While many game developers are getting disenchanted with Kickstarter, crowdfunding successes are still popping up often enough to make it a tempting option. Late last week, Muv-Luv rocketed past its $250k goal to hit $350k in less than 24 hours. Unlike the prototypical video game projects on Kickstarter, however, Muv-Luv isn’t a new game offering a fresh take on a classic genre. Quite the opposite, it’s an English-language localization of a visual novel trilogy, an example of a genre obscure in most parts of the world.
Becoming involved in the game industry was a chance development for Yuval Ziv, COO of SafeCharge International. He happened to be working for SafeCharge when the company discerned the dynamic, trendy nature of the game industry, particularly from a payments perspective, and made the decision to focus on this vertical. Ziv particularly enjoys the fact that it is such a vibrant, fun industry with enormous potential for happiness through playing cutting-edge games and interacting with fellow developers and players.
From a contract game artist’s point of view, the next few years in the video game industry may look a little more interesting creatively — and a little lighter on the clones — than the previous decade.
“I think things are going to change a lot more in the next year or two than they did in the last three or four years. Even four years ago, mobile was still big,” said Jason Park, Concept Art House VP of operations, during a recent studio tour in San Francisco. “It feels actually exciting for the first time 10 years. It reminds me of the old days, where I actually want to be on the show floor.”
The gaming industry takes all types. There are coders. There are designers. And then there are the people like Tobias Edl. He leads the business development at InnoGames, a Germany-based browser and mobile game developer and publisher. His primary focus at InnoGames is to build and strengthen relationships with media such as newspapers, TV shows, gaming websites and more.
What impact can a business executive have on entertainment? If that executive is Michael Eisner, the answer is decades of industry domination and dozens of iconic pop culture properties. Gamesauce interviewed Michael, the founder of Tornante Company and the principal owner of Topps, prior to his keynote at Casual Connect on topics ranging from the importance of partnership to his strange strategy of extracting game-changing ideas with long, grueling meetings.
As a mobile game developer, you want to create the best game possible. You have most likely thought long and hard about gameplay and story — two of the most important aspects of a successful game. And the established story likely influenced the art style you chose to fit the world you are creating.
Often forgotten at the development stage, but equally important, is to consider the best way to generate revenue from your hard work. The mobile game market is crowded to say the least, and that’s why effective monetization is so essential for success. Games represent almost 22% of the total number of apps in the Apple Store — every month more than 12,000 new games are submitted. The mobile games revenue global market is also estimated to reach 30 billion USD this year, representing 30% of the total games market. Despite the competition, revenue generated from mobile games lead when looking at app revenue.
This is part two of a two-part interview with Gazillion Entertainment CEO David Brevik. You can find part one, which examines the Marvel Heroes 2015 annual rebranding strategy and community-building efforts, here.
In part two, we ask David what it’s like to work with some of the hottest and most complex intellectual property out there — and property that he’s personally been a fan of for most of his life.
This is part one of a two-part interview with David Brevik. David is CEO of Gazillion Entertainment, the company behind the massive online ARPG Marvel Heroes. If you’ve noticed a similarity between the gameplay in Marvel Heroes and Diablo, that’s because David co-founded Condor (later Blizzard North) and helped design Diablo and Diablo II.
Last year, Gazillion rebranded the game as Marvel Heroes 2015. Recently, we asked David about the strategy, about the company’s open approach to PR and about how the company continues to rapidly crank out new content for the game.
Developers of a game engine currently in beta say their product will allow people to make games without coding, but that it will still appeal to more knowledgeable developers who just want to speed things up. Glue Engine, headquartered in Bucharest, was founded with the goal to let users “create games very quick with no programming skills.” GameSauce interviewed Glue Engine CEO Catalin Biga and CTO Alexandru Matei to lock down a few more specifics regarding the product and the company’s vision for the future of development.
Tama Games’ recently released iOS game Escape from the Pyramid brings some of the world’s oldest designs to modern gameplay, challenging players to avoid the afterlife in an ancient tomb. Graphically, the game goes for a simplified, silhouette style that draws inspiration from ancient Egyptian hieroglyphs. The gameplay mashes up platformer and runner styles to lend a little excitement to a casual puzzle game. Breaking with the free-to-play trend, the studio decided to skip in-game purchases, offering the entire experience for $1.99 in the U.S. App Store. Read on for an interview with Tama Games Director Alan Crane on the game’s retro roots, its struggles as an indie title, and Tama’s solution to an argument as old as touchscreen games: If we have buttons, where should they go?