Living as Independent Developer
February 17, 2009
Today we interview Andres Martinez, owner of baKno, a game development studio located in Key Biscayne, Florida. They are a group of video game enthusiasts committed to developing new ways to deliver fun, interactive and challenging software.
Living as Independent Developer
Manuel Marino: You declare yourself and your team as “video game enthusiasts”. How much being a “videogames fan” is important in creating games?
Andres Martinez: All companies have their own stories, but in our case, developing and self-publishing our games has been difficult, with low sales during several months at our beginnings, and still low if they get compared to a regular studio. The only reason we have been able to survive is our passion for the art of game creation.
Can we say that the old games of the past were “better”? What can we say to the nostalgic gamers?
20 to 30 years ago the video game space was totally different. Accessibility to video games was very low, the product itself was like an experiment and the assumed audience was reduced, fortunately for us, we fell into that target, and we enjoyed every bit of Space Invaders, Galaga, Pac-Man, etc.
Some may say that it was better for game developers at that time because it was easier to create totally new and different IPs (Intellectual Properties). But the reality is that, they created myriads of games and only a few stood up to catch the public’s attention. Additionally, they were tremendously limited by technology and market penetration.
So, to answer your question, I don’t think old games were better or worst. But I think that our judgement is usually biased by the emotional attachment we have to those old great experiences.
How is the Independent developers world?
If we can name our day to day activities at baKno a “world”, then it is great!. Being able to make a living out of our own game creations is a wonderful feeling. None of us worked in this industry before and we don’t know how it is to distribute games through an experienced third party, maybe sales are much higher, but I suspect that for those particular jobs your independence is quite compromised.
What’s the difference between being “indy” and being “in the industry”?
We don’t consider baKno to be an industry player yet, we are independents as explained before, but it does not excludes the possibility of being an influent member of the gaming industry at the same time.
Videogames are more a “work of art” or a “industry product”?
All baKno games are a “work of art” built upon an “industry product” foundation. This foundation provides a minimum quality, design and support standards, and it becomes the canvas where the artist paint his game creation.
What can be done to make modern games better and innovative?
Creating better games is not that difficult, just use your common sense to take advantage of the ever-growing processing capacity, graphics and audio capabilities and internet bandwidth. As an example, you can enhance a simple old-school cards game with better graphics and effects, and maybe adding a multiplayer option with audio chat capability. Creating quality innovative games is an art, and for that there is no recipe or guideline to follow.
Why is it that I find games from independent developers being more innovative?
Innovation is weapon that cuts both ways. The more you innovate in a game, the higher the chance of being a great hit or a great failure. Established studios have serious economic responsibilities like payroll or rent, and they cannot afford to risk the company viability in a single game. On the other hand, and usually not even knowing about it, independent developers working from home are the risky creators of real innovative game experiences.
Internet can be of help?
Sure. In general, for casual games Internet has been the medium to reach massive audiences by offering free-to-try downloads, something that would have been impossible (very expensive) by mailing free CDs. In particular, baKno relies heavily on the Internet not only as a distribution medium but also as an effective way to communicate with our customers, and also to enhance the game experience with additional online features.
What are your next projects?
We are working now the online gaming for Billiards. We want to create a subscription service before mid-year. And by the end of the year we want to create a game with 100% pure baKno IP.
How do you see the future of videogaming?
As an interesting mixture of platforms, game genres and players’ demographics. Internet is going to be the default distribution medium, there won’t be a single dominant gaming platform, more and more people will embrace video games as an entertainment alternative, and most important: the general public will recognize the cognitive development value provided by video games (most of them).
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Mobile Games and Technologies
August 7, 2008
Federico Elinger, owner of Pocketsol Games, wrote this exclusive article for us. Pocketsol Games creates high quality mobile games for the mobile phone based java platform (J2ME). The development studio is in Argentina where fun and addictive games are created for most of the actual mobile phones.
Mobile Games and Technologies
Currently, we can forget the keys of our house when we leave, but not the mobile phone. People are everywhere with their phones talking, chatting, the phone has a very important place in our life. Mobile phones are not only a communication device, are computer themselves, with a cpu, ram memory, persistence storage.
Games in this context are very important because you can get full advantages of the capabilities of a modern mobile phone that becomes this way a game console. Today, people of all ages play with their phones. They get fun and share multiplayer games over Bluetooth or Internet.
