Raising Money. Here Is What Nobody Told Us: Rob Carroll on Funding Rollcraft Through WeFunder –

Raising money for an indie game studio sounds like the hard part. Rob Carroll, CEO of Rollcraft, is here to tell you that raising the money is actually the easier thing to understand. It is everything that surrounds the raise, the preparation before it, the all-consuming reality of running it, and the structural decisions that need to be in place before the first dollar comes in, that nobody walks you through in advance.

Rob joined Dan Long, Podcast Host for IndieGameBusiness®, for a candid conversation about how Rollcraft raised eighty-seven thousand dollars from sixty-seven investors through WeFunder, what the experience actually felt like from the inside, what he would do differently, and the single most important thing a founder needs to understand before they take the first dollar from anyone.

What Rollcraft Is and Why the Pitch Matters –

Before getting into the fundraising mechanics, Rob shared the thirty-second pitch he used throughout the campaign, which is worth understanding on its own merits as an example of clear, audience-specific positioning.

Rollcraft builds short-form role-playing games for people who love deep, immersive RPG experiences but no longer have the time for them. The concept is to take the kind of rich, story-driven content found in games like World of Warcraft and condense it to fit whatever time a player actually has, whether that is two hours for a solid session or five minutes while waiting for a bus stop. The game adapts to the player’s schedule rather than requiring the player to adapt to the game.

That pitch clarity was not accidental. Rob’s background is in production and game design rather than engineering, and the ability to articulate what a game is and why it matters in thirty seconds or less turned out to be one of the most important skills in running a successful fundraise.

Why Rollcraft Chose WeFunder Over Other Funding Options –

Before committing to WeFunder, Rob and his team evaluated the realistic options available to them:

• Bootstrapping entirely through sweat equity and personal funds
• Pursuing venture capital investment from institutional investors
• Running a Kickstarter campaign with backer rewards and game perks
• Using WeFunder for equity crowdfunding with revenue sharing

What separated WeFunder from Kickstarter in their thinking was the nature of what investors received. Rather than game skins, early access, or physical merchandise, WeFunder investors become actual part owners of the company through a SAFE agreement. Rollcraft added a revenue share component on top of that, meaning investors received both equity and a share of revenue. Rob’s view was that this created a genuinely attractive proposition for investors rather than a transactional exchange of money for perks.

The campaign raised eighty-seven thousand dollars from sixty-seven investors, with individual contributions ranging from one hundred dollars at the lower end to fifteen or twenty thousand dollars from larger contributors. All of that is publicly visible on WeFunder.com/Rollcraft.

How the Cap Table Actually Works With WeFunder –

One of the most practically useful things Rob explained is how WeFunder handles the legal and administrative complexity of having sixty-seven investors without putting sixty-seven names on the company’s cap table.

The SAFE agreements, the legal paperwork, and the investor relations are all handled through WeFunder as an intermediary. What appears on Rollcraft’s cap table is a single WeFunder entity rather than sixty-seven individual names. That single entity represents the entire pool of WeFunder investors, keeping the cap table clean and manageable while still giving each investor their proper legal standing and documentation.

For a studio that does not have an in-house legal team or the budget to process individual SAFEs for dozens of investors independently, this structure is a significant practical advantage. WeFunder also provided account managers and marketing support throughout the campaign rather than simply hosting the page and stepping back.

Raising Money: What Nobody Told Rob Before the Fundraise Started –

This is where the conversation got most valuable for anyone considering a similar path. Rob was prepared for a fundraise to be demanding. He was not prepared for how completely it would consume everything else.

His description of what running the campaign actually felt like:

• Raising money becomes a full-time job the moment the campaign goes live
• Time for design work, writing documentation, and everything else that makes game development enjoyable essentially disappears
• Content creation for the campaign is relentless. The fundraise is a content-eating machine that needs new stories, new art, new updates, and new reasons for investors to pay attention on a constant cadence
• Consistent messaging to investors is not optional. Going quiet mid-campaign kills momentum and investor confidence
• Nobody gives money because your pitch was good once. The attention has to be maintained throughout

Rob said he thought he understood this going in and was still more surprised by the reality than he expected. If a studio founder is thinking about running a campaign while also staying meaningfully involved in development, Rob’s honest advice is to recalibrate those expectations before starting.

The Content Problem and the Community Problem –

Two specific gaps Rob identified that cost him time and stress during the campaign are worth understanding separately because they are both addressable before a campaign launches.

The content problem is straightforward: he did not have enough assets ready before the campaign started. Art, character designs, dice renders, story previews, all of the visual and narrative material that keeps a campaign feeling alive and progressing needed to be produced in real time during the raise rather than being drawn from a prepared backlog. His recommendation is to build a significant content reserve before launch so that campaign updates can be published without putting immediate pressure on the development team.

The community problem is harder. Rob described it honestly as a chicken-and-egg situation. A large, engaged community dramatically improves the chances of a successful fundraise because those people are already invested in wanting the game to exist. But building that community requires having something to show them, which is harder to do before the game exists. Developers who have shipped a previous title and built a following around it have a meaningful structural advantage when they go to raise money for the next project. For a first-time campaign without that existing base, building community has to happen in parallel with everything else, which means doing two full-time jobs simultaneously.

What Needs to Be in Place Before You Start –

Rob was asked for the single hardest lesson he learned that could save another founder significant time, money, and stress. His answer was about infrastructure rather than strategy.

Everything that is not directly about raising money needs to be fully set up and operational before the campaign launches. His specific list:

• Company legal structure, whether a C-Corp or LLC, registered and in good standing
• Business bank accounts open and functioning
• A lawyer and accountant identified and accessible for questions that will come up unexpectedly
• All company documents organized and ready to share with investors who request them
• The WeFunder campaign page reviewed and finalized before going live, not revised mid-campaign

The reason this matters is the same reason the content problem matters: once the campaign is live, all available attention and energy needs to go toward investor outreach, content creation, and maintaining momentum. Any time spent setting up the legal structure, opening a bank account, or hunting for an accountant during the campaign is time directly subtracted from the activities that drive investment. Rob described the mental model as building the airplane while flying it, which is exactly the situation you want to avoid.

He also noted that WeFunder’s documentation is publicly available and worth reading thoroughly before deciding whether or not to use the platform. Even if a studio ultimately chooses a different path, the WeFunder documentation is a useful orientation to what equity crowdfunding involves and what needs to be prepared.

Is There a Difference Between Raising Money and Funding a Business –

Dan asked whether there is a meaningful strategic difference between successfully raising money and successfully funding a business. Rob’s view was that the two are effectively the same thing for a studio at Rollcraft’s stage.

Without external investment, the options are sweat equity and bootstrapping, which can work but limits the speed of development and the ability to pay people for their time. The investment coming in is what makes it possible to hire, to commission art, to run user acquisition, and to execute on the things that turn a game from a project into a product in market. The raise is not separate from the business strategy. It is the mechanism that funds the business strategy.

What Rob Would Do Differently and What Comes Next –

Asked directly what he would change if he were starting the campaign over, Rob identified two things: more content prepared in advance, and a larger community already built before launch. Both come back to the same principle he kept returning to throughout the conversation: have more ready before you start.

On what comes next, Rob was equally direct. Rollcraft was approaching market at the time of the recording. The plan is to open a second WeFunder campaign in the coming months to raise additional funds for expansion, further development, and user acquisition. His expectation going in is the same as it was for the first campaign: it will be all-consuming, it will require the same sustained content cadence and investor attention, and the result will be worth the work.

The loop he described, raise, close, start the next raise, is one that experienced CEOs in the startup world would recognize immediately. The fundraise does not end when the campaign closes. It transitions into the next phase of growth, which requires its own capital, its own pitch, and its own focused effort.

Want more insights like this? –

Join us for our IndieGameBusiness Deep Dive, taking place on December 9th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Rob and other industry pros.

The IndieGameBusiness® podcast drops new episodes regularly, covering the business side of making and selling games. Subscribe to the newsletter to get episodes, Discord events, Discounts, and industry news straight to your inbox. Subscribe now

Latin America Indie Game Development- How Hugo Castro Is Building the LATAM Industry From the Ground Up:

Hugo Castro has spent eighteen years building something the Mexican games industry did not have when he was growing up: a genuine on-ramp for developers who want to make games professionally. As CEO of BC Media Lab and co-founder of Gamacon, Hugo runs one of the most active and internationally connected game development ecosystems in Latin America, touching everything from accelerator programs and private investment to government relations and a Mexican wrestling game featuring six real-life luchadores.

He joined Jay Powell, Founder of IndieGameBusiness®, for a fireside chat covering how Gamacon started, what BC Media Lab actually does, why the Latin American game industry is underestimated by publishers and investors, what governments get wrong when they try to support game development, and what needs to change for the region to fully realize what it is capable of building.

From an Arcade in a Tortilla Store to Eighteen Years in the Industry:

Hugo’s first encounter with a video game was at four or five years old in Mexicali, Mexico, where an arcade machine appeared inside a tortilla store. He started volunteering to run his family’s errands specifically because he knew the change he would receive was enough to play. That early obsession never faded, but the path to working in games was not straightforward.

When Hugo was choosing his university major in the early nineties, it was nearly impossible to study game development in Mexico. He crossed the border into Calexico, California to search the public library for books on game development. There were none. He experimented with GW Basic on his own. Eventually he pursued engineering, choosing cybernetics and electronics because it was the closest thing to games-adjacent education he could access.

He worked in manufacturing plants for years until a sleepless night in 2007 when he decided he had to find a way into the games industry. The decision was not just personal. He wanted to create the opportunities for young Mexican developers that had not existed for him. That conviction became Gamacon.

What Gamacon Is and How It Has Evolved Over Eighteen Years:

Gamacon started as a consumer and industry hybrid event, described by Hugo as a vision of Comic-Con meets GDC. Actors, composers, and entertainers shared an expo floor with developers and industry professionals. Over time, the team concluded that trying to serve everyone was diluting the event’s value. They made a deliberate shift.

Today Gamacon is a focused business and investment event with no general expo floor. The programming is built around B2B connections, investment conversations, and professional development for developers who want to operate at an industry level. The event runs four through the sixth of November and brings in speakers, private investors, government representatives from the Mexican Ministry of Economy, and international industry figures.

Jay Powell, who has attended for years, made an observation that captures what Gamacon actually is for the people who go: he could trace several significant deals from the last five years directly to introductions made at Gamacon. On paper, an event of that size might seem like a smaller regional conference. In practice, it produces real business outcomes because of the quality of the room and the intentionality of the matchmaking.

BC Media Lab -The Three Business Lines Powering Hugo’s Day-to-Day Work:

Gamacon is a nonprofit that Hugo and his team run out of genuine commitment to the industry. BC Media Lab is his professional operation, built around three distinct lines of work:

• Game development. BC Media Lab builds its own titles, including a Mexican wrestling game featuring six real luchadores and a growing suite of AI tools. Hugo is direct about using AI, framing it not as a replacement for talent but as a way to extend what a team can accomplish.
• Business development. Hugo and his business partner Rich Viso travel internationally to find projects and connect them with specialized partners across the BC Media Lab network. When a porting project comes in, it goes to a specialized porting team in another part of Mexico. The model is built around matching needs to expertise rather than building every capability in-house.
• Accelerator and incubator programs. When BC Media Lab identifies a project worth investing in, they bring it into an accelerator program with mentorship from developers who have more than twenty-five years of experience, access to private investors, and support for either finding a publisher or building a self-publishing communication strategy. Beyond their own portfolio, BC Media Lab runs accelerator programs for governments in Mexico, Colombia, and potentially Uzbekistan and Uruguay.

Why Latin America Is Being Underestimated by Publishers and Investors:

One of the most pointed threads in the conversation was the gap between the talent and output coming from Latin American game studios and the attention that region receives from publishers, scouts, and investors internationally.

Jay and Hugo both named the same structural problem: the people making acquisition and investment decisions have not visited. Publishers who have been to Mexico City, Guadalajara, Monterrey, Tijuana, Buenos Aires, or Bogota tend to come back with a very different read on what is being built there. Publishers and scouts who have not visited tend to discount the region because it is outside their existing travel and relationship patterns.

Hugo’s view is that this will change, and that it will change because of success stories. A single well-documented game that is made with accelerator guidance, reaches its market successfully, and builds a public track record will attract followers. The model is to create that first story, document it thoroughly, and let it do the work of shifting the perception that Latin America is not a serious games market.

Jay’s take on what it takes to accelerate that shift was equally direct: publishers and scouts need to actually go. The cost of a trip is the barrier, and in some cases that means governments need to fund initial visits to give international industry figures a reason to come the first time. Once they have been, the relationship tends to continue under its own momentum.

What Governments Get Wrong When They Try to Support Game Development:

Hugo works closely with the Mexican government and has run accelerator programs funded by public money across multiple countries. His critique of how governments typically approach game development funding is specific and worth understanding.

The most common mistake is requiring developers to make culturally themed games in exchange for funding. The intention is to ensure that public money produces something with cultural value. The practical outcome is games that do not reflect what the developers actually wanted to make, are often under-resourced relative to their ambitions, and rarely find the audience they need to succeed commercially.

Hugo’s argument is that developers who are supported to make the game they actually want to make will naturally embed cultural elements into that work. Forcing a cultural mandate onto a development team produces a constrained product. Freeing developers to pursue their genuine creative direction produces better games, and better games generate the visibility and international attention that governments ultimately want.

His practical recommendations for government-supported programs:

• Fund developers to make the games they want to make rather than prescribing cultural themes as a condition of funding
• Send developers to international conferences and events to build visibility and connections, which compounds in value over time
• Design accelerator and incubator programs with input from people who have actually made and shipped games, not politicians or business people without direct industry experience
• Understand that the game industry carries risk comparable to other sectors governments already invest in, and treat it accordingly rather than applying a higher standard of certainty

Hugo acknowledged that this perspective sometimes creates tension with government partners who get upset when the program design is criticized. His position is that a program built by people who do not understand game development will waste everyone’s time and resources, regardless of the budget behind it.

What Gamacon Offers That Larger Conferences Cannot:

Jay’s endorsement of Gamacon throughout the conversation was grounded in something specific: the relationships it produces and the business outcomes that follow from them. His reasoning for consistently recommending smaller, focused events to developers applies directly to what Gamacon is built to be.

At a conference of twenty or thirty thousand people, the volume of interactions makes depth difficult. Everyone is moving fast, juggling back-to-back meetings, and the conversations that happen in passing rarely have time to develop into anything. At a focused event with the right room, the same people are together long enough for real conversations to happen.

Gamacon’s B2B structure, investment access, government presence, and the quality of speakers and attendees Hugo described for the November event make it a genuinely useful destination for developers who are at a stage where business conversations matter. Attendees expected for the upcoming edition include speakers like Daniel Kendrick, investors from Hugo’s private investor network, and representatives from the Mexican Ministry of Economy.

How to Get Involved With Gamacon and BC Media Lab:

Gamacon runs November four through the sixth. Developers interested in attending can reach out directly to Hugo Castro on LinkedIn for information and to discuss what the event offers for their specific situation.

BC Media Lab considers game projects for investment and accelerator support on an ongoing basis. Hugo and his team are looking for projects with commercial potential that can benefit from mentorship, investor access, and structured support for reaching the market. Developers interested in the accelerator program or business development partnership can also connect through LinkedIn.

Want more insights like this?:

Join us for our IndieGameBusiness Sessions, taking place on September 30th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Hugo and other industry pros.

The IndieGameBusiness® podcast drops new episodes regularly, covering the business side of making and selling games. Subscribe to the newsletter to get episodes, Discord events, Discounts, and industry news straight to your inbox. Subscribe now

First time indie game developer – Lessons From Georgina Ovassapian of Winter Schloss Studios:

Most first-time indie game developers are told to start small, play it safe, and build something they can finish quickly. Georgina Ovassapian did not ignore that advice exactly, but she also did not let it flatten the scope of what she actually wanted to make. Night Shift: 1999, her debut game developed under Winter Schloss Studios, is a branching narrative visual novel with five main characters, multiple storylines, and around three hundred and fifty thousand words of content. That is not a small project for a first-time developer working alone.

Georgina joined Dan Long, podcast host for IndieGameBusiness®, for a conversation about how she went from fine arts and installation work to solo game development, what the grant application that started all of this actually looked like, the tools and habits that kept her moving when the work felt overwhelming, and the lessons she would pass on to anyone building their first game.

How a Fine Arts Background Led to a Game Development Grant:

Georgina’s path into games did not start with a plan to make games. She has a fine arts background and was working in installation art, showing work at institutions like La Trobe Art Institute in Australia. She was looking for grants to support her installation practice when she came across the Emerging Game Makers Fund hosted by Screen Australia.

She saw the grant three days before the deadline. She had carried the core concept behind Night Shift since 2019, which was a story about a vampire who moves to Sydney and navigates the ordinary experiences of settling into a new country, partly inspired by her own move from Switzerland to Australia. She had programming experience in JavaScript from previous work. She had a portfolio of installation and fine arts work. She pulled everything together, submitted, and was awarded the grant.

Her reflection on the application process is honest: three days is not enough time, take more time if you have it. But the concept had been developing in her head for years. The application was an articulation of something that already had shape, even if the art assets were mostly mood boards and references rather than finished game materials. She was essentially asking funders to believe in her portfolio and her vision, and it worked.

Why a Visual Novel Made Sense for a First time indie game developer:

When Georgina decided to act on the grant and actually build the game, the format choice was not arbitrary. She had loved visual novels as a player for a long time and believed they were an underappreciated medium. She also had a realistic read on what she could actually build as a first-time developer.

She had made Flash games before. A browser game felt like a step that was already behind her. A full mechanics-driven game felt like too large a leap in a single project. A visual novel sat at the right intersection: a format she understood and respected as a player, technically accessible enough to be buildable by one person, but rich enough as a form to fully contain the story she wanted to tell.

Visual novels also respond to how a player engages with them. That interactivity was something she could not get from writing the concept as a novel, which had been her original instinct in 2019. The game format let the story become something a player shapes rather than simply reads, and that distinction mattered to her.

What She Spent the Most Time Learning and What Surprised Her:

C# was the thing Georgina decided she needed to learn when she started building in her chosen engine. It felt daunting before she started. Once she was into it, the experience was different than she expected.

The initial intimidation did not reflect the actual difficulty. She was watching YouTube tutorials, testing things, running into problems, working through them, and finding that progress came faster than the idea of learning a programming language had suggested it would. Her frame for getting past the early barrier was simple: a lot of people have done this before me, which means it is not as inaccessible as it feels from the outside. Getting past the perfectionism and just starting was the actual requirement.

The larger skill she brought in from her arts and academic background was not programming. It was project decomposition. Breaking a large, intimidating undertaking into its smallest possible components until each individual task feels manageable. Instead of sitting with the pressure of making the whole game, she would identify the specific next thing: draft a character sprite, write a section of dialogue, figure out how a background needed to look. That granularity is what kept the project moving forward rather than stalling in the face of its full scale.

The Tools That Made the Work Possible:

Georgina mentioned a few specific tools that made meaningful differences at different stages of development:

• Twine. Used to map out the branching narrative structure of the game before it was built in the engine. When she realized she needed to track how choices connected across a complex story, Twine gave her a visual way to see the structure and catch contradictions before they were baked into the game.
• YouTube tutorials. Used extensively throughout the C# learning process and for solving specific technical problems. She described the availability of detailed, accessible tutorials as something current developers take for granted but that genuinely changes what is possible for a solo developer learning as they build.
• Reddit. Used specifically to get tool recommendations from other developers when she was trying to figure out how to handle branching narrative structures. Finding the right community resource and asking a specific question saved her significant time at a decision point that could have sent the project in a less effective direction.
• Community Discord servers. Used throughout development for feedback, problem-solving, and staying connected to other developers. She pointed to the IndieGameBusiness® Discord, which has over 11,800 members, as the kind of resource she wished she had known about and accessed earlier in the process.

The Hardest Lesson Night Shift Taught Her:

Project scope was the hardest lesson. She knew going in that scope creep was a real risk. She had watched it happen in her installation and exhibition work. She tried to be strict with herself: five main characters, no new major plot additions, a clear sense of what the game was and what it was not.

Despite that, Night Shift grew. Not because she kept adding features or characters beyond the original plan, but because telling the story she actually wanted to tell required more than she had initially anticipated. Three hundred and fifty thousand words is a substantial body of writing. That is not the result of a developer who lost discipline. It is the result of a developer who was honest about what the story needed once she was actually inside it.

The practical consequence was that she had to do significant retroactive editing. When new story elements introduced information that contradicted earlier writing, she had to go back and revise. When branching paths that seemed independent turned out to have overlapping logic, she had to trace back through the whole structure to make sure nothing broke.

The lesson she draws from this:

• Write a complete outline before you start building, not a rough overview but a full structural map of the story from start to finish
• Branching narratives are exponentially more complex than linear ones. The number of decision points does not tell you how much editing you will do. Every branch affects every other branch.
• Time spent in the drafting stage before production is not time lost. It is time saved many times over during the build and revision stages.
• Scope will almost always be larger than you initially estimate. Building in more pre-production planning does not prevent that. But it gives you a framework to manage it rather than discovering it in the middle of production.

What She Would Do Differently if She Started Over:

The answer was immediate: she would write a complete outline of the entire game before touching anything in the engine.

Not a rough set of bullet points. Not a general sense of where the story goes. A full structural outline covering every major branch, every character arc, every ending, and how they all connect. The broad strokes were always there. The specific connections between them were what caused the most rework.

The challenge with branching narrative specifically is that decisions made late in writing can contradict decisions made early on in ways that are hard to spot until you are reading through everything looking for exactly that kind of inconsistency. Having the full architecture mapped before you start writing scenes means you can catch those contradictions before they are embedded in tens of thousands of words of finished text.

She was clear that even with a full outline, the project would still have grown. Night Shift became a large game because the story needed to be that large. But the experience of building it would have been meaningfully different with a stronger structural foundation to work from.

Why She Would Still Tell First-Time Developers to Try Something Ambitious:

Despite everything the project taught her about scope and planning, Georgina was not willing to walk back the central point: your first game does not have to play it safe.

The conventional advice to start with something tiny and mechanical, finish it quickly, and move on is useful guidance for managing risk. It is not the only valid path. She had a concept she had been carrying since 2019, a medium she genuinely loved, skills that were adjacent to what the project required, and a grant that gave her the space to build it seriously. Treating that combination as something that needed to be downsized significantly before it was worth attempting would have produced a weaker game and a less meaningful development experience.

Her actual advice for developers at the beginning of their first project:

• Take what you already have, skills, interests, a concept you have been thinking about for a long time, and build toward it rather than away from it
• Get the right tools for each part of the problem rather than trying to solve everything with a single workflow
• Break the project into its smallest components and work on one component at a time rather than sitting with the weight of the whole thing
• Do not let the fear of a programming language or a technical skill stop you from starting. Most of what feels inaccessible from the outside becomes manageable once you are inside it
• Find your community before you need it, not after. Other developers are the most useful resource available, and most of them are willing to help with questions that feel basic or embarrassing to ask

The Single Most Important Piece of Advice She Has for New Developers:

When Dan asked for one piece of advice, Georgina said it without hesitation: talk to your peers.

She came into game development without knowing anyone in the industry. Finding other developers, connecting with them at events or online, building a community around the work, is what made the experience less isolating and what opened up help and feedback she would not have found on her own.

Her specific suggestion was to go to in-person events where possible, or to organize your own if none are available nearby. The IndieGameBusiness® Discord at discord.gg/indiegamebusiness is one of the largest and most active communities for indie developers and is somewhere she pointed to directly as the kind of resource that changes what early-stage development feels like.

The framing she used was direct and worth repeating: it does not matter how small the question is or how basic it seems. Someone has asked it before. People will not judge you for asking it again.

Want more insights like this?:

Join us for our IndieGameBusiness Sessions, taking place on September 30th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Georgina and other industry pros.

The IndieGameBusiness® podcast drops new episodes regularly, covering the business side of making and selling games. Subscribe to the newsletter to get episodes, Discord events, and industry news straight to your inbox. Subscribe now

How to Start an Indie Game Studio – Lessons From Joe Dietsch, Director Turned Wolf Haus Games Founder:

Figuring out how to start an indie game studio is not a question most people answer the same way twice. Joe Dietsch answered it by directing two feature films first, spending years in commercial and music video production, and then discovering one afternoon that Unreal Engine was free to download.

Joe is the founder of Wolf Haus Games and the creative director behind Join Us, a doomsday cult simulator heading to PC, Xbox, and PlayStation as a day one Xbox Game Pass title. He joined Ash Cason, Head of Marketing and Community at IndieGameBusiness®, on the Indie Game Business podcast to walk through the full path: from teaching himself game development through YouTube tutorials and late-night Unreal sessions to landing funding from Lifeline Capital and Krafton and building a twelve-person studio in Montreal.

What he shared is one of the more honest and specific accounts of how to start an indie game studio without a traditional industry background, without an existing network in games, and without a clean plan from the beginning.

The Origin Story – Film School, Feature Films, and a Free Game Engine:

Joe’s creative instincts go back further than film school. His first game was a missile command clone programmed on a TI-83 graphing calculator in math class. He got in trouble for it and decided the programming was more interesting than whatever the class was supposed to be teaching. That impulse never fully went away, but film felt more accessible. You had a camera, some friends, and you could just go make something.

He went to film school, graduated, built a career in commercials and music videos, and co-directed Happy Hunting, a feature that landed on Netflix in 2018. A second feature, Manifest West, followed. Then in 2021, he assumed Unreal Engine cost around three thousand dollars and had never bothered looking into it. The day he found out it was free, he downloaded it.

From there the pattern was simple: he kept waking up excited to go work in it. Some days the goal was figuring out how to build an exploding barrel, which in Unreal is not complicated but was a full day of learning at the time. The excitement did not wear off. That sustained excitement is something Joe returns to as one of the clearest early signals that he was pointed in the right direction.

