Tag Archives: kickstarter

Success! Alice is off to Otherlands!

After 20 days and much nail-biting, the Alice: Otherlands campaign has reached a successful conclusion. Coming in at over 222kUSD, the funding will allow us to create a series of animated short films, pursue larger animated series possibilities, begin development work on a feature film and access larger funding options for a possible feature film production in the future. All thanks to the kind support of our backers on Kickstarter. You rock!

For those of you who missed out on the action of the race – there’s still a post-campaign funding option via PayPal. Just follow THIS LINK and you’ll be taken to the PayPal campaign page.

Backers, your survey links will go out soon. Not sure exactly how soon, since that’s Ophelea’s domain, but I know she’s on it.

Regarding Susie and Roger’s involvement in recording VO… I think we’ll be able to make something work. We didn’t hit our stretch goal, but we got pretty close. And, as I’ve mentioned before, I’ve been talking to potential sources of additional funding. If that works out, it should help us not only secure involvement from Susie and Roger, but also work towards making more animations in total.

Going forward, I’ll be sure to send out updates when there’s interesting news. This coming week I’ll be talking with Troy, Ed (animators), Chris (composer) and potential funding/platform partners. Heading to Beijing next week to continue feature film funding discussions and more.

Very exciting! We’re off and running!

24 Hours Remaining – Alice: Otherlands

Just 24 hours remaining in the Alice: Otherlands campaign. A few days ago it might have looked like we weren’t going to make it. We were all freaking out, right? This morning (in Shanghai), with 24 hours remaining, the outlook is MUCH MORE POSITIVE. At the current rate we’ll hit our funding target and then some. Yay!

Thing is, we’ve got to keep freaking! The most important thing you can do RIGHT NOW is spread the word. Tweet, post to Facebook and wave the flag.

Tweet this: RT @AliceOtherlands, Less than 24 hours to go #Kickstarter kck.st/16F4yvT

Facebook this: Less than 24 hours remaining to make Alice: Otherlands a reality. Support Alice’s next adventure down the rabbit hole – kck.st/16F4yvT

Our directors are getting excited too. Troy wrote me this morning to say he’s been dreaming about exploring the mind of composer Richard Wagner while Tsui Hark is working on ideas for an adventure into the mind of Van Gogh. The success of this campaign is going to quickly enable these brilliant directors to take us on some very wild rides.

Meanwhile, my talks with various financiers, distribution platforms and other people who want to help continue to advance. This is shaping up to be something really special. And in another 24 hours we’ll know if we’ve done it or not…. what am I talking about? Failure is not an option! Let’s do this thing! 🙂

Today I’m going to give you with a couple of promotion images. If you’ve not done so already, swap out your Facebook cover image (banner) with either of the two provided here.

And if you’ve not yet done so: BACK THE PROJECT.

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.