The technologies that involve games development are: Java (J2ME, Symbian, Windows Mobile, Linux, Brew). Each one has different capabilities depending on which device are installed.
An important issue is about the technological limits of the devices. Each one has different limits of memory, cpu, color depth, resolution. That push us to do a porting solution of every game to reach the greatest number of mobile devices. This limit obliges us to be more creative, makes us seek how to entertain people with simple games with a few levels. We must create images simply using the old technique of pixel art.
Mobile games are experimenting a constant evolution. In few years, most of the mobile phones will have 3D graphics accelerators such as Nokia N95 phone. The future is very promising, we will find devices that can compete with Sony PSP and Nintendo DS.
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Raymond Thoughts about Games and Arts
July 23, 2008
Today we interview Raymond Jacobs, owner of Ethereal Darkness Interactive. Founded in 2002 Ethereal Darkness Interactive is commited to developing quality indie games with high production values. Raymond talks about his latest project, Morning’s Wrath 2, about videogames, Arts and technology.
Raymond Thoughts about Games and Arts
Manuel Marino: You are working on some new features for your next game…
Raymond Jacobs: yes, it is going to be Morning’s Wrath 2, the Sequel to our first game. You would be the first news source to really mention that!! As for the new systems… they are some various forms of internet integration with our new engine (The S3Engine 2.0) (version 2.0 of the engine used to make Malathedra). They will allow players to directly in-game leave comments to the developers about what they think of the game as well as submit any errors encountered via the internet automatically.
This is part of our new ‘internet technologies integration’ initiative as well as trying to know the minds of our target market better so that we can provider better games and faster fixes.
Sounds really innovative! The game reminds me Ultima Online…
Somewhat, though it is a single player game. In MW1 you had to fight off an invading army from taking over your castle along with learning the ways of magic though in doing so you get stricken by a terrible ‘dissease’ since the magical elixer that you use (mana) is by nature poisioned.
MW2 continues with this story, having morning lead her army across the continent to strike back at the invading Ashidian Army; and her search for a cure for her poisioning which is slowly driving her insane. It will likely be done in episodic format, and 3 episodes are currently slated.
Can we say that videogames are a form of Art?
Personally I consider videogames as a major form of Art but I don’t believe that people yet see games as an Art form, at least not the vast majority. They are still mainly an entertainment source however indie developers are definitely causing a movement of games as an Art form.
Flash games in particular have helped further this, allowing many traditional artists with limited programming skills to make simple games, which are avaliable to a wide audience.
As for my company everything we do is first a source of artistic inspiration and second a business endevor. We feel that without the artistic and creative backbone, what we develop isn’t likely to be enjoyable.
How technology fits with creative skills?
We limit ourselves to fairly proven technology, choosing not to push the technological envelope very much; but instead create a platform for creative expression; by creating a limited and finite set of functionality on existing technology it forces us to be creative, rather than to rely on technology to turn heads.
The newest HDR rendering may be very pretty, but beyond that it says nothing about the depth of a particular game, so in short, we use technology as a pedistal from which to express our creativity.
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Art, Communication, Connectivity
February 28, 2008
Michael Marcus (also known as “Jacques Treatment”) is a published author, poet, artist, and game designer; with George McVey, he has been publishing comics as “The Hamtramck Idea Men” on the very sensible grounds that they live in Hamtramck, have many ideas, and they are men. Joint work can be found at http://idea-men.us while his earlier work sits at http://www.treatmentlabs.com.
Art, Communication, Connectivity
When first approached by Manuel Marino to write an article, I found myself excited in the extreme — first, because I had been noticed in the vast sea of high-noise/low-signal called the Internet as someone worth approaching, and second, because it would be an opportunity to promote the work that George McVey and I were doing with our comic books, games, t-shirts, and other fine arts, and third, because it would give me an opportunity to vent about the apparent lack of creativity in the comics biz and why we are producing the finest comic books in the field. Then, when I sat down to write, I thought I would write about my own particular love of game design and how it mixes the art (and in some cases, storytelling) with what is essentially a mathematical process to produce something attractive and entertaining without giving one player or another an inherent advantage. In the end, however, as passionate as I am about both subjects, attempts at writing the articles proved dry to any but the most familiar of audiences, and the last thing I wanted to do is bore people. Instead, the subject that came to mind is the one behind everything I do: communication.
