#oneaday Day 931: Pure Profit

The more doublespeak I hear from industry analysts and company executives on earnings calls, the more and more glad I am that companies such as Atlus, Carpe Fulgur, Xseed et al exist. (Though Atlus should really pull their finger out and open a European office. I’ll happily run it. Single-handedly. Gladly. Just bring fucking Trauma Team out over here and we’ll be cool, Atlus. Why you gotta be that way?)

Why? Because these are companies whose primary motivation is not profit, it’s pleasing their customers. They accept that they are catering to niche interests and accept that they are not going to create games that sell millions of copies.

Here’s an actual quote from Aram Jabbari of Index Digital Media, Atlus USA’s parent company:

“With the launch of the strategy RPG Growlanser: Wayfarer of Time, an iteration in the popular franchise never before released in North America, Atlus demonstrates the continuation of its proud heritage of supporting niche titles aimed at the core gamer. We are not intimidated by the challenges of servicing a smaller audience or pursuing more modest success with a given project. Our fans are excited for a new Growlanser title and we are excited to be able to bring one to them.”

What a great attitude to take. A bold, proud statement that Atlus specifically isn’t going after the quick buck, but is instead aiming to build long-term loyalty with its customers by giving them the things that they have been asking for.

Note: this is not the same as pandering to the whims of crybabies. It is a case of listening to your customers and providing them with things that they will appreciate, which in turn builds up a strong and significant base of loyalty which can be drawn upon in the future. I know plenty of people who will happily pick up anything that has the Atlus stamp on it purely because of the goodwill the company has built up over the years (goodwill which they’re at risk of losing with the whole Persona 4 Arena region-lock business, but that’s another matter entirely).

It’s the same with Carpe Fulgur, whose dedication to their craft shines through in every one of their three releases so far. While Recettear, Chantelise and Fortune Summoners may not be the most technologically-stunning or even best games in the world, they feature a top-quality localisation job the likes of which we haven’t seen since the days of Victor Ireland and Working Designs on the PS1. They work on niche titles that players might not have heard of, but built up a solid foundation of brand loyalty with Recettear and have continued to provide memorable experiences since.

Then there’s Xseed Games, whom I have to admit I’m not as familiar with, but who are noteworthy for bringing excellent PSP action-RPGs Ys Origin and Ys: The Oath in Felghana to PC, and are also handling the North American release of the fantastic The Last Story. (C’mon, guys, pick up Pandora’s Tower, too — your fans will thank you.)

And then there’s the even smaller niche developers and publishers like Mojang, Gaslamp Games, Zeboyd Games — too many to mention. Not one of these companies is responsible to shareholders and investors, which means they can take a much more “human” approach to business. Their team members can speak as individuals and freely give their opinions rather than stock, robotic “we do not comment on rumours and speculation” responses that frustrate journalists and public alike so. They can enthuse about their products in human terms rather than spouting bollocks like this actual quote from Ryotaro Shima, senior vice president the EML business department at GREE Inc and CEO of GREE UK Limited:

“The formation of a UK studio is strategically significant on many levels. Primarily it will allow us to focus on Western content, keyed to local social trends, as well as tailoring content for global propositions. It also reinforces GREE’s commitment to growth within European markets.”

Besides the fact that these smaller companies tend to have job titles that are less of a mouthful, there’s a clear disparity in the language used. Let’s take a look at another quote that is more roughly equivalent to the one from Jabbari I posted at the beginning of this piece — this one’s from Paul Nicholls, sales and marketing director at Koch Media, annoucing Andrew Lloyd Webber Musicals: Sing & Dance (yes, that is a game that is actually coming out, and you bet it’s a game being made primarily as something that will sell rather than a great creative work):

“This is a fabulous signing for us. Andrew Lloyd Webber and his creations are a British institution that have been enjoyed by generations across the world. The chance to bring this product to market for the Nintendo Wii is both an honour and hugely exciting.”

Note the difference in the language used. Jabbari refers to “our fans”; Nicholls talks of “bringing this product to market”. Jabbari speaks of “servicing a smaller audience”, “pursuing more modest success” and emphasises what Atlus is doing for its fans; Nicholls speaks of what a “fabulous signing for us” the Andrew Lloyd Webber license is — no mention of customers at all.

