Hi, I'm Henry. In 2012 I quit my job as a programmer at BioWare to spend a year making my own indie games. This blog is about what happened next...

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A Spaceteam Manifesto

Manifesto Summary

I just came back from the A MAZE. festival in Berlin where I gave a talk about the vision I have for the future of indie games. I called it a “manifesto” and it’s also the philosophy behind my new Kickstarter campaign, the Spaceteam Admiral’s Club.

I want to explain it in more detail here. It’s still a work in progress so I’d love to get your feedback on it.

So far I have four key pillars, with a couple more to come. Each addresses a problem that I see in the game industry today:

  • Freedom for Creators
  • Freedom for Players
  • Freedom for Games
  • Meaningful Connections

Freedom for Creators

Freedom for Creators is a response to the problem of existing business models forcing creators to make compromises for the sake of selling their game to the mass market.

When exploring new game ideas creators need the freedom to experiment, to iterate, to fail, to throw things out and start over. This is an essential part of game design, or indeed any creative process. It’s hard to predict what will happen and the end result might be quite different from what we expected.

This requires time and flexibility. If we commit too early to a specific idea then the final product may suffer. This is why I wanted the Kickstarter campaign to focus on the process instead of the product.

Freedom for Creators is also the freedom to make the game you want to make. If you’re constantly worrying about whether it will appeal to enough people, or if it’s too weird, or which pieces you can sell and how much to sell them for, then you’re not focusing on the game. Creators should be free to express themselves honestly. To add the silly personal touches. To make the Director’s Cut.

Freedom for Players

Freedom for Players is a response to a more personal problem. I see many games that are too prescriptive, that insist on holding the player’s hand, and that limit the actual experience of “play”.

Freedom for Players takes several forms. The first is being free of the artificial restrictions imposed by (often exploitative) business models that shut off parts of the game until you pay for them. When we encounter a “paywall” like this we often react with resistance rather than acceptance, which is bad for players and creators.

But Freedom for Players encompasses more than this. Players should be free to explore, experiment, and discover the game in a natural way when far too often they’re just presented with a block of text, or a tutorial, telling them exactly what to do. This isn’t playing. In Spaceteam, I intentionally don’t tell players that they can wipe away the slime or fix the dangling panels, because when they organically discover this by themselves it’s a great moment of realization and possibility.

There are many ways to play within a game. Another way that has personal significance to me is when a game offers an editor for customizing the rules or content. It might not work for every game, but when it works well it not only lets players play with the game in a whole new way, it might also inspire them to make games and experiences of their own. To become creators.

Freedom for Games

Freedom for Games goes hand-in-hand with Freedom for Creators as a solution to the compromises being made by creators when choosing which parts of their game to sell and how much to sell them for.

I expect this to be the most controversial idea here because what I’m referring to is digital games being completely free of charge.

Game prices are totally artificial. We expect to pay $30 or more for a digital game on one platform but only $1 for essentially the same game on the iPhone. The games themselves are easy to copy and distribute, so we have to artificially restrict them with “digital rights management” and “copy protection”. We try to stop people from sharing and enjoying our games for fear of “piracy”. We set a single, arbitrary price that has little to do with the creation process. This price will be wrong for lots of people who are either not willing to pay it, or willing to pay more. None of these things make sense.

Digital games should be free.

It’s important to note that I’m explicitly not trying to devalue games here, I’m trying to _re-_value and promote creators themselves and the time they spend creating. Creators still need to be paid. Every act of creation is valuable and it’s often impossible to measure what its final impact will be. We need to support the experiments and failures as well as the successes, not just because the experiments and failures are an essential part of the successes but because they are valuable in themselves.

Traditional game companies need this creative freedom too, but they usually have to pay for it with sales of at least one “mega-hit” game that covers the production expenses and also the experimenting and aborted prototypes. Since nobody can predict what will become a hit or how long it will take, they can’t afford to take those risks and this results in all the sequels, licenses, and derivative formulaic games we see today.

I don’t know yet what the ideal solution is for paying creators, and I’m sure there will be many solutions, but the one I’m trying is patronage through my Kickstarter campaign. I like the pay-what-you-can model and I like the community that forms around it. If I can be sustainable like this then I hope to never charge for my games again :)

Meaningful Connections

Meaningful Connections is a response to the problem that many players don’t know or care that the games they play are made by actual human beings.

The connections I’m talking about are the things I describe in my Spaceteam Retrospective: the personal letters and stories; the fan-created art, films, comics, writing, and costumes; the inspired projects; the conversations and collaborations that result when people realize that you’re a person and not just a manufacturing pipeline or faceless corporation.

A meaningful connection is the difference between someone paying $5 for a game, playing it once and deleting it, and someone contributing $5 to support your game development because they believe in you. You get the money in both cases but they are clearly different.