Communication is inherent, even if it is nearly forgotten, in almost every work of art. Whether it is the artist communicating an idea to the canvas or, eventually, to an audience by means of the canvas, the interaction spawned by the processes of a good game, the telling of stories by a good book or comic book, or the conveyance of mood and message by a good song or other musical piece, it is the very fact THAT there is signal being transferred and translated that often gets lost. Whereas Marshall McLuhan may have said, “The medium is the message,” I would hold instead that it provides a context wherein meaning is derived — while a book may describe an experience, for example, a comic book or film may share the same experience more clearly, but the same message carries differently with the immediacy of dramatic theater, wherein the wall of the participants and the audience can find itself weakened or even torn down by force.
What, then, of surrealist work, or work done by surrealist means, wherein chance plays the greater part in creating the artifice than does a preconceived message? That depends on the type of work being attempted, whether it is to provoke a sense of whimsy or provide an initiation into an otherworldly space, whether it challenges the audience to “fill in the blanks” through a sense of mystery or negative space, or whether it encourages the reader to follow along with the author’s thought processes and achieve a similar critical or rational context along the same lines as the author. Where automatic writing encourages the latter, for example, Gysin’s “cut-ups” (wherein the pages of a written piece are quartered and refitted before publication) invite the reader to “connect the dots” and reassemble meaning, providing a disorienting challenge to the mind in the process. It is in this way that the surrealist confronts his or her audience with a work of art that engages the human tendency to attempt to make order from chaos, when the primary meaning is in the confrontation itself (and the secondary meaning is in the absurdity, whimsicality, or atonal nature of the process).
This, then, illuminates why I design games, write prose, paint, and create other things the way I do: They provide a context by which I might share an experience, or, more likely, the effect that something that I have experienced has had upon me. This is why I find that the most successful works that I have done are not necessarily those which I have created in a state of inspiration as much as those where I have had more of a dialog with the medium of the communication itself–that is to say, the pieces that seem to communicate best to the people who experience them, whether by being viewed (in the case of visual arts) or being played (in the case of a game), are the ones where I studied the piece itself as it proceeded, even if the result has less craftsmanship or less of my personal interest in the piece itself. For example, in my portion of the Hamtramck Idea Men art gallery the piece that has the most meaning for me is “Augmentation of Chaos,” which is gives chaos a “face” based on its connotations to me. The one, however, that seems to garner the most favorable interest is “Frustrated Joy,” which came to that title based both on the color scheme (the “Joy” in question) and how much it failed, at every step of creation, to become anything like my visualization and plan for the piece. It is as if the piece radiates my energy through the process of creation despite the fact that it has the least meaning for me.
If there is one thing that I have noticed with the advent of technology, it is that more and more experience come without the direct interaction of two people; the computer becomes an intermediary in most communication; this is true even in chat-rooms, where the users’ ability to edit what they say (at the very least, since some adopt alternate personae that they role-play) changes the nature of the exchange. Similarly, analog photographs lose some of their resolution (and with the advent of PhotoShop, still more of their original content), brush strokes lose some of the wondrous elements of their textures, and even digital sampling loses some of the fidelity of sound quality (even the best sample fails to be perfect). This is why, when I designed Gamer’s Dozen, I desperately wanted to create a set of games that anyone could play, face-to-face, at any skill level, with nigh-infinite replayability. I wanted something that facilitated communication and interaction between people without computer interfaces in the way. That, then, would have to be the source of my desire to create–to make a connection with the outside world, something that tends to be rather difficult these days.
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Game Engine
November 16, 2007
Dr. Roberto Dillon has written this article about his Music-Emotion Driven Game Engine. I think this idea to really have potential.
Game Engine
In the fast developing world of videogames, sound has traditionally played a less important role than other features, such as graphics. Nonetheless, recently, due to the latest technological advances, both developers and audiences alike have understood how much sound and music can do to enhance gaming experiences and increase the overall realism and emotional impact of virtual worlds.
Today, many music games are being released with great acclaim on different formats but many of these games tend to be in the rhythm/action category where the player is actually “reacting” to music while a real and natural “interaction” with this medium is still lacking.
This aspect is currently being addressed by a team of researchers and developers at Nanyang Polytechnic in Singapore, led by Italian computer engineer Dr. Roberto Dillon, with a project codenamed M-EDGE (“Music-Emotion Driven Game Engine”) which is fully supported by the National Research Foundation of Singapore.
