like for many aspects of social media as a content creator, I think indies should aim to be genuine. What are these numbers if the people we connect to are not the right people?

Meta-reminder: The goal of these meta indie development blog posts is to talk about all the work and decisions happening behind the scenes for an indie game developer. Just as a development blog would show potential fans the content of their game being developed, the meta blog can be useful for other indie developers going through the same process as I am.


The value of an artist for indie developers


So, as I mentioned in my last post, I’m currently developing my next indie game project, along with its marketing. I’m currently working with a writer, but have yet to find an artist. As I was thinking about the different channels that can be used for inbound marketing, I came to a realization: I have nothing (beautiful) to show.

While I do think that my next game is going to be fun, will have a good story and will cater to a specific niche of people that I believe will be willing to spend on the game that I am making, the truth is that I have no images to show potential fan or buyers of my game. And I believe that this is crucial to get people to notice my game.

Images, videos and animations, such as gifs or vines, are currently the best way to get people to see and share the development of you next project. If you’re on Twitter, the best way to get engagement is with visual media. Same for Facebook and other social media. On top of that, some crucial social media are almost exclusively based on visual media, such as Pinterest and Instagram. So, unless your procedural/simple/wonky programmer art (Minecraft) is so interesting that people will share images of your game, if you don’t have a an artist working with you, I think you are facing an uphill marketing battle.

A programmer in the market

As a programmer by trade that has worked in the AAA/mobile industry for quite some time now, I think I’ve always had the bigger end of the stick in terms of market value. Programmers typically start (and end) at a higher base salary that other jobs (except project management) and are in high demand on the game development market. And if things get tough in the games industry, it’s possible for us to work in fields that are close to games, or even far from games. I have no statistics to back this up, but to me it feels like there are a lot more employment opportunities for programmers. Not a month goes by without receiving at least one direct solicitation for a programmer job (though it’s usually for a job outside the games industry or in some strange land like the UK. Stop trying to get me to work in your country, UK recruiters!)

As for the artist side, I can’t really speak for them (so if you have any insight, let me know), but I’ve always had the feeling that it’s at least a little tougher for them (not to mention designers, but that’s a whole other subject).


Indie: Artist vs Programmer

Things are quite different in the indie realm. There are currently tons of programmers that are attempting fame and fortune in the indie market. Getting noticed is really hard today and marketing is of the utmost importance. As game developers, artists have an edge over programmers for this. They can embody their vision through their art and therefore communicate their idea in a more efficient manner that programmers.

I we were to push this line of thinking further. We might say that with the proliferation of simplified game development tools, it might be easier a lone artist to complete a game and stand out of the crowd, as opposed to a lone programmer. If a programmer writes great code, but has crappy looking art, most people will probably dismiss the game. But if an artist has a great and inspiring art style, but writes crappy code, no one playing the game will actually realize it (unless the game is full of bugs).

Of course, this is all very theoretical and oversimplifying the problem. Not many indie projects are truly ever completed by one person without the aid of someone in another field at some point. However, we can question the “market” value of an artist in the indie universe.

Should artists ask for better salaries when working with indies? Should they ask for more revenue share, especially if what is making the game more visible is the art style? Again, I don’t think there is a simple answer; it’s just food for thought.


Meta indie dev blog – Building a website


The goal of these posts is to talk about all the work and decisions happening behind the scenes for an indie game developer. Just as a development blog would show potential fans the content of their game being developed, the meta blog can be useful for other indie developers going through the same process as I am. In this post, I talk about what is required to set up a website.

I just recently started setting up the website for Morchella Games. While I have setup a few websites before (though not professionally), I’m always surprised at the number of things you need to think about to do it correctly. Here is what I did/need to do to set up my website.

Where to host a website?

First thing I asked myself was whether or not I was willing to pay for hosting and a custom address. I looked at alternatives, such as setting up a blog on Tumblr or some other free resources. Ultimately, I think I may end up doing both! Morchella Games has its main (in progress) site, but I plan on repeating some of the content on Tumblr and possibly other channels.

