Disruptive strategies for making games come along every couple of years that turn the industry on its head. Double Fine and Tim Schafer’s nigh $2 million Kickstarter coup was unfortunately not that. It showed, if anything, that affection for a person or a company’s body of work can be monetized and is thus immensely valuable. Hopefully, other companies will endeavor to build some as a result. But it’s very far from rendering publishers obsolete. Nor should it, according to the man himself.
The Role of Publishers in the Gaming Industry
“Publishers do their business in a way that works for them. They’re risking millions of dollars so they’ve got to mitigate that risk – and sometimes that means removing risky ideas from games,” Schafer explains. This statement highlights the critical role publishers play in the gaming industry. They provide the necessary funding and resources to bring a game from concept to market. However, this financial backing comes with strings attached, often leading to a more conservative approach to game development.
Publishers are not inherently evil; they are businesses that need to protect their investments. This often results in a more formulaic approach to game development, where proven concepts are favored over innovative but risky ideas. This risk-averse strategy can stifle creativity but ensures that the company remains financially viable. For instance, many successful franchises like “Call of Duty” and “FIFA” follow a tried-and-true formula, guaranteeing a steady stream of revenue.
Double Fine’s Unique Approach
“The thing is, Double Fine is all about coming up with new, unproven, and really creative ideas. It’s a constant battle for us to get those ideas to go through the system, that long spanking machine of people who have to sign off on your idea. They’re not evil; they’re just trying to protect themselves,” Schafer continues. This statement encapsulates the essence of Double Fine’s approach to game development. The company thrives on innovation and creativity, often venturing into uncharted territories with their game concepts.
Double Fine’s Kickstarter campaign for “Broken Age” is a prime example of this innovative spirit. The campaign not only raised nearly $2 million but also demonstrated the power of community support in game development. Fans were willing to invest in a project based solely on their trust in Schafer and Double Fine’s track record. This level of community engagement is rare and speaks volumes about the company’s reputation.
However, relying solely on crowdfunding is not a sustainable model for long-term success. While it can provide the initial capital needed to start a project, it doesn’t offer the same level of financial security and marketing support that a traditional publisher can provide. This is why even innovative companies like Double Fine still need to collaborate with publishers to some extent.
Another example of Double Fine’s unique approach is their game “Psychonauts.” Initially released in 2005, the game was a commercial failure but later gained a cult following. The game’s unique art style, quirky characters, and innovative gameplay mechanics set it apart from other titles at the time. Despite its initial failure, the game’s enduring popularity eventually led to the successful crowdfunding campaign for its sequel, “Psychonauts 2.”
In conclusion, while disruptive strategies like Double Fine’s Kickstarter campaign can shake up the industry, they are not a panacea. Publishers still play a crucial role in the ecosystem, providing the financial stability and resources needed to bring games to market. However, the success of Double Fine’s approach shows that there is room for innovation and creativity within the industry. By balancing the need for financial security with the desire for creative freedom, companies can create games that are both commercially successful and creatively fulfilling.
Source Hookshotinc
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