The underlying idea of the project is to assess and further investigate music related cognitive science topics and integrate the results into games by designing and developing an interactive and emotionally-aware musical game engine that enables players to experiment with a completely new gaming interface.
In fact, by using this engine as a development tool, game developers will be able to build content on top of it where players are not limited to control their actions in the virtual world by using standard interfaces, like a mouse or keyboard, but also to directly affect the game progress by expressing emotional content through the playing of a real musical instrument.
To accomplish this, M-EDGE will be developed to recognize different basic emotions (like happiness, sadness and anger) as expressed by players in their musical playing on an instrument of their choice like flute, guitar, violin or drums.
This information can then be used to control the game accordingly by allowing the player’s in-game character to perform particular tasks or by developing the game story in particular directions. For example, one of the games currently being designed by Dr. Dillon to test the system capabilities is based on the well known legend of the Pied Piper of Hamelin. In the game the player will impersonate the Piper himself by actually playing a flute and go through the storyline, including its multiple endings as described by different versions of the original legend, according to the emotions he will be able to express through his very own playing and hence decide the fate of Hamelin young people.
Obviously, this kind of games would be a great tool for players who have previous musical knowledge and know how to play a musical instrument, nonetheless special attention will also be dedicated to give a chance of successful playing to people who never played music before. This will be achieved by allowing prospective players to experiment with simple percussive instruments so as to give a chance and an incentive to get into the fascinating world of music making through games to as many people as possible.
The Singaporean team believes the concept of an emotion-based music game engine like this would represent a leap forward within the music games genre and could also have a strong potential for commercial exploitations, besides having a valuable educational side. In fact, as suggested, it will actually encourage people to learn and practice music through a challenging and fun tool where all players, from beginners to professionals, will be given a chance to freely express themselves through music, something no other game has ever done before.
Besides these, more serious and medical applications could also be possible: the final framework could, in fact, be a valuable tool in assisting emotionally impaired people to practice and experiment with their feelings under supervision of a physician/psychologist.
The project, though still in its early stages, is raising a good interest in the gaming community and has already been presented at the Game Convention Asia Conference in Singapore last September. For those interested, slides of the presentation can be downloaded from Dr. Dillon’s website.
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Independent Games
November 7, 2007
We interview Adrian Grigore, president of Lobstersoft, an independent casual games developer from Fulda, Germany. Their company consists of 2 people, although they have outsourced some parts of the development to freelance graphics and music artists when creating Gemsweeper. Gemsweeper is their latest title, a PC puzzle game.
Independent Games
MM: Adrian, what can you tell me about the actual situation of independent videogame developers?
AG: Life as an independent game developer has always been a lot of fun. It requires a lot of dedication, but it is hugely rewarding to watch other people happily play your game once it is finished.Being your own boss also has its advantages. I love having the freedom to work whenever I want, as long as I want and wherever I want. I’m not sure if I could take my laptop and work outside in the garden on a beautiful summer day in a “regular” company.
Business-wise things have changed a quite bit during the last 4 years. Casual games have become a huge trend and lots of larger companies have entered the market. There is a lot more competition and both budgets and production values have increased dramatically, making it much harder for small developers to keep up.
For example, a VC funded games company outsourcing development to Eastern Europe can afford to produce 10 titles even if most of them don’t recoup the production budgets. As long as just one title reaches AAA status, this can still be a profitable business strategy. Most indie game developers cannot afford to do this.
There are still great opportunities on the casual games market for indie developers if you have a good innovative idea. It is not easy to succeed though and opportunities are not quite as good as they used to be a few years ago.
Can we talk about the relationship between the big distributors and the independent developers like a “collision”?
The rise of huge game portals such as RealArcade or Bigfish Games during the last few years also caused a drop in (games-related) traffic to the traditional shareware sites. Indie game developers have therefore become dependent on the portals.Teaming up with a publisher / distributor can be a good way for indie developers to get more publicity on the portals. This is also what we have done for our latest title Gemsweeper.
How did you have the idea to found Lobstersoft?
I started creating my first game called “Five+” just to practice C++ programming while I was studying at university. The game was free at first, people only had to send me an e-mail if they wanted to have an unlock code for the full version.After just a few days I got so many e-mails that I had to think of a way to automate registration key submission. I was also surprised to see that a magazine wanted to include the game on their cover mount CD. Then I found one of the first shareware payment processors and decided to convert to Five+ a shareware game.
Your next projects?