And these meaningful connections are much easier to make when people are connecting with your game instead of your business model.

~~~

To summarize, these are the principles on which I’m basing the Kickstarter campaign and my development philosophy going forward:

  • Freedom for Creators
    • Freedom to experiment
    • Freedom to express yourself
  • Freedom for Players
    • Freedom to explore and discover the game
    • Freedom to play in many different ways
  • Freedom for Games
    • Freedom from exploitative business models
    • Freedom to share
  • Meaningful Connections
    • Acknowledge and support creators themselves
    • Community, conversation, collaboration

Over time I’ll be adding to the manifesto and refining it, but for now I hope this gives you a better sense of why this project is important to me and how I hope it can help create more innovation and diversity in the game industry.

“Space out!”

– Henry


Spaceteam Retrospective

I recently posted a link to my Numbers page, which details Spaceteam downloads and sales over the last year. This led to a Twitter discussion about business models, whether I should have charged money for the game, and general lamenting that these numbers were “bad news”.

I want to share some more thoughts on this.

First, some facts:

  • Spaceteam is free. There are six one-time In-App Purchases, each costing a dollar, that enhance the game but are in no way required to play. I present them as a “tip jar”.
  • Spaceteam has been out for 1 year on iOS and 4 months on Android.
  • I have never paid for any advertising. It has mostly spread through social networks and word-of-mouth.

Now some more details and clarifications:

1. It actually made more money than just the In-App Purchase revenue

The Numbers page shows that I’ve made ~$12,000 so far from people buying Upgrades in the game. But the game has also generated:

  • Prize money (5,000 Euros, or roughly $6,700)
  • Commission for a customized version, which took a couple of weeks of work ($3,250)
  • All-Access Passes to various conferences and one flight (worth several thousand dollars combined)

So if you’re counting total monetary value it made more than $25,000. This still isn’t quite enough for me to live on, but it’s getting close. However…

2. Making money was not my priority

My goals for Spaceteam from the beginning were to:

  • Learn iOS programming and the how the App Store worked
  • Finish a small project so I could make better estimates
  • Get my name out there

I had always intended to release this first “small” project for free. The original plan was to then charge money for my next game (this plan has now changed, but Spaceteam’s purpose remains the same).

Worrying about how to “monetize” effectively might have compromised the game design and almost certainly would have hindered the last goal (getting my name out) because there would have been much more resistance to sharing and spreading the game.

If I had prioritized making money, then I would not have made a game like Spaceteam.

3. It certainly wasn’t a failure

I’m pretty confident that I achieved all the goals above, but that’s not the only way I measure success. Here are some other stories and opportunities that Spaceteam has generated:

  • Three big festival awards, and several awards from other publications (Editor’s Choice and so on)
  • Articles on many major news sites: GameSpot, Kotaku, Giant Bomb, EuroGamer, PocketGamer, TouchArcade, MacWorld, Kill Screen, The Verge, PA Report, Destructoid, Game Informer, Polygon, PC Magazine, Co.Design, TechCrunch, Financial Post
  • Upcoming feature in a museum exhibition (Indie Essentials at MoMI in New York)
  • Invitations to present the game and speak at eight conferences across North America
  • An exciting offer to buy the rights to Spaceteam entirely (it didn’t work out, but was very interesting and I learned some valuable lessons)
  • A private customized version for a well-known game company (with custom graphics, corporate jargon and in-jokes)
  • Another customized version for New Tech Network, a non-profit organization that works with schools
  • Many stories of teachers using it with their students to help with communication, teamwork, and language-learning
  • Companies using it with interview candidates to loosen them up and test team-fit
  • Medical school using it to help train students to work in high-stress environments
  • Online dating coach using it as an ice-breaker at events and to get great candid profile photos
  • Family therapist using it as a therapeutic tool in his sessions
  • Actors using it to warm up before a show
  • Volunteers offering to translate the game into Spanish, Italian, German, French, Russian, Polish, and Japanese (some of these are coming soon!)
  • A Penny Arcade comic
  • Official Spaceteam competitions organized by PAX
  • Used as the secret final round of the Omegathon at PAX East where it was played on stage competitively in front of thousands of people
  • A music video
  • Fanfiction
  • A physical game with real controls inspired by Spaceteam
  • A custom-built Spaceteam arcade cabinet
  • Fan-created unofficial variants: Silent Spaceteam (you can only make noises), and a version where you just load into the Waiting Room, vote on who has the best costume, and repeat :)
  • 800,000+ downloads, some of which I can now tell directly about my future projects through updates to the game
  • 6,000+ five-star ratings in the app stores, several from people who claim to have never reviewed a game before but felt compelled to for Spaceteam
  • Lots of love at festivals: high-fives, hugs, free drinks and dinners, requests for photos and signatures
  • Many personal messages from people who play with their partners, parents, children, grandparents, grandchildren, and non-gamers

