The End is Nigh


Four days remaining with the Alice: Otherlands Kickstarter campaign and we’re at 70% of our goal. We’ll need to make 15kUSD a day to finish successfully, but with the 48 hour notice and “Surge of the Last Days” I think we can do it! The thing is, we REALLY need to turn up the noise on our social, online, friends, and family marketing. So get those fingers tapping and let the world know!

However this campaign turns out, this will be my last Kickstarter. Working with the platform this year has been an interesting experience to say the least. We’ve run three campaigns – Akaneiro, OZombie and now Alice: Otherlands. Each has been unique in terms of content and presentation. The Akaneiro campaign helped us launch a game. OZombie explored the limits of my ambitions and public support while Otherlands… well, we’ll just have to wait and see.

Thing is, I don’t think I’ll ever be willing to run the gauntlet again. As many positive things have come from these campaigns, for me personally it’s a mostly painful experience. It’s tantamount to putting a giant “kick me” sign on my back. “Don’t read the comments!” screams Ophelea (our Community Manager), but maybe the naysayers and insult hurlers have a point? Not that they are necessarily “right,” but when the echo chamber of the majority destroys any and all independent thought, what is “right?”

Someone recently sent me a Lewis Carrol quote:

“If you limit your actions in life to things that nobody can possibly find fault with, you will not do much!”

The man has a point, and so my Kickstarter sentiments are not about my actions in general – just about this particular form of public exposure. Crowd funding is a gladiator’s game. I still think it’s an amazing platform, and one that our industry desperately needs, just not one that’s suited to my temperament, endeavors or (it would seem) my audience.

Speaking of the stage of life… the image you see alongside this post is a peak inside the mind of Sarah Bernhardt, the French actress who has been referred to as “the most famous actress the world has ever known.” This image will be offered via the Kickstarter campaign with tomorrow’s update. You’re getting an early sneak peak!

If you’re looking for a slightly darker mind, check out today’s update – which provides a glimpse inside the mind of Dracula author, Bram Stoker.

Are you ready to lose Alice?

If you’re reading this, there’s a good chance you believe in Alice and her Wonderland. The question is – have you proven your belief by supporting her latest adventure?

Let me share a secret with you… I’m worried. I’m worried about Alice’s future. Why? Because a fan recently wrote me and said, “I’m going to sit this one out. I don’t care about the Otherlands animations, I just want the game.” This made me realize that I really need your help to save Alice. I wrote back and explained, “The success of the Otherlands project will prove the value of Alice to people who think the audience just isn’t there.” “I get it, I love Alice, but I can only give you $5,” came the response. It warmed my heart and made me realize it’s your passion that keeps me tied to Alice. The project gives me reason to get up in the morning, but if that support doesn’t come then I feel there’s little to motivate me to keep going.

People just like you are backing. They are making a difference.

Here’s what I need you to do: I need you to keep the long term picture in mind. I need you to back this project in any amount. Why? Because this isn’t just about the Otherlands animations – it’s about showing the world the importance of Alice and her Wonderland.

There are 11,000 people following the Alice: Otherlands Facebook page and over 30,000 people seeing posts from that page. If each of those people lent just a little support, our campaign would fund successfully in a matter of hours. We could show the world once and for all how important Alice is to us.

Won’t you help me do that?

Support Alice now!

Alice: Otherlands (Kickstarter Video Sneak Peak)

Pssst. Want to see something cool?

Check out the video for the “Alice: Otherlands” Kickstarter before the campaign goes live. Depending on approval time, it should go live this week (week of July 15th, 2013).

This new campaign will help support our efforts to secure the film rights to the Alice property. If the campaign is successful we’ll produce animated short films where Alice is seen traveling into the minds of others (hence “Otherlands”).

To see the new video, click HERE.

American Interview: Damon Slye

Damon SlyeAs part of a continuing series of developer interviews focused on Kickstarter, I spoke with Damon Slye, CEO and Creative Director of Mad Otter Games, but best known for his work with Dynamix on such classic games as Red Baron, A-10 Tank Killer, and Aces of the Pacific.

AJM: Can you tell me more about the project you’re currently working on?