How to Start an Indie Game Studio With No Industry Connections:

One of the most common questions around how to start an indie game studio is how to find the people to build it with, especially when you are coming from outside the industry. A community question submitted to the IndieGameBusiness® Discord asked exactly this, and Joe’s answer was direct about both what worked and why it was hard to generalize.

He had almost no games industry contacts when he started. His network was in film. So he worked with what he had: the few people he knew who were adjacent to games, and trusted them to introduce one specific person they thought should see the project.

The chain looked like this:

• Joe showed an early proof-of-concept to his long-time film collaborator Michael Abbott
• Michael introduced him to a writer who had worked on Assassin’s Creed, Army of Two, and Arkham Origins
• That writer introduced him to Reed, who runs Raccoon Logic in Montreal
• Each person either joined or introduced one more person they believed would genuinely connect with the project
• Nobody blasted the project to their whole network. Every introduction was deliberate and personal

This process eventually produced six co-founders and a team centered in Montreal. From late 2023 through early 2024, everyone worked nights and weekends while holding other jobs. There was no registered company and no money. Joe’s observation on that period is worth taking seriously by anyone researching how to start an indie game studio on limited resources: having no money means having no burn rate, which means having no artificial runway forcing a premature decision.

He watched other projects, including film projects, get burdened by taking on small amounts of capital too early. When people put money in before the timing is right, they tend to believe they still have a say in the direction even after their moment has passed. His recommendation is to wait for the right funding partners, even if those conversations take over a year. Lifeline Capital was the very first group Joe ever pitched. They did not invest immediately. They watched the team for more than a year to see whether the founders would still be working well together. Then they came in. Joe said he would have made the same call in their position.

The Concept Behind Join Us and Why the Tone Mattered More Than the Mechanics:

Join Us started as something much more contained. The original concept was a simple base-builder: a doomsday cult compound, ATF agents showing up in waves instead of zombies, rebuild during the day, defend at night. Something small enough to show a few friends.

Then the map started growing. A road appeared. A fishing hole appeared. A handcrafted open world roughly eighty percent the size of the Fallout 3 map took shape. None of that was planned. It emerged from building in three dimensions in an engine that makes spatial expansion feel natural.

The final concept is more specific than a survival game with a cult skin. You begin as a member of an already-thriving doomsday organization, get called up by the cult leader, and are sent to a small rural town to start a franchise. Nobody knows you. Nobody trusts you. You have to build something from nothing in a place that would rather you were not there.

The tone was the thing that determined whether people got on board or did not. In early pitches, there would be a moment around slide five where the room shifted. People stopped being unsettled by the subject matter and started laughing. The game takes something genuinely strange and presents it with a completely straight face. A cultist riding a pig while firing a flamethrower is funnier when the world around it looks like it takes itself seriously. The team identified that tonal contract early and protected it deliberately across every design decision.

What Film Experience Taught Him About Making Games:

Going from film into game development came with some accurate assumptions and at least one significant miscalculation.

The miscalculation: Joe assumed a game studio would feel like post-production in film, where editors work in isolated bays and everything is compartmentalized. He planned around that. What he found was that the team wanted to work together on an open floor, desks connected, people around each other all day. The energy was much closer to a film set than a post house. He adapted quickly, but the gap between his mental model and the reality was real.

What transferred well from film was the instinct to tell stories economically. Join Us communicates a large portion of its narrative through radio transmissions from the cult leader, who is never physically present. The player builds a relationship with this voice over time without the production cost of animating every scene. That was a deliberate choice rooted in years of thinking about how to do more with less, which is exactly the kind of thinking that commercial and independent film work tends to build.

The other major difference was temporal. In commercial work, if the sun goes behind a building in five minutes, you have five minutes. In games, you are on a multi-year timeline where tasks are non-linear and almost nothing is truly lost forever. Joe found this liberating rather than frustrating, but it required a genuine mental shift in how he thought about urgency and pacing.

Scope, Map Size, and the Feature Creep They Did Not Regret:

A twelve-person team building an open-world cult survival game with base building, follower AI, a handcrafted six-square-kilometer map, and fully modular construction systems is not a small undertaking. Joe acknowledged freely that the team probably should have cut more scope and did not. The game is built on feature creep in ways the team is honest about internally.

But the decisions that drove scope were not arbitrary. The map size is a good example. Six square kilometers is large enough to support exploration, multiple bases, distinct stories, and genuine discovery. It is also a size that a twelve-person team can fill entirely by hand with no procedural generation, which means every piece of it can be made genuinely interesting. A bigger map filled with grass and trees is easy to make in Unreal. It is also empty in the ways that matter.

The base building system went through significant evolution. Early versions used large pre-assembled structures that players assigned followers to. The team eventually moved to a fully modular system where individual components, planter beds, fences, decorations, large effigies, can each be placed and managed independently. Players can tend crops themselves or assign followers. The follower AI handles the same tasks the player can handle. It made the development work harder. It made the experience substantially more alive.

How Wolf Haus Runs a Twelve-Person Studio Without Bureaucracy:

Wolf Haus Games operates with minimal management layers. Joe is CEO and creative director, but the organizational structure is deliberately flat. When a team member who had come from a much larger studio pushed back on a system decision, Joe agreed on the spot and moved on. The team member was visibly surprised that a decision at that level could be made that quickly without escalation or review.

That speed is realistic at twelve people and may not survive a significant expansion without adding vertical management. For now, the practical habits that make it work are:

• Meetings happen when actually needed rather than on a default recurring schedule
• Quick questions go into private Discord rooms and take five minutes instead of consuming a calendar slot
• Everyone knows what everyone else is building because the team is small enough that full transparency happens naturally
• Decisions that belong to the person managing a system get made by that person, not routed through multiple approvals

This structure lets the team move quickly, correct bad directions fast, and implement good ideas without waiting for the process to catch up. Joe is clear that it is a function of scale and plans for it to evolve as the studio grows.

The One Thing He Would Tell Someone Starting Out:

Ash asked Joe what he would tell his earlier self. His answer came with the caveat that a much better version of it would probably surface at two in the morning.

The actual answer: prioritize the build. When you are figuring out how to start an indie game studio, there is a pull toward initiatives that feel important in the moment and rarely matter in retrospect. Company setup tasks, exploratory conversations, peripheral decisions, all of it can consume the time that should be going into the product. Joe’s personal test for anything generating stress or eating attention: if he will not care about it in three years, he should not care about it now.

He was clear that some of what pulled attention away from the game was genuinely necessary. But on balance, more time on the game and less time on everything surrounding it would have been the right call. For anyone working through how to start an indie game studio of their own, that is probably the clearest and most honest thing he said in the entire conversation.

Where to Find Join Us and Wolf Haus Games:

Join Us launches on PC, Xbox, and PlayStation as a day one Xbox Game Pass title. The game appeared in the Xbox showcase alongside Fable, Halo, and State of Decay, which Joe described as genuinely surreal to experience from the back of the theater with two teammates.

The Wolf Haus Games Discord is the best place to follow development and is linked directly from the Steam page. The Steam page also hosts a series of development blogs covering music, two-dimensional art, storytelling, and production details for anyone who wants to go deeper. TikTok and Instagram carry the most frequent new content and story updates heading toward launch, and Joe responds to DMs personally on both platforms.

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Join us for our IndieGameBusiness Sessions, taking place on September 30th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Joe and other industry pros.

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Indie Game Publishing Latin America – How Indie Hero Is Building a Global Indie Game Ecosystem From Brazil:

Juliana Brito runs more businesses than most people have projects on their backlog. As co-founder of Indie Hero, Game Jam Plus, Plugin Plus, and a growing indie publishing label, she has spent five years building one of the most active and internationally connected game development ecosystems in Latin America, and increasingly beyond it.

Juliana joined Jay Powell, Founder of IndieGameBusiness®, for a fireside chat covering how all of these businesses started, why the original business model failed, what she has learned about publishing and marketing games with almost no budget, and the practical approaches that have actually moved the needle for the small studios she works with.

How Game Jam Plus Started and Why the Original Idea Fell Apart:

Game Jam Plus is celebrating its tenth edition this year. The origin story is not what most people expect. It did not start as a game jam. It started as a crowd testing platform where game developers could submit games, other developers could playtest them, and everyone would benefit from cheaper, higher-quality feedback before launch.

The problem was getting enough people onto the platform to make the testing valuable. The solution was to run a game jam that would bring developers in, generate leads, and funnel those participants into the testing platform. The game jam worked. The crowd testing platform never did.

After five years and genuine effort, the testing platform was dropped entirely. The game jam, which had started as a marketing tool, had become the actual business, growing from a small Brazil-only event to a global competition running across fifty countries with thousands of participants each year.

Julia’s reflection on that arc is worth sitting with: the original ideas were not good. What she and co-founder Ian turned out to be skilled at was recognizing the opportunities that appeared as things evolved and saying yes to them even when they had no prior experience in that area. An event manager hired them to bring studios to a conference. They did not do that yet, but they figured it out. A government agency wanted an accelerator program. They built one. The business that exists today grew out of saying yes to those opportunities, not from executing a plan they had written at the start.

Why Indie Hero Exists and What It Actually Does:

Indie Hero was created specifically to be a commercial engine for the ecosystem that Game Jam Plus was building. The original model was intermediation: connecting publishers and investors with studios and taking a cut of the deals that resulted.

In five years, they closed five deals. The revenue from those deals was negligible. The model did not work.

What they learned from watching those deals fail was that the problem was not access to publishers. The problem was that the studios were not ready. Pitch decks were poorly constructed. Business models did not hold up to basic scrutiny. A studio asking for three hundred thousand dollars to make a game whose best-case comparable sold three hundred thousand dollars total had not done the math. Indie Hero started running classes to fix those fundamentals, teaching pitch deck construction, financial modeling, and the basics of how publishing deals actually work.

From there, the business continued to evolve:

• Government agencies hired Indie Hero to run accelerator and incubation programs for game studios
• Event managers hired them to organize B2B events and bring qualified studios to conferences
• The Brazilian Game Festival grew to sixty-five thousand attendees
• B2B events were built with MeetToMatch infrastructure to manage the matchmaking between studios, publishers, and investors
• A small publishing label was added two years ago when Julia realized the knowledge developers needed was available but they were not willing to use it themselves

The Publishing Label and What It Has Taught Her About Self-Publishing:

The publishing operation started from a specific frustration. Julia had spent years pointing developers toward publicly available resources, the Steam documentation, how-to-market-a-game websites, the IndieGameBusiness® community, and watching most of them ignore those resources and insist on finding a traditional publisher instead.

When a developer told her he would give her a share of his game if she did the publishing work herself, she took the deal. The label launched. Two years in, it has published approximately twenty games with ten more lined up to launch in the near term. Games have sold thirty to forty thousand copies. The operation is close to breaking even. None of the games are large budget productions. Most cost a thousand to two thousand dollars to make and are designed to generate a positive return on that investment rather than to be breakout hits.

The studios she signs tend to be games that would never find a traditional publisher, not because the games are bad, but because traditional publishers are not structured to work with small, niche titles that will sell a modest but real number of copies. A game that sells thirty thousand copies to a dedicated niche audience is a success for a micro-publisher. It does not fit the acquisition criteria of a publisher looking for titles with million-copy potential.

One standout example: a studio from Italy received a grant of approximately half a million euros from the government to build a beautiful open-world adventure game. Two years of searching for a publisher produced nothing. The game was too close to The Legend of Zelda’s territory for any publisher to take a chance on it commercially. Indie Hero signed it, brought in PR partners in Japan and Europe, hired influencers in Asia, and is handling Latin distribution directly. The budget for the entire marketing operation is small. It still made more sense for the Italian studio than two more years of rejection.

What the Steam Documentation Actually Contains and Why Developers Do Not Read It:

One of the most consistent themes in Julia’s work with developers across all of her programs is the gap between what developers know about the platforms they are launching on and what is publicly available in those platforms’ own documentation.

She asks developers the same question in every talk she gives: how many of you have read the Steam documentation? In a room of fifty developers, she typically sees one hand.

Steam drives approximately fifty percent of sales for most indie games. The documentation covers how the algorithm works, how the platform surfaces games to new players, how tags and keywords affect discoverability, and how the recommendation system responds to different player behaviors. That information is updated every six months and is publicly accessible. Most developers launching on Steam have not read it.

Julia’s characterization of what she has learned from actually reading and applying that documentation:

• Understanding the Steam algorithm is more valuable than spending money on influencers. Influencer campaigns she has run have accounted for as little as five percent of total sales on some titles.
• Getting tags, keywords, and localization right consistently outperforms paid promotion in terms of return on effort.
• Localization is not just translation. The way a game is sold in Germany requires different framing than the way it is sold in the United States. In Brazil, games without meme content underperform with local audiences.
• Steam behaves differently from social platforms like Instagram. Rather than daily algorithmic distribution, Steam functions on peaks. When a large number of players engage with a game at the same time, the algorithm amplifies that activity disproportionately. Campaigns that concentrate engagement in short windows rather than spreading it across weeks produce better results.

A-B Testing Thumbnails Before Steam Next Fest:

One of the most concrete and immediately actionable things Julia shared was her approach to Steam thumbnails, which she described as something almost no developer in the indie space was doing before campaigns, despite it being standard practice in every other content industry.

Before submitting a game to Steam Next Fest, Julia runs A-B tests on five different thumbnail variations, putting each through paid ads to measure which version converts better at a click level before committing to a campaign. The difference between the best and worst-performing thumbnail often appears small, but the compounding effect inside Steam’s algorithm means a thumbnail that converts at a slightly higher rate produces meaningfully better outcomes when the Next Fest traffic peaks hit.

She referenced The Diary of the CEO podcast, which tests between one hundred and two hundred thumbnail variations before publishing a single episode. That level of testing feels extreme in the games context, but her point is that even testing five variants is being held up as unusual in the indie game space. The bar is very low. Basic testing discipline alone puts a developer ahead of most competitors.

The variables worth testing according to her experience:

• Warm versus cold color palettes and which performs better for the specific genre
• Two-dimensional versus three-dimensional art representation of the game in the thumbnail
• Character-forward versus environment-forward thumbnail composition
• Whether text overlays on thumbnails help or hurt conversion for the target audience

How to Get Reviews in the First Twenty Four Hours:

Launch-day reviews are one of the clearest signals Steam uses to determine how aggressively to surface a new game. Julia’s approach to generating early reviews is not a paid strategy. It is a community strategy built over the months before launch.

Her logic is direct: if a developer has built a genuine community around their game, even a small one of a hundred engaged Discord members, those people already care about the game succeeding. They are not passive followers. They are active participants who have been watching development, providing feedback, and identifying with the project. If those people are asked directly and personally to leave a review on launch day, most of them will do it.

A developer who coordinates that request thoughtfully, aligning timing across their community so reviews land in a concentrated window, can generate a meaningful number of reviews in the first day through community alone. That initial burst of concentrated review activity sends a strong signal to the Steam algorithm at exactly the moment when the game is most visible.

The underlying requirement is that the community needs to exist before launch. Building community is not a launch-week activity. It is a development-period activity. Developers who arrive at launch without a community have no base to activate and are dependent on organic discovery alone, which puts them at a structural disadvantage in the early hours when Steam’s algorithm is forming its initial read on the game’s momentum.

Whether GTA VI Is a Threat to Indie Publishers:

Jay asked directly whether Grand Theft Auto VI’s release represents a threat to the indie games Julia publishes. Her answer was grounded in how she actually thinks about market competition.

She is not trying to sell a million copies of anything. The games her label works with are targeting thirty to fifty thousand copies sold to audiences who are specifically interested in those genres. A player who is deeply attached to horror games or a specific niche genre is not going to stop buying games in that niche because Grand Theft Auto VI released. The audience overlap is minimal.

Her concern is not with titles directly competing in the same genre. Her concern is with large general-audience games that might pull casual players away from browsing new titles during a specific window. For a niche indie game with a dedicated audience, the release calendar impact of a cultural phenomenon like GTA VI is real but limited.

Want more insights like this?:

Join us for our IndieGameBusiness Sessions, taking place on September 30th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Juliana and other industry pros.

The IndieGameBusiness® podcast drops new episodes regularly, covering the business side of making and selling games. Subscribe to the newsletter to get episodes, Discord events, and industry news straight to your inbox. Subscribe now

Quit Your Job to Make Games? – What Charlie Brandick Learned Going From Teacher to Valorant Game Director to Indie Founder:

A lot of people want to quit their job and make games. Fewer people think carefully about what that actually requires before they do it. Charlie Brandick, founder of Quetzal-Core Games, has been on both sides of that decision, spending over a decade moving from elementary school teacher to junior game designer to Valorant game director before stepping out to build his own studio.

He joined Dan Long on the IndieGameBusiness® podcast to talk about what he knows now that he wishes he had known at the start, what the games industry actually requires of people who want to work in it professionally, and what separates developers who build something that lasts from those who burn out or stall out before they finish.

Passion for Games Is Not the Same as Doing It as a Job:

The first thing Charlie addressed directly is the gap between loving games and being prepared to make them professionally. His point is not that passion does not matter but that passion alone does not translate into the skills and habits the work actually demands.

When you are passionate about something, you can pick it up and put it down. You can be as excited about it as you want on your own terms. When it is a job, you need to plan. You need to execute. You need to collaborate. You need to manage time, people, budgets, documentation, and scope. None of that disappears just because the thing you are building is a game.

He named a few things developers commonly bring into their early outreach that signal they have not yet made this shift:

• Saying you are passionate about games on a resume. Everyone applying for a games job is passionate about games. It is not a differentiator.
• Claiming you have a great idea. Everyone working on a project believes their idea is great. What matters is whether you can execute on it and what tangible skills you bring to a team.
• Saying you have been a gamer since childhood. Being a longtime player does not translate into being able to build, ship, or maintain a game professionally.

What does matter is being able to point to something concrete: a completed game jam project, a working prototype, experience organizing people under pressure, skills that transfer from another field. Charlie’s background in audio production and Photoshop gave him immediate contributions to make at Seismic even before he had formal game development experience. His organizational habits and people skills from teaching turned out to matter just as much as technical ability once he was inside a studio.

Work on Other People’s Projects Before Your Own:

One of Charlie’s most consistent pieces of advice is something many aspiring developers resist: before you try to recruit people to your project, go work on someone else’s.

His reasoning is practical. Everyone in early game development has their own idea they are excited about. Walking into that community and expecting others to get excited about your idea, do your work, and subordinate their own projects to yours is a misread of how the community actually operates. The people who build real relationships and accumulate real skills early on tend to be the ones who show up and offer help first.

That is how Charlie got in. He did not start with his own project. He found someone working on something and offered his time. He did not get paid. He learned. The skills he picked up in that experience, Git, Unity, how development teams actually structure work, turned out to be the exact skills the studio later asked him about in what turned out to be a job interview.

Beyond getting in, working on other people’s projects exposes you to habits and systems you would never develop on your own:

• How other teams structure their Unity hierarchies and why it matters for collaboration
• How experienced developers handle Git commits, naming conventions, and version control in a way that makes large codebases searchable and manageable
• How different people run meetings, write documentation, and organize files, showing you both what works and what to avoid
• How teams handle scope, disagreement, and failure, which are skills you can only learn by being in the room when those things happen

Charlie’s wife, a technical rigger with AAA experience, looked at how his team was handling Git commits on the current Quetzal-Core project and suggested a simple bracket-based naming convention that made the history dramatically easier to search. She learned it at her job. He adopted it immediately. That kind of knowledge transfer only happens when you are actively working with people who have more experience in a specific area than you do.

Understanding Platforms Before You Commit to One:

Charlie has developed on practically every platform available: mobile, VR, AR, PC, console, theme park rides, and AAA titles. That breadth gave him a clear-eyed view of what each platform actually demands and where the realistic audiences for each live.

His take on platform choice for developers trying to reach the largest number of people is straightforward: go where people already are. Players already have phones, computers, tablets, and consoles. The barrier to playing something on those platforms is essentially zero. Newer or more experimental platforms, VR and AR in particular, carry structural barriers that are not about the quality of the games but about the hardware, the setup requirements, the physical toll, and the affordability of the experience.

He described VR as persistently five years away and AR in games as even further out from mass adoption. His view is not that these platforms are bad but that developers who want to work in those spaces need to be motivated by a genuine belief in the platform itself, not just a desire to make a game. If the platform does not have the carrying capacity to sustain itself, there is no future for games built on it regardless of quality. Making a game that brings new people to VR is a different, harder, and more valuable goal than making the game you personally want to play in VR.

When to Seek a Publisher Versus Self-Publishing:

A question that came in during the live session asked when a small team or solo developer should seek a publisher versus self-publishing. Charlie gave a thoughtful answer that resisted a simple formula.

His starting point was that the right answer depends on what you have and what you understand about your market. Before you can make a meaningful decision about publishing, you need to be able to answer a set of questions honestly:

• Who are your market comparables and how many copies do those games sell?
• What is the realistic market size for your genre and audience?
• What is the typical time to market for games in your category?
• How often do comparable games update after launch and what does that require from the team?
• Do you have the ability to do user acquisition or run a soft launch in a small region to gather early feedback?
• What needs to be true visually or interactively for someone to understand your vision well enough to fund it?

For some games, a handful of strong screenshots and a clear comp set are enough to communicate the vision to a publisher. For others, especially puzzle games or experiences with mechanics that are hard to read in static images, a playable demo is not optional. A publisher considering funding a project needs to be able to understand and get excited about the vision, and whatever you show them needs to be enough for that to happen.

He also pointed to a growing trend in the indie space: building a compressed vertical slice or mock gameplay footage in a short window, then spending five to fifteen thousand dollars marketing it through platforms like TikTok, YouTube Shorts, and jester.gg to test wishlist response before committing to full production. This approach treats early marketing as product research rather than promotion, giving developers real market signal before they have invested years of work.

His core recommendation regardless of which path a developer chooses: talk to people who do this for a living. Marketing firms, publishers, fellow developers, community members with relevant experience. Gather multiple perspectives, ask specific questions, and make a judgment call based on actual information rather than assumption.

Having Realistic Expectations of the People Working With You:

One of the most human parts of the conversation was Charlie’s advice on working with collaborators, especially in early development when monetary compensation is not yet in the picture.

His central point is that every person working on a project has a life outside of it with real needs, real constraints, and real circumstances that change over time. A developer who recruits collaborators without thinking carefully about what those people actually need to sustain their involvement will eventually find themselves abandoned, and the departure will feel sudden even though the conditions that caused it were visible the whole time.

Specific guidance he shared:

• Do not try to recruit someone who tells you they need health benefits and stable income if you cannot provide those things. They may get excited in the short term, but they will leave the moment a paying opportunity appears.
• Check in regularly with anyone working without monetary compensation. Ask how they are doing, whether their availability has changed, and whether the project is still a realistic fit for them.
• Be genuinely grateful for the time people give you. Someone helping out of belief in the project is offering something that is not contractually obligated, and treating it as though it is will erode the relationship.
• When something goes wrong or someone leaves, examine whether your expectations were realistic before concluding that the other person failed.

He reflected on his own early career tendencies: high expectations of the people around him, frustration when those expectations were not met, and a slow realization that not everyone had the same skill breadth he had built up and that expecting them to perform as though they did was not fair. His approach now is to identify what a person does well, support them through their weaknesses, and look for opportunities to help them grow rather than measuring them against a fixed standard.

The Advice Charlie Wishes He Had Received at the Start:

Asked what he would tell his earlier self about the game development journey, Charlie returned to the theme of understanding where other people actually are rather than measuring them against your own expectations or experience.

Everyone in game development is trying hard. Sometimes that is not enough, and that is okay. Sometimes it is exactly enough, and you need to be grateful for it. Sometimes it exceeds what you expected, and you need to temper your assumptions accordingly.

His closing advice for anyone starting out or considering making the leap:

• Reach out to people. Reach out to fellow developers, community members, people whose work you admire. Ask questions and actually listen to the answers.
• Be excited about other people’s ideas, not just your own. The developers who get the most out of early-stage communities are the ones who show up to help, not just to recruit.
• Give more than you receive. When working with collaborators, aim to give them the better end of the deal. The relationships you build that way are the ones that actually hold together under pressure.
• Know what you know and know what you do not know. Being honest about your gaps is not a weakness. It is what lets you fill them.
• Support people through their struggles rather than around them. The most important thing in collaborative work is taking care of each other as people first.

Want more insights like this?:

Join us for our IndieGameBusiness Sessions, taking place on September 30th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Charlie and other industry pros.

The IndieGameBusiness® podcast drops new episodes regularly, covering the business side of making and selling games. Subscribe to the newsletter to get episodes, Discord events, and industry news straight to your inbox. Subscribe now

How to Start an Indie Game Studio the Right Way:

Figuring out how to start an indie game studio is one thing. Doing it without repeating the mistakes that sink most first attempts is something else entirely. Rob Carroll, CEO of Rollcraft, came to game development through construction project management and an environmental sciences degree, which is not the typical origin story. What he carried from that background, a producer’s instinct for logistics, timelines, and people management, turned out to be exactly what the games industry rewards.

Rob joined Dan Long on the IndieGameBusiness podcast to walk through the decisions that shaped Rollcraft, the mistakes that cost him real time and money, and what he wishes someone had told him before he started. What came out of the conversation was a grounded, specific set of lessons for anyone who is thinking seriously about building a studio from scratch.

How Rob Got Into the Games Industry:

Rob’s entry into games was not planned. He was working as a construction project manager in San Diego when friends who had started a video game company invited him to join their community. He started writing for their game, got to know the team, and when they needed a producer to manage growth, he made the switch. The studio was called Sojourn Development. The game was called Glimpse. Like many indie projects, it built something genuinely interesting and then ran out of money before it reached players.

That experience gave Rob something most first-time founders do not have: a firsthand understanding of exactly how a studio can fail even when the people building it are capable and motivated. He was not starting Rollcraft from theory. He was starting it from a specific set of hard lessons.

What Actually Prompted the Launch of Rollcraft:

Rollcraft did not start with a clean decision to found a company. Rob was working at a transmedia development company, one with an ambitious vision of integrating games, television, film, and books into a unified experience. He had built and was running the video game group there. Then the CEO decided that transmedia no longer included games. The video game group was cut. Rob and his co-founder found themselves out of a job on the same day.

