As the second Humble Indie Bundle flourishes, having taken in over $1.5 million in pay-what-you-want sales, the Opposable Thumbs blog has taken a look at indie game pricing in general, trying to determine how low price points and frequent sales affect their popularity in an ocean of $60 blockbusters. Quoting: "... in the short term these sales are a good thing. They bring in more sales, more revenue, and expand the reach of games that frequently have very little marketing support behind them, if any. For those games, getting on the front page of Steam is a huge boost, putting it in front of a huge audience of gamers. But what are the long-term effects? If most players are buying these games at a severely reduced price, how does that influence the perception of indie games at large? It's not an easy question to answer, especially considering how relatively new these sales are, making it difficult to judge their long-term effects. But it's clear they're somewhat of a double-edged sword. Exposure is good, but price erosion isn't. 'When it comes to perception, a deep discount gets people playing the game that [they] wouldn't play otherwise, and I think that has both positive and negative effects,' [2D Boy co-founder Ron Carmel] told Ars. 'The negative is that if I'm willing to pay $5 but not $20, I probably don't want to play that game very much, so maybe I'm not as excited about it after I play it and maybe I drive down the average appreciation of the game.'"
An anonymous reader writes "Develop has an excellent piece up profiling a bunch of average to awful titles that flopped so hard they harmed or sunk their studio or publisher. The list includes Haze, Enter The Matrix, Hellgate: London, Daikatana, Tabula Rasa, and — of course — Duke Nukem Forever. 'Daikatana was finally released in June 2000, over two and a half years late. Gamers weren't convinced the wait was worth it. A buggy game with sidekicks (touted as an innovation) who more often caused you hindrance than helped ... achieved an average rating of 53. By this time, Eidos is believed to have invested over $25 million in the studio. And they called it a day. Eidos closed the Dallas Ion Storm office in 2001.'"
Why is this effort treated as being difficult? Pack three indie game developers in a capsule for 100 days. They'll hardly talk with each other, and by the end of the trip, they'll complain to mission control they only just got their compilers working for their games' scripting languages!
Musenik writes: "Look beyond the corpse strewn testosterone landscape of core games. Look sharp for a disturbance within the candy-toon amusement park of casual games. You'll see cigarette smoke signals from a plucky band of indies daring to attract an audience for it's literary satire of post-suffragette struggles of feminism in rural America. The latest reviewer to succumb to it's call is one of the longest running sites devoted indie games. GameTunnel has named it Adventure Game of the Year."
Link to Original Source
Link to Original Source
As one of the lucky finalists, I'd like to share our success story. Last year we submitted The Witch's Yarn as a beta and got totally snubbed. Fortunately we finished the game, shipped it, improved it several times and submitted it again. Yea us, but seriously, don't hesitate in your quest for fame, fortune, and whatever. Our double charm was, it's our second placing as a IGF finalist. Flagship Champion was picked in 1999.