DS: We are working on Villagers and Heroes, a live game with thousands of wonderful players and the most welcoming community on the internet. The world is open and players can do, create, and grow in whatever ways they choose. We don’t slot the players into set tracks. Building this game and working closely with the community is really rewarding. We engage our players to find out what works, what doesn’t, and in which direction to take the game. Some of the features that we considered fairly minor turned out to form the core of the gameplay for the players. When we see these features, we reinforce them, and do more things in that direction. We are currently running a Greenlight Campaign on Steam to get it greenlit.

We are also preparing a Kickstarter for another game that we will announce in a couple of weeks. It’s very exciting!

AJM: Your earlier games were released at a time when publishers shared box covers with developer’s names (or names of their studios). How do you think this impacted developers, customers and publishers?

DS: Some of the publishers in the mid 80s had the marketing strategy to promote their developers as artists in the same way as the music industry. One consequence was that a talented new game developer would be more excited to sign with a publisher who promoted their developers as celebrities, so I think it was a good recruitment tool for these publishers. As consideration for this promotion, the publishers would in return require the developer to sign a contract that made it very difficult for the developer to work with another publisher.

All of this was not healthy for the industry as a whole. What happens when a developer has a cool idea for game, but the publisher doesn’t like the idea? It was possible, but very impractical, for the developer to find a different publisher to do the game. I am not a fan of stabilizing forces that create rigid structures. They protect the status quo and stifle innovation. I prefer a more fluid eco-system so that things are freely and rapidly destroyed and created as necessary. People should be able to freely associate and quickly move around between different studios and publishers. Hollywood went through a similar transformation when the studio system was replaced with the open system they have now. By the way, I strongly recommend the book “The Genius of the System: Hollywood Filmmaking in the Studio Era”.

AJM: Any thoughts on why this changed and how that change has affected our industry?

DS: I’m glad the exclusives are gone. A game developer who is really talented will become a fan favorite with or without the promotional support of publishers. A person’s reputation and public goodwill should not be an asset that is owned by a company. So, I neither think that a publisher should be required to spend money to build up the reputation of an individual, nor should they view it as one of their assets. Let the publishers invest into their brand lines, and let the game developers earn their public reputation on the quality of their work. Less coupling means a more creative, fluid, healthy industry.

AJM: As physics in games became more advanced we saw the emergence of details that could lead to emergent game play (think wings shearing off planes in Red Baron or rocket jumping in Quake) – any favorite unexpected behavior or result to emerge from your games?

A few days after we shipped Red Baron at the end of 1989, we read about a rare tactic that some pilots used at the end of World War I, called a slashing attack. Instead of getting into a turning contest, which was the norm in WWI, a pilot with a faster plane could attack from above, then zoom away, essentially getting a free attack with no risk. Then they could turn around, and do it again. So, we booted up the game and tried it out against the Red Baron, the best A.I. we had in the game. He was nearly impossible to defeat in a turning contest. Despite the fact that we had never tried out this tactic during playtest, and we had never explicitly coded it into the game, the slashing attack worked perfectly. We could defeat the Red Baron repeatedly. It was exciting to us to see that the modeling of the physics created a virtual world that had the same behavior as the real world, and that the exact same tactics emerged as the best. This was the most satisfying moment for me on the project. We had built interactive history, a time-machine that allowed people to experience WWI air combat in a way that a history book or video could not.

AJM: The majority of your games have been simulations of combat – players controlling avatars who are operating war machines. With the advent of remotely piloted drones we’re seeing a new generation of warfare emerge. Any thoughts on the implications of the virtualization of warfare – either on the real-world battlefield or in the virtual world?

DS: Yeah, this brings to mind the episode of Star Trek, A Taste of Armageddon, where two “warring” planets use computers to simulate war without actually firing the weapons. The computers spit out the casualty reports, and citizens marked as casualties are required to step into a disintegration booth where they die bloodlessly and cleanly. The people on the planets prefer this because no one is wounded or maimed, and there is no destruction of property nor disruption of the economy. James Kirk, in his typical cut-the-gordian-knot-fashion, destroys the computers running the simulation, gambling on the fact that if war is no longer clean and sterile, the two planets will most likely choose peace instead of face the actual horrors of war. A brilliant exploration of this topic is Orson Scott Card’s sci-fi couplet “Ender’s Game” and “Speaker for the Dead”.