The response was immediate. They had enough experience to back their own judgment, and the frustration of having something they built taken away from them was fuel. They decided to do it themselves. That kind of origin, forced rather than chosen, is more common in the games industry than the clean founding narrative most people present publicly. It is also, in many cases, the better foundation. There is less romanticism and more clarity about what actually needs to get done.

The First Real Decision – Choosing the Right Platform:

When developers ask how to start an indie game studio, the conversation usually jumps quickly to funding, team structure, or tools. Rob’s first real decision was about platform, specifically where to distribute the game, and it shaped everything that followed.

Steam and mobile were both options. Both were rejected, not because they are bad platforms, but because the current conditions on both make it genuinely difficult for a new studio to get traction without existing visibility or a significant marketing budget. The discoverability problem on Steam is well documented. Mobile requires either a substantial user acquisition spend or luck that most studios cannot plan around.

Rollcraft chose the web. HTML5 gaming, built for browser play and distributed through web portals, offered a different set of conditions. The portals Rob’s team had relationships with included:

• Armor Games, which Rob’s team has worked with directly and describes as a strong partner
• Crazy Games, which has approximately fifty million monthly active users and is actively growing
• Poki, which has stated it has over one hundred million users, runs exclusively on advertising rather than in-app purchases, and has a specific demographic skew toward younger players
• Congregate, which is rebuilding its platform and represents an opportunity to get in early on a relaunching portal with an existing audience

Each portal operates differently. Most require developers to run payment processing through the portal’s own system, with the portal cutting a check on collected revenue. Poki has no in-app purchasing at all, which means any game published there needs a separate branch without purchase mechanics. Each portal also has its own SDK, its own testing requirements, and its own approval process.

Crazy Games runs a two-week testing and approval process. Poki allows iterative playtesting with groups of ten, then requires a five-hundred-person playtest before wider release. Critically, Poki records gameplay during those sessions, which gives developers footage showing exactly where players got confused, missed a mechanic, or stopped engaging. That kind of direct behavioral feedback is something most developers pay significant sums to gather through third-party playtesting services.

The Most Common Mistakes Founders Make When Starting a Studio:

Rob was asked directly about the mistakes he sees most often in founders setting up studios for the first time. His answer covered both the obvious and the overlooked.

On co-founders:

• Do not pick co-founders based on availability or convenience
• You are going to be working with this person every day, relying on their judgment, and trusting them with decisions that affect the company’s survival
• The relationship needs to exist before the company does, not get built alongside it
• Too many decision-makers at the founding stage creates paralysis, not better outcomes

On infrastructure:

• Choose your technology stack as if you are going to be scaling it, not just shipping a demo
• Do not build on a platform or tool that has a realistic chance of being deprecated or discontinued
• Switching infrastructure mid-development does not just cost money, it burns the development time you already spent and forces you to rebuild what you thought was done
• Rob’s team learned this directly from the Flash deprecation. Everything built in Flash had to be rebuilt from scratch when Adobe shut it down

On contracts and legal structure:

• Get legal agreements in place with co-founders before you need them
• Intellectual property ownership, equity splits, and decision-making authority all need to be documented
• A handshake agreement between people who trust each other feels fine until the company is worth something or a disagreement arises
• An entertainment or games-specific attorney is worth the cost. General practice lawyers frequently miss the specifics that matter in this industry

Why Infrastructure Decisions Made Early Have Long Consequences:

One of the more practically valuable parts of the conversation was Rob’s breakdown of technology choices and why getting them right early matters so much. His current studio uses Heroic Labs for backend infrastructure. Getting there was not straightforward. The first backend provider they used did not work out, and migrating everything from one provider to another meant essentially throwing away a significant portion of the development work they had already completed.

The principle he drew from that experience:

• Work with third-party tools and providers that are built to scale with a growing company, not just to get the first build out the door
• Evaluate whether a tool or platform has a realistic long-term future before committing your architecture to it
• Build systems that will be supplemental to future development, not obstacles that have to be torn out and replaced
• Avoid building anything you already know you will have to throw away later. Those are burned cycles that produce nothing durable

The engine choice follows the same logic. Whether a studio builds in Unity, Unreal, Godot, or HTML5 is a decision that shapes every technical choice made afterward. Changing engines mid-development is rarely a clean process. Rob’s team made their engine decision with the long-term in mind and has not had to revisit it.

Scaling the Team and What Changes When You Do:

When a studio is small, culture is not a policy. It is a product of the specific people in the room and how they interact with each other every day. Rob’s observation is that this works well at small scale precisely because everyone knows what everyone else is doing and the team’s shared values do not need to be written down to be real.

Scaling changes that. When new people join, they are not inheriting culture through proximity. They are learning it through what they observe, what gets rewarded, and what leadership models. Rob’s recommendation is to be deliberate about culture before it needs to be formalized, not after.

Beyond culture, there are legal and HR thresholds that vary by location. In many jurisdictions, crossing certain headcount thresholds triggers requirements around HR policies, health insurance, and other corporate compliance obligations. Rob’s practical advice:

• Know what the thresholds are in your company’s jurisdiction before you hire near them
• Consider bringing on independent contractors to handle capacity needs rather than expanding the full-time headcount beyond a threshold that creates compliance overhead you are not ready to manage
• This is not about avoiding responsibility to workers. It is about understanding what each stage of growth actually costs and planning accordingly

How Rollcraft Raised Its First Round:

Rollcraft raised its first round of funding through WeFunder, a crowdfunding platform that allows community members and independent investors to take equity stakes in early-stage companies. For a studio that had spent time building a community around its game, this approach had a specific appeal: the people most invested in seeing the game succeed could become actual stakeholders in the company.

Rob described the WeFunder experience positively and noted that Rollcraft was actively raising its next round through the same platform at the time of the podcast. For developers who are researching how to start an indie game studio without institutional venture backing, community-based equity raises represent a viable path, particularly for studios that have already built some audience or community presence to draw from.

The campaign is live at wefunder.com/rollcraft for developers or investors who want to follow or participate.

Want more insights like this?:

Join us for our IndieGameBusiness Sessions, taking place on September 30th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Rob and other industry pros.

The IndieGameBusiness® podcast drops new episodes regularly, covering the business side of making and selling games. Subscribe to the newsletter to get episodes, Discord events, and industry news straight to your inbox. Subscribe now

Why Small Indie Game Studio are the future :

The games industry spent roughly two decades chasing scale. Bigger teams, bigger budgets, bigger worlds. The result was a generation of massive productions that left very little room for creative risk, with thousands of people working on individual components of something so large that no single person could hold the whole vision in their head at once.

Alexandre Amancio has lived that reality firsthand. As a former creative director at Ubisoft, he worked on titles including Assassin’s Creed and Far Cry 2, and was part of teams that reached a thousand people. Now he runs Studio Ellipsis in Lisbon, Portugal, and he joined
Dan Long on the IndieGameBusiness podcast to talk about why he believes the future of games belongs to smaller teams, what that actually looks like in practice, and what developers building studios today need to get right from the start.

From Physics to Ubisoft:

Alexandre’s path into games was anything but direct. He started studying physics and assumed that his creative side would remain a hobby. That changed when Jurassic Park came out and he saw what CGI was capable of. The idea that a filmmaker could reconstruct extinct animals through synthetic environments that looked genuinely real was enough to convince him to leave his physics program and enroll in a 3D modeling course.

Getting into games from there was not straightforward either. Montreal had no games industry at the time, so he started his career building flight simulators for commercial and military clients. When Ubisoft eventually opened a studio in Montreal, he applied and was rejected. He landed instead at a small indie studio, and he credits that experience as the foundation of everything that came after.

At that small studio, he had to do everything. There was no division of labor narrow enough to confine him to one task. He did art, design, writing, and whatever else needed doing. That breadth of exposure opened up the possibility of creative direction in a way that a specialized role at a large studio never would have. Eventually he did make it to Ubisoft, where he art directed Far Cry 2 and went on to creative direction work on Assassin’s Creed Revelations before Assassin’s Creed Unity.

The contrast between those two environments shaped how he thinks about team size and creative output in ways that still inform how he runs Studio Ellipsis today.

Why the Industry Hit a Saturation Point:

To understand why Alexandre believes smaller teams represent the future, it helps to understand how he reads the last twenty years of the industry’s history. The games business grew from a niche into a dominant entertainment industry. That growth was real and substantial, but it came with a side effect: the practices that developed during a boom period got treated as permanent best practices even after the conditions that created them changed.

The response to growth was to get bigger. Games became more expensive. The more expensive they became, the less risk anyone was willing to take, because the stakes attached to each release were too high to gamble on something unproven. Studios returned repeatedly to formulas that had worked before. The result was a plateau where technically impressive, enormously ambitious games existed in abundance, but genuinely original experiences became rare.

Players noticed. There are games so large you could spend years inside them. But after enough of those, players started looking for something different, something that felt surprising and personal rather than optimized and familiar. Alexandre’s observation is that those original experiences are currently coming from smaller studios with less to lose, teams that can afford to try something unusual because a failure does not cost them hundreds of millions of dollars.

What a Team of a Thousand People Actually Feels Like:

Alexandre described his experience directing a game with a thousand people working on it, and the description is worth sitting with. His job at that scale felt less like creative direction and more like a stage magician running between spinning plates, catching whichever one was about to fall and giving it enough momentum to keep going before sprinting to the next.

The problem with that kind of work is not that the people involved are not talented. It is that at sufficient scale, a coherent creative vision becomes genuinely difficult to maintain. Work gets segmented. People own a piece of something and execute it well in isolation, but the connective tissue between those pieces, the sense that everything is part of a single unified thing, becomes harder and harder to preserve. The person who only animates fingers is very good at animating fingers, but may never fully understand how those fingers connect to the emotional experience the game is trying to create.

Smaller teams do not have that problem in the same way. Everyone knows what everyone else is doing. When something needs to get done and no one else is going to pick it up, the person who notices it tends to handle it. The game becomes a living thing built collectively rather than assembled from parts. That intimacy at the production level tends to create intimacy in the product itself.

Creative Constraint as a Design Tool:

One of the most practically useful ideas Alexandre shared is the concept of creative constraint, which he treats not as a limitation but as a deliberate design tool. He described it as defining the lens through which every decision in a game gets evaluated.

The specific form this takes can vary. It might be the player fantasy, the central experience the game is built around. It might be a single defining question: what is this game fundamentally about? Whatever form it takes, having that anchor matters because game development involves an enormous number of decisions made under conditions of constant change. Without a fixed reference point, even smart people with good instincts will get roughly half of those decisions wrong, simply because there are too many shifting variables to track without something to align toward.

With a clear creative constraint established, decisions become faster and more coherent. You hold each choice up to the lens and ask whether it fits. The decisions that do not fit get cut or reworked. The decisions that do fit reinforce the game’s identity. Over time, that coherence is what separates games that feel intentional from games that feel like a collection of features that never quite added up to something.

He was careful to say this does not require having every detail planned out in advance. The constraint is not a detailed design document. It is a high-level understanding of what the game is and what experience it is trying to create. Everything else can remain exploratory, as long as exploration keeps returning to that anchor.

How to Think About Game Festivals When You Are Just Starting Out:

A question came in during the live session from a small studio about to show their first game publicly. They asked whether it made more sense to start with smaller regional festivals to build credibility before approaching larger ones like IGF, or whether it was worth targeting the bigger events directly.

Alexandre’s answer was honest about the limits of general advice here: both approaches can work, and the right answer depends on the specific game, what the studio has to show, and what outcome they are trying to create. He has seen studios go the regional route and build momentum gradually. He has also seen studios go directly to a major festival and create real noise with their first appearance. Neither path is universally correct.

His actual recommendation was to trust your own instincts more than external frameworks. The developer who built the game knows the game better than anyone giving advice from the outside. The quiet internal voice that is already leaning toward one answer or the other is usually reading the situation more accurately than the louder voices of received wisdom about what the correct strategy should be.

What Alexandre Would Tell Developers Starting Out Today:

• Remember that you are making games for a living, and that means fun is not optional. When pressure builds, when money gets tight, when things are not going the way you expected, the developers who keep a connection to why they got into this work in the first place tend to navigate those periods better than those who lose it.
• Know your creative constraint before you go deep into production. You do not need to have every system mapped out. But you do need to know what your game is at a fundamental level, what experience it is creating and for whom. That clarity will protect you from a significant amount of rework and help your team make consistent decisions even when you are not in the room.
• Accept that exploring novelty means accepting iteration. If you are genuinely trying to create something that has not been done before, you will have to try things that do not work and redo things that seemed right but were not. That is not a failure of process. It is what the process of finding something new actually looks like. The goal is not to avoid that iteration but to use your creative constraint to make sure the iteration stays pointed in the right direction.

Want more insights like this?:

Join us for our IndieGameBusiness Deep Dive, taking place on May 27th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Alexandre and other industry pros.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Why PC Game Distribution Needs a Broader Strategy:

For many indie developers, PC game distribution begins and ends with Steam. While Steam remains the dominant platform in the PC ecosystem, relying on a single storefront introduces real business risk, especially in an increasingly global and competitive market.

In this episode of the IndieGameBusiness® podcast, host Dan Long sat down with Vadim Andreev, CEO and Co-Founder of Rokky, to discuss how indie developers can expand beyond Steam without sacrificing control, revenue, or visibility.

The conversation explored global PC distribution, emerging markets, gray-market misconceptions, regional pricing, localization, and why launching everywhere at once can be a strategic advantage, not a risk.

The Origins of Rokky and the Evolution of PC Game Distribution:

Understanding modern PC game distribution requires understanding where it came from, and why centralized platforms emerged in the first place.

Vadim Andreev entered the games industry in 2009, at a time when piracy dominated PC gaming and paid digital distribution was still viewed skeptically. Early work in telecom digital storefronts exposed him to the challenges of selling games, music, and software in an ecosystem that hadn’t yet earned consumer trust.

Over the next decade, those challenges evolved into opportunities. Steam helped normalize paid PC games, but in doing so, it also became the single point of dependency for most developers. Rokky was created to solve that imbalance, not by replacing Steam, but by layering distribution on top of it.

Today, Rokky connects more than 200 publishers to over 200 regional storefronts worldwide, creating a bridge between developers and markets many never reach.

The Current State of PC Game Distribution for Indie Developers:

Steam dominates PC game distribution, but dominance is not the same as completeness.

According to Rokky’s internal data, nearly 88% of indie developers earn the majority of their revenue from Steam alone. While understandable, this concentration creates exposure to platform algorithm changes, visibility fluctuations, and regional blind spots.

Steam is not going away, nor should it be ignored. However, focusing exclusively on Steam means missing:

• Regional storefronts in Asia, LATAM, and MENA
• Marketplace audiences equivalent to ~30% of Steam’s user base
• Free marketing support from non-Steam stores
• Additional revenue layers that require minimal effort

The takeaway is clear: Steam should be your foundation, but not your ceiling.

Is Steam a Monopoly or Just the Default?:

Steam’s dominance is earned, but that doesn’t mean it should be the only option.

Vadim emphasized that Steam’s success is well deserved. It beat piracy, created trust in PC digital purchases, and built an unmatched infrastructure. However, from a business perspective, de facto monopoly creates dependency.

Developers who rely entirely on Steam surrender control over:

• Discovery algorithms
• Promotional timing
• Visibility prioritization
• Policy changes

Distribution diversification is not about rebellion, it’s about resilience.

The Risks of Launching Only on Steam:

Limiting your launch to Steam alone introduces risks many developers don’t recognize until it’s too late.

Key risks include:

• Lost regional revenue: Players in China, LATAM, and MENA often use local platforms rather than Steam.
• Algorithm dependency: Visibility is unpredictable and uncontrollable.
• Single-point failure: Policy or algorithm changes can instantly impact revenue.
• Missed marketing support: Many external stores provide free promotional placement at launch.

Launching elsewhere doesn’t dilute Steam performance, it complements it.

Common Misconceptions About Distribution Beyond Steam:

Fear, not facts, keeps many developers from expanding their distribution strategy.

Two misconceptions dominate:

1. “If my game is good, it will sell itself.”
   Quality is essential, but discovery requires proactive marketing and distribution.
2. “Everything outside Steam is unsafe.”
   While gray markets exist, controlled distribution with region locking and pricing strategy eliminates most risk.

Importantly, selling Steam keys through authorized partners often drives traffic back to your Steam page, increasing visibility rather than harming it.

What Types of Games Benefit Most from Broader Distribution?:

All games can benefit, but scale increases the upside.

Vadim noted that while any indie game can gain value from distribution, larger games see larger returns. On average, developers can expect 10–20% additional revenue from distribution platforms layered on top of Steam.

This isn’t about replacing Steam sales, it’s about additive revenue.

Understanding Distribution Platforms vs Storefronts:

Rokky is not a storefront, it’s infrastructure.

Steam, GOG, and Epic are storefronts. Rokky operates differently by:

• Connecting publishers to hundreds of B2B storefronts
• Selling Steam keys through authorized regional partners
• Handling pricing, region locking, analytics, and marketing coordination

This approach unlocks markets without fragmenting builds or increasing technical burden.

The Power of Global Markets: China, LATAM, and MENA:

Western markets are saturated, growth lies elsewhere.

China alone represents one-third of the global PC gaming market, yet many Western developers fail to account for:

• Local storefronts
• Local influencers
• Unique marketing ecosystems
• Platform-specific discovery channels

Rokky maintains local teams, partners, and marketing expertise in China and other regions, helping developers avoid costly cultural missteps.

Localization – The Non-Negotiable Requirement:

Without localization, your game may as well not exist.

Vadim stressed that text localization is the minimum requirement for international success. At a bare minimum, developers should localize into:

• Simplified Chinese
• Spanish
• Portuguese

Arabic and Hindi were also highlighted as emerging priorities, particularly as India continues rapid growth.

Gray Markets Explained – Behavior, Not Platforms:

Gray markets are not inherently bad, they’re behavioral gaps.

Vadim reframed gray markets as a result of three exploitable gaps:

1. Regional arbitrage – selling cheaper regional keys globally
2. Discount exploitation – bulk buying during sales
3. Bundle leakage – unclaimed keys flooding resale markets

These risks are preventable with:

• Region-locked keys
• Thoughtful discount structures
• Clear bundle key return policies

Practical Steps Developers Can Take Today:

Distribution success doesn’t require massive budgets.

Key actions include:

• Region-locking Steam keys
• Adjusting regional pricing strategically
• Avoiding deep, short-term discounts
• Asking bundle partners about unused keys
• Launching globally at the same time

Notably, Rokky offers pricing tools and advisory services for free, even before formal partnerships.

Why Simultaneous Global Launches Matter:

Launching everywhere at once unlocks free marketing.

When developers launch globally at the same time:

• Regional stores promote the game pre-release
• Email campaigns and homepage banners are activated
• Influencer campaigns align with launch timing

Delayed regional launches miss this opportunity entirely.

Subscription Models and Cloud Gaming – Reality Check:

Not every trend is ready for prime time.

Vadim was candid about limitations:

• Subscription models struggle on PC due to Steam DRM
• Cloud gaming remains capital-intensive and unprofitable
• GPU costs alone can exceed monthly subscription revenue

The recommended approach mirrors film distribution: sales first, subscriptions later.

What a Healthy PC Distribution Mix Looks Like:

Balance, not replacement, is the goal.

A healthy strategy includes:

1. Steam as the primary platform
2. Simultaneous distribution via authorized partners
3. Regional pricing and localization
4. Marketplace participation with safeguards

This layered approach reduces risk while increasing reach.

Looking Ahead – The Future of PC Distribution:

Distribution is evolving, and developers should evolve with it.

Vadim outlined several future trends:

• Silent key activation APIs replacing manual keys
• Growth of India as a major PC market
• Increased comfort with distribution partners
• Greater revenue diversity for indie developers

The message was clear: distribution should be proactive, not reactive.

Anecdotes and Reflections:

PC game distribution beyond Steam is no longer optional for developers seeking long-term sustainability. It’s a strategic multiplier, one that expands audience reach, strengthens revenue stability, and reduces platform dependency.

As Vadim Andreev emphasized throughout the conversation, Steam remains essential, but it shouldn’t be the only door your game walks through.

For indie developers willing to think globally, the opportunity is already there.

Want more insights like this?:

Join us for our IndieGameBusiness Sessions, taking place on February 18th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Vadim and other industry pros.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

The IndieGameBusiness® 2026 Battle Pass gives you access to the remaining 2026 lineup at a reduced price that continues to decrease as each event takes place.

As each event passes, the cost adjusts so you are only paying for what is left. Grab your ticket for just $88 USD Today!

You’ll still receive full access to expert talks, practical workshops, and direct industry insight designed for developers, publishers, and service providers. You will also receive two days of MeetToMatch access during the September IGB Session to connect directly with industry professionals.

What You Get with the IndieGameBusiness® 2026 Battle Pass:

When you grab the Battle Pass, you unlock:

• 3 live IndieGameBusiness® events
• 2 professional Masterclasses
• Two full days of MeetToMatch access during our September IGB Sessions
• A full year of expert talks, actionable workshops, and direct industry insight

Everything is streamed online across YouTube, Twitch, and LinkedIn, so you can attend from anywhere without burning travel money or PTO.

2026 Event Lineup at a Glance:

Included Events

• IGB Session & MeetToMatch | Feb 18 COMPLETED
  From Pitch to Partnership
• Deep Dive | May 27 COMPLETED
  Building Strong Publishing Partnerships
• IGB Session & MeetToMatch | Sept 30
  The Path from Storefront to Success
• Deep Dive | Dec 9
  Game Marketing That Works

Included Masterclasses

• June 17, 2026 — The Production Toolkit Every Game Team Needs | Completed
  Heather Chandler
• October 20, 2026 — Community Management: The Basics
  Ash Cason

IndieGameBusiness® Sessions – From Pitch to Partnership:

February 18, 2026

Event Details

• Lectures: February 18, 2026
• MeetToMatch: February 18–19, 2026
• Ticket Price: $0–$60 USD
• Time: 9am–5pm ET
• Platforms: YouTube, Twitch, LinkedIn
• Event completed

IndieGameBusiness® Deep Dive – Building Strong Publishing Partnerships:

May 27, 2026

Event Details

• May 27, 2026
• Free
• 9am–5pm ET
• YouTube, Twitch, LinkedIn
• Event Completed

Masterclass – The Production Toolkit Every Game Team Needs:

June 17, 2026

Led by Heather Chandler, a veteran producer with 25+ years of experience on titles like Helldivers 2 and Fortnite, this Masterclass cuts through over-engineered systems and focuses on what actually works.

Heather breaks down:

• The core production tools every team needs
• How to spot problems before they explode
• How to course-correct when things slip
• Building production habits that support the team, not slow it down

If development chaos feels familiar, this Masterclass gives you clear, practical steps you can use immediately.

Masterclass Details

• June 17, 2026
• Completed
• 11:00am–12:30pm ET
• Heather Chandler — Head of Production, The Powell Group

IndieGameBusiness® Sessions – The Path from Storefront to Success:

September 30, 2026

Launching on a storefront is only the beginning. Turning visibility into sales takes planning, data, and execution.

This one-day Session focuses on helping developers understand how storefronts work — and how to make them work for you.

You’ll Learn:

• How to optimize your store page for conversion
• How platform algorithms and sales cycles work
• Managing discounts and promotions strategically
• Tracking analytics that actually matter
• Building long-term sales momentum post-launch

Perfect for teams preparing a launch or trying to improve performance after release.

Event Details

• Session: September 30, 2026
• MeetToMatch: September 30 – October 1, 2026
• $0–$60 USD – Grab your ticket today!
• 9am–5pm ET
• YouTube, Twitch, LinkedIn

Masterclass – Community Management, The Basics:

October 20, 2026

In this Masterclass, Ash Cason breaks down what community management actually looks like for indie teams.

This isn’t theory, it’s real-world insight into:

• Community 101 fundamentals
• Building safe, inclusive player spaces
• Supporting community team mental health
• Hiring the right community manager for your project
• Avoiding common (and expensive) mistakes

If your community is growing or is about to, this is required knowledge.

Masterclass Details

• October 20, 2026
• Grab your ticket today!
• 10:00am–11:30am ET
• Ash Cason — Marketing & Community Lead, IndieGameBusiness®

IndieGameBusiness® Deep Dive – Game Marketing That Works:

December 9, 2026

Great games still fail without the right marketing strategy.

This free, one-day Deep Dive focuses on helping developers build marketing plans that drive real results! Without wasting time, money, or sanity.

Topics Include:

• Marketing strategies for every stage of development
• Building authentic, engaged communities
• Messaging that sells without overselling
• Working with influencers and media effectively
• Using analytics to guide smarter decisions

Whether you’re launching your first game or refining your next campaign, this event gives you tools you can actually use.

Event Details

• December 9, 2026
• Free
• 9am–5pm ET
• YouTube, Twitch, LinkedIn

Why the IndieGameBusiness® 2026 Battle Pass Matters:

When you purchase the IndieGameBusiness® 2026 Battle Pass, you’re not just investing in your own growth.

You’re helping IndieGameBusiness® continue offering free and deeply discounted education, supporting developers and professionals who might not otherwise have access to these resources.

Together, we’re building a stronger, more accessible, and more sustainable game industry. One well-informed team at a time!

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

A New Chapter for IndieGameBusiness®:

The IndieGameBusiness® community is entering its next phase, focused on deeper education, broader access, and long-term sustainability for indie developers worldwide.

In the first podcast episode of the year, Jay Powell sat down with Ash Cason to outline what’s next for IndieGameBusiness® and The Powell Group. What followed was a candid, detailed conversation about growth, lessons learned, and a major evolution in how IndieGameBusiness® serves the global game development community.

From restructuring flagship events to expanding free educational resources, IndieGameBusiness® is doubling down on its core mission: breaking down barriers, removing gatekeeping, and giving developers access to the same insights and connections typically locked behind expensive conferences.