The idea behind this decision is to increase the chances of being found, as each channel has its own mechanism for discovery. I can’t say I’ve analyzed all the possible channels and their potential, but I’m keeping this in mind as I develop my social media.

For the hosting, custom addresses typically costs around 10$ a year for each address, but I think it’s generally worth it. By having your own address, you can make it fit with the overall branding of your company/game name, and it might even get people to find your company and projects easily. Some people will say it also makes your website and company look more professional. I tend to agree with this claim, but I guess it’s debatable.

For hosting, there are lots of solutions out there. One of the things I looked out for was the fine print on the deals hosting companies show you. For example, make sure to check the hosting price per month once the initial entry deal is over. Most sites will offer something like the equivalent of 1$ to 4$ a month for a period of 12/24/36 months (sometimes payable in advance). What you need to look out for is the price once that period is over. I decided to use Bluehost for the web hosting and I’ve been satisfied with them up to now.

As for the domain (address) registration, I opted to go with Namecheap. While the name sounds like it’s one of those garbage sites, it’s actually well made and functional. My experience with them has been good so far.

You may be asking: why keep domain registration and hosting on different sites. The only real reason I did this was because I once heard some hosting companies try to keep your domain name if you try to leave. Losing your company address could be very bad for a small indie game company!

Wordpress for a website

My website process starts with WordPress

My How to: Website

A long time ago, the first time I needed to setup a website, I was a bit intimidated by all the technical aspects that needed to be done. These days, even I understand a lot better the inner working of a website, I still go with WordPress

If you look at the website reference list at Pixel Prospector, you’ll see a bunch of indie game developers use WordPress as a foundation for their main website. Indies like WordPress and have good reason to do so. It is relatively simple to setup, has loads of customizable themes (looks and layouts) to choose from, and has rather good content management tools.

The main difficulty for me is always the same: choosing the right theme! Each time I have to setup a WordPress website, I look and dabble for hours at the different theme I could use. Since I’m not an artist or a graphic designer, I need to be able to pick something that already has an interesting layout, but can also be easily modified. I’ll admit I’ve never found a free theme that satisfied me, so this time I went and bought the Enfold theme.

One good way to pick a theme is to go with something that is “responsive”. A responsive website means that it’s able to present itself properly regardless of the platform it’s being loaded for (phones, tablets, PCs, etc). For indies, this is actually really important for two reasons. First of all, a lot of users these days will visit your site using their phone. This means that your site must be mobile-ready for these users to be able to look at your site and see the content correctly. The second reason is that Google now uses “responsiveness” as a means to rank your website. This means that the better your site is for mobile, the better your “score” with Google and the more likely your website will come up in a search. I recommend using this link to a Google tool to check if your site is “mobile” enough for them.

All those widgets

I’ll admit I don’t know much about the tons of widgets you can add to your WordPress website. However, most people tend to use the widgets that let you do the following things

– Share buttons for social media (typically for posts/pages)
– Buttons that let users follow you on social media
– Subscribe widget so people can subscribe to your newsletter

If you have a nifty theme, some of these features may already be integrated. I would suggest using those themes’ features before using a plugin, simply because they tend to be better integrated with the theme’s code and layout/style.

Use a tool for SEO

As you may or may not know, Search Engine Optimization (SEO) seems to be pretty important these days. Explained very simply, SEO is something that increases the chances of your website coming up in a search engine’s results. For example, you may want to be the first website that comes up when someone searches for “indie game” on Google. SEO will help you increase your ranking for that search if you’ve set up your website and it’s content for that search. It seems magical, but it really isn’t that simple.

If you want to get into SEO more, I suggest reading up on it, like on this site. Personally, and this is specific to WordPress, I use a plugin called SEO by Yoast. It is a good basic tool to help you write posts that will favor SEO for your posts and website.