Obviously those two aren’t exact equivalents — one is a rather niche PSP release while the other is a Wii game based on the music of Andrew Lloyd Webber. But the point stands — personally speaking, I’m much more inclined to respect companies that have a “human” face; companies who make it clear that their first priority is not shifting as many copies as possible, but pleasing, surprising and delighting their fans.

Obviously it would be nice if the niche titles were multimillion-sellers, but that would somewhat diminish their “niche” status. What the continued existence of smaller outfits like Atlus, Xseed and the like proves, however, is that you don’t have to be focused on big business and the bottom line to be successful — it is possible to please your customers and have a company that performs well.

It’s also, I’d argue, a sign that going public is a terrible, terrible idea for a company supposedly based around creative ideas. As soon as “what would be cool?” becomes “what would sell?” or “what will make the investors happy?” I, for one, am no longer interested, because I’m being treated as a bag of money rather than a human being. For all I know, Atlus et al may be laughing all the way to the bank, but because they put such a human, consumer-friendly face on the way they do business, I’m more than happy for them to take all of my monies while I consistently give companies like EA, THQ and Activision the finger until they start speaking English.

#oneaday Day 882: Microsoft Mysteries

As I type this, Microsoft’s mysterious event at which something may or may not be revealed is about to start. The usual rumours and speculation have been flying around and are just as infuriating as ever, but there’s been something a little different about this event: unlike, say, Apple events, for which we tend to know the vast majority of the content well before it’s announced, there’s been nary a whiff of what this might be all about.

A lot of people seem convinced that the company are going to launch a tablet device, and that would make a good degree of sense what with the impending launch of Windows 8. But then there’s a new Xbox on the cards. And Windows Phone is surely due for a kick up the arse. And then there’s things like Surface, and all the things that Microsoft Research are up to — though let’s not forget that they unleashed the monstrosity that is Songsmith on the world. (And now it’s stuck in my head again. “You sing into a microphone while the drummer plays along…”)

But the truth is that no-one knows. At all. No-one has any idea whatsoever what is going on, and this means that the event has the potential to be exciting. (It also has the potential to be a crushing disappointment, but that’s part of what makes it exciting.)

This is something that to a large extent we have lost in the modern age of PR, leaks and the reporting of every little rumour that sneaks out. Think about it. If you reveal everything about your product months before it actually comes out, you walk a fine line between building anticipation and pissing people off with oversaturated marketing. I feel it all the time with modern high-profile video games, and I’m pretty certain tech enthusiasts feel the same way about new gadgets. I don’t know to what degree it happens in other sectors, but given the way a lot of modern PR seems to work regardless of industry, I can imagine it is the same across a lot of different areas.

I can’t be the only one who prefers to be surprised now and again by something. For all the mindless speculation that goes on around Apple product launches, the company itself is pretty good at keeping things under wraps until the last minute (though they let the cat out of the bag with iOS 6 somewhat). Microsoft has gone one better with this one by not letting even the slightest hint out to the press or the public. It’s had a far greater effect on the public’s anticipation than carefully-orchestrated “leaks” (most of which I doubt are really “leaks” at all) and “official” teasers — and as a result, everyone is on tenterhooks, watching the currently-running announcement (which still hasn’t announced anything as I type this paragraph).

Basically, the lesson to be learned here, I think, is that sometimes it’s okay to shut up and not tell anyone what you’re doing. Because when you tease something and then respond to all questions with “we’re not ready to talk about that yet” or “we do not comment on rumours or speculation” you just come across as a bit of an arse, really.

Ah, and there we go. The big announcement is the Microsoft Surface, though it’s changed a bit since the table-sized device we last saw. The new gizmo is an iPad-like device with an interesting twist: its Smart Cover-like kickstand has a full multitouch keyboard secreted within it. There’s also an optional other case with actual proper, tactile keys.