We are working on a sequel to Gemsweeper and on a subscription-based web site. The website is not gaming-related, but I never saw myself solely as a game developer, even if computer games have always been one of my favorite pastimes.
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- Game Dev Famous Game Dev Vince Desi writes for our Weblog! He will write a series of articles, and this is the Part One of an article about being successful in Independent VideoGame Developer Art! Become a famous Game Dev now! Game Dev (Part One) Part 1. The 3 Essential Elements: I......
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Game Dev
October 23, 2007
Famous Game Dev Vince Desi writes for our Weblog! He will write a series of articles, and this is the Part One of an article about being successful in Independent VideoGame Developer Art! Become a famous Game Dev now!
Game Dev (Part One)
Part 1. The 3 Essential Elements:
I started Running With Scissors in 1996. Desire, Focus, Commitment. I like things to be simple, so I will concentrate on what I believe are the most important Elements to be successful. While you may think these 3 Elements are general factors and would apply to any endeavor, your right. How you apply them is what determines how successful you will be.
Desire is the soul of life. It makes you who you are. It’s what drives you to get up in the morning, to work late into the night, and to do it all over again and again, as long as necessary. Desire is blind to failure. Desire is based in the question “What do you want?” Do you want to be a Video Game Developer? Do you have the skills it takes to make games? Are you creative? Inventive? Can you write, draw, program, build and lead a team, manage the ups and downs? How bad do you want it? Desire will deliver you to success if its true to who you are.
Focus is the roadmap for success. What type of game are you making? Is it a puzzle game, or a shooter, or a sportsgame, etc. What platform are you designing it for? Console or Computer? Handheld or Mobile? Is it a single player or multiplayer, is it time based or mission based? Who is the audience, male and female? How old? What languages? What cultural impact is there? Will there be a sequel or mods? The more you Focus in advance the more reliable your roadmap will be, and the faster you will become successful.
Commitment is what determines your priorities. Are you single? Or Married? Do you have kids? How much time are you willing to devote? Do you want a nice car now or later? Do you want to go on vacation this year or later? Do you want to go with your friends this weekend or work late? I didn’t say it would be easy or all fun, but if this is what you really want, then it will be fun, and easy and most important it will be natural to be committed to your project, and the project will come to you, just like success will follow.
I’m not here to waste your time, or mine, so unless you can honestly ask yourself and answer Do you have the Desire? Can you focus? Are you willing to make and keep the commitment? If you truly believe your answer to all these is YES, then congratulations you are have taken the 1st step in becoming an independent video game developer.
Part 2. Game Concept to Design
Part 3. Build your Development Team
Part 4. Create a Business Plan: Marketing, Publishing, and Distribution
Part 5. How to live after your game is a Hit!
Bio:
I have been a creative person my entire life, from painting clam shells from Coney Island beach in Brooklyn to everyday parenting of my kids. When I was ten years old I met someone who could draw a lot better than me, so I started writing songs. When I was sixteen I met someone who could write better songs than me, so I started painting, then I wrote poetry, then short stories, and philosophy, all along I was living life, not looking for who I am, but living who I am.
At 28 I started in the video game industry as a Producer for the original ATARI. In 1982 my first big title was SPY vs. SPY for the C64. From then to 1996, I worked on over 50 titltes, including Alter Ego (1st game made in male and female versions), Ghostbusters (1st game to use software speech) and Tom & Jerry, for companies including Activision, EA, Disney, Hanna Barbera, Jim Henson and Sesame Street.
In 1996 I created Running With Scissors for the sole purpose of developing POSTAL. Now, in 2007, we are celebrating our 10th Anniversary with a feature film POSTAL-The Movie, a POSTAL mobile game by Russian publisher Ministry of Fun, a POSTAL BABES mobile game by Russian publisher HeroCraft and we are co-developing and publishing POSTAL III with Russia’s premier game publisher Akella.
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For game design
October 20, 2007
Andrea Angiolino was born the 27th of April, 1966 in Rome, the city where he still lives. He published many boardgames and books about games, besides developing games for every media. His works appeared in more than a dozen of languages including Korean, Czech and Maltese. He is a game journalist on national magazines, newspapers, radio broadcasts The Italian School and Education Ministry named him “Expert game author”, while the Lucca Comics and Games show gave him the first “Best of Show” prize for lifetime achievements. More info are on his personal site. Here’s what he wrote for our Weblog, about creating games, game design and about his career:
For game design
I am what it’s usually called in English a “game designer”, but I prefer “game author” instead. Essentially, I invent games: their rules, their settings, their mechanics.