You may argue that if people are looking for your game, they won’t enter generic terms in the search engine. That is a logical way of thinking, but I think the more chances you put on your side (or site!), the more likely you will be discovered. Again, I’m no specialist in the subject, but I think doing SEO can be an important to increase the chances of being noticed.

Do I need more than one website?

This is an excellent question. Just like Twitter accounts, some people say that you need a website for both your company and your game. I’ve never actually read an article about this (I’m sure there are some out there), but here’s why I think this could be a good idea.

People often will take interest in a game before they the company that makes it. By setting up a website only for your game (with links to your company page of course), you reduce the chances of people getting lost on your company page when looking for your game. Is is a single and simple entry point to get information and bookmark a site for your released or upcoming game.

I believe there are two initial things that are important for indies developer websites (and other sites too!).
1) People need to find your site
2) People need to stay on your site (long enough to get to the information/content that they need/want)
3) People need to take action on your site. This either means buying your game or subscribing to a mailing list (or other stuff, depending on the situation)

We spoke briefly about point 1 with SEO. By making a site specific for your game, you increase the chances of people realizing points 2 and 3.
If a potential player/fan is able to look at game’s page, instead of navigating a company website, it increases the chances of him staying longer on the page.

In conclusion

As you can see, there are lots of things to keep in mind. As for the specifics of each point, I invite you to look up some of these subjects more in depth. If you find some more information on these different subjects, please let me know!

I decided to go through all this work for my website, but you don’t necessarily need to do all of these points. You can choose to keep things really simple and have more time to work on your game. My strategy, however, is to try and put all chances on my side, even if it means more work.


Meta Indie Development Blog


I’ve come up with a concept! I’m calling it the meta indie development blog.

Let me explain.

In 2012, I was working on a more elaborate project while living in Ottawa. When I had the opportunity to join Execution Labs, I put this project on hold. A year later, we unfortunately decided to end the project we started at XL for various (good) reasons. Now that I’m able to work on this first project again, I plan on finishing it.

As you probably know from reading some of my other posts, indie project that want to succeed need to do a fair bit of marketing.
Lots of indie marketing articles will say that you need to talk about your game, along with your “developer story”. This is the type of information that an indie developer will typically write on it’s website or it’s development blog.

What most readers of the website don’t see is the sheer amount of behind-the-scenes work that is required to make the whole project work. From setting up the website itself, to building mailing lists of journalists. And most potential customers are not interested by this type of information.
However, other indies are likely to be interested in this type of information. This is where my meta development blog idea started.

So Meta!

So Meta!

So, the main subject of this series of blog posts will the (boring or not) tasks that I do in order to make things happen on all the aspects of development. Especially the ones that are not meant for a larger public.

So, it’s not meta!

OK, it won’t actually a meta blog, since I’m not blogging about blogging or whatever. I do think however, that the name meta blog has a nice ring to it, so I’ll still call it this way 😛


Performance is not always important


Articles like this annoy me. I think the comments by Cliff Harris about how indies are not trying to push the envelope from a technical stand point are misguided.

Cliff Harris - Performance

Cliff Harris on indie games and performance

If you read this article and then read the comments below, you’ll notice that most people disagree with Mr. Harris, just like I do. They say that performance doesn’t matter. It’s the quality of the game itself, through narrative and good game play; not graphics or other technical aspects that make a game interesting. I wholly agree with these comments, but I would like to add an extra aspect to the discussion: history.

The good old performance days

When you look at the history of game development, technology has always been an integral part of gaming culture. Engineers (computer or otherwise) were the ones building the first games. And as technology evolved, game developers have always been on its bleeding edge, trying to squeeze out performance out of our gaming machines. I remember the race for the best 3D video card features of the late 1990s and early 2000s. I remember blast processing and other fantastical claims by first party console manufacturers. It truly was a grand age. So when some people miss the days where pursuing performance was a mission, I get it. And, it’s probably this relentless pursuit of hardware and software performance that led us to the production of high-quality graphics we have today.