The fact the Surface is running Windows 8 means that it can run things like Office and the like. There’ll apparently be a scaled-back version for Windows RT, and one with Intel chips for the full Windows PC experience. The latter will also incorporate stylus and “digital ink” input as well as multitouch, and apparently has the power of a full desktop PC — though whether or not it will run Crysis is yet to be seen as I type this…

#oneaday Day 773: Off the Beaten Path

The astute among you who follow my gaming posts (which, yes, I’m aware constitute an overwhelming majority of these entries — I am a passionate gaming enthusiast and an occasionally-professional games writer, after all) will be well aware of the fact that over the last few years, I’ve been drifting further and further away from the “mainstream” in terms of the titles I’ve been playing. This initially wasn’t a particularly conscious decision, but rather a reaction to the fact that I just wasn’t enjoying myself with the supposedly “big” titles of the day. I haven’t made it through any Halo games except the original and Reach, for example, and my few forays into Call of Duty have left me feeling by turns underwhelmed and insulted. Similarly, I’ve given up all hope of ever making it through the Assassin’s Creed series since it seems as soon as I think about playing through the older titles, Ubisoft goes and announces another one. You know, like they did today. Bastards.

I can’t quite pin down exactly when this shift in attitudes happened, but I do know that I’ve come across some truly remarkable games in the process. One of the most memorable of these is Recettear: An Item Shop’s Tale, which I picked up as part of one of Steam’s characteristically generous Indie packs during one of the service’s many sales, and promptly played all the way through for 40 hours. This was something of a difference from my expectation, which was that the game would be a shallow, social game-style experience with little depth and no long-term appeal. How pleasantly surprised I was when it turned out to be quite the opposite — deep, fun, well-written (kudos to Carpe Fulgur’s wonderful translation efforts — we’re talking PS1-era Working Designs-quality work here) and immensely satisfying to play. And not an Achievement in sight, either.

The attitude that I’ve decided to take as a result of discovering brilliant titles like Recettear and numerous others like it a little way off the “beaten path” is to simply say “fuck it” to the mainstream, and explore the things that I’m interested in, rather than the titles which the media makes it seem you’re “supposed” to be interested in. It’s been a very long time since I consulted a review prior to purchasing a new game, instead relying on a combination of word-of-mouth, intuition and simple, immediate, visceral reactions to screenshots, descriptions and other media.

This philosophy has also been born from the original ideals of the Squadron of Shame way back in the 1up days. Our original remit as a group was as follows, and I quote directly from the original 1up club page, which still stands today:

Games of Shame. You know you have them. They sit in your closet, collecting dust: Little jewels that you always tell yourself you are going to play, but never get around to. Well, that’s about to change, soldier. You’ve been drafted to join the Squadron of Shame. Here we, the elite members of the 1UP Radio boards, paratroop into the bargain bins and rescue the unappreciated games that deserve to be saved. From there we battle through the trenches as a squad. At the end of the day, we take a moment to break down what made the whole experience worth fighting for by sharing war stories, reflections, and cigars. But the fight isn’t just on the front of retro games: Any game deemed “fit for duty” by command can be put on the pile. At the end of the day, the reason we fight isn’t just to discover new experiences, it’s to answer that simple and fundamental question: “Why do we play?” Now suit up. The pile awaits.

I’ve pretty much stuck by those ideals as the years have gone by, always preferring to check out things that are outside of the mainstream, far from the things that everyone is talking about. I can’t help but feel you can have too much of a good thing in terms of game coverage, and this is a problem which is only compounded by the explosive growth social media has enjoyed over the last few years. By the time a big-name game comes out, there are very few surprises left due to the constant PR trickle of new screens, exclusive reveals, teaser trailers, live-action videos, behind-the-scenes developer diary videos, blog posts, interviews, features, podcasts, multiplayer betas and all manner of other things besides. And when the game does come out, everyone is talking about it on Twitter and Facebook, putting you at serious risk of spoilers — or at the very least, of a feeling of “saturation”.

So rather than bitch and moan about the state of the mainstream, the iron-fist rule of unscrupulous PR agencies and publishers destroying interesting, outlet-unique coverage and games that I have little interest in playing, I’m simply going to ignore stuff that doesn’t interest me and focus on things which sound intriguing. (I’m aware that this post may well constitute bitching and moaning about the state of the &c &c but… but… FUCK YOU, that’s what. WAIT I DIDN’T MEAN IT, COME BACK, I STILL LOVE Y—)

And, subsequently, I’ll cover them myself, right here. I may be late to the party on some titles, but in many cases, things don’t stop being relevant just because of their age, particularly with the number of HD remasters, portable remakes and backward-compatible devices we’ve seen recently. Providing these games with a little exposure here — “little” being the operative word, since I’m well aware of the relatively miniscule amount of traffic this blog generates, and am perfectly happy with that fact — will make me feel better, because then I then know that there’s someone out there (me) appreciating and giving some much-needed attention to titles which maybe don’t have a massive marketing budget or an omnipotent PR organisation managing and coordinating all their coverage. And, as small as my audience here is, if I write something, then there will be people reading about these titles, too. And if just a few of those people think “hmm, that does sound interesting” then I can feel like I’ve done a good job somewhere along the line.