Rethinking Events – A Smarter, More Accessible Format:

IndieGameBusiness® is restructuring its events to reduce conflicts, increase value, and improve the attendee experience.

One of the biggest announcements centered on a fundamental shift in how IndieGameBusiness® events are run. Instead of overlapping lectures and networking sessions, events will now follow a clearer structure: one full day of talks, followed by dedicated days for MeetToMatch networking.

This change directly addresses a common frustration among developers—being forced to choose between learning and networking. By separating these components, attendees can fully engage in both without missing critical opportunities.

The goal is simple: maximize value while minimizing stress, decision fatigue, and scheduling conflicts.

Introducing Competitive Pitching with Real Incentives:

A new pitching event adds tangible rewards while encouraging developers to refine their presentation skills.

A standout addition to the 2026 lineup is a competitive pitch event offering three $1,000 USD prizes. Unlike traditional pitch reviews, this event requires polished decks and live presentations, mirroring real-world pitching environments.

Awards will be given across multiple categories, such as best pitch deck, strongest presentation, and most anticipated game. Importantly, no single team can win all categories—ensuring broader recognition and opportunity.

Beyond the prizes, this event serves as high-impact practice, helping developers sharpen their pitch before meeting publishers and investors in the following days.

From Pitch to Partnership – A Clear Development Path:

Each event builds logically on the last, creating a structured roadmap for indie success.

Rather than isolated topics, IndieGameBusiness® events are now designed as a progression. After pitching fundamentals comes a session focused entirely on publisher relationships—how to find the right partners, negotiate effectively, and avoid common pitfalls.

Later sessions tackle storefront optimization, sales strategy, and long-term visibility. This “stepping ladder” approach reflects the real lifecycle of a game studio, helping developers focus on what matters most at each stage of growth.

It’s education with intention, not noise.

Save the date:

 | Lectures – February 18th, 2026
 | MeetToMatch – February 18th & 19th, 2026

 | $0-$60 USD
 | 9am – 5pm ET
 | YouTube, Twitch, and LinkedIn

Free Deep Dives with High-Impact Knowledge:

Free, single-day deep dives provide focused learning without financial barriers.

In addition to multi-day sessions, IndieGameBusiness® will continue offering free deep dive events. These are designed to go deep on one topic—such as publishing partnerships or marketing strategies—without networking components or ticket costs.

By keeping these events free, IndieGameBusiness® ensures that developers at every stage, regardless of budget, can access expert knowledge that would otherwise be locked behind paywalls.

Masterclasses and the Battle Pass Model:

The new Battle Pass unlocks full access while simplifying participation.

A major operational improvement comes in the form of a Battle Pass. Instead of registering individually for each session, developers can unlock all IndieGameBusiness® sessions and masterclasses with a single purchase.

This includes guaranteed access to two premium masterclasses led by industry veterans, covering production workflows and community management fundamentals.

For busy developers, this removes friction and uncertainty—once you’re in, you’re in.

Year-Round Support Beyond Events:

IndieGameBusiness® continues to provide free weekly and monthly resources.

Events are only part of the ecosystem. IndieGameBusiness® also offers:

• Weekly pitch deck reviews inside Discord
• Monthly legal discussions with a game-focused attorney
• Live YouTube pitch reviews for public feedback
• Affordable one-on-one pitch consulting

These resources remain free or deeply discounted, reinforcing the organization’s commitment to accessibility and developer advocacy.

The Power of Community and Real Outcomes:

Success stories from publishing deals to studio acquisitions, prove the model works.

One of the most powerful moments in the conversation was the reflection on real outcomes. Over the years, IndieGameBusiness® has helped developers secure publishing deals, funding, jobs, and even acquisitions.

These aren’t abstract metrics. They’re real studios, real people, and real careers shaped by access to better information and stronger networks.

Hearing these stories remains one of the biggest motivators for the team.

Data That Tells a Bigger Story:

IndieGameBusiness® has grown into a global platform with measurable impact.

The numbers paint a clear picture of sustained growth:

• 471 podcast episodes
• Spotify : 50,793 plays, 6,171 hours, Streams & Downloads: 113.4k
• YouTube : 336.6k views, 59.3k hours watchtime, 8009 subscribers
• Over 10,500+ Discord members
• Nearly 10,000 active newsletter subscribers
• 9,986 event registrations
• 143 Decks reviewed between Discord and YouTube
• Social Media Reach of 17k+

What started as a small Twitch experiment has become one of the most trusted indie-focused business education platforms in the industry.

A Philosophy Rooted in Anti-Gatekeeping:

IndieGameBusiness® exists to remove barriers, not create them.

At its core, IndieGameBusiness® was founded out of frustration with inaccessible conferences and expensive passes that excluded the very developers who needed the information most.

By offering free streams, open Discord discussions, and transparent education, the platform challenges traditional industry gatekeeping. Knowledge should be shared, not hoarded.

That philosophy continues to guide every decision moving forward.

Looking Ahead – Growth with Purpose:

The future is about sustainability, feedback, and meaningful impact.

As IndieGameBusiness® looks ahead, the focus is not just growth for growth’s sake—but sustainable impact. Community feedback, topic requests, and real developer needs will continue to shape programming and content.

Whether through new event formats, expanded educational resources, or partnerships with organizations like Make-A-Wish, the mission remains clear: support developers, elevate voices, and make the game industry more accessible.

Anecdotes and Reflections:

IndieGameBusiness® is evolving—but its values remain unchanged.

What’s next for IndieGameBusiness® isn’t a departure from its roots—it’s a refinement. More structure, more clarity, more opportunity, and the same commitment to openness and community.

For indie developers navigating an increasingly crowded and complex industry, IndieGameBusiness® remains a steady, reliable resource—one built by developers, for developers.

And this next chapter is just getting started.

Want more insights like this?:

Join us for our IndieGameBusiness Sessions, taking place on February 18th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Jay, Ash, and other industry pros.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Podcast Recap – From Call of Duty to Indie Dev :

In this episode of the IndieGameBusiness® podcast, host Dan Long sits down with Jess Feidt, Owner of Underwater Fire Games and creator of Particle Hearts. Jess shares an unfiltered look at what it truly means to leave AAA game development—specifically a long career working on Call of Duty—and step into the unpredictable, demanding, and deeply personal world of indie game creation.

This conversation explores the realities behind creative freedom, the hidden risks of solo development, the emotional and financial challenges of launching a first indie title, and the lessons Jess learned the hard way. It is a candid, experience-driven discussion that offers invaluable insight for developers considering a similar leap.

Breaking Into the Industry – From Art School to AAA Games :

Jess’s path into the games industry began with a strong artistic foundation. After attending art school, they made a bold decision: load up the family van and drive to California because “that’s where video games are made.” With no computer and very little money, Jess relied on public libraries to apply for jobs—a risky move in hindsight, but one that ultimately paid off.

Their first major break came at Sony, working on pre-rendered cinematics for first-party titles. This early role helped Jess understand large-scale production pipelines and cinematic storytelling, skills that would later influence their indie work. From Sony, Jess moved on to Treyarch, where they would spend more than a decade contributing to some of the most recognizable games in the world.

Life Inside AAA – The Call of Duty Years :

At Treyarch, Jess worked on multiple Call of Duty titles, including extended time on the Zombies mode. Their role as a Lead Destruction Artist involved building and animating environmental destruction—exploding buildings, collapsing structures, animated props, and vehicles. Over time, this expanded into design work and art direction for Zombies modes.

Working on Call of Duty offered undeniable benefits: financial stability, industry prestige, massive production resources, and the experience of shipping games on immovable deadlines. Jess highlights how AAA studios excel at scale, specialization, and efficiency, producing enormous amounts of polished content year after year.

However, that specialization came at a cost.

The Turning Point – Why Leave AAA? :

After more than a decade on the same franchise, Jess reached a creative crossroads. While Call of Duty remained a dream job by many standards, the work became increasingly managerial and narrowly focused. Creative exploration gave way to people management, meetings, and specialization.

Jess describes a growing desire to be a generalist again—to touch every part of the game, from visuals to gameplay to storytelling. They also wanted more control over what stories were told and how they were expressed. Location flexibility played a role too; remaining tied to Los Angeles was no longer appealing.

Ultimately, the move to indie development was about reclaiming creative ownership and curiosity rather than escaping AAA due to burnout or dissatisfaction.

Becoming a Generalist Again – The Indie Mindset Shift :

In AAA development, problems are distributed across departments. In indie development, every problem is your problem.

Jess explains how this shift required a complete mental reset. There were no UI specialists, localization teams, or technical departments to lean on. Every decision—engine choice, art style, feature scope—carried ripple effects across the entire project.

This reality forced a new way of thinking: assessing every feature not just by how cool it was, but by whether it was worth the risk, time, and long-term maintenance. Even seemingly small details—like character pupils—became strategic decisions rather than aesthetic defaults.

The Birth of Particle Hearts – A Long-Held Idea Takes Shape :

The concept behind Particle Hearts traces back to Jess’s time working on particle effects during Call of Duty: World at War. While optimizing effects to fit strict performance budgets, Jess had a thought that stuck for years: What if the entire game budget was just particles?

That idea became the foundation for Particle Hearts. The game’s striking visual identity—worlds built almost entirely from particles—was both an artistic statement and a practical constraint. As a solo developer, Jess needed an art style that avoided the escalating costs of realism, animation complexity, and asset pipelines.

The result was a visually unique experience that didn’t rely on trends or templates, but instead emerged from technical curiosity and creative experimentation.

Visual Identity as Gameplay Foundation :

Rather than separating visuals and mechanics, Particle Hearts was designed so that gameplay and visuals informed each other. Movement, abilities, and exploration were all rooted in particle-based systems, ensuring cohesion between what players saw and how the game felt to play.

Jess emphasizes the importance of nailing moment-to-moment feel early. Just as shooting mechanics define Call of Duty, movement, jumping, and traversal defined Particle Hearts. Each action was reinforced through animation, sound, and particle feedback to ensure players felt rewarded at every step.

Marketing Realities – When a Good Game Doesn’t Find Its Audience :

While Particle Hearts succeeded creatively and critically, it struggled commercially. Jess is transparent about the emotional weight of working on a game for years only to see it fail to gain traction.

Several marketing lessons emerged from this experience:

Influencer marketing can work—but only if the influencer’s audience aligns with the game’s audience. In this case, high-profile coverage did not translate into meaningful conversions.

Giveaways can inflate wishlist numbers without increasing actual sales. Many wishlists came from users interested in prizes, not the game itself.

Marketing has no universal formula. What works for one game may fail for another, and repeating ineffective tactics due to sunk cost can compound losses.

Jess underscores that marketing is not an assembly line—and believing “if you build it, they will come” is one of the most dangerous myths in game development.

Mistakes That Mattered – UI, Localization, and Timing :

Among the biggest underestimated challenges were UI implementation and localization. While publishers handled translation, implementation was entirely on Jess—requiring significant technical work late in development.

Jess also reflects on revealing the game too early. While early exposure helped build a small following, it eliminated opportunities for a major “first reveal” moment at showcases or platform events. In hindsight, delaying the announcement might have enabled stronger press coverage.

Production Lessons from AAA That Still Matter :

Despite the differences, Jess carried valuable AAA lessons into indie development. Chief among them was deadline discipline and a pragmatic approach to cutting features.

At Treyarch, teams used a simple rule: Fix it, hide it, or cut it. That mindset helped Jess avoid perfection paralysis and make tough decisions when time and resources ran thin.

Jess also learned the importance of personal health—recognizing that burnout, poor sleep, and neglecting physical well-being directly impact creative output.

Building the Right Indie Team :

Although Particle Hearts began as a solo project, Jess quickly identified areas that required collaboration. A programmer, a composer, and design support were brought in strategically, each elevating the project beyond what one person could achieve alone.

The game’s soundtrack, in particular, pushed Jess to raise the quality bar across the entire experience—demonstrating how strong collaborators can improve more than just their assigned discipline.

Looking Forward – Confidence, Risk, and the Next Project :

Having shipped a full indie game, Jess approaches their next project with less fear—but not less ambition. With hard-earned experience in localization, UI, porting, and production planning, they feel better equipped to take creative risks.

The next game will be larger, mechanically bolder, and more experimental, including time-based mechanics and deeper systems. While details remain under wraps, Jess makes one thing clear: being nervous is part of the process—and a sign that growth is happening.

Anecdotes and Reflections :

Jess Feidt’s journey from Call of Duty to Particle Hearts is not a fairy tale—it’s a realistic indie success story. Success here is defined not by profit alone, but by creative ownership, growth, and the ability to keep making games.

For developers considering a similar leap, this episode offers clarity without romanticizing the struggle. Indie development is harder, riskier, and lonelier—but also deeply rewarding for those willing to embrace uncertainty and learn from failure.

Jess’s story is a reminder that there is no single path to success in games—only informed decisions, honest reflection, and the courage to try again.

Want more insights like this? :

Join us for our IndieGameBusiness Sessions, taking place on February 18th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Jess, and other industry pros.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Building Global Teams Without Losing Heart:

As indie studios continue to evolve and expand, many are learning that growth doesn’t always mean opening another local office—it can mean going global. In a recent IndieGameBusiness® podcast, Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness®, sat down with Brad Hendricks, Founder and CEO of Blind Squirrel Games, to discuss how his studio built a sustainable, international development model. From managing hybrid teams to balancing creative and technical demands across continents, Hendricks shared hard-earned lessons on how indies can scale successfully in today’s volatile industry.

From Plastic Molds to Pixels – Brad Hendricks’ Unexpected Start:

Before leading one of the industry’s most trusted co-development studios, Hendricks’ career started in an unlikely place—plastics manufacturing. His journey into games began when his employer acquired Gravis, a company known for its iconic gamepads and joysticks.

That opportunity opened the door to his first role in gaming, working directly with developers and publishers to integrate peripherals into their titles. From there, Hendricks moved through roles at GameSpy, Gamebryo, and other companies that taught him every angle of the industry—from engineering and production to business development.

When he finally founded Blind Squirrel Games, Hendricks’ experience across multiple disciplines gave him the tools to lead a studio capable of tackling AAA remasters and original IP alike.

“We’ve been doing this since the mid-90s,” Hendricks shared. “I’ve seen the industry shift, crash, and rebuild itself. Every evolution brings new challenges—but also new opportunities for developers willing to adapt.”

Adapting to a Changing Industry:

The last few years have tested even the most stable studios. With publishers tightening budgets and becoming more risk-averse, Hendricks and his team at Blind Squirrel had to rethink how they operated.

Work-for-hire became their focus, with large co-development projects taking priority over original IP. As Hendricks put it, “There’s not a lot of appetite right now for new IP that doesn’t have an established audience.”

Their long-standing partnership with Microsoft on State of Decay 3 exemplifies this approach—high-value collaborations that leverage Blind Squirrel’s technical depth while maintaining stability in uncertain times.

Creating Global Teams – Why Blind Squirrel Expanded to Colombia and New Zealand:

When COVID-19 forced the world into remote work, Blind Squirrel didn’t scramble—they were ready. Hendricks’ leadership team had already planned for a hybrid environment, setting up tools and processes to keep production seamless.

But as publishers began demanding lower costs and on-site staff, the studio made a bold move: expanding internationally.

They acquired a studio in Colombia and opened a new branch in New Zealand, allowing them to maintain quality while lowering operational costs.

“We realized we couldn’t compete with global price pressures if we stayed domestic,” Hendricks said. “So we went where the talent was—and made sure our culture traveled with us.”

Today, Blind Squirrel operates out of Irvine (CA), Texas, Colombia, and New Zealand, blending physical offices with remote talent across the globe.

Culture Without Borders – Building a Connected Global Team:

For Hendricks, scaling globally isn’t just about logistics—it’s about preserving company culture. Blind Squirrel’s unique solution involves tracking employee wellbeing and morale through subtle, ongoing surveys that measure everything from job satisfaction to burnout risk.

Using internal tools that analyze responses on a 1-to-5 scale, leadership can spot issues before they affect project velocity or morale.

“We measure not just project health, but people’s health,” Hendricks explained. “When someone’s struggling, we want to know why. It’s not about punishment—it’s about understanding.”

This data-driven empathy has become a cornerstone of Blind Squirrel’s operations. Their HR and management teams step in early to resolve conflicts, prevent burnout, and maintain transparency across departments.

The Human Side of Remote Work:

Despite the data-driven systems, Hendricks recognizes the human challenges behind distributed teams. Cultural differences, time zones, and fear of “speaking up” are all hurdles that take time to overcome.

He stressed the importance of honesty and trust between leadership and staff—especially when feedback might be uncomfortable.

“We want blunt honesty,” Hendricks said. “We can’t fix what we don’t know. This only works if everyone feels safe to be transparent.”

Regular all-hands meetings, quarterly celebrations, and transparent financial updates keep everyone connected and invested in the company’s goals—no matter where they are.

Preventing Burnout – Lessons in Balance:

Like many studios, Blind Squirrel had to face its own shortcomings. Six years ago, burnout was common and work-life balance was nearly nonexistent. Hendricks admits the company had to overhaul its leadership structure to survive.

By hiring experienced executives such as COO Steve Sardegna and Chief Development Officer Matthew Fawcett, Blind Squirrel redefined how it managed people and projects.

Their new approach emphasizes planning, velocity tracking, and reasonable work hours—all aimed at preventing the endless crunch cycles that plague many studios.

“We’re not perfect,” Hendricks said candidly. “But we’ve made huge strides. You can’t ignore burnout—it kills creativity faster than anything.”

Adapting to Publisher Demands – Return to Office vs. Remote Reality:

While Blind Squirrel thrives in a distributed model, publishers increasingly pressure developers to bring staff back into physical offices.

Hendricks acknowledges that in-person collaboration can boost creativity during early development stages—but it’s not without drawbacks.

“We’re seeing some positive velocity from in-office work,” he said, “but also a negative impact on mental health. It’s a double-edged sword.”

Blind Squirrel’s hybrid strategy—maintaining both local offices and remote teams—allows them to accommodate client needs while protecting employee wellbeing.

Business Development in a Global Team Market:

On the business side, Hendricks says the industry has changed dramatically since 2020. Traditional trade shows like E3 have lost relevance, while events like Gamescom and regional developer conferences are now prime hunting grounds for partnerships.

“We’re finding the best opportunities at smaller, regional shows,” he said. “The people there are decision-makers, not just attendees.”

Blind Squirrel’s Business Development Director, Charles Milano, travels globally to expand partnerships and source projects. The goal isn’t just growth—it’s sustainable diversification across work-for-hire, co-development, and remastering.

The Art and Challenge of Remastering Classics:

Blind Squirrel’s reputation for high-quality remasters—like Bioshock: The Collection and Mass Effect Legendary Edition—wasn’t planned. The Bioshock remaster, for instance, started as a simple port until Hendricks’ team rebuilt a key scene to modern visual standards.

“When 2K saw it, they said, ‘What the hell did you do?’” Hendricks laughed. “Then they asked us to do the whole series.”

The process taught them invaluable lessons about technical precision, artistic respect, and managing publisher expectations—skills that now inform every project they take on.

Looking Ahead – Global Teams, Local Heart:

When asked where he sees the industry heading, Hendricks predicts a continued global expansion of development—especially as cost pressures and talent shortages persist.

“Studios that figure out how to balance cost, quality, and culture across borders will thrive,” he said. “The future isn’t about where your office is—it’s about where your people are.”

For Blind Squirrel Games, that philosophy has become a guiding principle: build smart, stay human, and let global talent drive creative success.

5 Key Takeaways:

Adaptability is survival: Shifting focus from original IP to co-development allowed Blind Squirrel to stay profitable through market downturns.

Global Teams growth requires cultural strategy: Expansion only works when communication, trust, and transparency are prioritized.

Employee health predicts project health: Tracking well-being is as essential as tracking milestones.

Hybrid models can work—if done intentionally: Flexibility must serve both client demands and team well-being.

Remasters teach more than tech: Revisiting classics like Bioshock and Mass Effect gave the studio the precision and discipline to handle complex new projects.

Anecdotes and Reflections:

Brad Hendricks’ story is proof that scaling a studio doesn’t have to mean sacrificing culture or creativity. From plastics manufacturing to leading a globally recognized development powerhouse, his journey reflects the adaptability that defines successful indie studios today.

For developers striving to grow beyond local borders, the message is clear: sustainable expansion starts with empathy, structure, and trust. The future of indie development isn’t about size — it’s about strength, connection, and the people behind every project.

Want more insights like this? :

Watch the full episode on YouTube or hop into the IndieGameBusiness® Discord to connect with Brad, and other industry pros.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Games as Platforms: The Future of Player-Created Worlds – Insights from Alex Seropian of Look North World :

As game development continues to evolve, the concept of games as platforms is reshaping how creators build, players engage, and studios sustain their futures. In a recent IndieGameBusiness® podcast,  Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness®, sat down with Alex Seropian, CEO and Founder of Look North World and co-founder of Bungie, to discuss why games built as platforms represent the next major shift in the industry — from Roblox and Fortnite to the growing opportunities for indie developers to thrive within these ecosystems.

The Origins of a Gaming Pioneer :

Alex Seropian’s journey began in college, where his passion for creating games led him to co-found Bungie and later develop Halo, one of the most iconic franchises in gaming history. From his early experiments on the Mac with Pathways into Darkness to leading Disney’s game division and founding Industrial Toys, Seropian’s career has always centered around innovation and accessibility in game development

His newest studio, Look North World, continues this mission — focusing on building games inside creator ecosystems like Roblox and UEFN (Unreal Editor for Fortnite).

The Shift Toward Games as Platforms :

When asked what inspired Look North World, Seropian explained that he sees these emerging ecosystems as the future of interactive entertainment. Unlike traditional standalone games, platform games thrive within shared worlds where communities create, share, and monetize content together.

Platforms like Roblox, Minecraft, and Fortnite have redefined what it means to play — blurring the line between player and creator. Seropian noted, “There’s a whole generation growing up that’s not just playing games, but creating them.” He referred to this new wave of users as the “player-creators,” emphasizing that they’re shaping the future of interactive entertainment.

This evolution mirrors what MTV did for music in the ‘80s — transforming passive consumption into active participation. Roblox and Fortnite, Seropian argued, are this generation’s digital malls, where players hang out, build, and socialize.

Opportunities for Developers in the Platform Age :

For indie developers struggling to stand out on Steam or console stores, these new ecosystems offer an alternative path. Seropian pointed out that building on creator platforms comes with several advantages:

• Lower development costs – No need for massive budgets or server infrastructure.
• Rapid prototyping – Developers can launch a playable version within days.
• Built-in audiences – Tens of millions of active players ready to discover new experiences.

“Good still matters,” Seropian emphasized. “Quality, creativity, and understanding the platform’s culture are what help games stand out — not just production value.”

He compared discoverability on Roblox and UEFN to YouTube’s algorithmic model: success depends on smart metadata, clickable thumbnails, community engagement, and constant iteration.

Learning Fast – The Power of Iteration :

At Look North World, Seropian’s team has released over 30 games in two years — a pace unheard of in traditional development cycles. He explained that the secret lies in rapid iteration: “If you can get something playable in a week, you can start learning right away. That’s the real power of these platforms.”

Instead of relying solely on large-scale investments, the studio treats every release as a learning opportunity. Roughly two-thirds of their titles have achieved positive ROI, and even the rest have provided valuable insights.

This approach mirrors the philosophy behind early Bungie projects — build, test, learn, and adapt.

Balancing Original IP with Partnerships :

While Look North World develops its own original games, the studio also collaborates with major entertainment brands like Hasbro, Bandai Namco, and Wildcard. These partnerships help sustain the company financially while building credibility and expanding reach.

Collaborations like the Mighty Morphin Power Rangers mod for ARK: Survival Evolved showed how external IP can blend with community-driven creativity. Meanwhile, their original projects explore new genres and social experiences designed specifically for player-driven ecosystems.

Seropian believes that, in the long run, we’ll see breakout hits emerging from these platforms — games that achieve mainstream recognition, film adaptations, or full-fledged transmedia franchises.

Challenges of Discoverability and Monetization :

While accessibility is a strength, the flood of content on these platforms presents a unique challenge. Thousands of new experiences launch every week, making visibility crucial.

Look North World approaches this by combining traditional marketing practices — like audience testing, analytics, and player retention strategies — with grassroots community engagement through Discord, TikTok, and in-game events.

Revenue generation also differs by platform:

• UEFN (Fortnite) rewards developers through engagement-based payouts.
• Roblox offers both engagement and direct monetization options.

Understanding these differences helps studios design smarter business models and sustain long-term growth.

Advice for Indie Developers Entering Platform-Based Games :

Seropian’s advice for indie creators? Start small.

“Ask yourself, ‘What’s the smallest thing we can make?’ Then cut that in half. Then cut it in half again. Build that.” He stressed that building and releasing a small, functional prototype is far more valuable than overplanning.

He also encouraged developers to apply for Look North World’s Creator Label, which supports new talent on these platforms with funding, tools, and mentorship — no massive budget required. “All you need is an idea and a pulse,” Seropian joked.

For new teams, joining communities like the IndieGameBusiness Discord and attending online industry events can also accelerate networking and growth.

The Future of Games as Ecosystems :

Seropian closed by reflecting on how these ecosystems are reshaping entertainment at large. In the near future, he envisions tools so accessible that individuals could generate personal, interactive experiences within minutes.

He believes this evolution will merge storytelling, film, and games — allowing anyone to participate in the creative process. “We’re at the start of something transformative,” he said. “These platforms aren’t just about games anymore — they’re about communities, creativity, and connection.”

Anecdotes and Reflections :

Alex Seropian’s perspective bridges decades of game industry evolution — from pioneering console shooters to shaping the next frontier of digital creation. Games as platforms represent a shift from ownership to participation, from consuming to creating.

For indie developers and studios willing to adapt, the message is clear: the next era of gaming isn’t just built by professionals — it’s built by everyone.