The other side of that medal is that it’s this significant increase that has led us to the (relative) creative stalemate that is the AAA gaming industry. The reason for this is simple. With the improvement of technology came the obligation of creating lots of high-quality content to showcase this technology. And in order to create this content, companies needed to hire more people. And people cost lots of money.

So, as technology evolved, the number of people required to make a high quality AAA game increased tenfold, while the market for AAA games has not expanded as much throughout the years. Because of this reality, AAA companies slowly shifted towards making blockbuster titles that sell high numbers, which meant doing fewer projects but with lots more features (and people). And in order to compensate for the high risks that these mega-projects represent, large companies would take less creative risks. From a financial point of view, it makes total sense. If you invest a lot of money in a crowded market, you need to make sure that you are going to have the sales to compensate for your high costs. So, to do that, you need to reduce the risk on the creative side, which usually means reusing known intellectual property or doing the Nth sequel of a known game franchise.

The aforementioned situation we find ourselves in today is a direct consequence of this technological arms race for performance!

And let’s not forget the pressure that the first parties put on developers to deliver games that highlight their console’s performance. The oft acclaimed Castlevania: Symphony of the Night was almost refused by Sony on the first Playstation because it was a 2D game and Sony was pushing for 3D games at the time!

Now, I’ll agree there are good things that come with this increase in cost. The first obvious good point is more jobs. This is usually a good thing, though some may argue that those jobs become too highly specialized. The second is that the existence of the indie scene is partly due to the risk-reducing decisions of the AAA game industry. By making games that appeal to a larger number of people, the large companies have cast aside certain genres and styles, which left some holes in the market. Some of today’s indies survive thanks to these holes.

While both these points are generally positive, I still think that indie game developers should not care about performance. Sure, a few of them might get noticed in the market through performance prowess. However, I don’t believe this is a path we indies should take lest we end up taking the same path the AAA industry took a few years back.

It is through originality and non-technological innovation that we should make our mark.


A Problem with Crowdfunding for Indie Games


Before I start this post about crowdfunding, I want to make certain points clear.

First of all, I think Kickstarter and all other othercrowdfunding platforms are one of the best things to happen to the creative industry in general. It lets anybody with a project in mind show their idea to the world and maybe get the chance to realize it.

A Crowdfunding PLatform

Kickstarter – One of the popular indie crowfunding platforms

Of course, crowdfunding is not easy, especially for games. You need to work hard to come up with a great game idea and make a decent prototype. You work hard to setup the crowd funding project. You work really hard to get your project noticed for the duration of your funding. And then, maybe, just maybe, you might succeed and get a better shot at making your project real. Backed by people who want to see you succeed and play your game.

It’s true that I never put a lot of money in crowdfunding projects (max 15-20$), but I will never be angry if a project doesn’t work out as planned, gets pushed back or even cancelled. With over 10 years of experience working in game development, I know that a lot of things can go wrong, even when you are paid full-time to work for a big company.

Finally, I do not encourage anyone to bring Kickstarter projects to court because of failure to deliver. I think it’s ridiculous. You’re giving someone, usually a nobody, the chance to do something they think is cool and that you think is cool too. Class actions to get your 10$-50$ back? If we want to see different and interesting things, and we don’t want millionaires to decide what products should or shouldn’t exist, then we need to keep encouraging these people, not hang a judicial sword of Damocles over their heads.

Now, that being said, here is what I have to say about the potential problems of crowdfunding.

My crowdfunding list

Out of the 8 projects that I’ve backed on crowdfunding sites, five have passed their due dates, including one that is almost 2 years late! I’ve yet to receive a completed game out of all the these projects. (The three remaining are still ongoing and I’m wishing them the best!) Is this a problem? Not necessarily. Like I said before, game development and software project management is hard, so it’s not surprising to see some projects having trouble finishing one time, especially if some of these people are part time. But what got me interested in this subject was that one of these projects recently announced that they were suspending the development of their game indefinitely. (A few days later, they decided to resume development, which is strange, but I still get to make my point!). This got me to looking into how this project in particular was setup.

