RIP: A Remix manifesto

I watched this pretty decent documentary on the Air Canada flight back from Montreal on Saturday.

A couple intesting takeaways:

- How cow. Girl Talk doesn't use a mac? Microsoft lost marketing opportunity FAIL!

- It's pretty awesome that a major airline like Air Canada airs a documentary that itself states that it is in violation of copyright.

Anyhow. Mini review:

The movie itself doesn't have a lot new to offer folks that have listened to Lawrence Lessig's lectures or read any of Cory Doctorow's (many) pieces on the subject (both of whom appear in the doc). If you haven't, then it's a good crash course. On the down side, it doesn't do much to at least try to give perspective on the other side of the argument.

Awesome peek into the creative process

Several people pointed me to this awesome post about the recent release of a 125-page transcript of the original 1978 story conference between Spielberg, Lucas and Lawrence Kasdan, in which they brainstormed what would turn out to be Raiders of the Lost Ark.

Wow. I haven't gotten through the whole thing yet, but at the very least, do yourself a favor and read the blogger's excepts and analysis, in which he pens a top 10 lessons to take away from it. e.g:

8) Consider their approach to budget.

Keeping the film cheap was a way of testing the idea of Indiana Smith. Lucas said, “Part of it is the energy of making it reasonably low budget. It’s also a test of the idea. If it’s good, then we’ll be okay.”

I wonder how many game project discussions have tested this:

"It's our most awesomest idea ever! We need to go big!"

"If it's that great an idea it should work on a lower budget"

:-)

Book Review: Inventing the Movies

A while back I finished  (deep breath) Inventing the Movies: Hollywood's Epic Battle Between Innovation and the Status Quo, from Thomas Edison to Steve Jobs (exhale), by Scott Kirsner but never got around to posting about it in any detail.

The book is entertaining for anyone in an interest in business, in film, and in how technical innovation affected the business of film and vice versa.

For those with a vested interest in a similar space, such as gaming, the book is a must read. The parallels of history repeating itself are numerous and uncanny in their similarity.

A couple random examples: 

• The reluctance of film editors to adopt digital editing systems and cinematographers to adopt digital cameras, have some parallels to the NIH reluctance we saw around the adoption of game engine middleware.
• The concerns some have expressed about consolidation of distribution into the hands of console owners (see here and scroll down to Burning Mad) is similar to that expressed when studios locked up all the theaters and controlled distribuiton that way (pay attention MS/Sony/Nintendo - that one ended in a DOJ consent decree)
• Many, many cases of elitism by the established players poo-pooing the new media and those quick to move to it. Pick your favorite EA, MS, Sony quote dissing casual games a few years back, or free-to-play biz models, or whatever.
• Movie vendors said "no one will want to watch movies on a screen that small!" about TV, then about portable DVD players, then iPods. I hear the same thing about games on phones, iPhones, Netbooks, etc.

Anyone with time spent in the games business will see parallels upon reading Kirsner's book. The question, of course, is how to avoid falling into this trap of repeating history. First step, the easy one, is to know it, and this book is a good start. The harder step, is to be aware of which side of the fence you are on: Innovator or Luddite, and take a good introspective look on whether you've really assessed things objectively, or whether you sit too far to one side or the other.

Kirsner has a good blog where he continually covers this stuff, located here.

iTunes Abandons Music DRM - Could Games be Next?

The internets are afire with news that Apple is abandoning DRM from their music on iTunes. Apple fans everywhere will say that this was Jobs intent all along, naysayers will say it was pressure from customer defection to places like Amazon MP3 (where I currently buy my tunes). Regardless, it's a good thing.

[As an aside, it's interesting that Apple caved to the labels' request for tiered pricing, which they've lobbied for in the past. Songs will be $0.69 and $1.29. Compared to Amazon's $0.99. I think the labels are entering a dangerous game by opening the pricing can of worms. They may end up getting the whip 'o the long tail. It's also cool that they are letting people un-DRM their previously-purchased songs, but kind of shitty that a customer has to pay them $0.30c/song to basically uncripple it]

Anyhow, while this is good, as BoingBoing points out there's still DRM-crippled sales around audio books (through an exclusive arrangement with Audible), and Video. Also, BB didn't point it out, but games too, are DRM-crippled at this time.

In the past, I've posited that it seems inevitable that the same consumer demand for DRM-free content will spread from music to video and eventually to games. However, I thought it would go in that order. Movies first after music, games last.

My thinking there was that (a) games tend to have the highest price point ($60 retail titles) and a fanbase most aligned, stereotypically anyway, with the 'young male hacker type' stereotype, they are played on connected compute platforms, so less 'owning the media as incentive to go legit', and (c) movies tend to have a glut of hit-driven inventory even more so than games (not sure about this, but that was my thinking).