So if I blog about something which sounds interesting and you decide to check it out for yourself, be sure to let me know. I’d love to hear your reactions to titles such as Katawa Shoujo, To The Moon, Recettear, Xenoblade Chronicles, The Last Story and numerous others. Over the course of the next few days/weeks/months, I’m intending to catch up on a variety of PSP titles, starting with Corpse Party and following with the portable Persona remakes. So watch out for those entries soon, and be sure to let me know your thoughts on those games if you’ve also sampled their charms.

And if you’re excited for Mass Effect 3, Assassin’s Creed III or, God forbid, the rumoured Call of Duty: Black Ops 2, then don’t let me stop you being excited — I’d actually love to hear about those games, from you, too. Just be aware I probably won’t be joining you in playing them!

#oneaday Day 562: If We Haven’t Announced It, It Doesn’t Exist

I don’t agree with everything Ars Technica’s Ben Kuchera writes, but he was right on the money with this piece right here. Marketing plans are starting to rule the world, and not just in the games industry — though given my intimate familiarity with it, that’s what I’ll be particularly focusing on here.

I remember the early days of gaming. There were no carefully-orchestrated reveals, no countdown websites (largely because there were no websites) and no pre-order incentives. And it was good. Sometimes you’d hear through a magazine that developer X had just had a great idea for a new game, and it sounded interesting, but they didn’t have anything to show yet because it was just an idea. That was cool — it gave you an insight into the creative process and didn’t always come to anything. That was cool, too — cancelled games passed into the stuff of legend and became myths.

I’ve been trying to pin down exactly what it is that bugs me about all this, and I think it’s the whole element of “you can’t talk about this until we say so”. Embargoes are the bane of the games journalist, particularly when, as in some cases, you find yourself seeing a game literally months before you’re allowed to publish anything about it. There is absolutely no reason for this to happen in an online world of immediate information — particularly with the growing number of leaks that spring from developers presumably frustrated with the shackles that PR firms place around their necks.

The problem with the whole thing is perhaps best summed up by Gearbox’s Randy Pitchford stating “if we haven’t announced it, it doesn’t exist.” Why on Earth should that be the case? What a way to disrespect your development team, who are probably quite proud of what they’re working on. What a way to insult the intelligence of the public. And what a pointless exercise — in this case it was less than a day between Eurogamer breaking the story that Borderlands 2 was “probably” on the way and Take-Two announcing that Borderlands 2 was on the way. Pitchford called this “shoddy journalism” when in fact it was the exact opposite — reporters should go off-piste from time to time, as they’re not PR mouthpieces — PR mouthpieces are!

As one who reports on the news in the industry, I come face to face with this sort of thing every day. Don’t get me wrong — I very much enjoy reporting on new announcements and helping drum up excitement for new products. There is always something going on in the industry, whether it’s a small developer putting out an interesting-looking iPhone game or a massive publisher announcing a new means through which they’re attempting to bum-burgle used game customers.

I know why it happens of course — it’s so competitors don’t get to find out their awesome new features and then put out a better version. But in all seriousness, there’s a whole load of generic military shooters out there already — keeping the fact that New York gets attacked in one/both/all of them isn’t going to change that fact. Ironically, the most original titles are often the ones who are most open and humble about their innovations.

As a consumer, the constant parade of cock-teasers is inordinately frustrating and is causing me to shy further and further away from mainstream entertainment in my own free time. In recent years, the titles I’ve got most excited about are the ones that weren’t embargoed, the ones where developers were open about what they were up to and the ones where I could find out things about the game at my own pace by doing some research and trawling through developer websites — not by following some schedule that the marketing department had dreamed up. Recettear, Chantelise, Groove Coaster, Pocket Academy, Breath of Death VII, Cthulhu Saves the World, Dungeons of Dredmor, Minecraft — these are the games I’m excited about and it’s perhaps no coincidence that most of them are independently developed and published titles. All of them either suddenly appeared out of nowhere without months of cock-teasing, or were extensively documented by their creators during development. I can only imagine how satisfying it will be for Notch and his team when Minecraft is finally released to the public and they have a complete and public record of the entire development process which they can look back on and think “Yes. We did that.”