A problem with crowdfunding: the people

Don’t get me wrong, I think it takes a certain amount of courage and determination to start and run a crowdfunding campaign. I respect both those who try and those who succeed. I also believe that anybody can try their hand at game development. However, sometimes the people behind these projects may not be the experts we make them to be.

Some of the people working on these indie game projects have no experience at all in game design, game programming and project management. I don’t want to say that this guarantees failure, but it definitely reduces the chances of success. When I decided the look deeper into the demise of the aforementioned project, I found that the project creator was a young individual who never worked in the game industry and had never completed a project before. I don’t know if the developers had been upfront about this, but I think they should have.

The problem this creates is that people who do support crowdfunding project might stop doing so because of the repeated failures of those who had little chance of succeeding in the first place. And in the end, this is bad for everyone.

Even if you are a game development veteran, sometimes you may not be an excellent business man. A few projects have failed after succeeding their crowdfunding project because they had not calculated the cost of their physical rewards. In one specific case, some people I know of ended with only 6000$ of a 30 000$ successfully funded project because of the cost of these physical goods.

Again, this is proof of lack of experience and foresight, which contributes to the potential mistrust that users could develop towards crowdfunding.

A problem with crowdfunding: the competition

Another problem with crowdfunding is competition. As I mentioned in another post, the possibility of self-publishing has created lots of competition on the market of indie and (especially) mobile games. In general, this competition made the pricing point of games go down and the quality of quality games go up. (I say quality of quality games, because there are plenty of games that are not meant to be quality titles!). These elements are good for consumers, but make game development less sustainable for the developers. And I believe the appearance of crowdfunding has created another pressure point for competition of quality.

When I look at the features that crowdfunding indie projects have listed for their projects, I freak out. There are some programming features and quantity/quality of content in those games that imply a lot more work then what people think. As great as the Unity game engine claims to be, just because it’s advertised that you can deploy to PC, Mac, Linux, WiiU, PS3, PS4 and XboxOne AND can have networked games over the internet doesn’t mean it’s going to work by simply pressing a button. When a project offers 4 player internet competition or coop a feature in their crowdfunding tier if the next tier is attained, and that tier is only an extra 20k$, it is not reasonable nor sound from a project management point of view. (Granted, if you have a network expert, maybe you can pull it off, but that’s usually not the case.)

The reason why these people are adding these features is simple. They want to show their project is going to be impressive, and they want to reach the widest possible audience. In other words, they are in competition with all the other crowdfunding projects out there. And when they fail to deliver, again, this reduces the overall credibility of the indie game projects on crowdfunding platforms.

What can we do

The solution is not easy. Indie (or would-be indie) game developers need to understand that finishing a game is hard. If your team and budget is limited, then the scope of your project should be limited, with less features and reasonable rewards in your crowdfunding packages. And evaluating the work needed to complete a project requires a good analysis and experience. If you need help doing this, then ask around.

It’s also not easy because the people developing these games want to be the best thing out there during their crowdfunding campaign. Aspiring indie developers need to understand that their games will never be perfect and they cannot have all the cool features that all the AAA games have. There is a reason why there is a slump in the creativity of AAA games, and that is cost. It costs so much to add all those bells and whistles that it’s simpler to reduce the risk by making the same game over and over again.

It’s this state of high competition in the market that makes (indie) game development unsustainable, given the business decisions that we (non-business) indie developers take. In the end, we need to understand that lowering our prices and increasing the promised features in our games increase the likelihood of failure and lower our credibility when we do fail.


LowDown – Soft Launch in Canada


Our strange little game, LowDown: A Social Experiment, has just been released in soft launch in Canada for iOS!

LowDown: A Social Experiment is a strange little game that was designed from the twisted mind of Ethan Larson, of Maniac Games. In LowDown, all players must pick one (or many) numbers and the winner is the player who picked the lowest unique number. There are hourly and daily contests, so you can play just once a day or a bit more.

Maniac Games - LowDown

Maniac Games – maker of LowDown (and me, also!)