Want more insights like this? :

Watch the full episode on YouTube or hop into the IndieGameBusiness® Discord to connect with Alex, and other industry pros.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

The Growing Role of Games in Expanding Story Universes:

 As the entertainment industry looks for new ways to expand stories across multiple mediums, games are increasingly becoming the foundation of transmedia strategies. In a recent IndieGameBusiness® podcast, Dan Long sat down with Fieldman Robinson, Co-Founder and Co-Managing Partner at Vertical Voyage, to discuss why games are uniquely positioned to drive transmedia success, the opportunities and challenges of licensing IP, and how both large studios and indies can use storytelling beyond games to reach new audiences.  

From Film to Games – Fieldman Robinson’s Career Path:

Fieldman Robinson’s journey into gaming began in 2014 while working at Sony Pictures. His role managing accounts for PlayStation and Xbox’s video services opened doors at PlayStation itself, where he helped run PlayStation Video and PlayStation Music. Collaborating on projects that tied games to movies and music introduced him to the power of transmedia connections.

After stints at Lionsgate, Universal Pictures, and a telecom company where he built mobile gaming platforms across Europe and Asia, Robinson joined Yodo1 to focus on licensing and partnerships. That move cemented his place at the intersection of games, media, and IP.

What Is Transmedia? :

Robinson defines transmedia as adapting a single story into different experiences across multiple formats. Unlike cross-media, which retells the same story in different forms (e.g., a comic book adapted directly into a movie), transmedia builds new narratives within the same universe.

Examples include:

• Star Wars: Films, animated series, novels, comics, and games all expand the canon.
• The Witcher: Originating as novels, later expanding into acclaimed games, Netflix series, and even stage performances.
• Pokemon: From handheld games to anime, movies, card games, VR, and merchandise, creating one of the most successful transmedia franchises ever.

Transmedia isn’t just adaptation—it’s about expanding universes with fresh narratives.

Why Games Are Perfect for Transmedia :

According to Robinson, games stand out from other media because they allow player agency. Unlike passive media like film, games let players shape the experience. This interactivity fosters deep loyalty and community engagement.

He highlights several advantages:

• Built-in lore: Games often come with rich backstories ready to be expanded.
• Explorable universes: Players can experience worlds from multiple angles.
• Engagement: Interactive storytelling keeps fans invested.
• Spin-off potential: Modular storytelling allows developers to create side stories that strengthen the universe.

Franchises like Fallout, Minecraft, and The Last of Us prove how transmedia expansions fuel renewed interest in original games.

Games uniquely strengthen transmedia because they blend story, interaction, and community engagement.

Common Pitfalls in Transmedia :

Not every adaptation succeeds. Robinson cites examples where poor execution alienates fans:

• Ignoring canon moments: The Uncharted film disappointed players by missing key sequences that made the games iconic.
• Rushed production: Studios forced by deadlines risk releasing lower-quality adaptations.
• Shovel media: Oversaturating the market with low-quality tie-ins weakens brand trust (Transformers films are a cautionary tale).

The lesson? Respect the source material and prioritize quality over speed.

Transmedia fails when adaptations cut corners, ignore fan expectations, or focus on quantity over quality.

Licensing and Monetization in Transmedia :

Licensing is central to transmedia strategy. Robinson compares it to McDonald’s Happy Meal toys—an IP owner licenses characters or brands to another company for a set period.

Common Licensing Models:

1. Royalties: Payment based on sales.
2. Royalties + Minimum Guarantee: Upfront payment plus revenue share (most common).
3. Flat Fee: One-time payment for unlimited use (rare but ideal for developers).

He also warns about split rights: franchises like Terminator or The Walking Dead may require negotiating with multiple rights holders for characters, likenesses, and even music.

Licensing opens doors for developers but requires careful navigation of rights, costs, and contracts.

Opportunities for Small Studios :

Indie developers might feel locked out of licensing, but Robinson points to opportunities:

• Public domain IPs like Steamboat Willie or Winnie the Pooh (in non-Disney form) offer creative freedom without license fees.
• Lower-cost transmedia projects—webcomics, podcasts, or Discord RPGs—let smaller teams experiment without huge budgets.
• Niche platforms (like VR) can mean lower licensing fees than console or mobile.

Originality is crucial. A unique concept can persuade licensors even when financial offers are modest.

Indies can compete in transmedia by targeting public domain IPs, smaller-scale formats, or innovative concepts.

Strategies for Expanding into Transmedia :

Robinson advises studios to focus on these pillars:

1. Identify the core story: Define what makes your universe unique—setting, magic systems, or conflicts.
2. Expand the lore: Create spin-offs that add depth to the universe (Destiny Rising is one example).
3. Character-driven focus: Narrow storytelling to characters that can anchor new audiences (like Arcane did with League of Legends).
4. Pick the right platform: Don’t default to film—explore animation, AR/VR, or even audio dramas.
5. Maintain consistency: Quality control ensures adaptations strengthen, not weaken, the IP.

Successful transmedia begins with strong storytelling foundations, platform strategy, and consistency

Is Your IP Ready for Transmedia? :

Not every IP is instantly suited for expansion, but Robinson suggests there’s no strict formula. Strong sales help, but even underperforming IPs can find new life through fresh mediums—just as The Walking Dead comics exploded once adapted for TV.

The key is understanding your audience, regions, and target platforms. An overlooked IP could thrive if introduced to a new demographic or through a new format.

Market data helps, but sometimes the right platform can make an IP take off unexpectedly.

Tips for Indie Developers :

Robinson closes with practical advice:

• Be creative: Originality stands out more than financial offers when approaching licensors.
• Use LinkedIn & events: Direct networking often leads to licensing opportunities.
• Consider alternative IPs: Look beyond blockbuster franchises—smaller or dormant IPs may offer affordable deals.
• Start small: Explore comics, podcasts, or Discord-based experiences before aiming for larger formats.

Creativity, persistence, and smart networking matter more than size when breaking into transmedia.

Anecdotes and Reflections :

Fieldman Robinson’s insights underscore why games are central to the future of transmedia storytelling. Games don’t just tell stories—they immerse players, spark communities, and fuel engagement across multiple mediums. For developers, whether indie or AAA, considering transmedia isn’t optional anymore—it’s a roadmap to longevity and cultural impact.

Want more insights like this? :

Watch the full episode on YouTube or hop into the IndieGameBusiness® Discord to connect with Fieldman, and other industry pros. And don’t miss our next IndieGameBusiness® Sessions this September 17th & 18th —featuring expert talks on funding and running your indie studio!

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Preserving Gaming History with GOG – Insights from Piotr Gnyp and Marcin Paczynski :

 As the conversation around game preservation grows louder, platforms like GOG.com are stepping up to ensure classic titles remain accessible to new generations of players. In a recent IndieGameBusiness® podcast, Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness®, sat down with Piotr Gnyp, Senior PR, and Marcin Paczynski, Senior Business Development at GOG.com, to discuss the challenges of licensing, the technology behind keeping old games alive, and why preserving gaming’s past is just as important as supporting its future.

GOG’s Mission – More Than a Storefront :

When most people think of digital game distribution, they think of storefronts like Steam or Epic. But GOG.com is different. Founded in 2008 by the creators of CD Projekt Red, GOG was built around the idea that games should remain accessible long after their original release. Early on, the platform focused on classics that could no longer run on modern systems. Today, GOG combines a growing library of new releases with its ongoing mission to keep gaming history alive

GOG was created to solve a problem: preserving access to games that become unplayable as technology moves forward.

Meet the Guests – Careers in PR and Business Development :

Marcin Paczynski has been with GOG for more than seven years, starting as a tester and eventually joining the business development team. His role now involves tracking down rights, negotiating with publishers, and convincing them to re-release forgotten titles.

Piotr Gnyp began his career in tabletop RPGs before moving into game design, publishing, and eventually PR. At GOG, his goal is simple but ambitious: to make people care about game preservation.

The GOG Preservation Program :

Although GOG has been preserving games since its launch, the GOG Preservation Program formalized that mission in 2022. The initiative ensures that older titles not only run on modern PCs but also meet quality expectations like widescreen support, controller compatibility, and cloud saves.

Currently, about 200 titles are actively maintained under this program, with a goal of expanding to over 1,000 in the coming years.

The Preservation Program ensures older titles continue to run smoothly while also adapting them to modern standards.

The Challenge of Licensing and Split Rights :

Preserving games isn’t just about coding fixes. One of the biggest challenges is licensing. Rights can be split between publishers, developers, and even heirs of original creators. GOG has had cases where they hired private investigators to track down forgotten rights holders living off the grid.

For some titles, such as Black & White, rights are split between Microsoft and EA, making negotiations especially complex.

Legal hurdles often delay or prevent classic games from being re-released, with split rights posing the toughest challenges.

Community Involvement – The Dreamlist :

To prioritize what games should come back, GOG created the Dreamlist, a voting platform where players nominate and support titles they want preserved. Not only does this guide GOG’s efforts, but publishers also use the data to gauge demand.

Surprisingly, some cult classics like Digimon World surged to the top of the list despite modest reviews at launch, proving the power of community nostalgia.

The Dreamlist empowers players to shape which titles GOG pursues for preservation.

Technology Behind the Preservation :

GOG has built specialized tools such as wrappers for DirectX, input, and modding integration. These allow classic games to gain modern features like alt-tab support, widescreen resolutions, and cloud saving.

Multiplayer, however, remains a hurdle. Because GOG rarely has access to original source code, most re-releases ship with only single-player content. That said, projects are underway to restore online play through LAN wrappers and VPN support

GOG uses proprietary tools to modernize classics, though restoring multiplayer remains a work in progress.

What Counts as a “Classic” Game? :

One fascinating discussion is how to define a classic. For older gamers, classics might mean 1990s PC titles like Baldur’s Gate. For younger players, The Witcher 3 or Fallout 4—games already a decade old—carry nostalgic weight.

GOG uses a practical benchmark: around ten years or two console generations old. This evolving definition ensures the preservation of not just retro titles, but also beloved modern classics.

The definition of “classic” is subjective, but GOG treats ten-year-old games or two generations back as preservation-worthy.

One-Click Mods – Extending Game Life :

Mods are another way to keep games alive. Recognizing how intimidating mod installation can be, GOG launched One-Click Mods, which bundle mods into safe, tested packages. Players can install major overhauls like Skyblivion or Heroes of Might and Magic III: Horn of the Abyss with a single click.

One-Click Mods make community-created content accessible to everyone, no technical expertise required.

Marketing and Support for Developers :

Unlike Steam, GOG is a curated platform. Each release is supported with:

• A front-page feature
• Social media promotion
• Newsletter inclusion
• Optional deeper campaigns like page takeovers or streams

For indie developers, the value isn’t just sales but exposure to GOG’s highly engaged, core gamer community.

GOG provides built-in marketing support, ensuring every release gets visibility with its audience.

Looking Ahead – Preserving Games for Future Generations :

Piotr and Marcin emphasized that GOG’s mission goes beyond business. It’s about cultural preservation—making sure games that shaped players’ lives remain accessible. With new technologies, expanding partnerships in Japan, and ongoing community involvement, GOG aims to be the first stop for anyone seeking back-catalog games.

GOG wants to be recognized as the go-to platform for preserving both retro and modern classics for future generations.

How to Get Involved :

Vote on the Dreamlist: Share your favorite games and memories to influence preservation.

Follow GOG: Stay updated on new releases, preservation updates, and cultural projects through their Twitter, Discord, and newsletters.

Support Preservation: Buying from GOG directly funds their ability to restore more games.

Want more insights like this? :

Watch the full episode on YouTube or hop into the IndieGameBusiness® Discord to connect with Piotr and Marcin, and other industry pros. And don’t miss our next IndieGameBusiness® Sessions this September 17th & 18th —featuring expert talks on funding and running your indie studio!  

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

We explore the art and science of pitching in today’s market—what works, what doesn’t, and how developers can improve their odds of success. Whether you’re new to pitching or looking to refine your approach, this episode offers an inside look into how major publishers think and operate in a rapidly changing environment.

The State of Pitching in 2025 – Insights from Yves Le Yaouanq:

As the gaming industry evolves, so too does the state of pitching games in 2025 to publishers. In a recent IndieGameBusiness® podcast, Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness® sat down with Yves Le Yaouanq, Chief Content Officer at Focus Entertainment, to discuss what’s changed, what’s working, and how developers can better position themselves for success in 2025.

A Veteran’s Perspective – The Industry Isn’t in Crisis, It’s Normalizing:

First things first—don’t panic. Yves emphasized that what we’re seeing in the industry today isn’t unprecedented. From the PC “death” scares in the early 2000s to the market collapses of 2008 and 2012, the industry has always recovered and come out stronger. What we’re witnessing post-COVID is a correction, not a collapse.

During the pandemic, money flowed fast, and everyone scaled up. But now? We’re back to reality—and that’s not necessarily a bad thing.

Focus Entertainment’s Contrarian Success During Industry Downturn:

While many publishers have shrunk their funding pools and tightened their belts, Focus Entertainment has been doing the opposite. Since 2021, they’ve experienced their best years on record, with hits like Warhammer 40,000: Space Marine and Void Crew fueling their momentum.

Why the success? Focus stayed in its lane—supporting indie, double-A, and “triple-I” games. Instead of chasing Metaverse fantasies or bloated battle royales, they stuck with what they do best: helping unique, story-driven games reach their potential.

Identity and Maturity -The Cornerstones of a Strong Pitch:

If you’re pitching a game in 2025, you need two things: identity and maturity.

• Identity means knowing what makes your game special. It’s not about jumping on trends—it’s about vision. What makes your art, gameplay, or narrative stand out?
• Maturity means understanding the business. Developers need to know the basics of funding models, platforms, economics, and publisher expectations. If you don’t grasp the industry’s moving parts, you’re not ready to pitch.

The Decline of Paper Pitches – What Publishers Expect in 2025:

The days of signing deals off a PowerPoint are gone. Publishers now expect a playable prototype—ideally with both core mechanics and a polished visual style (“beauty corner”).

In fact, some publishers won’t even look at a project unless it’s nearing vertical slice or post-alpha. Why? Risk aversion. Too many failed veteran studios and underwhelming triple-A launches have made publishers wary. Showing—rather than telling—is how you cut through the noise.

Understanding Publisher Fit – Doing Your Homework:

Yves dropped a sobering stat: Focus receives between 3,000 and 4,000 pitches per year. The majority? Completely off the mark. Mobile, NFT, pixel-art games—none of which Focus supports.

Before you pitch, research the publisher’s portfolio. If they don’t publish your genre, platform, or aesthetic, you’re wasting everyone’s time (especially yours).

Standout Pitches – What Publishers Are Really Looking For:

Beyond the game, publishers are investing in teams. They’re looking for:

• A strong human connection—can we see ourselves working with this studio for years?
• A unique angle—whether that’s gameplay, tone, or visual style.
• A sense of professionalism and structure—does this team know how to finish a game?

In fact, sometimes a good-but-not-great game will get signed simply because the team is that strong.

The Importance of Personal Connections and Conferences:

Here’s a bombshell: Focus has never signed a game based solely on a cold email.

Most deals originate at events—GDC, Gamescom, or even smaller local conferences. Yves stressed that in-person interactions remain the best way to stand out. Developers who can clearly express their vision face-to-face often have the edge.

Can’t make it to LA? Don’t worry. There are viable events in nearly every region—from Peru to South Africa to Romania. Don’t overlook local opportunities.

Red Flags and Mistakes to Avoid in Your Pitch Deck:

Yves called out some major missteps:

• Misaligned pitches: Emailing 200 publishers with “Dear Jay” and referencing the wrong company or game.
• Bad financials: If your deck suggests you’ll keep 100% of sales revenue, you clearly don’t understand platform fees, VAT, or currency conversion.
• Terrible benchmarks: Comparing your indie game to Elden Ring is laughable. Use realistic comparables—one successful, one average, and one failure (with reasons why yours won’t fail).

Post-Launch Strategy, Why It Matters to Publishers:

Publishers want to know what happens after launch—especially in the first 3 months. That’s when QA, bug fixes, and patches matter most. Planning for post-launch polish isn’t optional.

Not every game needs long-term live content, but if yours does (e.g., roguelikes, sandbox titles), your pitch should reflect realistic content pipelines—without crunching your team into burnout.

Competition Mapping, How to Benchmark Like a Pro:

The “Competition & Benchmark” slide is where most studios fail—and where the best ones shine.

• Compare your game only to titles with similar genre, scope, and audience.
• Include examples that sold well, averaged out, and flopped—and analyze why.
• Be honest about your game’s weaknesses and how you’ll overcome them.

Doing this well shows business savvy and situational awareness—both rare and valuable traits.

Realistic Sales Forecasts, Going Beyond Hope and Hype:

Your projections need to be grounded. Use a vertical and horizontal approach:

• Vertical: Are you meeting core expectations for your genre?
• Horizontal: How do you compare to 2–3 peer games in terms of art, marketing, and innovation?

If you claim your game will sell 20 million copies based on “melee combat like Elden Ring,” you’ve already lost the pitch.

Service Providers, How to Stand Out in a Crowded Market:

Yves acknowledged the uphill battle service providers face. The market is saturated, and most publishers already have a shortlist.

His advice?

• Expand your outreach—target self-publishing developers, not just big publishers.
• Prove your value—show work samples, case studies, and how you’ve helped similar games succeed.
• Build relationships—volume matters, but trust matters more.

The Art of the Long Game, Building Relationships with Publishers:

One of Focus’s upcoming releases began as a pitch… in 2020. The studio changed, the game changed, and even the publisher contact changed (Yves wasn’t at Focus yet!). But persistence paid off.

Good publishers don’t forget promising teams. Sometimes it just takes time—and a better version of your game—to close the deal.

Innovation and Humility, Lessons from Industry Legends:

Yves shared one of the best pitches he’s ever seen: a project led by Warren Spector. Despite his legendary status, Warren credited a younger team member for a groundbreaking idea—and had the humility to be overruled.

Lesson? No matter your experience, good ideas can come from anywhere, and teamwork is the real magic behind innovation.

Conclusion, State of Pitching in 2025 Requires More Than Just a Good Idea:

The state of pitching in 2025 is more demanding—but also more rewarding. You can’t just roll in with a concept and charm. You need:

• A compelling vision.
• A polished prototype.
• Realistic financials.
• Competitive benchmarks.
• And above all, a team that publishers trust and want to support.

Pitching isn’t just about your game—it’s about your professionalism, preparedness, and persistence. Do your homework, show your passion, and be ready for the long game.

Want more insights like this?

Watch the full episode on YouTube or hop into the IndieGameBusiness® Discord to connect with Yves and other industry pros. And don’t miss our next IndieGameBusiness® Sessions this September—featuring expert talks on funding and running your indie studio!

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

The State of the Gaming Industry, Data-Driven Insights with Pontus Mahler:

Investment in the gaming industry is constantly evolving, making it crucial for developers, investors, and publishers to stay informed. In a recent conversation with Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness® , Pontus Mahler, Managing Director at Agora Gaming Partners, offered data-driven, unfiltered insights into the current state of the gaming industry. In this blog post, we break down the key takeaways from their discussion, which covers everything from venture capital trends to the growth of Asian markets and the challenges faced by developers.

Pontus Mahler’s Journey in the Gaming Industry:

Pontus Mahler’s entry into the gaming industry was unconventional but highly effective. He began as a professional esports player, primarily in Thailand, where he built a massive following. His esports career allowed him to network and learn about game development, and it ultimately led him to consulting for indie studios. His extensive experience in the gaming sector includes work with a pre-seed investment firm, Global Top Round, where he was involved in investing in over 60 studios.

Today, Pontus serves as the Managing Director at Agora Gaming Partners, a firm specializing in investment banking and advisory services for the gaming industry. Agora focuses on mergers and acquisitions (M&A), publishing advisory, and fundraising, offering tailored support to gaming entrepreneurs. His vast experience in both competitive gaming and business makes him uniquely qualified to offer deep insights into the current state of the industry.

Agora Gaming Partners – Helping Studios Scale:

Agora Gaming Partners is a relatively new player in the investment and advisory space, having celebrated its one-year anniversary recently. The firm provides a range of services including M&A advisory, publishing deals, and fundraising for gaming companies. Pontus emphasizes that Agora’s unique selling point is its selective approach—working with only a few clients at a time to provide personalized, hands-on support.

Agora’s team operates remotely, with members based in locations like China, Thailand, Poland, Montreal, and the U.S. By leveraging its international network, Agora helps gaming studios navigate complex markets and scale their businesses effectively. Pontus explains that their goal is to build long-term relationships with entrepreneurs, offering flexible, scalable solutions that are tailored to each client’s needs.

The Investment Landscape – VC and M&A Trends:

The Shift in Venture Capital Investment

The venture capital (VC) landscape in the gaming industry has changed dramatically in recent years. While M&A deals remain relatively stable, VC investment has slowed significantly. Pontus attributes this slowdown to a few key factors, primarily the failure of some highly funded AAA studios. These failures have resulted in fewer reinvestments, as many investors are now more cautious in their approach.

Investors are increasingly wary of big-budget, AAA projects due to the high risks involved. Instead, they are looking for smaller, more sustainable ventures. Pontus notes that many VC firms are trying to rethink their investment strategies, shifting from funding large studios to considering smaller, more manageable indie or mid-sized studios. However, the competition for VC funds remains fierce, and not all developers are successful in securing funding.

M&A Activity: A Bright Spot for the Industry

Despite the slowdown in VC funding, the M&A market remains active. Pontus explains that there is still significant interest in acquiring studios and IP, although valuations have normalized. This normalization is a positive development for the industry, as it brings more realistic expectations for what businesses are worth. Many investors are now focusing on acquiring profitable studios with strong intellectual property (IP), particularly those that are already profitable or have strong growth potential.

Private equity firms and strategic investors, such as Tencent and NetEase, are still looking to acquire gaming companies, though public companies have become more cautious due to market volatility. Pontus also highlights that some large gaming companies have shifted to using a hybrid model of debt, shares, and cash for acquisitions, which makes it more affordable to acquire assets at lower valuations.

The Growth of Asian Markets – A Goldmine for Developers:

Pontus has spent over a decade in Asia and is particularly bullish on the growth of the gaming market in the region. Asia, particularly China, is becoming a dominant player in the global gaming industry. Steam and other platforms are seeing significant growth in these regions, and developers are beginning to realize the immense potential for revenue in Asian markets.

Localization and Community Engagement

One of the most effective ways for developers to tap into Asian markets is through localization. Pontus emphasizes that localization goes beyond just translating a game—it requires understanding the cultural differences and preferences of each country. For instance, a game that works well in the U.S. or Europe might not have the same appeal in Asia unless it’s tailored to local tastes.

While localization can be expensive, Pontus argues that it is well worth the investment. He points out that Chinese gamers alone can contribute between 20-40% of a game’s global sales if the localization is done properly. He also highlights the rise of gaming hardware in Asia, where platforms like Steam are becoming increasingly popular due to lower hardware prices and the availability of affordable GPUs.

The Strategic Advantage of Asian Co-Publishers

For developers who lack the resources to handle the complexities of publishing in Asia, Pontus recommends partnering with local co-publishers. By finding a reliable co-publisher in Asia, developers can tap into local knowledge, networks, and marketing capabilities without having to manage everything on their own. This allows them to focus on game development while ensuring their game reaches a wider audience in Asia.

Pontus notes that co-publishers in Asia can also assist with community management, customer support, and localized marketing, ensuring that developers have the support they need to succeed in these competitive markets. While it may require giving up a portion of revenue, he stresses that the exposure and sales boost are well worth the tradeoff.

The Future of Game Development – Trends to Watch:

Systemic Games and Replayability

As the gaming market matures, Pontus highlights a shift in the types of games that are gaining traction. Investors and publishers are increasingly looking for games that offer systemic gameplay and high replayability. Gone are the days when a short, narrative-driven game could capture the same level of investment. Today’s market demands games that keep players engaged long after the initial playthrough.

Pontus explains that games with systemic elements, such as procedural generation, dynamic worlds, and player-driven narratives, are more likely to succeed in today’s market. These games offer value through long-term engagement, which is essential for both players and publishers looking for sustainable returns.

The Challenges of Securing Funding

As the competition for funding becomes more intense, Pontus urges developers to be strategic in how they present their projects to publishers and investors. Developers need to demonstrate not just a great game but a solid business plan, including a clear path to profitability. Publishers are now looking for evidence that the game can generate sustained revenue, and they expect developers to have a well-defined plan for post-launch support, community engagement, and updates.

Developers who want to attract investment must also be prepared to provide detailed metrics, such as wishlist data, community feedback, and a polished vertical slice. Without these indicators of success, it is increasingly difficult to secure funding, especially with the reduced capital available in the current investment climate.

Anecdotes and Reflections:

The state of the gaming industry is constantly shifting, with significant changes in investment patterns, market dynamics, and player expectations. While challenges remain, there are still opportunities for developers who are willing to adapt and innovate. Whether it’s tapping into the growing Asian markets, focusing on systemic and replayable gameplay, or navigating the complexities of M&A and VC investment, developers must be strategic in their approach to scaling their businesses.

Pontus Mahler’s insights provide valuable guidance for anyone looking to succeed in today’s competitive gaming industry. By focusing on localization, building strong partnerships, and understanding the evolving landscape of investment, developers can position themselves for long-term success.

This blog post is inspired by the podcast discussion between Pontus Mahler and Jay Powell on the topic “The State of the Gaming Industry“.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

The Secrets to Pitching and Publishing Success – Insights from Joshua Garrity:

The process of game pitching and publishing a game can often feel like a complex and daunting task, especially for indie developers looking to stand out in a crowded market. Joshua Garrity, Head Game Scout at Secret Mode, shared his invaluable experience and insights on how to successfully pitch a game and navigate the publishing world during a conversation with Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness®. In this blog, we break down the key takeaways from their discussion on pitching, publishing, and finding success in the gaming industry.

Joshua Garrity’s Journey into the Gaming Industry:

Joshua Garrity’s career in the gaming industry spans over a decade, with a strong foundation in product marketing. Starting his career as a product marketing manager at Sold Out (now Fireshine), he played a pivotal role in transitioning the company into a digital publisher. During this time, Joshua helped sign popular indie games like Core Keeper and Shadows of Doubt. His role as an acquisition manager, later evolving into a game scout, allowed him to build relationships with developers and discover promising titles in need of publishing support.