I love this. It is both a sort of artistic activity and my full time job. Italy is not so a big market for authors of boardgames or role-playing games: so I do every other sort of games for work. It does not matter so much if they are boardgames, card games, role-playing games, tv games, computer games or gambling games for the Italian state: my role is to create them, and sometime to be their editor or translator. I also write articles and books about games: I am at the same time a creative, a historian and a critic. These roles help each other a lot, making me a far more conscious game designer and journalist. Anyway, apart from puzzles and word games (our traditional “enigmistica”) for magazines, the ones where I feel more “author” are boardgames, card games and role-playing games.
A game is a little world with a simplified set of laws, the rules, that its inhabitants, the players, learn and try to master. The author is the God of these worlds. There are abstract boardgames, like – let’s say – draughts, that are like a mathematical model of a little universe. Some of them are very simple. I like “steamlined” and effective games. One of my best-sellers is a book about paper-and-pencil games: very few rules, very simple materials and very intriguing tactics and strategies. Making a simple, original and intriguing game is a difficult exercise for an author: but together with some of our Renaissance artistic geniuses I think that the real art is in taking away, not in adding.
Anyway I prefer games with a setting, as chess, Monopoly or Clue. The stronger the atmosphere is, the more they look “literary” rather than “mathematical”. I am more used to designing boardgames that tell stories – I find them more involving than abstract games. ‘Madame Bovary, c’est moi,’ said Gustave Flaubert, and I could say ‘Lothar von Richthofen, it’s me!’ if I think to my games about the aces of the first world war. Several of my boardgames are actually just a different way rewriting the story of Ulysses or of telling dark stories of medieval struggles between rising feuds. “Obscura Tempora”, a card games of mine with this last setting, appeared with a short story about a viking raid on the rulebook, and that’s not by chance: the game and the story come from the same suggestions, share the same inspiration, tell the same tale in two different ways.
Sometimes my games are not novels but essays: I design games for teaching, advertising, promotion and such. The last one, “Fair Play”, has ben asked me by Pangea – Niente Troppo, an Italian fair trade organization: they wanted a game that could help to explain all the travel that the cotton does from a seed in a remote field to the T-shirt you are wearing, explaining how we could have have a less polluting and fairer process. In this case I start from the setting and even the message that the game has to bring to players. When I design a game for the fun of it, usually aimed to the generic market of players, I can do the same or just the opposite: I may think about a boardgame with a pawn moved by all the players, instead than one pawn each as in traditional games, and then wonder what – or who – that pawn can be. Maybe Odysseus in the hands of the Gods? Then other rules and detaiuls of the setting are a natural consequence of that choice. This is how the boardgame Ulysses was born.
In these years, there are two main styles in boardgame design. Oversimplifying, the German school has quite abstract games: original mechanics and linear rules with nothing useless. Even if they have a setting, as they often do, it is somehow “pasted on” the rules: There is no strict connection between the setting and the rule system. This is a logical and mathematical approach to game design. The opposite school, quite more “literary” and historical, is the so called American style: plenty of rules to give a detailed simulation of the subject of the game, often coming with plenty of miniatures and gadgets to thrill the kid in everyone of us. But I feel I am part of an “Italian style” instead: a simple frame of rules but strictly connected with the setting, so that everything you do in the game tends to give you the feeling to live in the simulated world. Being able to do that with a “steamlined” rulebook is actually the big challenge.
What I also love of boardgames is that they are a open creative process. Many players of my last card game “Wings of War” share new rules, new scenarios, new game materials all over the net. This help me and my co-author Pier Giorgio to develope new releases in the series. The fans also founded a web discussion group, to exchange opinions and additional stuff for this very game – it has just reached one thousand members. To my eyes this, in the end, is a measure of success greater than just the amount of copies sold or the number of foreign publishers that translated the game into their languages: when so many people decide that my game is their game and put their energies in it, it really means that my lonely work in front of my computer is worth the time spent on it.
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- Independent Games We interview Adrian Grigore, president of Lobstersoft, an independent casual games developer from Fulda, Germany. Their company consists of 2 people, although they have outsourced some parts of the development to freelance graphics and music artists when creating Gemsweeper. Gemsweeper is their latest title, a PC puzzle game. Independent Games......
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