In thinking about this in the context of iphone, I'm now rethinking that position.

When looking at iPhone games, or all apps for that matter:

• The vast majority of paid-for apps are $0.99 price point, so similar to music. The convenience of purchase vs pirate is similar to music
  
• The biggest obstacle for most devs isn't piracy, it's obscurity, just as it is for authors and musicians.
• As apps get connected, and I assume more of this will come, there's the possibility of connecting them to services that are for legit customers only
• It's a new platform with a new base of apps, unlike movies which are shackled to a lot legacy agreements about distribution rights and rev sharing and the like.

The question that remains, of course, is whether customers will actually ASK for DRM-free game titles, and if so, for what? 

Music and video content are consumable on other devices. I might want to back them up, play them on my 360 or in the car. DRM stops me from doing that, or at best tells me how and when I can. Thus the bad taste.

The games, on the other hand, are written only for an iphone. so what do I stand to gain from DRM removal: moving to your spouse's iPhone? Upgrading phones? Play the games on an iphone emulator on my PC or mac? I'm not sure, but I'd like to know I have the option. Still that's likely a minority sentiment. Real pressure will only come if masses of customers have something they want to do, today, and start to demand it, as they've done with music. 

The only legit reason that comes to mind that would be truly compelling is if someone (Google? Nokia? RIM?) were to come out with a competitive phone that could (natively or through emulation) run iPhone apps. If that were the case, as a customer, I might be tempted with the other device, but faced with a software library that won't come with it. 

And that might tick me off... and remind me of when I had the same issue with music...

The Numbers

I was in SFO last week and hooked up for a conversation with a developer friend after my meetings, etc.

Among the many topics discussed, he raised some concerns about our industry's lack of "sharing" numbers. (Further conversation defined 'sharing' as 'widely available numbers through sharing/leaking/research/analysts/etc'). The conversation was precipitated from a discussion of Valve's disclosure of some numbers last week, the coverage of which didn't discuss some of the titles/genres that haven't fared as well on Steam (some titles that have been released on PSN, WiiWare, etc, are rumored to have fared far better than on XBLA's 

I pointed to VG Chartz as one example of how people are making some numbers available (whether released or reverse-engineered in the case of XBLA titles).

As a comparison point, he pointed me to the AWESOME site, The Numbers, which covers the movie industry and has just about every data point you'd ever want to pull.

He cited this as an example of a different attitude to sharing numbers within Hollywood. I beleived it was a symptom of supply and demand. Bigger industry, more demand for the numbers, more people figuring out ways to make money off covering that scene. I think we'll get there over time, though a change in attitude could possibly accelerate it.

Now, as a cleansing sorbet: a couple tidbits off this site:

For those that continue to beleive this crazy notion that games are bigger than hollywood (less beleived these days), I offer the following:

GTA 4 was projected to do as much as $400M. Some claim WoW as the biggest with perhaps $1B in lifetime revenue.

Titanic did $600M[corrected from B] in box office receipts. Wall-E did $112M... in DVD sales... in two weeks.

Oh, and the top grossing *franchise* of all time? James Bond at almost $5B dollars WW gross to date. Narrowly beating out Harry Potter and Star Wars. I did my bit by going to see Quantum of Solace last night.

We are clearly still a spec on Hollywood's radar. For now...

Scene It? Loved it!

I had my first go at 'Scene It? Lights, Camera, Action' yesterday. Some folks I work with were involved in its development so I'd seen bits and pieces in progress, but waited until the final product was done to take it home and play it.

If you haven't heard of or seen the game, here's a cheezy marketing trailer for it. Bear through the pitch, and you'll get an idea of what gameplay is like and what the controllers (it ships with 4) look like.



Its *really* good. Alisa and I played a game and had quite a good time (not quite as good a time as the people in the above video, but then we aren't super-hipster-20-somethings anymore). That Alisa enjoyed it is saying something since she hasn't enjoyed anything on the console since Zuma, and even that was deemed "fun but annoying".

The Big Button Pad support/integration does feel a bit kludgy, as it tries to reconcile the 'instant 4 player get into the action' with Xbox360's 'sign in with your gamertag'. Still, it wasn't too painful, and once past that it was all very well integrated.

Oh, I should also note that we'd played the SceneIt DVD game and didn't enjoy it much at all. This is a much better implementation of the game.

Kudos to all who worked on it!

On 300 and convergence...

Clint has a great post about the movie 300, and what it exemplifies (and doesn't) in terms of the 'convergence' between film and game media. Great read.

300

Went to see 300 this weekend. Whee! Great feast for the eyes. Gladiator meets Sin City.

It also inspired someone to make this web comic about the whole Chris Hecker rant thing. :-)