I don’t see a lot of connection between games and virtualized warfare other than in form. In virtualized warfare, the operator’s actions are tied directly to real world machines and weapons and the purpose is to alter the real world in real ways: to kill real people and destroy real property. In a game, the player is affecting a virtual world, but even that is not the actual purpose of the game. The game really exists in the mind of the player, and a game designer should be focused on providing the best experience inside the mind of the player more than the best experience on the video screen. Great screenplay writers understand this, too. They have a precise understanding of what the viewer is thinking about in each moment of their film. It’s always about the people, never about the technology.

American Interview: Chris Taylor

Chris TaylorContinuing with a series of interviews geared towards support of our ongoing Oz Kickstarter campaign, I’ve asked designer Chris Taylor a couple of questions.

AJM: Last time you and I talked you were in the middle of your Kickstarter campaign, then came the Wargaming announcement. Can catch me up on what’s happened since the acquisition? What are you working on these days? Is Wildman coming to life or have you shifted towards a “World of…” project?

CT: We’ve been busy since the acquisition working on our “next big thing”, which we have so far announced as a big new Free-to-Play PvP MMO that will continue to expand upon what people love about the Wargaming titles that have been released so far.

AJM: Your Kickstarter was brutally honest and at times very very difficult to watch without being overwhelmed by a sense of sadness and loss. You really laid it on the line… Can you talk a bit about the sort of reaction this generated from the press, your supporters and detractors? Beyond the response from Wargaming (which is great), what was the single most surprising thing that came out of that experience?

CT: It was indeed a very tough, emotional rollercoaster ride, but it was a good experience to go through. I think it got us all a lot closer to the truth about game development, and that ultimately helps more than it hurts. The big thing that I was left with was the enormous support that I received from my friends and the gaming community, there are some truly great people in the world, and it really came through during the campaign.

AJM: A lot of people assume that because we’re in the business of “making games,” life must be easy and stress-free. You showed a different side of the story… and I wonder how you got through. What do you do outside of making games to blow off steam? Any secrets to success in life (not work)?

CT: Making games has always been challenging, right back to the first title we made, Dungeon Siege, when we first started up Gas Powered Games. I remember continuously having the bridge the payroll by using my house as collateral, but looking back, those were great experiences that really made the successes much more meaningful. The best way to blow off steam is to play more games! Seriously though, these days I also like to tinker with electronics thinking up some cool new gadgets that I can take my experience in games and combine that with hardware… it’s good to keep expanding and finding new ways to express myself creatively.

AJM: Conventional business wisdom suggests we not broadcast our struggles, yet your transparency proved that something good can come from letting the world know when we need help. Can you talk about the thinking that went into making the decision to reveal the struggle and the risk you were dealing with? Was it a unanimous decision?

CT: I believe that it came from the belief early on in the process that to be successful on KS, much like doing an AMA on Reddit, that the community expects and appreciates a great deal of transparency. Trying to hide the real truth of what’s going on would not be well received, and we believed that and really took it to heart. We all know what it feels like to have someone “spin” the truth, so I was like, guys, we need to just show it the way it is, and now we should pull back the curtain and let them all the way into the process. Looking back, I understand that this was a very uncommon approach, but I think it’s fair to say that we’re seeing more and more of this openness and it’s a good thing.

Kickstarter Backer Q&A #2

I’ve decided to start posting many of our Kickstarter updates here to reach a wider audience and hopefully disperse some of the misunderstandings that seem to be making the rounds on various news sites.

1. I read in the news you’ll need additional funding beyond Kickstarter… Is this true?

It’s common practice to set Kickstarter funding goals at amounts less than what’s needed to completely realize every possible aspect of a game’s potential. Like other video game campaigns, we’ve stated that funding above and beyond the campaign goal will be used to create more content and support additional feature development. From a design perspective, if we ask for 900k but end up with 2 million USD, that would allow for expansion of the design goals and development scope. If we come in closer to 900k then we’ll develop and deliver a smaller game that fits within that budget. The design is expandable to allow for this sort of thing.

In terms of publishing deals and their ability to support continued development of our games – there are many territories in the world where we’re unable to self-publish. China is a good example. So we’d need to sign up a publishing agreement with a Chinese publisher and they’d support localization, marketing and publishing efforts in that closed market. Those kinds of deals sometime come with up-front license fees paid to the developer (that’s us) and we can use those fees to support overall improvements and ongoing development for the game. In markets where we’re able to self publish we will.