Sure, all these things might have happened if it had cost $1 so perhaps it could have made more money. But if you look at everything on that list and are still unhappy with how Spaceteam has performed then maybe your priorities are different than mine.

Which is fine. We all need to make money. I certainly believe that artists should be paid for their work. But I think there are a lot of problems with the current business models and I want to try something new…

4. I want to keep making free games

There are several reasons I don’t want to charge money for Spaceteam _or_ future games, and I’ll go into those reasons in another blog post. But if my games are free then I need to get paid in some other way.

So… I’ve decided that my next step is to run a crowdfunding campaign to unite the community of Spaceteam fans that are already out there (hopefully attracting new ones in the process) and give them another way to help. Some of them might even pay more than the typical mobile-game price tag of $1.

This feels more honest and sustainable to me and the pay-what-you-can model seems fair for everyone else. I’ll be talking a lot more about the campaign in the coming weeks.

I really believe that Spaceteam’s success is measured in many different ways, is growing and ongoing, and will lead to more success in the future.


Festival Season

I really didn’t think PR would be such a time-consuming job over the last 8 months, but I’m confident that it’s all been worth it and particularly now since I’m just starting out. In the space of a month, I attended three more festivals in different cities across North America. And then a bonus one here at home.

  • Sept 14 – Boston FIG
  • Sept 19-22 – [I really didn’t think PR would be such a time-consuming job over the last 8 months, but I’m confident that it’s all been worth it and particularly now since I’m just starting out. In the space of a month, I attended three more festivals in different cities across North America. And then a bonus one here at home.

  • Sept 14 – Boston FIG

  • Sept 19-22 – ](http://2013.xoxofest.com/) in Portland, OR
  • Oct 3-6 – [I really didn’t think PR would be such a time-consuming job over the last 8 months, but I’m confident that it’s all been worth it and particularly now since I’m just starting out. In the space of a month, I attended three more festivals in different cities across North America. And then a bonus one here at home.

  • Sept 14 – Boston FIG

  • Sept 19-22 – [I really didn’t think PR would be such a time-consuming job over the last 8 months, but I’m confident that it’s all been worth it and particularly now since I’m just starting out. In the space of a month, I attended three more festivals in different cities across North America. And then a bonus one here at home.

  • Sept 14 – Boston FIG

  • Sept 19-22 – ](http://2013.xoxofest.com/) in Portland, OR
  • Oct 3-6 – ](http://indiecade.com/) in Los Angeles
  • Nov 11-12 – MIGS in Montréal

Boston FIG

Much smaller than PAX, GDC, or E3 and only one day long. Low-key, relaxed.

Roughly 80% of people who came to the booth already knew Spaceteam! Maybe I’ve just saturated the Boston indie-gamer market :)

XOXO

Very well organized. XOXO celebrates music, film, makers/hackers, video games and board games, and has a TED-style single track conference. There were a lot of web developers and designers, and not a lot of game folks, which was a refreshing change. The talks were all pretty interesting and you can watch a few of them online here.

I met Tim Schafer and shook his hand but I was a bit starstruck so I barely said anything!

Spaceteam had a space with bean bag chairs and a giant monitor for spectators.

I spoke to some Kickstarter folks about my unorthodox upcoming campaign which you’ll hear more about soon. I still might have to go with IndieGogo.

The Portland food trucks were amazing. I also visited the jaw-dropping Wieden & Kennedy offices, the OMSI science museum, and a great board game store called Guardian Games.

But the highlight of my trip was hanging out with Doug Wilson & Bennett Foddy. We shared an Airbnb, went bowling, and played 3D Blacklight Pirate Mini-Golf! (I lost)

IndieCade

Indie game dev mecca. So many friendly people from all over the scene together in one place. Great games, events, and talks. In the opening ceremony they couldn’t get the video/projector to work properly, and then John and Brenda Romero came on stage to awkwardly MC without having prepared anything. This just made me feel more at home :)

I shared an Airbnb with the Extrasolar team. Extrasolar is a awesome unique concept for a game and I highly recommend it.

I also won the Interaction Award. All the trophies were hand-crafted custom robots made of salvaged metal with interchangeable magnetic face parts!

MIGS

Even though MIGS happens in my own city I wasn’t planning to go since it’s a bit expensive and I wasn’t showing Spaceteam. But then I got invited to give a 5-minute rant, which came with a free pass (I should try to do this more often!), and now I’m really glad I went.

I got to actually attend sessions instead of being on my feet for 6 hours a day at a booth, and I got to complain to thousands of people on stage :)

I ranted about big companies not letting people work on side-projects (which I think is damaging, but the effects are hard to measure). I urged the industry to stop competing and start cooperating by sharing ideas, technology, resources, everything basically. And I spoke about how I’m personally trying not to fail by setting realistic goals for myself (that don’t always involve making money).

Home

And with that my festival tour is at an end. I don’t think there are many conferences over the winter, and frankly I’m exhausted from so much travelling.

I can now get back to doing what I thought I’d be doing all this time: programming!