Developing a great game is only part of the challenge for game developers in the age of digital distribution. Gamers can’t buy your wonderful game if they don’t know it exists, so getting the word out about your latest and greatest creation has become a vital part of the game development/self-publishing process – and it’s quite a challenge. Big publishers with their multi-million dollar marketing budgets can pay for huge advertising campaigns and arrange expensive press junkets, whisking a hoard of journalists off to a swish venue to demo the game…. followed by a good deal of entertaining.

It’s hard to get noticed

Gamers will know that these big budget games are on the horizon and journalists will write about them because they know there is a ready audience of readers waiting for information. The same can’t be said for the debut title from “Minuscule Studios” as they beaver away on their first ever game. For independent developers with a much smaller/non-existent marketing budget it’s a different story. Blogs, Facebook pages, Twitter Feeds and press releases are all essential tools to build awareness. Of course building awareness in this way takes time -  If people don’t know about you/your game, then they are unlikely to know about your Facebook page either.  It takes time, plus a steady trickle of information, to raise awareness. The hope is that customers will learn about your game and, become interested, and in-turn, tell others about it. Another hoped for outcome is that the gaming press become aware of your game and start to write about it.

Press releases, screen shots and videos sent out to journalists are a great way to let them know you exist. An even better way – and one of the hardest to pull off – is to embark on a press tour and get some real face time with the gaming press. Actually getting to sit down with the press and show them your game can go a long way to boosting your chances of success.

As the latest step in our marketing campaign for Space Ark, our Technical Director Simon Morris has been out and about meeting up with UK journalists, while I have undertaken a US press tour. Simon hit the road first and met with Gamespot UK, FemaleGamers.co.uk, Thunderbolt Games, Brutal Gamer, Electronic Theatre and Girl Gamers UK to show off the latest build of the game.

FemaleGamers.co.uk
“Space Ark is so full of fun, from its bright colours, catchy music, cute characters and wonderfully transformed planets to the sheer addictive pleasure of trying to get as many combos as you can, collect fruit and avoid dying, all whilst bouncing away.”

It’s not easy to get next to even one journalist, let alone a gaggle of them. It takes time, effort and luck. Obviously, as with any business, money can substitute for some of this (you can pay a PR agency to help you). However you manage it though the benefits can be enormous; not only as a result of the increased exposure your game will get. Previews and Reviews are the mainstay of the gaming press but building a good relationship with the press can lead to interviews, developer diaries and assorted other features that will all help to raise awareness of your game.

Brutal Gamer
“Space Ark is a lot of fun. It’s childish and silly but it’s brilliant and incredibly addictive. Completionists and people who like to compete will be in their element here”

It’s not just about gaining exposure

A press visit is not just about giving out information – its a two way process. Getting hands-on the game with the game developer helps the journalist get a better insight into the game. Any questions can be answered and almost as importantly they can see the passion that the developer has for the game. It is also a great way to get independent feedback on your game. Journalists are gamers too and as such they are an excellent source of feedback. Importantly they aren’t invested in the game in the same way that the developer is, which means that their comments and feedback will likely throw up any quirks or problems that the developer may have got used to during the development process. These problems will be thrown into sharp relief when the journalist point them out.  Hopefully you will also get to see them reacting positively to all the great parts of your game as well.

For the second leg of our press tour I flew out to San Francisco to meet with members of the US gaming press including OXM, IGN, Gamespot, Team Xbox, CVG, Gamepro and Giant Bomb, G4, Game Trailers, EGM & Gaming Evolution.

Gamepro
“I must’ve been playing Space Ark for at least the amount of time that Marchant had spent telling me how to play it, but I didn’t even notice. The game is that fun. I was actually kind of bummed out when he wanted to switch to multiplayer because I wasn’t ready to share, in a way.“

As a result of the visits we gained some great insights into Space Ark; a game that we have all become very close to internally. As a result we were able to make final changes to the game before submitting a final version to Microsoft for certification.  It was also really gratifying to have people confirm the  addictive nature of the combo and bonus fruit collecting, the desire for players to beat their previous scores (and those of their friends) and the insanely frantic multi-player mode.

CVG
“Do you remember when games were jolly? When the key to success wasn’t how angry you could make your protagonist, or how many shades of brown you could coat the walls with? 20 years ago all you needed was a bright blue sky, happy animal hero and a crap-ton of fruit to collect – Space Ark resurrects this spirit.”

All in all a very rewarding and enjoyable experience. Now we just need to get the game finished and released.

Often times it takes a bad game to show a journalist’s true literary skills. Great games tend to write their own reviews, they command you to write about the same excellent features that everyone else is writing about. Bad games on the other hand allow journalists the freedom to exercise their creativity. It takes real skill to slice hundreds of wafer thin strips of flesh from the still living (and writhing) body of a game without killing it. The deserved victim should suffer until the very end of the review if the reader is to understand the full depth of its awfulness. As a prime example I give you Quintin Smith’s review of WET http://videosgames.wordpress.com/2009/09/25/wet-review/

“All told, Wet is a man who vomits on you on the bus and doesn’t even say sorry.”