After six years at Fireshine, Joshua moved on to Team Seventeen, where he worked as a senior game scout, further honing his skills in identifying potential titles. His most recent role is at Secret Mode, a relatively new publishing house, where he heads up the scouting department and continues to work with indie developers to bring fresh and exciting games to market.

The Art of the First Impression – What Game Scouts Look For:

When it comes to evaluating game pitches, Joshua emphasizes the importance of making a strong first impression. He compares reviewing game submissions to looking through resumes for a job—he relies on his gut reaction to the initial pitch. In the first pass, it’s about quickly assessing whether the genre and visuals resonate with him, whether the game has potential, and if it’s a good fit for Secret Mode’s current slate of releases.

One of the key factors Joshua looks for is how the game fits into the publisher’s capacity. For instance, if there are already several releases planned for a particular time frame, he will pass on a game that doesn’t fit into the schedule. While it’s essential to present a polished pitch, he advises developers not to be discouraged by initial rejections, as timing, genre, and the publisher’s current portfolio play crucial roles in the decision-making process.

Playing the Long Game – Building Trust and Relationships:

In the gaming industry, Joshua believes the key to long-term success is trust. Although it can be painful for developers to hear that a game won’t be accepted because of timing or fit, Joshua stresses that honesty is the best policy. By being upfront about capacity issues, publishers like Secret Mode help developers find the right home for their games, even if that means referring them to a different publisher.

He also highlights the importance of maintaining strong relationships in the industry. The ability to play the long game is vital—while publishers might not always be able to sign a game immediately, building trust with developers opens the door for future opportunities. Joshua’s approach focuses on creating meaningful partnerships that go beyond short-term gains.

What Makes a Game Worth Pitching – Key Elements for Success:

The Demo vs. Paper Pitch: Which Is Better?

When it comes to pitching a game, Joshua believes that there are no one-size-fits-all answers. For new developers, having a solid playable demo is crucial. It’s not just about having a flashy trailer or impressive concept art; it’s about showcasing the gameplay mechanics and demonstrating that the game is fun and engaging. A good game demo needs to have that “white box Mario test”—the idea that a game’s core mechanic should be fun even if the visuals aren’t fully fleshed out.

For games that are still in the conceptual phase, paper pitches supported by strong marketing materials can also be effective. However, developers need to manage expectations when submitting these pitches, as having no playable content means the pitch is more of an informational exercise. Joshua looks for pitches that show a deep understanding of the development process and demonstrate that the developer is prepared to address challenges along the way.

The Role of Marketing Materials:

In addition to a solid demo or paper pitch, marketing materials play a critical role in the pitch process. Developers are advised to include things like concept art, potential visual direction, and early promotional assets in their pitch. While Joshua doesn’t expect fully polished assets in the demo, having a clear vision for the final product can go a long way in impressing publishers.

When it comes to a game’s marketing potential, developers should aim to create a pitch that not only showcases the gameplay but also includes a plan for how the game will be marketed. Strong marketing materials, including press kits and social media plans, give publishers confidence that the developer understands the importance of post-launch marketing.

Budgeting and Funding – What Publishers Are Really Looking For:

The financial aspect of game development is another critical factor that can make or break a pitch. Joshua emphasizes that publishers like Secret Mode are always looking for a clear and realistic budget. One of the common mistakes developers make is underestimating the cost of development or failing to present a well-thought-out financial plan.

Publishers need to know how much funding is required and when it will be needed throughout the development process. Joshua highlights that a high burn rate, especially in the early stages of development, can be a red flag for publishers, as it increases the risk of a project exceeding its budget and delaying its release. A well-planned production schedule with realistic milestones and a buffer for unexpected delays is crucial to gaining a publisher’s trust.

The Importance of Post-Release Support:

Be Honest About Your Weaknesses

Joshua’s most significant piece of advice for developers is to be honest about the challenges they face. Whether it’s a lack of experience in certain areas or concerns about meeting milestones, developers should be transparent about what they’re capable of. Publishers are looking for developers they can trust, and being upfront about weaknesses allows them to help guide developers through the process.

Know Your Audience

Understanding the publisher’s needs and interests is essential when pitching a game. Developers should research the publishers they are targeting and tailor their pitches accordingly. A game that may not be the right fit for one publisher could be exactly what another is looking for, so understanding the publisher’s portfolio and capacity is crucial for a successful pitch.

Prepare for the Long-Term

The publishing process is rarely quick, and developers should be prepared for a lengthy journey. From the initial pitch to final release, it can take years of work to bring a game to market. Developers should be ready to engage in ongoing conversations with publishers and be flexible with their plans as things evolve.

Anecdotes and Reflections:

Pitching and publishing success ultimately comes down to trust, transparency, and preparation. Joshua Garrity’s insights provide valuable guidance for developers looking to navigate the complex world of game publishing. By focusing on delivering a solid pitch, being realistic about budgets and timelines, and maintaining open communication with publishers, developers can build lasting partnerships that lead to successful game releases.

For indie developers, understanding the nuances of pitching, financing, and post-launch support is critical to success. By applying the strategies Joshua shared in this conversation, developers can improve their chances of getting their games published and creating lasting relationships with the right publishing partners.

This blog post is inspired by the podcast discussion between Joshua Garrity and Jay Powell on the topic “The Secrets to Pitching and Publishing Success“.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Introduction:

The gaming industry has seen dramatic changes over the last few decades, but few individuals have experienced as much of its evolution as Jim Hudson. With 30 years of experience, Jim has worked across major studios, from Activision and EA to Microsoft, and even the startup world. In his conversation with host Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness®, Jim shared invaluable insights and stories from his journey.

From Music and Film to Gaming:

Jim’s journey into the gaming world wasn’t a direct one. Like many creatives, he started in the entertainment industry, initially trying to make a name for himself in music and theater. He was a member of a band in LA during the grunge era but found the experience less than fulfilling as his hair began to fall out. His theatrical ambitions led him to start a company in downtown LA, and he even worked as a production assistant on In Living Color at Fox TV.

It was during this time that Jim’s life took a new turn. A friend, Greg Borud, who was producing a musical with Jim, received a phone call from Activision, leading to an opportunity in the game industry. Jim Hudson was offered a job testing games. At that point, it was simply a day job, a far cry from his aspirations in music and theater. But as Jim worked at Activision testing games like Mech Warrior II, his interest in gaming grew.

The switch from traditional entertainment to games wasn’t instant, but it marked the beginning of a new chapter. Jim began to understand the nuances of the industry and was drawn to production. From there, he moved to a role as a producer, working on titles like Battlezone II and Castle Wolfenstein.

The Early Days at Activision and Beyond:

Activision was where Jim learned the ropes of game production. His transition into the world of Battlezone II wasn’t just about pushing out a product; it was about honing his skills in a fast-paced, often chaotic environment. After seven years, Jim realized he had hit a ceiling and needed a new challenge. This led him to Santa Cruz, California, where he joined a startup working on Medal of Honor: Breakthrough—a project that would eventually become one of the hallmarks of the Medal of Honor series.

Working on Medal of Honor: Breakthrough was a pivotal moment in Jim’s career. It was the first time he was fully immersed in a startup environment, with a team that was just beginning to carve out its niche in the gaming world. The project was full of challenges, but the experience taught him to appreciate the rewards of being involved in a smaller, more agile team where every decision and contribution had a direct impact on the final product.

Jim’s success at the startup opened up further opportunities. After the company folded, he moved to Austin, Texas, and worked with Aspire Media, which had a partnership with Bungie’s founder, Alex Seropian, and was responsible for releasing Stubbs the Zombie: Rebel Without a Pulse. This time, Jim Hudson was able to channel his experience into managing the complexities of porting games, all while navigating the intricacies of smaller publishing houses.

The Big Leagues – EA, Microsoft, and Expanding Horizons:

One of the major turning points in Jim’s career came when he joined Microsoft. This was during the time when the company had acquired Massive Incorporated, a technology that allowed games to feature dynamic in-game advertising. Jim was tasked with helping integrate this technology into games. The job offered perks such as great benefits and financial stability, but it also required navigating the complexities of a massive company.

Jim’s time at Microsoft provided a behind-the-scenes look at the intricacies of working within a global tech giant. He encountered both the advantages of having a stable paycheck and a slew of benefits, as well as the drawbacks of being a small cog in a giant machine. Despite working with some of the best minds in the industry, Jim found that the corporate environment didn’t always offer the creative freedom that he had experienced at smaller companies.

After the Great Recession hit, Jim found himself without a job when Microsoft’s in-game advertising project was shuttered. His next big step came when EA brought him back into the fold for Command & Conquer: Generals 2. Unfortunately, leadership changes led to the cancellation of the game, a setback that stung after two years of hard work.

However, Jim’s resilience kept him in the game, and after some time, he shifted his focus toward a completely new venture: the world of slot machines. Moving to Las Vegas, he worked on developing software for slot machines at IGT, using the Ascent engine, based on Unity. Although it was a departure from the gaming industry he knew and loved, it was a rewarding challenge and gave him new skills that would later be useful when he returned to his first passion: video games.

Embracing New Technology and Finding Success in VR:

One of the more unique projects Jim worked on in recent years was Blade Runner: Revelations, developed by Seismic Games. Jim was recruited to work on the game for Google’s mobile VR platform, Daydream. Despite the early excitement around VR, Google eventually shut down the Daydream platform, ending the project prematurely. However, the experience marked a turning point for Jim, who began to understand the potential and the limitations of new and emerging technology in the gaming world.

Throughout his career, Jim has embraced the challenges of learning new technology, whether it was developing in-game advertising systems at Microsoft or adapting to virtual reality at Seismic Games. His experiences with cutting-edge platforms have shaped his understanding of the evolution of the gaming industry and the technological hurdles that come with it.

The Cycles of Game Development:

Jim’s 30 years in the industry have taught him that the gaming world is cyclical. He has witnessed first-hand the ebb and flow of different trends, from the early days of testing games to the emergence of major technologies like in-game advertising and virtual reality. This constant change has helped him understand what it takes to navigate a career in game development.

In the early stages of his career, Jim was focused on making it big in entertainment. Over the years, however, he found that gaming offered something the traditional entertainment industry couldn’t: stability, purpose, and the opportunity to work on exciting projects that could change the gaming landscape. Through the ups and downs of the industry, Jim has learned to appreciate the small wins and focus on the relationships built along the way.

Advice for Aspiring Game Producers:

For those starting their own journeys in the game industry, Jim’s advice is clear: be passionate, but also be pragmatic. While it’s easy to get caught up in the allure of working on your favorite genre or game type, Jim emphasizes the importance of understanding what sells and what doesn’t. He encourages aspiring producers to narrow their focus to a specific area and become an expert in that field.

Jim also suggests that newcomers gain hands-on experience. Whether it’s by working in quality assurance (QA), starting with smaller indie games, or volunteering for game jams, there are many ways to get your foot in the door. The key is to learn as much as possible and remain adaptable, as the industry is constantly evolving.

Additionally, Jim Hudson encourages those looking to break into the industry to be persistent. In his words, “success is walking from failure to failure with no loss of enthusiasm.” This mindset has carried him through some of the toughest challenges in his career, and he believes it’s essential for anyone wanting to make a lasting impact in the gaming world.

Embracing the Future – AI, VR, and More:

Looking ahead, Jim sees artificial intelligence (AI) and virtual reality as major game-changers. While AI is already being used for tasks like localization, Jim predicts that it will soon play an even bigger role in shaping the gaming industry. He believes that AI could become a crucial tool for developers, helping them streamline processes and deliver more personalized gaming experiences.

At the same time, Jim remains cautious about some of the newer technologies, including AI-driven art creation. While he sees the potential, he also acknowledges the risks and ethical considerations involved. Still, his overall outlook is one of optimism, as he believes the gaming industry will continue to push boundaries and provide opportunities for creative expression.

Anecdotes and Reflections:

Jim Hudson’s 30-year career in the game industry has been nothing short of eventful. From working on early Medal of Honor titles to exploring new frontiers in virtual reality and AI, Jim’s journey reflects the adaptability and resilience needed to thrive in a constantly changing industry. His advice for the next generation of developers is clear: stay focused, embrace new technologies, and, most importantly, keep learning. Whether you’re just starting out or have been in the industry for years, the game industry offers endless possibilities for growth and discovery.

This blog post is inspired by the podcast discussion between Jim Hudson and Jay Powell on the topic “30 Years in the Game Industry: Stories & Lessons“.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Introduction:

In a recent episode of the IndieGameBusiness® podcast, Dan Long, hosted a fascinating conversation with Ben Kvalo, the Founder and CEO of Midwest Games. Titled “From Startup to Success: The Midwest Games Story,” the podcast took a deep dive into the origins of Midwest Games, its rapid growth in the video game industry, and the invaluable lessons that can be gleaned from Ben’s journey as a founder. In this blog post, we’ll explore the highlights of their conversation, providing summaries under each major header to help you understand what makes Midwest Games tick. Whether you’re an aspiring entrepreneur, an indie game enthusiast, or simply curious about what it takes to succeed in this fast-paced industry, this comprehensive look will offer valuable insights.

The Genesis of Midwest Games:

Summary:
Dan Long kicked things off by asking Ben Kvalo about his journey into the gaming world and how Midwest Games came to be. Ben’s story is rooted in a passion for interactive media and a keen interest in nurturing local gaming talent. Born and raised in the Midwest, he recognized the untapped potential of the region’s creative minds early on. This realization became the spark that led him to found Midwest Games.

A Homegrown Ambition:

Growing up, Ben was always fascinated by video games and the diverse narratives they could tell. From an early age, he gravitated toward technology and design, eventually taking up coding and dabbling in game creation during his school days. While the coasts of the United States are often viewed as the go-to hubs for tech and gaming, Ben was determined to prove that world-class talent also thrives in the heartland. This ambition drove him to stay in the Midwest and build a studio that could serve as both a creative outlet and a community hub.

Vision Meets Execution:

It wasn’t just about launching a game studio, it was about laying the groundwork for a long-term, sustainable enterprise. Ben leveraged his connections, from local universities to tech communities, to assemble a like-minded team. In the podcast, he recalled the early challenges of finding investors and mentors who believed in the possibilities that the Midwest could offer. However, his unwavering focus on quality, coupled with a bold vision, soon caught the attention of angel investors and advisors from larger gaming markets.

Overcoming Early-Stage Hurdles:

Summary:
Starting an indie gaming studio is never without its obstacles. In this section of the podcast, Ben and Dan discussed the common, and not-so-common, challenges that confront game developers in the early stages of business development. Everything from funding constraints to team building came under scrutiny.

Funding Challenges:

One of the biggest hurdles for any startup is finding the right type of funding at the right time. Midwest Games began life with a small pool of savings and a modest angel investment. However, Ben emphasized the importance of being prudent and strategic with finances. From selecting the most critical hires to focusing on core game features, every expense was made to count. This mindset helped Midwest Games stretch its budget without compromising on its core vision.

Team Building and Culture:

The people behind the scenes can make or break a startup, and Ben was careful to assemble a team aligned with Midwest Games’ values. According to Ben, nurturing a healthy work culture is critical, especially when deadlines loom and pressure mounts. By fostering transparency and open communication, Midwest Games was able to maintain morale and keep turnover low. Dan Long noted that this approach often separates successful indie studios from those that burn out quickly.

Crafting the Midwest Games Identity:

Summary:
Defining a unique brand identity can help a startup stand out in an increasingly crowded indie gaming scene. During the discussion, Ben delved into how Midwest Games cultivated its distinctive voice, focusing on quality storytelling, immersive gameplay, and a strong sense of community engagement.

Story-Driven Approach:

Midwest Games’ titles are often lauded for their compelling narratives, where character development and plot twists take center stage. Ben highlighted that narrative depth can drive emotional investment from players, turning casual gamers into ardent fans. By blending cutting-edge graphics, engrossing sound design, and carefully crafted story arcs, Midwest Games creates experiences that resonate deeply with players.

Community Connection:

Community engagement is more than just a buzzword for Midwest Games—it’s part of the studio’s DNA. From early access demos to social media polls, the team actively involves players in shaping the direction of their games. This ethos not only builds loyalty but also provides invaluable feedback during the development process. Ben shared how listening to the community has helped refine game mechanics and even inspired new features.

Navigating the Indie Gaming Marketplace:

Summary:
Dan and Ben took a broader view in this segment, discussing the ins and outs of getting an indie game discovered in a marketplace saturated with thousands of titles. Steam, Nintendo eShop, PlayStation Store, and other digital storefronts offer massive opportunities, but also massive competition.

Standing Out on Digital Platforms:

Ben stressed that visibility can be a game-changer. Early in the studio’s journey, Midwest Games invested in marketing strategies tailored to indie developers, such as leveraging indie game conferences, community-driven social platforms like Reddit, and streaming partnerships on Twitch. By focusing on genuine relationships with content creators and gamers, they managed to rise above the noise and secure coveted “Featured” slots on major platforms.

The Power of Networking:

Networking isn’t only for big corporations; in the indie space, personal connections can open unexpected doors. Ben attended conventions like PAX and Gamescom to meet collaborators, track trends, and learn from experts. You never know who might unlock your next opportunity.

Scaling Up – From One Title to Multiple Hits:

Summary:
After the initial success of their debut title, Midwest Games faced a new challenge: scaling up without losing the creative spark that defined their work. In the podcast, Ben and Dan discussed the critical transition from a small outfit to a growing studio.

Expanding the Team:

With more projects in the pipeline, Ben had to expand the roster quickly. However, growth brings its own set of pitfalls, such as maintaining a cohesive culture and ensuring effective communication across multiple teams. Midwest Games handled this by implementing agile methodologies and clear organizational structures. Daily stand-ups, open Slack channels, and project management tools like Trello or Jira were essential in keeping everyone aligned.

Diversifying the Portfolio:

One of the strategies Midwest Games employed was diversifying its project portfolio. Instead of relying on a single title, the studio branched out to include games in different genres while still maintaining their brand ethos of narrative richness. This approach allowed them to reach a broader audience, mitigate risks, and experiment with new ideas. Ben highlighted that this diversification also attracted more talent, eager to work on varied and innovative projects.

The Power of Community and Partnerships:

Summary:
Collaboration and community support are pivotal to survival in the indie gaming realm. Dan Long, brought up how strategic partnerships can accelerate growth, facilitate funding, and open doors to new audiences.

Local Collaborations:

Midwest Games has consistently collaborated with local artists, musicians, and universities. By tapping into a rich pool of regional talent, the studio has fostered a unique Midwestern flair in its games. This synergy also helps build community goodwill, something that fosters long-term loyalty. Ben underscored how local partnerships have created a pipeline for both fresh ideas and future team members.

Industry Allies

On a larger scale, Midwest Games has partnered with established publishers and distributors, capitalizing on their market reach. Collaborative marketing campaigns, cross-promotions, and co-development opportunities have all contributed to a wider fan base. Ben emphasized that these alliances go beyond mere transactions; they are built on shared values and mutual respect.

Advice for Aspiring Indie Developers:

Summary:
As the conversation neared its end, Dan asked Ben what advice he would give to developers looking to start their own gaming studio or launch their first title. The insights offered are invaluable for anyone hoping to break into the competitive world of indie gaming.

1. Stay True to Your Vision: Ben stressed that every game should have a clear identity that reflects the team’s passion. Chasing market trends or imitating popular titles without genuine enthusiasm rarely yields a breakthrough hit.
2. Manage Your Resources Wisely: Funding is a finite resource for most startups. Focus on essential features first and plan meticulously before you begin development.
3. Engage with Your Community: Early feedback can save months of development time. Build an email list, maintain an active presence on social media, and don’t underestimate word-of-mouth promotion.
4. Network Relentlessly: Conferences, game jams, and online forums are all avenues for meeting people who can propel your career. Keep your pitch polished, and be ready to demonstrate how your game stands out.
5. Learn from Failure: Not every project will be a hit. The key is to extract lessons from setbacks and pivot accordingly.

Looking Ahead – The Future of Midwest Games:

Summary:
Midwest Games shows no signs of slowing down. Ben talked about upcoming projects, potential partnerships, and a continued focus on community engagement. Their vision is to expand beyond traditional platforms, possibly venturing into VR, AR, or emerging technologies as they mature.

Innovations on the Horizon:

While details remain under wraps, Ben hinted that the studio is exploring new storytelling methods that leverage next-gen consoles and possibly virtual reality devices. The emphasis is on immersion and deep interactivity—key aspects that align with Midwest Games’ brand identity.

Committing to the Indie Spirit:

Despite scaling to handle multiple titles, Ben reiterated Midwest Games’ commitment to the indie spirit of creativity, risk-taking, and community-centric development. Even as they grow in size and revenue, the company plans to maintain its open-door policy for aspiring developers seeking mentorship.

Anecdotes and Reflections:

Summary:
The conversation between Dan Long and Ben Kvalo offered a comprehensive look into the complexities of building and sustaining a successful indie game studio. From navigating the financial tightrope of startup life to building an impassioned fan base, Midwest Games’ journey serves as a roadmap for anyone considering a similar path.

• Focus on a Strong Core: Whether it’s a compelling narrative or innovative gameplay, the heart of a game needs to resonate with players.
• Community Is Everything: Actively engaging with fans yields feedback that refines the product and builds loyalty.
• Partnerships Fuel Growth: Strategic collaborations, both local and international, can rapidly expand your reach.
• Adapt and Evolve: The gaming industry moves fast. Staying agile and open to new technologies will help maintain relevance.
• Passion Prevails: Authentic passion for gaming shines through in every aspect of development, marketing, and community engagement.

This blog post is inspired by the podcast discussion between Ben Kvalo and Dan Long on the topic From Startup to Success: The Midwest Games Story.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Introduction:

Physical Game Releases: In the latest episode of the IndieGameBusiness® podcast, host Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness® sits down with Michael Yum, CEO of PM Studios. They explore the significance of physical releases for indie games, debunking the common notion that physical media is becoming obsolete in the gaming industry. Michael shares insights from his journey, starting as a QA tester to leading a company that has redefined indie publishing and distribution.

Michael Yum’s Journey – From QA Tester to CEO:

Michael Yum’s career is a testament to resilience and innovation. Starting as a QA tester at UFO Interactive, Michael gradually worked his way into game production and design. His transition from employee to entrepreneur began when he borrowed money from family to fund his first project.

PM Studios started with a dream to create engaging rhythm games, a genre Michael was passionate about. With hard work and a bit of luck, the studio’s debut game, DJ Max, became a massive success. Today, PM Studios handles both digital and physical game distribution, partnering with developers and publishers to bring indie titles to a broader audience.

Why Physical Releases Still Matter:

Contrary to popular belief, physical game sales remain a vital revenue stream for many developers. While digital sales dominate the market, Michael explains that physical releases offer stability. Retail distribution often guarantees a set number of units sold, which provides financial predictability that digital sales cannot always match.

Physical copies also serve as collector’s items, offering fans something tangible to cherish. In some cases, physical sales can surpass digital revenue, especially when developers include special editions or exclusive merchandise.

Barriers to Entry for Physical Distribution:

For indie developers, breaking into the physical market can be daunting. Michael outlines some key challenges:

1. High Manufacturing Costs: Producing physical copies often requires a substantial upfront investment.
2. Retail Partnerships: Retailers typically prefer working with established distributors rather than single developers.
3. Marketing Requirements: Creating eye-catching packaging and promotional materials is essential to stand out on store shelves.

Michael emphasizes the importance of partnering with experienced publishers or distributors to navigate these hurdles.

The Role of Retail in Indie Game Success:

Retail partnerships not only provide a revenue stream but also offer promotional support. Stores like GameStop and Walmart actively market games through advertisements and in-store promotions. Michael notes that retailers are keen to support developers, as they also benefit from the success of physical releases.

Tips for Indie Developers Exploring Physical Releases:

For indie developers considering physical distribution, Michael provides actionable advice:

• Choose the Right Price Point: Align your physical pricing with market expectations to maximize appeal.
• Offer Collector’s Editions: Adding unique items like art books or figurines can enhance the value proposition.
• Plan for Manufacturing Lead Times: Physical releases require months of preparation, from production to shipping.

The Future of Physical Media:

While digital trends continue to grow, Michael predicts that physical media will remain relevant for at least one more console generation. Regions like Asia and parts of Europe still favor physical copies due to limited digital infrastructure. Additionally, the tactile experience of owning a physical game holds enduring appeal for collectors.

Collaborations with Developers and Publishers:

PM Studios has expanded its role, not just publishing games but also supporting developers in localization, QA, and distribution. Michael highlights their flexibility in working with both small indie teams and larger publishers, ensuring every game gets the attention it deserves.

Lessons from a Collector Turned Publisher:

Michael’s passion for collecting video games informs his approach to publishing. He emphasizes the importance of standout packaging, strong naming conventions, and impactful cover art. These elements can make or break a game’s success in a retail setting.

Anecdotes and Reflections:

Physical game distribution is not just a relic of the past—it’s a valuable avenue for indie developers to diversify their revenue streams and engage with their audience. Michael Yum’s expertise and passion shine through, offering a roadmap for indie developers to navigate the complexities of retail distribution.

For those ready to explore the potential of physical releases, partnering with experienced distributors like PM Studios can open doors to untapped markets and ensure a game’s success across both digital and physical platforms.

This blog post is inspired by the podcast discussion between Michael Yum and Jay Powell on the topic “Why Indie Developers Should Consider Physical Releases for Their Game “.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Introduction:

Indie game development has always been the dream of many aspiring creators, but the journey is far from simple. On the latest episode of IndieGameBusiness®, Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness®, speaks with Jonathan Concepcion, lead developer and founder of Galactic Slice, about his transformation from a part-time developer with a simple game concept to a full-time indie game creator. The discussion dives into the key milestones, struggles, and valuable insights Jonathan encountered while working toward his dream.

