Secrets of the Game Business (Game Development Series)
When pitch day arrives, again, preparation is the key. If you do not appear confident, organized, and in control of something as simple as a meeting, how can you expect a publisher to trust you with a complex, lengthy development process?
Publishers like to see clean, well-organized offices, but anything overtly flash will trigger alarm bells about your overheads and how much of your burn rate is actually spent directly on development.
It is fairly common within the industry for staff to work flexible hours, but when you are expecting a publisher visit it is vital that all staff are present, particularly the key staff members who will usually be required to say a few words during the studio walkabout.
Ensure the day prior to the pitch that all documentation is printed and bound, and any demos, presentations, and machinery are updated and running smoothly in the required location.
Meeting rooms should be kept cool, so that your visitors won't feel sleepy. Any unrelated materials and whiteboard markings should be covered or removed from the room.
Just before the representatives are due to arrive, grab a handful of business cards and ensure that all mobile phones are switched off and external calls are diverted.
First Impressions
Remember:
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Make a mental note of representatives' names beforehand and be sure to use them correctly.
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Offer a firm handshake, a smile, lots of eye contact, and a selection of beverages.
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Don't jump straight to business; try to connect on a personal level first.
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Remain confident at all times. Remember, this is your product and it is your job to set the pace.
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Avoid appearing overly somber and business-like, but conversely don't attempt your latest stand-up routine.
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Avoid making negative comments about past or present projects or partners.
Order of Play
Creative meetings are at their best when organic in nature, but where business is involved it is important to have at least a basic order of play. Expect the natural progression of such meetings to be as follows:
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Show and tell. Start with a mutual exchange of company-related information such as studio locations, staffing, head count, current products and performance, and future plans.
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Presentation. Go through your presentation with the publisher. Now that you have their undivided attention, feel free to expand verbally on each point— within reason! If you have playable code, end the presentation by showing them the game in action and allow them to try it.
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Studio walkabout. Before discussing the finer points such as deal terms, take a break and show the publisher around the studio, allowing them to gauge how you work. Obviously, for bigger studios it's not feasible to meet every staff member individually, but be sure to stop and talk with key staff, and where possible, show work in progress on both the game you are pitching and any other products in development.
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Fine print. Upon returning to the meeting room, you should now broach the subjects of schedules, budget, and any important contractual terms. At this stage, most publishers will simply require a cash figure and delivery date, but some might want to go into more detail—so be prepared!
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Winding up. It is incredibly rare that a publisher will commit, even verbally, to a product at this stage. If you're lucky enough to have in attendance someone with the authority to do so, he or she will usually still need time to discuss matters internally, especially if any new issues arose during the meeting. All you can do now is thank them for their time, ensure that they have all the necessary information, and show them
Case Study 3.2.2: Acclaim
As the complexity, costs, and gestation periods of new titles increase, publishers demand to see more of games and their developers before signing deals. However, are they asking too much? Jeremy Chubb, Acclaim's product development manager, international, reveals his expectations.
| Q: | First impressions are important, so how should developers best approach you? | |
| Q: | What are the different stages of the evaluation process, and what is required of the developer? | |
| Q: | Do you have a preference for people using their own tech or using middleware solutions? | |
| Q: | What would be your definition of the perfect pitch? | |
| Q: | What are the most common mistakes developers make when pitching? | |
| Q: | What is the single most important thing a developer can bring to the table? | |
Answers
| A: | "It really shouldn't make any difference, although arriving on a packed and noisy stand at E3 brandishing design documents and business cards probably isn't the best approach. Most publishers are bombarded by requests for meetings a couple of months before trade shows, and schedules tend to be packed by the time the show starts. "An e-mail with some basic assets introducing the pitch/studio is an ideal start, and a call to make sure the e-mail got through to the right person is recommended." |
| A: | "This depends on how far along the project is. Concepts reviewed can range from single-page designs from unknown startups to complete games from the greatest developers in the world, and the process is different for each. "A general approach for a new developer with an unknown game on new technology might look something like this:
"It's very rare for this to actually be the case, though. An experienced developer with a recent hit and a great concept can expect to walk straight into a senior executive meeting. Similarly, a near-final game can be appraised very quickly. Many games are developed based on an existing relationship with a studio and publisher. Z-Axis' Aggressive Inline was signed based on the studio's success with Dave Mirra BMX 2, and Criterion signed Burnout 2: Point of Impact based on the huge success of their excellent first game." |
| A: | "There's no real preference. Burnout 2 and GTA3 are great examples of middleware generating great sales. "The benefit of using middleware is that it allows developers to get playable demos up and running quickly and cheaply, particularly on new hardware. Publishers warm to proof of concept like nothing else, and particularly for smaller developers, this can be the best approach." |
| A: | "I recently saw the perfect pitch. The developer had worked hard to create assets for everyone concerned and had taken advantage of early feedback on the design, cost, and timelines. The result was a final meeting to pitch to senior executives at the publisher. They arrived an hour before the meeting to set up the room and ensure that all the equipment worked on cue. It was a 45-minute pitch detailing the following: For senior executives: A PowerPoint presentation of the concept and overview document containing:
For producers:
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| A: | "Too many developers pitch an approximation of a concept, rather than a clearly defined game. Knowing that the publisher will want creative input, developers are often overly cautious in developing their ideas. "It's no use answering questions like 'how much will it cost?' with 'how much do you want to spend?' or 'what's the play-through time?' with 'as long as you want.' "Publishers are most attracted to groups with a clear vision and total understanding of cost and schedule details." |
| A: | "Experience. There's no substitute for a proven track record in the chosen genre." |
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