Obviously as a developer I feel for the guys who worked to make the game. I know only too well how many factors outside of the developers control can result in a game failing to meet its design goals. Having said that, gamers do need to know and if you are going to put yourself/your game out there you need to take the resulting knocks.

I don’t think I have enjoyed a review quite as much since the 1992 release of Domark’s AV8B Harrier Assault for Amiga (developed by Simis). After all these years most of it is long forgotten but the line in the review which bemoaned the slow frame rate is forever burned into my mind…

“If i chopped my legs off and nailed the stumps to the floor, I could still run round the block faster than this game.”

A new selection of screen shots have been added to the Space Ark page and can also be downloaded from the new Space Ark media page. The media page also includes previously released assets such as videos, company information and copies of previous press releases.

The guys over at Console Arcade just posted an interview we did with them last week. In it we talk about our fondness for bright colours and the fact that Digital Distribution may let developers escape the problems of retail publishing but it also presents you with a whole new set of challenges.

You can check out the whole piece over at http://www.console-arcade.com/features/strawdog-studios-interview/

An interview we did with Ben Parfitt has just been posted over at Intent Media’s casualgaming.biz site.

The interview was set up by PR guru Dene Landucci (every indie developer should hire a PR person to help promote their business) and in it we discuss a range of topics including the challenges of developing original games,  iTunes vs XBLA vs PSN, piracy (boo hiss) and our new XBLA game.

You can find the full interview at http://www.casualgaming.biz/news/28626/INTERVIEW-Strawdog-Studios

Just spotted the first review of Turbo Duck to hit the net at Gamedroid. Now obviously they liked the game but the thing I really like about the review is the fact that they obviously paid attention to what they were doing. They didn’t just play through the game and say what they did/didn’t like. They clearly paid attention to the details as you can see from this quote…

“For example: every time a submarine re-surfaces and creates a wave, that wave will change your ducks direction when it hits it.”

The submarines aren’t in every level and yet the reviewer has picked up on what is actually quite a small feature. None the less it is a feature that the team worked to include in the game and as a developer it is always nice when someone notices those things you have worked hard to include.

Game announced…. check
Video released… check

The press have been really great and picked up the announcement story and the video. Here are a selection of the sites that have covered the game so far…. thanks guys.

Finger Gaming

IGN Wireless

Zmogo

Videogamer.com and Screenshots

Gamesindustry.biz

Gamershell

DailyGamesNews

PocketGamer

MACNOTESDE

iPhone Kung Fu

Next stop game reviews….

So I was down at GameSpot HQ today joining Guy and Alex in their soundproof basement for their latest podcast. It’s a pretty good format, they cover a wide selection of games news and reviews, and so we were pleased to have the invitation to talk a little bit about Geon, how it started out on Xbox Live Arcade, and how we’ve been busy porting it to PSN and Wii. We also talked a little bit about what we’re doing next as well as how Strawdog Studios got started, which is something I always forget is interesting to many folks. The whole idea of setting up your own company to make games can be either crazy and/or inspiring! I’m pretty sure we’ll write more about that one day.
Anyway the podcast homepage is here, but you can hear today’s epsiode right here.

So our brand new best friends over at wonderwallweb have uploaded their first thoughts on Geon, and it certainly seems to have created the right emotion with them anyway! We’re really pleased to read that they have enjoyed the game, and taken the time to note some of the things we hoped would get recognition: the new tutorial, the new strategy behind the emotions and level designs, and the refined competition in the various game modes.

So for this review, www, we salute you!

http://wonderwallweb.com/article-481-Geon-.html

Those of you interested in what goes on behind the scenes of the game development business might like to head over to IGN and read their article entitled From Cuball to Geon and beyond. The article focuses on the various business challenges that we faced in getting the game to market.

The article discusses how the game was originally conceived back in 2005 as Cuball (Cube All) and pitched internally using a pre-visualisation demo. All the games we develop here at Strawdog Studios start off with a video, which is used to get buy-in from the team and ensure that everyone understands what we are aiming for. The next stage was to produce a playable demo to pitch to a publisher but, as a small and relatively new development studio we didn’t have the necessary funds to pay for this.

The article highlights the amount of time that gets eaten up by business with months needed to raise investment, months needed to negotiate publishing deals, more months needed when publishers fail and you have to find a new publisher, as well as the time it takes to decide upon and register (trademark) a game name. As the article shows, Geon was in fact the third name for the game, with one name being dropped because it caused confusion (people thought that Cuball was a Pool game) and another, Ora, being dropped because it conflicted with an existing trademark. In short there is an incredible amount that goes on behind the scenes in a game development company that isn’t actually development (and eats into the time available for development).