How It All Began – A Passion for Gaming and an Unexpected Catalyst:

Jonathan Concepcion’s journey into indie game development began with a childhood love for games, especially RPGs like Kingdom Hearts. Though he initially went to college for game design, the path wasn’t straightforward. After a detour into retail, an injury led him to re-evaluate his career path and reignite his passion for game creation.

Inspiration and Concept
Jonathan set out to create something simple yet engaging. He found inspiration in titles like Pixel Dungeon, which led to the creation of One Bit Adventure, a minimalist, pixel-art RPG designed as an endless scroller. His goal was to make a game that was easy to play but still challenging, accessible, and, importantly, unique in the mobile game market.

Overcoming Initial Challenges – From Ideas to Execution:

Creating an indie game without resources or prior experience is challenging. Jonathan encountered numerous obstacles in the development and monetization of One Bit Adventure.

Deciding on Free-to-Play
Jonathan wanted to reach as many players as possible, so he decided on a free-to-play model, leveraging in-game ads and in-app purchases. To avoid the dreaded “pay-to-win” stigma, he carefully balanced monetization, focusing on cosmetic purchases and revives rather than gameplay advantages, ensuring a level playing field for all users.

Building a Community
With a limited marketing budget, Jonathan relied on word-of-mouth and community feedback to grow his player base. Through Google Play and the App Store, One Bit Adventure gained traction, eventually reaching over 3.4 million downloads. He attributes much of this success to community involvement and feedback, which influenced the game’s development and longevity.

Marketing on a Budget – Strategies and Lessons Learned:

Marketing is often the Achilles’ heel for indie developers, and Jonathan admits it was a significant learning curve.

The Power of App Store Exposure
Getting One Bit Adventure featured as the App of the Day on the App Store was a pivotal moment. This exposure brought in a wave of new players, demonstrating the importance of visibility on major platforms. Jonathan acknowledges that this exposure wouldn’t have happened if he hadn’t made the game accessible through a free-to-play model.

Outreach and Social Media
Jonathan initially tried traditional outreach methods, such as emailing reviewers and mobile gaming websites. However, he found greater success by posting on social media and connecting with players on Discord. Discord, in particular, allowed him to build a dedicated community where players could share feedback, discuss features, and support each other. This organic community-building approach proved invaluable for long-term engagement.

Handling Burnout and Maintaining Motivation:

The journey to becoming a full-time developer can be grueling, and Jonathan emphasizes the importance of stepping back when burnout hits.

Strategies for Avoiding Burnout
When the demands of development became overwhelming, Jonathan found it helpful to take a break from the project entirely. These intentional breaks allowed him to return with fresh ideas and renewed motivation, preventing burnout from derailing his progress. As his community grew, members began to understand his need for balance, creating a supportive environment that fostered both his mental health and the game’s development.

Involving the Community
Jonathan’s community has not only supported him but has also contributed creatively to the game. Community members have designed skins and suggested features, some of which have been implemented in One Bit Adventure. This collaboration has turned players into stakeholders, creating a loyal fanbase willing to support Jonathan’s future projects.

Balancing Development and Community Feedback:

One of the most challenging aspects of indie game development is balancing player feedback with the original vision for the game. Jonathan often receives feature requests that, while interesting, would require an enormous amount of work or change the game’s fundamental mechanics.

Feature Creep and Staying True to the Vision
To avoid feature creep, Jonathan learned to be upfront about what he can and cannot include in the game. For instance, despite repeated requests, he decided against adding multiplayer to One Bit Adventure, as it would fundamentally alter the game. He relies on community voting to gauge interest in specific features and prioritizes those that align with his vision and resource constraints.

Maintaining Balance in a Live-Service Game
Since One Bit Adventure is a live-service game, Jonathan continually adds content to keep players engaged. He aims to keep updates manageable, implementing quality-of-life improvements or minor features without losing sight of the game’s core. This approach allows him to extend the game’s lifespan without overwhelming himself or straying from his vision.

The Next Chapter – Dungeon of Greed and Expanding Horizons:

Having achieved success with One Bit Adventure, Jonathan is now working on a new project: Dungeon of Greed. This game will introduce multiplayer and new gameplay elements, expanding on the lessons he learned from his first game.

Lessons Applied to Dungeon of Greed
Jonathan is taking a more structured approach with Dungeon of Greed, including planned features, budgets, and set milestones. He’s also applying naming conventions and code organization practices from One Bit Adventure to make future updates more manageable and ensure the project’s sustainability.

Shifting to a Premium Model
Unlike One Bit Adventure, Dungeon of Greed will follow a premium model rather than free-to-play, allowing Jonathan to focus on creating a complete experience from the start. This shift will enable him to include more ambitious features and target new platforms, such as consoles and Steam, broadening his audience.

Key Takeaways for Aspiring Indie Game Developers:

Jonathan’s journey from part-time developer to full-time indie creator offers valuable lessons for those looking to break into the gaming industry.

1. Start Small and Build Up: By beginning with a simple project, Jonathan could refine his skills, establish a community, and generate revenue without overwhelming himself with complexity.
2. Community Engagement is Essential: Building a supportive community has not only driven downloads but also helped him manage the game and get valuable feedback for improvements.
3. Marketing Matters, Even on a Budget: Jonathan’s experience highlights the importance of App Store visibility, consistent community engagement, and using social media strategically.
4. Balance Feature Requests with Vision: Not every player suggestion should be implemented. Staying true to the game’s original vision prevents feature creep and keeps development manageable.
5. Have a Sustainable Work Process: Avoiding burnout through scheduled breaks and time for self-care is essential for long-term success in indie game development.

Anecdotes and Reflections:

As Jonathan transitions into the development of Dungeon of Greed, he takes the skills, experience, and community support from One Bit Adventure with him. His journey is a testament to the possibilities that come with dedication, learning from each step, and building a community around your passion.

Whether you’re an aspiring game developer or a fan of indie games, Jonathan Concepcion’s story is an inspiring reminder that with perseverance and the right strategies, creating and sustaining a indie game development career is possible.

This blog post is inspired by the podcast discussion between Jonathan Concepcion and Jay Powell on the topic “From Simple Game to Full-Time Indie Developer”.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Introduction:

In a recent IndieGameBusiness® podcast episode, Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness®, hosted Brett Taylor, the founder of My Dog Zorro, to explore the unique challenges and opportunities in indie game development. Brett shares his journey, discussing the pivotal career moves, personal growth, and the importance of work-life balance in game development. Here’s a deep dive into Brett’s insights and advice for aspiring indie developers.

Getting Started in the Game Industry – Brett’s Journey:

Brett’s path into the gaming world began in college, where he first experimented with programming. He transitioned from learning the basics to an internship at Arcadium in New York City, marking his entry into the industry. After spending a few years honing his craft, Brett founded My Dog Zorro in 2015, driven by a personal loss and the motivation to create his own studio.

His debut game, Linelight, was released in 2017 and received critical acclaim. This project not only marked Brett’s first major success but also established him in the indie game development community.

Overcoming Grief and Following Dreams:

A major turning point for Brett was the loss of his mother, which he cites as a defining moment. Brett reflects on how this experience made him reevaluate what mattered most in life. He shared how this loss inspired him to follow his passion for game development and make a leap into solo game development as a way to honor his mother’s memory.

By 2017, Linelight had launched, a minimalistic puzzle game that showcased Brett’s skills as a solo developer. The game’s success helped Brett understand the importance of connecting with players and staying authentic to his vision.

Embracing VR – The Shift to Virtual Reality with Snapstick:

Brett’s venture into VR was both unexpected and transformative. After trying an Oculus VR headset in 2022, he quickly saw the potential for creating unique, immersive experiences that traditional gaming couldn’t offer. His VR passion project, Snapstick, was launched in 2023 and highlighted Brett’s adaptability and willingness to experiment.

Brett explains that creating a VR game requires a different approach to design. “VR is about creating an experience that feels truly present,” he notes. This immersion, coupled with a comedic, puzzle-based gameplay style, makes Snapstick a memorable and engaging experience for players.

The Challenges and Rewards of Indie Development:

Brett acknowledges that while working independently can be liberating, it often comes with loneliness. The transition from a mid-sized company to solo development made him realize how isolating it can feel to work without a team to share in the highs and lows. However, Brett also highlights the importance of self-discipline, creating his own structure, and finding a routine that keeps him motivated.

Another key challenge is the lack of immediate feedback. Unlike larger studios, where collaboration and feedback are constant, solo developers often work without real-time input from colleagues. Brett emphasizes the importance of connecting with other indie developers to overcome this isolation, even if it’s through online forums or industry events like GDC.

Lessons in Self-Improvement and Seeking Support:

Brett is a firm believer in self-improvement. He credits much of his personal growth to working with a life coach, who has helped him maintain a healthy work-life balance and stay motivated despite the many challenges of indie game development. “Validation is essential,” he shares, highlighting the importance of surrounding yourself with people who believe in your work.

Through these experiences, Brett has learned the value of having a strong support system. He encourages other developers to seek out coaches, mentors, or supportive peer groups to help navigate the emotional ups and downs of the industry.

Developing Work-Life Balance: Insights from Denmark and Spain:

Relocating from New York to Denmark, Brett experienced a cultural shift that transformed his approach to work-life balance. He recalls the Danish work culture as a breath of fresh air, with an emphasis on health and well-being. In contrast to the U.S., where long work hours are the norm, Danish culture encouraged him to prioritize personal time and enjoy life outside of work.

Now based in Barcelona, Brett continues to embrace this philosophy. He has found that regular social activities, such as improv and language meetups, help him maintain his mental well-being and keep him grounded amid the stresses of solo development.

Managing the Downsides of Indie Development – Marketing and Asset Testing:

Brett admits that, while he’s comfortable with game design, marketing remains a challenge. He emphasizes the importance of starting marketing efforts early and testing game assets to ensure they resonate with the audience. This experience with Snapstick taught him to prioritize strong visuals and messaging that clearly communicate the game’s concept and appeal.

According to Brett, conversion rates hinge heavily on effective marketing assets. To improve this aspect, he advises indie developers to actively seek feedback and refine their marketing approach based on player interest and engagement data.

Tackling Setbacks – Navigating Industry Changes and Market Shifts:

One of the unexpected challenges Brett encountered was the shift in the VR market. With Meta merging App Lab and Horizon Store, the market became flooded with free games, affecting sales for paid games like Snapstick. Despite this, Brett remains optimistic, viewing this as a learning experience and a chance to adapt to industry trends.

While acknowledging that some challenges are beyond his control, Brett has learned to focus on what he can influence. He encourages indie developers to accept setbacks as part of the journey and to continuously adapt to stay resilient.

Key Advice for Aspiring Indie Developers:

Reflecting on his journey, Brett shares valuable advice for new developers:

1. Embrace Self-Improvement: Seeking personal growth is crucial, especially in an industry as demanding as game development.
2. Value Your Well-Being: Prioritize self-care, whether it’s physical health, social needs, or mental relaxation.
3. Focus on Marketing: Start early, engage players, and continuously test to see what resonates.
4. Find Your Support System: Whether it’s through a coach, peer group, or mentors, having a support network can be invaluable.
5. Stay Adaptable: Industry changes can be challenging but remaining flexible will help you navigate the ups and downs.

Moving Forward – Brett’s Vision for the Future:

Brett’s goals for the future are grounded in his passion for creating meaningful and impactful games. He envisions his next project as one that embodies his personal values and combines creativity with purpose. By prioritizing both enjoyment and a deeper message, Brett aims to craft a game that resonates with players on an emotional level.

“I want to make something that not only entertains but also uplifts and inspires,” Brett explains. His journey, filled with challenges, resilience, and self-discovery, is a testament to the power of perseverance and staying true to one’s vision.

Anecdotes and Reflections:

Brett Taylor’s journey underscores the unique challenges and rewards of indie game development. From personal growth and work-life balance to marketing and resilience, Brett’s story is a rich source of inspiration for developers at all stages. His commitment to self-improvement and genuine connection with players shines through in his work, making him a standout figure in the indie game industry.

If you’re an aspiring developer, remember Brett’s advice: stay true to your vision, prioritize your well-being, and never stop learning. With passion, perseverance, and a supportive community, you can achieve remarkable success in the world of indie game development.

This blog post is inspired by the podcast discussion between Brett Taylor and Jay Powell on the topic “Work, Life, and Self-Improvement in Game Development”.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Introduction:

Mergers and acquisitions (M&A) are complex transactions that can make or break companies. To shed light on this intricate process, Dan Long and Ash Pletcher, hosts of IndieGameBusiness®, interviewed Jacques Benchetrit, a leading expert from Agora Gaming Partners. In this episode, Jacques shares his insights into the key principles that drive successful M&A deals in the gaming industry.

Understanding the Mergers and Acquisitions Landscape:

Jacques begins by outlining the current M&A landscape, emphasizing the growing trend of consolidation within the gaming industry. He explains that as the market matures, larger companies are looking to acquire smaller studios to expand their portfolios, gain access to new technologies, and tap into established player bases. This consolidation trend is driven by the increasing cost of game development and the need for diversification in a highly competitive market.

The Importance of Strategic Fit:

One of the most crucial aspects of a successful M&A deal is ensuring a strategic fit between the acquiring company and the target company. Jacques highlights that alignment in vision, culture, and long-term goals is essential for the success of the merger. Without this alignment, the integration process can become fraught with challenges, leading to potential value destruction rather than value creation.

Due Diligence: The Cornerstone of M&A:

Jacques stresses the importance of thorough due diligence in the M&A process. This involves a comprehensive analysis of the target company’s financials, operations, legal standing, and market position. By conducting detailed due diligence, the acquiring company can identify potential risks and opportunities, ensuring that they make informed decisions. Jacques also points out that due diligence helps in negotiating better terms and conditions for the deal.

Valuation – Striking the Right Balance:

Determining the right valuation for the target company is a critical step in any M&A deal. Jacques explains that overvaluing a company can lead to financial strain post-acquisition, while undervaluing can result in a loss of potential opportunities. He emphasizes the need for a balanced approach, using multiple valuation methods such as comparable company analysis, precedent transactions, and discounted cash flow analysis to arrive at a fair value.

Integration Planning – Preparing for Success:

Integration planning is another key principle that Jacques discusses in detail. He argues that many M&A deals fail due to poor integration planning. Effective integration requires a well-thought-out plan that covers all aspects of the business, from operational processes to cultural alignment. Jacques suggests creating integration teams from both companies to ensure a smooth transition and to address any issues that arise promptly.

Communication – The Glue That Holds Everything Together:

Jacques believes that communication is the glue that holds the M&A process together. Clear, transparent, and consistent communication with all stakeholders, including employees, investors, and customers, is vital for the success of the deal. He shares that effective communication helps in managing expectations, reducing uncertainties, and building trust among all parties involved.

Case Studies – Learning from Success and Failure:

To illustrate his points, Jacques shares several case studies of successful and unsuccessful M&A deals in the gaming industry. He discusses how strategic fit, due diligence, valuation, integration planning, and communication played roles in the outcomes of these deals. These real-world examples provide valuable lessons for companies considering M&A as a growth strategy.

The Role of External Advisors:

Jacques also touches upon the role of external advisors in the M&A process. He suggests that companies should not hesitate to seek expertise from financial advisors, legal experts, and consultants who specialize in M&A. These advisors bring valuable insights and experience, helping companies navigate the complexities of the deal and avoid common pitfalls.

Preparing for Post-Merger Challenges:

The M&A process does not end with the signing of the deal. Jacques highlights the importance of preparing for post-merger challenges, such as integrating different corporate cultures, retaining key talent, and achieving the projected synergies. He recommends setting clear post-merger goals and metrics to track the progress and success of the integration.

Anecdotes and Reflections:

In conclusion, Jacques emphasizes that successful M&A deals are built on a strong foundation of strategic fit, thorough due diligence, fair valuation, meticulous integration planning, and effective communication. By adhering to these key principles, companies can increase their chances of achieving the desired outcomes and driving growth through mergers and acquisitions.

This blog post is inspired by the podcast discussion between Jacques Benchetrit, Dan Long, and Ash Pletcher on the topic “Key Principles of Successful Mergers and Acquisitions Deals”.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Introduction:

In a recent episode of IndieGameBusiness®, Dan Long sat down with Max Louis, the Founder and Studio Director at Magna Ludum Creatives (MLC). With extensive experience in the gaming industry, Max shares valuable insights on how to excel in providing services for games. This blog delves into key takeaways from their conversation, offering a comprehensive guide for those looking to succeed in this competitive field.

Understanding the Game Services Landscape:

Max begins by highlighting the importance of understanding the current landscape of the gaming industry. He emphasizes the need to stay updated with industry trends, technological advancements, and player preferences. This knowledge forms the foundation for developing services that cater to the evolving needs of game developers and publishers.

Summary: Stay updated with industry trends and advancements to cater to the evolving needs of game developers and publishers.

Building a Strong Team:

One of the cornerstones of MLC’s success is its team. Max underscores the importance of hiring talented individuals who are passionate about gaming. He advises focusing on building a team with diverse skill sets and fostering a collaborative environment where creativity can thrive.

Summary: Hire passionate and talented individuals to build a diverse and collaborative team.

Client Relationships and Networking:

Max stresses the significance of building strong client relationships and networking within the industry. He explains that trust and communication are crucial in maintaining long-term partnerships. Regularly attending industry events, participating in forums, and leveraging social media are effective ways to expand your network and connect with potential clients.

Summary: Build strong client relationships and expand your network through industry events, forums, and social media.

Delivering High-Quality Services:

Quality is paramount in the services industry. Max shares that MLC prioritizes delivering high-quality services that meet or exceed client expectations. This involves thorough planning, meticulous execution, and continuous feedback loops to ensure that the final product aligns with the client’s vision.

Summary: Prioritize delivering high-quality services through thorough planning, execution, and continuous feedback.

Adapting to Client Needs:

Flexibility and adaptability are key traits for success in service-oriented businesses. Max discusses the importance of being open to feedback and willing to make adjustments based on client needs. This approach not only enhances client satisfaction but also fosters a reputation for reliability and responsiveness.

Summary: Be flexible and adaptable to client feedback to enhance satisfaction and build a reputation for reliability.

Marketing and Brand Building:

Effective marketing and brand building are essential for attracting and retaining clients. Max advises investing in a strong online presence, creating engaging content, and showcasing your portfolio to demonstrate your capabilities. Building a recognizable brand helps establish credibility and trust within the industry.

Summary: Invest in marketing and brand building to attract and retain clients and establish credibility.

Handling Challenges:

Every business faces challenges, and Max shares his approach to overcoming them. He emphasizes the importance of resilience, problem-solving, and learning from mistakes. By staying proactive and maintaining a positive mindset, you can navigate obstacles and continue to grow your business.

Summary: Overcome challenges with resilience, problem-solving, and learning from mistakes.

Future Trends:

Looking ahead, Max predicts several trends that will shape the future of services for games. He mentions the increasing demand for live services, the rise of AI and automation, and the growing importance of community engagement. Staying ahead of these trends can provide a competitive edge and open new opportunities for service providers.

Summary: Stay ahead of future trends such as live services, AI, automation, and community engagement to gain a competitive edge.

Anecdotes and Reflections:

In conclusion, Max Louis offers a wealth of knowledge for those aspiring to succeed in providing services for games. By understanding the industry landscape, building a strong team, nurturing client relationships, delivering high-quality services, adapting to client needs, investing in marketing, handling challenges effectively, and staying ahead of future trends, you can position your business for long-term success.

Summary: Position your business for success by following these key strategies and staying proactive in the ever-evolving gaming industry.

This blog post is inspired by the podcast discussion between Max Louis and Dan Long on the topic “How to be successful in services for games”.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Introduction:

In the latest episode of the IndieGameBusiness® podcast, Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness®, interviews Chris Zukowski, Creative Director of How To Market A Game. Chris shares invaluable insights into common mistakes indie game developers make and how to avoid them to achieve marketing success. Here’s a detailed breakdown of the key points from the podcast.

Mistakes You Can’t Take Back:

1. Launching into Early Access for Feedback

Early access should not be treated as a beta testing phase. Chris emphasizes that once a game is available for purchase, it is effectively launched. The initial reception in early access heavily influences its future success. Games with minimal early reviews have a significantly lower chance of achieving long-term success. Instead, use in-person playtests, remote playtests, or platforms like Itch.io for feedback.

2. Delaying Marketing Until the Game is Finished

Successful games often have their Steam pages up at least six months before launch. This allows ample time for building a wishlist and creating anticipation. Contrary to popular belief, wishlists do not “age out,” and having a longer marketing runway is beneficial.

3. Waiting Until the Last Minute to Launch Your Steam Page

Getting your Steam page approved by Valve can take time due to potential issues that may need correction. It’s crucial to have your page ready well in advance of any significant promotions to avoid last-minute setbacks.

4. Promoting Your Game Without a Steam Page or Mailing List Ready

Always have a way to capture interest. If your game garners unexpected attention, ensure you have a Steam page, mailing list, or Discord server ready to direct potential players to.

5. Not Updating Your Release Date on Steam

Ensure your release date is accurate to avoid prematurely appearing in the popular upcoming list on Steam. Missing the correct timing here can severely impact your launch visibility.

Steam Page Mistakes:

1. Launching Without a Trailer

A trailer is essential for your game’s announcement. It doesn’t have to be perfect but should exist to draw initial interest.

2. Forgetting Gameplay in the Primary Trailer

Steam users want to see gameplay, not cinematics. The first trailer should focus heavily on gameplay to engage potential buyers immediately.

3. Obscuring Your Game’s Genre

Clarity is key. Ensure that potential players can quickly understand the genre of your game. Use clear descriptions and appropriate tags.

4. Screenshots Without UI

Include UI in your screenshots to help users understand the gameplay mechanics and genre.

5. Overloading with Lore

Too much lore can obscure what the game is about. Focus on clear, concise descriptions that highlight the gameplay and genre.

Communication and Business Mistakes:

1. Looking Like an Asset Flip

Avoid using only stock assets or presenting your game in a way that suggests minimal development effort. Showcase variety and depth in your screenshots to reflect a well-developed game.

2. Having a Quiet Steam Page

Regularly update your Steam page with events, GIFs, and posts to keep it lively and engaging. This activity shows potential buyers that the game is actively developed and supported.

3. Not Cross-Promoting from Old Games

Use your existing games to drive traffic to new projects. Implement cross-promotion strategies like in-game widgets and franchise lists on Steam.

4. Not Utilizing Publisher Cross-Promotion

Leverage your publisher’s network to boost visibility. Publishers should actively promote your game across their platforms and channels.

Anecdotes and Reflections:

Chris Zukowski’s insights provide a roadmap for indie developers to avoid common pitfalls and maximize their game’s market potential. From early marketing strategies to effective use of Steam’s platform, these tips are crucial for indie developers looking to make a significant impact. Implement these strategies to ensure your game not only launches successfully but also sustains long-term growth and player engagement.

For more detailed guidance, visit How To Market A Game and subscribe to Chris’s blog for weekly updates and in-depth analysis on game marketing.

By structuring your marketing efforts and learning from common mistakes, you can significantly improve your chances of success in the competitive indie game market. Remember, consistent and strategic marketing is as crucial as the game development process itself.

This blog post is inspired by the podcast discussion between Chris Zukowski and Jay Powell on the topic “Mastering Indie Game Marketing”

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Introduction:

In a recent episode of IndieGameBusiness®, Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness®, had an engaging conversation with Juliana Brito, CEO of Indie Hero. The podcast titled “Self Publishing, Management, LATAM Game Market, and Investment” provided a wealth of insights for indie game developers looking to navigate the complex landscape of game publishing and investment. Here’s a detailed breakdown of the key points discussed during the podcast.

The Journey of Self-Publishing:

Understanding the Landscape

Juliana Brito began by highlighting the importance of understanding the self-publishing landscape. Self-publishing offers indie developers complete control over their projects, but it also comes with significant challenges. Developers need to be well-versed in various aspects of publishing, from marketing to distribution, to ensure their game reaches its target audience.

Benefits of Self-Publishing

Self-publishing allows developers to retain full ownership of their intellectual property (IP) and creative vision. Juliana emphasized that this autonomy is crucial for indie developers who wish to maintain their unique voice and brand identity. Additionally, self-publishing can be more financially rewarding since developers do not have to share profits with a publisher.

Challenges to Overcome

Despite the benefits, self-publishing can be daunting. Juliana discussed common challenges such as limited resources, lack of marketing expertise, and the difficulty of getting noticed in a crowded market. She advised developers to build a strong network, leverage social media, and invest time in learning marketing skills to overcome these hurdles.

Effective Management Strategies:

Team Building and Leadership

Effective management is essential for the success of any indie game development project. Juliana stressed the importance of building a dedicated team and fostering a collaborative environment. Clear communication, mutual respect, and a shared vision are key components of a successful team.

Project Management Tools

Juliana recommended several project management tools that can help indie developers stay organized and on track. Tools like Trello, Asana, and Jira can assist in task management, scheduling, and tracking progress. These tools are particularly useful for remote teams, ensuring everyone stays aligned and productive.

Balancing Creativity and Business

One of the biggest challenges for indie developers is balancing creativity with business considerations. Juliana advised developers to stay true to their creative vision while also being mindful of market trends and player preferences. A successful game strikes a balance between innovative gameplay and commercial viability.

Navigating the LATAM Game Market:

Opportunities in the LATAM Region

Juliana highlighted the growing opportunities in the Latin American (LATAM) game market. The region has seen significant growth in both the number of gamers and the demand for diverse gaming experiences. This presents a unique opportunity for indie developers to tap into a vibrant and expanding market.

Understanding Cultural Nuances

To succeed in the LATAM market, developers must understand the cultural nuances and preferences of the local audience. Juliana emphasized the importance of localization—not just translating the game, but also adapting it to resonate with local cultures and traditions. This can greatly enhance the player experience and increase the game’s appeal.

Building Local Partnerships

Establishing partnerships with local companies and influencers can help developers navigate the LATAM market more effectively. Juliana suggested collaborating with local publishers, distributors, and marketing agencies to gain insights and support tailored to the region’s unique characteristics.