2. What is Plan B if the Kickstarter doesn’t make it?

Sometimes you have to kill your babies. For OZombie, it would mean the end of my efforts to design and develop it. I see Kickstarter as an excellent platform for testing the viability of a game concept and understanding the potential for customer demand. If the Kickstarter doesn’t make it that’s a pretty clear sign that there aren’t enough people interested in the concept to support developing, releasing and maintaining it. I want to build products that I’m excited about – and I’m very excited about OZombie – but also products that clearly excite our audience.

For our studio it means we’ll continue working on smaller, mobile/online titles like “Akaneiro: Demon Hunters” and “Hell Invaders” (this is the mobile/web title we recently signed with DeNA – not the final name of the game). I’m not as involved in the design and development of those titles, which means my day to day will focus on running the studio and our business. We can’t currently fund on our own the development of a larger single-player title like OZombie, so making that kind of game will have to wait for some future date.

3. When will we see gameplay videos? Every other Kickstarter has gameplay videos.

When we designed and planned the campaign we did so thinking a gameplay video wouldn’t be necessary. Successful campaigns from Double Fine and InXile (among others) have proven this point by pitching game concepts using only 2D artwork, basic design outlines and the track record of their development teams. And, I figured – incorrectly it seems – that saying “We’re going to make an Alice-type game set in the world of Oz” would be enough to fire people’s imaginations.

In response to feedback from backers on this topic we’ve decided to build a quick demo to show character interaction and art direction within a simple environment. Unfortunately, this sort of thing is just as likely to cause confusion and outright damage, as it is to allay people’s fears. This is one of the dangers in sharing early development efforts and “work in progress” – something we’ve seen happen repeatedly when sharing concept artwork and design exploration.

I’m hoping existing and potential backers will be able to view our efforts in context of the pressures and constraints that have shaped the final result, but you know what they say about hope.

4. How does Alice affect OZombies goals? What if you only raise $950k and part of that is “Alice” money?

That really depends on those backers who have put in money primarily to support the idea of purchasing the Alice film rights. They always have the option to remove their support – so it seems we’ll just have to cross that bridge when we get to it. In that sense it’s the backers who control the campaign and decide its fate. That’s the wonderful thing about Kickstarter.

5. Why did you sell the Alice game and film rights to begin with?

The “Alice” property was never mine because I created it while being employed by Electronic Arts. Generally speaking, when you create or invent something while working for someone else (like a corporation) that creation is automatically their property. I even signed away my name in connection with Alice – meaning EA could make another Alice game and put my name on the box, even if I were uninvolved or dead.

The film rights were first optioned, then purchased outright, by a group of independent film producers in Hollywood. Again, this was a transaction that took place between EA and those producers – I had no involvement in it and didn’t benefit directly from that sale. Why EA would sell the film rights to one of their most popular original IPs is a question you’d have to ask them.

What’s happened recently is that those film producers offered me a chance to acquire the film rights before they put them on the open market and sell them to the highest bidder. This was a kindness on their part, recognition of the fact that a property’s creator should have greater involvement in the decision making process that leads to exploitation of the property. Our mutual expectation was that fans would recognize and agree with this fact. I guess the question is – who would you rather have controlling the film rights? The concept’s creator or some faceless corporation?

If I’m unable to raise the money needed to purchase these rights then they’ll end up in someone else’s hands – who knows, maybe EA will buy them back? I wouldn’t be surprised.

6. Why not run a separate Kickstarter for the Alice film rights?

The timing simply wouldn’t work. When I received notice about the film rights I was told that there was a limited window of opportunity. Beyond a certain date the rights would go to the open market. That date would be beyond the end of the OZombie campaign, but we didn’t finalize the deal to start working with these rights until after the OZombie campaign had already started.

This is one of the reasons I’ve built “The Box” into the OZombie campaign – it’s an interesting way to announce expansion of the campaign in the event one of these deals closed during the campaign. Since we’re still working on a couple of potential surprises we can still have an interesting reveal when the box is finally opened. I’m actively working to put in place some exciting partnerships around the Alice film rights. Just hoping I can get those deals done and make meaningful announcements before time runs out.