I get “LowDown”, but why “A Social Experiment”?

Before actually implementing it, Ethan would discuss the game in the Stack Exchange group on Game Design. One of the interesting discussion that came out of those discussions was whether or not LowDown was a game. About half the people on the forum would say that it was indeed a game, and the other half would say it wasn’t; that it was more akin to a social experiment than a game.

What is a soft launch?

Right now, we’re only soft launching in Canada, which means that the game is only available to players that use the Canadian app store. A lot of companies that make free-to-play games use the soft launch technique to test the game in a smaller market before doing the international launch. The idea here is not to find bugs (though that certainly happens, at least with us), but also to see how the players act when in the game. That way, when the game becomes available to the whole world, some balancing issues, bugs and other potential problems may be ironed out. This can prevent a game from being “burned” on the market before it’s ready.

We’re still deciding on what features we’ll be adding before and after the international launch so stay tuned!

Oh, and my company name is Morchella Games!


Unity, Unreal and the Democratization of Indie Game Developement


As most of you probably already know, this week was fruitful in engine announcements. Epic changed their licensing fees for Unreal Engine 4 so that users now only pay when they make money. Unity technologies announced that Unity 5 (Personal) was going to be free also, depending on your revenue.
(Oh, and Autodesk announced their Stingray game engine, but still no info on price, as far as I know). In their launch trailer, Unity Technologies CEO John Reticello talked about the democratization of game development and how Unity 5 reflects that company value.

Unreal Engine Logo - Epic

Unreal Engine Logo – Epic MegaGames

Unity engine logo - Democratization!

Unity engine – Democratization!

Is Democratization a good thing?

In theory, democratization of game development is a great thing. A lot more people can start trying to make games without having to invest in buying (or building) an engine. In an industry that is often frowned upon for not being very inclusive at the employee level, having potentially more diverse people being able to make games is wonderful. But is having more developers a good thing?

Let’s look back at the launch of the iPhone back in 2008-2009. Back then, the iPhone was still a new device and it was selling like hotcakes to the greater public. Apple then decided to open up the platform to developers and charged only 100$ per year for developer membership. From a game development point of view, this was a huge departure from the relationship a developer had with a first party. When you wanted to develop a game for a console, you first needed to contact (or already be in contact) with a first party (Nintendo, Sony, Microsoft). You then needed to submit a form to them telling them the type of game you want to do, and if it was approved, you needed to buy expensive development kits (usually over 10k$) and start development. With Apple’s system, you only needed an Apple device and pay 100$ a year! Things were great for developers!

And, in the beginning, some people made a lot of money making games and application. To be quite frank, however, a lot of them were pretty crappy. Sure, the phone’s hardware was not what it is now, but some of the games out there were pretty terrible. Lured by stories of overnight success and riches, more and more developers then entered the fray. As the numbers of developers (and released games) increased, developers had to find a way to distinguish themselves from the competition. Two things happened. The quality of some games increased (that’s good!), but the price of the games decreased (that’s bad…). There was so much competition in fact, that this eventually led developers to lower the price of games to zero (0). This is when free-to-play games started becoming the norm.

Unfortunately, I think that the number of games that are low quality and simple far outweigh the number of games that have increased in quality. And most of the high quality games you see on mobile that are high quality are free-to-play titles supported by companies with money.

So, if we analyze the market from a negative point of view, having more developers was globally a bad thing. It gave access to a market for many developers, but they now have to make high quality games for a very low price, most of them being free. As I mentioned in an another post, another side effect is the cheapening the value of a game. People need to think before they buy a 1$. Not only because the offer of games is so large, but also because of the perceived quality of these games.

(Note that I have nothing against people developing small, simple games. In fact, I encourage people to do this! As an indie, you’re better off starting small and working towards larger projects than the other way around.)

What about the other markets?

I’ve been largely talking about the mobile space, but a different variant of the same effect is happening on the PC market (Steam, etc.). The quality of games is still relatively high, but the problem of being discovered is more than ever present. Even on Steam (and other sites, such, where there used to be a limited number of games, we can now find a lot more indie-type titles that are all struggling to get noticed.

