Greg and co. on indie games and their new effort in the sector:
“The problem isn’t so much a “single big change,” but an ongoing trend that has eroded developers’ negotiating leverage with publishers over time. The game industry is hardly unique in the harsh terms it offers developers–if you want an eye-opening look into how creators can =really= be screwed, read up on how the music industry does things sometime–but in other industries, creators themselves become, in a sense, a brand, and can use consumer recognition as a lever when dealing with publishers/labels/movie studios/what have you. With rare exceptions, gamers don’t know who creates the games they play–or even the name of the developer.
Money compounds the problem. If you look at book publishing, for instance, authors are treated pretty well, by comparison to other creative media. That’s because the cost of writing a book is fairly minimal–one person can do it over the course of a few months. Thus, except for best-sellers, publishers don’t risk that much capital on a single book–and with a best-selling author, the author obviously has a lot of leverage. As game budgets have ballooned, terms for developers have gotten harsher and harsher, to the point that, today, it’s almost impossible for a developer to escape a hand-to-mouth existence or even retain ownership of its own IP. And really, when your asking someone to put up $5m and wait three years, that’s probably reasonable–but not a lot of fun for developers.”
I’m all for indie games, and I love to see developers recognized by their peers/public – but comparisons like this always make me cringe. True – it doesn’t cost millions for one author to write a book… but getting it into the hands of readers is expensive. Rollout is 90% of success: pre-release hype, interview tours, endcap negotiations with major retailers… much of the same crap goes on whether the product is a book, dvd, game or mp3 player. And for every item that makes it (every book on the NYT best seller list, for example) there are thousands of cut-outs in bins at Costco, Borders, or EB.
In the end, the sheer volume of goods produced for a profitible niche *necessitates* agressive filtering in both publishing and retail – regardless of delivery mechanism. Creators without a track record are pretty much doomed to minimal exposure, unless they impress someone involved in that filtering process. And that (no matter what you’re selling) is about making connections. While far from a revolution, a new player in the “online marketing/publisher/etailer” space is a new (potential) connection for aspiring studios. Kudos to Manifesto for that.