The only exception to this rule in my case is Catherine, which Atlus carefully drip-fed information out to the public about, but, notably, didn’t stop people talking about the Japanese version which had come out some months earlier — including a playable demo. By the time the reviews for the game came out, I’d already made up my mind — I wanted to play that game, and a review wasn’t going to change my mind. I’d played the Japanese demo and was intrigued by it. I was interested in seeing what the Persona team made of adult relationships, and I liked the idea of the story being married to something other than a typical JRPG. I felt like I was making an informed choice, not the choice that PR wanted me to make. Even then, as a European I still have to wait until Deep Silver bring the game over — by which time most of my American buddies will have played and beaten the game and will have already discussed it.

It’s difficult to say whether this situation will continue — it seems that most weeks I see journalist friends suffering some sort of embargo frustration, or gamer friends fed up with the constant prick-teasing of countdown sites and “exclusive reveals” during sports events they weren’t going to watch anyway. But it must at least be having an effect because it seems to be the model to follow these days.

I miss the days of bedroom programmers selling cassette tapes at car boot sales and type-in listings from magazines. Can we have those days back, please?

#oneaday Day 156: PrE3

LOS ANGELES, June 06, 2011 — GeneriCon is today proud to announce its announcement of an announcement at the world’s largest electronic entertainment expo — E3! The announcement is for a top secret project that will not be revealed at E3, but the announcement will not reveal what that project is — rather, it will reveal when to expect the announcement of the project!

“I’m tremendously excited about this announcement,” said Papa Bear, CEO of GeneriCon. “Our 15 years of experience at teasing the industry is sure to pay off this E3 when we build up to absolutely nothing of any substance whatsoever. They’ll be begging for more by the time we’re finished — but they’re not going to get it!”

GeneriCon’s announcement ceremony will feature a special appearance by the Cirque de la Lune, a fraternity of performing minstrels from Paragon City who have not yet realized that they are fictional constructs born from the imagination of massively multiplayer online RPG players. Supporting Cirque de la Lune will be a troupe of performing badgers and the worlds most synchronized brigade of elephants.

“The practice of announcing a new project at E3 is passé,” said Julian Ivanov, VP of Commercial, Corporate and Certifiable Communications. “We are revolutionizing the practice of announcements. After this E3, people will be wondering whether they should even bother attending the show in the first place, so little will actually be revealed on the show floor. But the answer is simple, of course — come to see our elephants.”

Visit GeneriCon’s booth on the show floor, booth number 6969, to see absolutely nothing whatsoever. Private media showings, including exclusive reveals, can be arranged by emailing [email protected].

ABOUT GENERICON

Founded in 1996 by the son of an advertising legend and a Belgian, GeneriCon has since proven itself to be a world leader in the field of PR and marketing teasers as well as having the highest staff turnover of any company in history. Despite ample coverage from the press, consumers have not yet noticed that the company is yet to release an actual product onto the market.

CAUTIONARY NOTE REGARDING FORWARD-LOOKING STATEMENTS

From time to time, GeneriCon may use statements such as “will”, “might”, “should”, “hope to”, “want to”, “intend to”, “will possibly”, “maybe might”, “probably”, “definitely will”, “definitely won’t”, “possibly will”, “almost certainly will”, “absolutely, positively, totally will”, “really wish we could”, “have extremely good intentions to”, or “think we might just”. These statements should not be taken as official confirmation of an intent to do anything at all and, in fact, it’s probably safer if you just ignore them altogether, just like you’re ignoring this whole paragraph because it waffles on forever and ever and doesn’t really make any sense. GeneriCon reserves the right to decline all knowledge of the use of any forward-looking statements at any time, even if they were on the record and appear on audio or visual evidence, because you probably just made it up because that’s what journalists do, isn’t it? Any use of forward-looking statements is not admissible in a court of law and is not an admission of liability should someone come to injury as a result of waiting for a non-existent product. All rights reserved, except the ones which might cost us money.