I don’t think that the democratization of game development will be as problematic on PC only because the quality expectations for PC games is so high. People may easily have access to tools and Steam, but a lot more development (time and money) is needed to be at the right level.

As for the console space, democratization is happening a little bit because the First Parties (Nintendo, Sony and Microsoft) have opened up to indies a bit more (again especially through Unity), but developers seem to be more reluctant to enter this space right now. So, the problem won’t be happening for a while.

In Conclusion

So, is democratization a good thing?

If we look at the market/economics point of view, having more competition at the individual level is a bad thing. Despite the negative overtone of this post, I still believe that the democratization of game development is a good thing. We have seen many high-quality, interesting things come out of the indie (and less-independent) development scene in the last few years. And this has only been possible because of the democratization of tools, hardware platforms and the market.

But as a competitive industry, it’s still something to keep in mind.


Gameplay Space for indies


As I may have mentioned before, I’ve had the chance to work on a game in the Montreal incubator, Execution Labs. It was a great environment to work in, and it just got better! They’ve recently changed locations, and with the help of some other partners, have opened a space in which people in the games industry can work. If you’re an indie based in the Montreal area, you should consider renting out some space there! There are great people working there and you can get some feedback and insight on your projects!

Here’s the press release info on Gameplay Space

Gameplay Space Logo

Gameplay Space Logo

GamePlay Space, A Customized Co-working Space For Game Developers, Opens Its Doors

Montreal – February 16, 2015 – GamePlay Space (GPS), a non-profit co-working space built to suit the needs of video game developers, has opened its doors to the Montreal games community. GPS offers co-working space, meeting rooms, and a special event venue for studios, freelancers, and video game enthusiasts. By bringing together like-minded individuals GPS aims to promote collaboration and innovation within the Montreal games industry.

GamePlay Space is a joint initiative between Execution Labs, Concordia University and other active participants in the Montreal indie game scene. “The game development industry in Montreal needs an open and collaborative space where startups, small studios, and freelancers can meet, share knowledge, and work together. This critical mass of creative professionals will serve as a platform to drive the commercial success and sustainability of the community as a whole” explained Jason Della Rocca, co-founder of games accelerator Execution Labs and president of the GPS Board. Added Bart Simon, Director of TAG, Technoculture, Art and Games, of Concordia University “GamePlay Space is an integrated part of the community, which will facilitate the flow of knowledge, skills and experience across domains of the university, the game industry and media arts.”

Previously operating in a “soft launch” phase, several studios have already joined the GamePlay Space community. Among its first members are Henry Smith, creator of the game Spaceteam, as well as studios Norsfell Games and Clever Endeavour Games. GPS is also hosting a series of events with Pixelles, a local women-in-games initiative.

GamePlay Space welcomes the financial backing of $94,000 from the Ville de Montréal through the Gouvernement du Québec program Entente Montreal 2025, administered by the Secrétariat à la région métropolitaine. “The Ville de Montréal is proud to support the implementation of the GamePlay Space. This project is directly answering the needs of the young and dynamic scene of game developers in need of a collaborative and stimulating space while developing Montreal’s expertise in creativity and innovation” [Translated from French], said M. Harout Chitilian, vice-president of the City’s executive committee in charge of administrative reform, youth, smart city initiatives and information technology. Further financial and advisory support is provided by SDÉVM, la Société de Développement Économique Ville-Marie, and private partners BDO and Fibrenoire.

For more information about GamePlay Space, visit the website at or contact GPS Director Annie Forté at or 514-690-1349.

About GamePlay Space

GamePlay Space is the only co-working environment dedicated to the games industry in Montreal. We are building a collaborative community of developers to share, inspire, and support each other. Founding board members are Jason Della Rocca, Bart Simon, Alain Tascan, Nick Rudzicz, and Alexandre Pelletier-Normand.


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