Investment and Funding Strategies:

Attracting Investors

Securing investment is often a crucial step for indie developers looking to scale their projects. Juliana shared tips on how to attract investors, including creating a compelling pitch, showcasing a well-developed prototype, and demonstrating a clear understanding of the market. Investors are more likely to support projects that have a solid business plan and a clear path to profitability.

Alternative Funding Sources

In addition to traditional investors, Juliana discussed alternative funding sources such as crowdfunding, grants, and government programs. Platforms like Kickstarter and Indiegogo can be effective for raising funds while also building a community of supporters. Grants and government programs, particularly in regions like LATAM, can provide financial support with fewer strings attached.

Sustainable Financial Management

Juliana emphasized the importance of sustainable financial management. Developers should budget carefully, track expenses, and ensure they have a financial cushion to weather unexpected challenges. Sound financial practices not only help in managing current projects but also make developers more attractive to potential investors.

The Role of Community and Feedback:

Engaging with the Community

Building and maintaining a strong community is vital for the success of indie games. Juliana highlighted the importance of engaging with players through social media, forums, and events. Active community engagement can lead to valuable feedback, increased loyalty, and word-of-mouth marketing.

Incorporating Player Feedback

Listening to player feedback is crucial for refining and improving a game. Juliana advised developers to be open to constructive criticism and to use player insights to make informed decisions about game updates and features. This iterative process helps in creating a game that meets player expectations and stands out in the market.

Looking Ahead: Trends and Future Directions:

Emerging Trends in Indie Game Development

Juliana and Jay discussed several emerging trends in the indie game industry. From the rise of mobile gaming to the increasing popularity of VR and AR, developers have numerous opportunities to innovate and explore new frontiers. Staying abreast of these trends can help developers anticipate market shifts and adapt their strategies accordingly.

The Future of Indie Publishing

The future of indie publishing looks promising, with more tools and platforms available to support developers than ever before. Juliana expressed optimism about the continued growth of the indie game sector and encouraged developers to remain passionate, persistent, and open to learning.

Anecdotes and Reflections:

In conclusion, the podcast provided a wealth of insights for indie developers navigating the complexities of self-publishing, management, and investment. Juliana Brito’s expertise and experience offer valuable lessons for anyone looking to thrive in the indie game industry. By leveraging the right strategies and staying committed to their vision, indie developers can achieve success and make a lasting impact on the gaming world.

Key Takeaways:

Self-publishing, effective management, understanding the LATAM market, and securing investment are critical components of indie game development. Juliana Brito’s insights provide a comprehensive guide for indie developers looking to succeed in these areas. By embracing these strategies and staying adaptable, indie developers can navigate challenges and seize opportunities in the ever-evolving gaming industry.

This blog post aims to provide a detailed overview of the podcast discussion, offering actionable advice and highlighting key trends for indie game developers. With the right approach, indie developers can not only survive but thrive in the competitive world of game development.

This blog post is inspired by the podcast discussion between Juliana Brito and Jay Powell on the topic “Self Publishing, Management, LATAM Game Market, and Investment“.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Introduction:

In a recent episode of IndieGameBusiness®, host  Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness®, sat down with Alan Wilson, Co-Founder of Tripwire Interactive, to discuss crucial aspects of indie game funding and publishing. This insightful conversation shed light on the evolving landscape of the gaming industry, offering valuable lessons for indie developers navigating these challenging waters.

Alan Wilson’s Impact on Indie Game Business:

Jay Powell began the podcast by expressing deep gratitude to Alan Wilson for his significant contributions to the indie game community. Alan’s support has been instrumental in the growth and success of IndieGameBusiness®. His willingness to provide financial backing and guidance has helped the platform flourish, enabling countless indie developers to learn and grow.

The Evolution of Tripwire Interactive:

Alan shared the fascinating journey of Tripwire Interactive, starting as a mod team for the game Red Orchestra. Winning the “Make Something Unreal” contest in 2004 was a turning point that led to the formation of the company. This success story serves as an inspiration for indie developers, highlighting the importance of perseverance, collaboration, and seizing opportunities.

Navigating the Challenges of Funding:

One of the key topics discussed was the evolution of funding in the indie game industry. Alan emphasized the changing dynamics over the past two decades, particularly the impact of the global pandemic on the market. The pandemic caused a surge in game sales, followed by a period of readjustment. Understanding these market trends is crucial for indie developers seeking funding.

The Role of Smart Money:

Alan explained the concept of “stupid money” and “smart money” in the context of game funding. During the pandemic, there was an influx of investors unfamiliar with the industry, leading to irrational investments. As the market stabilized, “smart money” began to play a more significant role, making careful and strategic investments. Indie developers must recognize the importance of aligning with experienced and knowledgeable investors.

The Importance of Adaptability:

The conversation highlighted the need for adaptability in the ever-changing gaming industry. Alan discussed how Tripwire Interactive had to pivot and adjust their strategies in response to market shifts and unexpected challenges, such as the pandemic and subsequent economic fluctuations. Indie developers must remain flexible and open to change to survive and thrive in this competitive landscape.

The Reality of Acquisitions:

Alan shared insights into the acquisition of Tripwire Interactive by Embracer Group. He emphasized that such deals can bring both opportunities and challenges. For indie developers, understanding the implications of potential acquisitions and how they can impact their creative freedom and business operations is essential.

Lessons from Layoffs and Restructuring:

The discussion also touched on the difficult topic of layoffs and restructuring within the industry. Alan pointed out that while painful, these decisions are sometimes necessary for long-term sustainability. Indie developers should be aware of the realities of the industry and prepare for potential challenges by building resilient and adaptable business models.

Building a Sustainable Future:

Alan’s advice for indie developers focused on the importance of sustainability. He encouraged developers to prioritize creating a strong foundation for their studios, emphasizing the value of steady growth over rapid expansion. By building a sustainable business model, indie developers can weather market fluctuations and continue to produce high-quality games.

Anecdotes and Reflections:

The podcast episode with Alan Wilson provided invaluable insights into the world of indie game funding and publishing. His experiences and advice serve as a guiding light for indie developers striving to make their mark in the industry. By understanding market trends, aligning with smart investors, remaining adaptable, and building sustainable business models, indie developers can navigate the challenges and seize the opportunities that come their way.

5 Key Takeaways:

1. Perseverance and Collaboration: The success of Tripwire Interactive underscores the importance of persistence and teamwork in the indie game industry.

2. Market Trends Awareness: Understanding market dynamics and trends is crucial for securing funding and making informed business decisions.

3. Smart Money: Aligning with knowledgeable investors can provide the strategic support needed for sustainable growth.

4. Adaptability: Flexibility and openness to change are essential for navigating the ever-evolving gaming landscape.

5. Sustainability: Prioritizing steady growth and building a resilient business model can help indie developers endure market fluctuations and achieve long-term success.

This comprehensive discussion between Jay Powell and Alan Wilson offers a wealth of knowledge and practical advice for indie developers, making it a must-listen for anyone involved in the indie game industry.

This blog post is inspired by the podcast discussion between Alan Wilson and Jay Powell on the topic “The Most Important Things You Need to Know About Indie Game Funding and Publishing.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Podcast Recap: “An Indie Game: From Conception to Completion”

Indie game development: In this episode of our podcast series, “An Indie Game: From Conception to Completion,” we had the pleasure of hosting Renee Gittins, the studio head of Stumbling Cat and the brilliant mind behind Potions: A Curious Tale. Joining us as our podcast host was none other than Jay Powell, the esteemed CEO and Founder of The Powell Group and the mastermind behind IndieGameBusiness®.

Indie game development: Conceiving Potions: A Curious Tale

Renee Gittins shares the genesis of Potions: A Curious Tale, revealing that it began as a portfolio piece rather than a commercial venture. Despite its ambitious scope, Renee embarked on the journey with determination and passion, setting the stage for a decade-long endeavor.

Staying Current in a Dynamic Industry

Addressing the challenge of staying abreast of industry trends over a prolonged development period, Renee discusses her approach to keeping marketing efforts current and staying connected with her audience, particularly through platforms like TikTok.

Mechanics and Approach: Crafting a Unique Experience

Renee delves into the mechanics and approach of Potions: A Curious Tale, highlighting its blend of old-school adventure game vibes with fresh mechanics. She shares insights into her creative process and the intentional choices made to deliver a unique gaming experience.

Marketing Strategies: Building Excitement and Gathering Feedback

Exploring her marketing strategies, Renee reveals the decision to launch a demo of Potions: A Curious Tale to generate excitement and gather feedback from players. She shares her comprehensive approach to marketing, including leveraging platforms like TikTok to maximize reach and impact.

The Ideal Launch Date: A Strategic Choice

Renee shares her strategic decision to launch Potions: A Curious Tale on International Women’s Day, aligning with the game’s themes and audience. However, fate had other plans as EA’s sudden release overshadowed her launch, leading to unexpected challenges.

Devastating Disruptions: Coping with Unexpected Events

The fallout from EA’s release disrupted Renee’s meticulously planned marketing strategy, leading to a devastating impact on her launch. Despite her extensive preparation, Renee found herself grappling with unforeseen obstacles that threatened to derail years of hard work.

Turning Adversity into Opportunity: The Power of Resilience

In the face of adversity, Renee refused to succumb to despair. Instead, she took to social media to voice her frustrations, inadvertently sparking a viral response. While the backlash was intense, it ultimately led to increased exposure and higher-than-expected sales, showcasing the power of resilience in the indie game landscape.

Prioritizing Mental Health: Finding Balance in Work and Life

Reflecting on the toll of relentless work hours and online harassment, Renee emphasizes the importance of prioritizing mental health. From setting boundaries to embracing self-care practices, Renee shares her journey towards achieving a healthier work-life balance and encourages others to do the same.

Lessons Learned: Embracing Self-Compassion and Bite-Sized Goals

Through her experiences, Renee highlights the importance of self-compassion and setting manageable goals. By acknowledging her limitations and celebrating small victories, Renee has cultivated a more sustainable approach to game development, rooted in balance and well-being.

Crisis Management: Navigating Online Backlash

When the unexpected happened and online backlash ensued, Renee found herself in the midst of a digital storm. With no dedicated community managers, she had to rely on her own resilience and coping mechanisms to navigate the situation.

Prioritizing Engagement: Managing Discord and Steam Communities

Despite the overwhelming volume of negative comments flooding social media platforms like TikTok, Renee focused her attention on managing her Discord server and Steam community forums. By actively moderating these spaces, she maintained a sense of control amidst the chaos.

Seeking Support: Finding Solace in Kindness

Amidst the negativity, Renee found solace in the support of her fans and industry peers. Positive messages and expressions of solidarity served as a source of encouragement, reminding her that she was not alone in facing adversity.

Embracing Self-Care: Balancing Work and Well-Being

Recognizing the toll that the ordeal took on her mental health, Renee made a conscious effort to prioritize self-care. From taking breaks to engage in outdoor activities to curating a “good feels” document filled with uplifting messages, she sought refuge in activities that nurtured her well-being.

Turning Adversity into Opportunity: Leveraging Press Coverage

Despite the initial setback, Renee’s resilience and the support of the gaming community ultimately turned the tide in her favor. Press coverage highlighted her story, shedding light on the challenges faced by indie developers and amplifying her game’s visibility.

Marketing Insights: Navigating Social Media Platforms

Reflecting on her marketing efforts, Renee shares valuable insights into the dynamics of social media platforms like Instagram and TikTok. While click-through rates may vary, she emphasizes the importance of authenticity and relatability in engaging with younger audiences.

From Indie Developer to Influencer

Renee shares her experiences with TikTok fame and the unexpected turn of events that led to her being approached as a paid influencer. Despite the offers, she maintains a personal approach to her content and marketing, navigating the complexities of online attention.

Navigating Platforms and Rules: Insights on Steam and Marketing

In response to questions about platform rules and marketing strategies, Renee shares her thoughts on platforms like Steam and offers advice on driving engagement and wishlists through social media platforms like TikTok.

Time Management and Solo Development

Discussing time management and the solo development process, Renee shares her approach to structuring her workload and balancing development tasks with marketing efforts.

Reflections on Team Dynamics and Future Plans

Renee reflects on her experience as a solo developer and shares her thoughts on working with larger teams in the future, emphasizing the importance of maintaining a lean team and learning from past experiences.

Building Hype and Driving Engagement: Lessons Learned

Sharing insights on demo launches and driving engagement, Renee discusses her experience with building hype for her game and offers advice on leveraging platforms like Steam Next Fest.

Adapting to Change: Thoughts on the Future of Marketing

In response to questions about the future of marketing efforts for games, Renee emphasizes the importance of adapting to change and staying dynamic in response to shifts in audience behavior and platform popularity.

Industry Challenges and Personal Resilience

Reflecting on the current state of the industry and her personal journey, Renee shares her thoughts on industry challenges, resilience, and her unwavering passion for game development.

Conclusion: Key Takeaways:

In conclusion, Renee Gittins’s journey from conception to completion of Potions: A Curious Tale is a testament to the resilience and determination required in the indie game landscape. Despite facing unforeseen challenges, including the unexpected overshadowing of her launch by EA, Renee navigated the turbulent waters with grace and resilience. Her story highlights the importance of prioritizing mental health, embracing self-compassion, and finding balance in work and life.

Through adversity, Renee discovered the power of community support and leveraged press coverage to amplify her game’s visibility. Her insights into marketing strategies, time management, and solo development provide invaluable lessons for aspiring indie developers. As she continues her journey, Renee remains committed to fostering inclusivity and diversity in the industry while embracing the ever-evolving nature of game marketing.

Ultimately, Renee’s story serves as a beacon of hope for indie developers, showcasing the transformative power of resilience, self-care, and unwavering passion in the face of adversity. As the industry continues to evolve, Renee’s journey reminds us that with determination and perseverance, anything is possible in the world of indie game development.

This blog post is inspired by the podcast discussion between Renee Gittins and Jay Powell on the topic “An Indie Game: From Conception to Completion.“

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

“Mastering the Game: Creating a Budget and Schedule for Your Game” – Heather Chandler, Game Development Expert at The Powell Group
Heather spoke about the essentials of project management and why it’s important for your game. She discussed mapping out milestones, creating a schedule, determining how many people you need, and putting together an initial budget. Gain practical insights that you can apply to your own game budgets, schedules, and resource plans.

“Marketing Should Be Your First Thought Not Last – Concepting A Game With Marketing” – Michael Brown, Founder of Vicarious PR
All too often games are made without a thought of commercial viability and marketing until it is almost complete. Vicarious PR founder Michael Brown spoke about how marketing and market research should be informing your game concept from the very start and how that can lead to better sustainability and game design.

“How To Find A Publisher For Your Indie Game” – Jay Powell, CEO of The Powell Group
Jay’s lecture will give you the step by step guidance you need to start your outreach to publishers after a game jam. It also covered best practices for the process and how to manage the process. This lecture walks developers through the process of using The Powell Group’s publisher and investor list.

You find these lectures along with the lectures for all the IndieGameBusiness podcasts and conference on our YouTube page.

Attend free sessions on video game business, marketing, and licensing with industry leaders February 5th – 9th

IndieGameBusiness® and Global Game Jam are thrilled to announce they’ll be in co-op mode for their event “So you made a game, now what… the next steps to getting your game pitched, made and published” from February 5th – 9th. Following the January Global Game Jam®, which took place January 22 – 28, free lectures from industry experts will be available for session attendees. In addition, IndieGameBuiness® will be donating 50 all-access passes, pitch deck review sessions, and inclusion in IGB marketing events to select Global Game Jam participants. 

Beginning on February 5th at 10am EST (7am PST / 3pm GMT), free digital lectures will take place with industry leaders covering all things video game business and marketing. Speakers and lecture topics during the event will be: 

• February 5th at 10am EST:  Jay Powell, CEO at The Powell Group – “Why Business is important“
• February 6th at 9am EST:  Margarita Pino, Business Developer at The Powell Group – “Pitch Lvl Up (Pitch building + improvements)“
• February 7th at 1pm EST: Heather Chandler, Game Development Expert at The Powell Group – “Mastering the Game: Creating a Budget and Schedule for Your Game”
• February 8th at 2pm EST:  Michael Brown, Founder and CEO at Vicarious PR – “Marketing Should Be Your First Thought Not Last – Concepting A Game With Marketing” 
• February 9th at 10am EST:  Jay Powell, CEO at The Powell Group – “How to find a publisher“

As long-standing events and organizations in the gaming industry, IndieGameBusiness® and Global Game Jam® are teaming up to bring even more resources to current and aspiring developers alike. IndieGameBusiness® is thrilled to be the longest-running virtual event in video games, specializing in providing resources about the business of making games. As the world’s largest game creation event, non-profit Global Game Jam® invites participants from around the globe to come together, whether it be in-person or virtually, to create games around a central theme. Together these two organizations are going co-op mode to expand their events and resources. 

Join IndieGameBusiness® and Global Game Jam® for “So you made a game, now what… the next steps to getting your game pitched, made and published,” taking place from February 5th – 9th on Facebook, YouTube, and Twitch.

The Global Game Jam® (GGJ®) is the world’s largest game creation event taking place in physical and virtual locations across the globe. Think of it as a 48-hour hackathon focused on game development around a theme.

GGJ’s mission is to stimulate innovation, experimentation, and collaboration through the medium of games in a safe and welcoming environment.

About The Powell Group

IndieGameBusiness® is an initiative of The Powell Group. The Powell Group is a full-service consulting firm led by a CEO with over two decades of industry experience. They currently scout games for multiple publishers and investors, help facilitate partnerships between IP holders, developers and publishers, and provide detailed consulting and support for a number of companies. Additionally, their education initiative IndieGameBusiness® provides an understanding of the business and marketing aspects of the games industry on eleven major podcasting platforms weekly.

With their vast industry knowledge and extensive network with more than 7,500 developers and over 600 publishers, they assist clients with projects at every stage to connect them with the resources needed to succeed.

This is the most frequently asked question that comes from indie developers. Unfortunately it doesn’t have a clear cut answer. Every studio is different, every game is different, and every publisher is different. The most basic form of the question can be answered with a simple flowchart.

In reality it’s never quite that simple but those three questions will put you on the right track. Development funding and the user acquisition campaigns necessary for a successful free-to-play title require large amounts of cash up front. This is typically the major selling point for getting a publisher. If you’ve never published a game before then you just need to know about all the other things that publishers do and how to do that well. It isn’t something you want to figure out as you go.

What Do Publishers Do?

Good question and again, no clear cut answer. Twenty years ago we had 30-50 publishers globally that were worth pitching product to. Now our firm tracks over 600. With that there is a lot of variation in services and the quality of services.

Before the days of Steam and iTunes a publisher was mandatory if you wanted to be on a store shelf and been seen by consumers. Publishers were the ones that had the relationships with Wal-Mart, Best Buy, GameStop, etc. and they handled all the manufacturing, shipping, and warehousing of the games. Publishers were also the ones the maintained the relationships with the major magazines and websites when it came time to promote a title.

Today most games are sold digitally through Steam, Apple, Google, Epic, Microsoft, Sony, and Nintendo. The streamers are quickly replacing the “old gods” of marketing and PR and developers have direct access to them. The key position that publishers held fifteen years ago is gone and the line between developer and publisher has faded but having a publisher on board can still be very beneficial.

Looking solely at today’s digital market, publishers have five (or six) primary roles.

1. Development funding
2. Testing and QA
3. Localization
4. Distribution
5. Marketing
6. User Acquisition (Mobile only)

Aside from the funding, each of these jobs can be handled directly if you have the time, experience, financing, and the contacts to do so. An indie developer CAN do all of these things, the question you have to ask are “Do you want to?” and “How much revenue are you willing to give up to have someone else do it?”.

Identifying Your Publisher

The first step in finding the right partner for your game is understanding exactly what you need. The more aspects of the process you can handle internally, the better terms you can negotiate for yourself. Understand which publishers provide which services and start there. Keep in mind that if you are asking for funding for your game you will most likely be handing over the reins to that partner for everything.

The Heavy Hitters

Activision, EA, Ubi Soft, Take Two, etc. The powerhouses of the industry. If your team has shipped AAA titles that reviewed well in the past and your budget is in the tens or hundreds of millions, these are the companies you will go to. Many of these publishers don’t want to look at a game unless they are confident it will sell over 10 million units. They have the money to finance multi-year development cycles and they go all out when it comes to marketing and exposure. As an indie, your chances here are slim, but if you have the right team and the right track record they are a deep pocket of funding.

The Mid-Tier

Publishers in the middle of the market stand out from the digital publishers because they do fund development of outside titles and frequently distribute RFP’s (Request For Proposal) to developers for the purpose of finding a team to develop a game based on one of their internal IPs. These publishers will also bear most of the load when it comes to the testing, QA, marketing, etc but their sweet spot for funding is usually $500,000 USD to one and a half million. The lower the better. It will be mandatory for you to have a solid playable version of your game before approaching these companies

Indie Publishers

Recent years have seen the growth of what we call “digital publishers”. These are companies that have historically had a PR or Marketing role in the industry or formerly ranked as one of the mid-tier publishers who were pushed off the retail market as shelf space started shrinking. These companies will rarely pay advances but if they do it will be under $500,000 USD. Many of these companies focus on supporting indie teams. They work with late stage games, help with some polish and then manage testing, localization, and marketing.

Building Your Target List

Once you understand what you need it’s time to start building a target list. Ideally you need a CRM software solution for this. There are several affordable options here, just search for small business CRMs. Start by looking up the publishers for the platform you are going to lead with. Steam lets you click straight through to a link with the publisher’s name so you can see in an instant how many games they’ve published and a few more clicks tells you how the game was received. You can also simply download the publisher and investor list we release each year.

It isn’t difficult to do the same research on mobile. SensorTower is an option, the iOS and Google stores are obvious sources, or you can look at Data AI. There are a lot of analytics companies out there on mobile. You may need to sign up for a free account but it’s a small price to pay.

For all of these sources you need to dig deep into the list. The front page of the mobile stores will be full of Rovio, King, Glu, Tencent, Supercell, etc but you need to understand that your probability of landing a deal with one of the big firms is extremely small. Publishers in the top 200 for mobile are very viable partners for most games.

Narrow It Down

With your list in hand it’s time to start weeding them out. Go back to your research and look at the overall rankings and reviews for the games the publishers released. Track the user reviews or Metacritic scores in a spreadsheet and start seeing who has the games that are consistently well received. Google the company and see the press they have received and if there are any epic rants aimed at them from unhappy developers. Reddit and Gamasutra are two great resources here. Just remember, it’s the internet and you’re ten times as likely to find someone angry as you are to find an article lavishing them with praise.

Here are some of the basic “Red Flags” to look for:

• Overall poor reviews
• Few releases
• Public complaints from other developers
• Bad press in industry publications
• Have you ever heard of their games?

You want to focus on publishers that have published titles similar to yours. They have a better understanding of that market from experience and you’ll reap that reward. If you’re building a top down shooter, don’t pitch your title to a company that focuses on 4x strategy games. Also be on the lookout for niche publishers. Some companies may only have a handful of releases but they are done very well or they all target a very specific demographic. Those companies have their type of game down to a science and they could yield you phenomenal sales.

Qualifying Your Partner

Once you have your partner selected and the deal is moving forward you need to fully qualify the company and the individuals you will be working with. This is something that absolutely needs to be completed before the contract is signed. Even when faced with bad news or insights into the company that concern you, it is very hard to let go of a deal that looks like it is moving forward. It is imperative that you weigh this decision carefully. The future of your company could be at stake.

First you need to check references on the company you are going to be working with. Not the references they send you, the references you find on your own. When someone asks you for references concerning a job or a new deal, do you send them to the people that might reflect poorly on you? No. You send them the safe references. We’ve all been guilty of it at some point. The same is going to be true of other companies when you ask them. For that reason, it is always imperative that you do your own research.

How? Simple. Look at the games the publisher has released in the last two years. Find the developers and reach out to them directly. Be as upfront as you can without violating your NDA but let them know you’re considering working with this publisher and you’d like to know how their experience went. Here are a few good questions to get you started.

• Who was your producer and what was the experience like with this individual?
• What was the usual turnaround time on email responses?
• What did they promise to do for you and did they follow through on it?
• What type of marketing did they do and was it effective?
• Did they use the most up to date screenshots and features during promotions?
• Did they use the most up to date build of the game when sending or showing demos?
• Have their sales reports been up to date and accurate?
• Have they paid their advances or royalties on time, every time?
• Would you work with this publisher again?

The final question is the key one. Many things can go wrong during the course of publishing a game. Some of them may be honest mistakes, some may be out of your publisher’s hands. If there were parts of the experience that didn’t go like they wanted to but the developer says they would work with that publisher again, it’s a good sign.

Conclusion

I highly encourage you to think heavily into whether or not you really need a publisher. If you do, it’s a big choice and you should not rush into any agreement. Do your research, have a lawyer review your agreement, fully understand the terms and payment information, and research your partners. You will end up with a much better experience.

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One of the main things Andrew discusses is the ways in which marketing in general for the indie game market works. He states that although when working with a publisher it is still the developer’s responsibility to supply the materials needed for marketing. The difference is the ways in which publishers simply just have the knowledge to get the resources provided to a larger audience. One of the things that Andrew touched on that really stuck out was that things like Screenshot Saturday and Wishlist Wednesday are not really effective marketing strategies to help your project get attention and support. He states these are great fun little things to do on the side but that you really should not be banking on these social media posts selling your game for you.

Another important topic that Andrew covers about what publishers can do to help included localization and porting services. He flat out says that attempting to get your game on the market for the Playstation 5 is next to impossible without a publisher to help in the process of getting a development kit. He also talks about how publishers help streamline the porting process as many new bugs can pop up when porting, it isn’t as simple as copying and pasting to a new platform.

Andrew mainly stressed that when getting a publisher you are essentially paying for someone with information. When self publishing for the first time there are just a lot of things you do not have experience with that can make it more difficult than it needs to be to find success. He stresses to just be clear and commutative with potential publishers so there is a clear understanding of what both sides expect that can lead to a mutually beneficial partnership.