| Set On Stun |

Firstly, I want to say that I’m a platform agnostic.  I enjoy both the Xbox 360 and the PS3.  When the blue slot lights up on my Wii, I remind myself that I have yet to have a bad experience on that little bugger.

I have a badly damaged iPhone that still works and more because it’s a point of pride, I still use the damn thing.  It refuses to die.

However, since I’m out of contract, I’m seriously considering a new droid phone, yet not terribly happy about having to lose so many good games I’ve got loaded.

This is what happens when you let your 4 year old play games on your iPhone

So, with all that said, I’m not really a fanboy of a particular brand… but I love new technology that works, that makes my life simpler, more fun, more organized and more connected.  Mobile gaming touches me on two of those points.  The games I’ve put on my phone have given me countless hours of fun and connection with friends.  And most of the time, it works well.

So, when Flurry, a phenomenal mobile analytics service, released some information that the major focus and use testing were for video games, naturally, that set my heart fluttering just a bit more.

Flurry used their mobile analytics to identify categories of the application usage on the Apple tablet.

However, there’s been something that’s been pulling on my brain about the Apple Tablet, it’s failed to capture my attention in the way that the iPhone did.  The iPhone was called the Jesus Phone, it took the reality of living a digital life to a new and amazing level, for that, I’m loathe to ditch my iPhone.  Yet, I think this is the crux of my skepticism towards the Apple Tablet.

The iPhone felt new, unique and exciting.

The Apple Tablet doesn’t strike me yet as revolutionary.

Mobile games have become a huge business, capturing the core-gamer and casual mom-gamer demographics expertly and almost completely.  However, my trepidation rests in the feeling that the Apple Platform will raise that bar only in scale and not connectivity, functionality and immersion.   I understand that the tablet, as a reader, could be superior to the Kindle or the Nook, I understand that the Tablet wont just be a big iPhone… all of these things I know.

However, if the primary use of the table will be gaming, as Flurry’s data suggests, it has to revolutionize gaming.  It can’t be just bigger, prettier, higher rez and have better multi-touch features, it has to force game development companies to truly change the way that games are made again… in the way iPhone games added a new element to gaming, the iPhone forced gamers to perceive and experience games in a way that hadn’t really been done before.

So, as it’s released today, I’ll be interested to see how they’re planning to take gaming to the next level, to change the game again and how they’ve not been satisfied to just make a bigger gaming platform, but how they can connect it with people, reinvent the way we play games again, force developers to take risks in the new functionality and ultimately give gamers and consumers a new way to experience games.

This is a case where I hope my skepticism is unwarranted, I want innovation, I want to buy the tablet and I want game companies and gamers to be surprised with how good it can be.  As for now, I’m not really seeing anything game changing about it.  Of course, I could be wrong… and we should all know by the end of the day.

Lately, the geekiverse has been all aflutter about Sega’s upcoming game, Aliens vs. Predator.  In fact, few movie franchise video games have really generated more excitement.  In my personal opinion, the first AvP game was probably the best AvP game to date.

With the release of the new trailer (be fore-warned it’s violent, with graphic mutilations, impalations, decapitations, evicerations and puppy-kicking) most of the major video game blogs have reported on it.  The comments on these articles range from excited “OMFG!” to “This is just over the top torture porn”.

As usual, this got me thinking about the marketing of this video game.  Is this blatantly over the top imagery designed to whip up the excited masses into a frothing heap of first day sales?  Does blatantly promoting the violence somehow make gamers look bad?  Is Sega’s marketing brilliant, reprehensible or just somewhere in between?

But first… watch the new trailer.

Got it?  Good.

First, the basics.  All marketing needs to start with an understanding of the target demographic.  Marketers do the research to figure out their audience, their purchasing habits and the desires they want fulfilled.  In this case, these are people (mostly male) who’ve consumed a considerable amount of sci-fi horror material.  They’ve seen the Alien and Predator series along with the AvP movies that followed them.  A portion of that audience reads the graphic novels, played the games and continue to debate in fan forums.

The second part of marketing that I want to focus on is the fact that marketers are tasked in describing what the consumer will actually get when they purchase the product.  Some games, like Brutal Legend were promoted as a kick-ass slash game through the “Metalverse”, some of them were visibly pissed off when they found out that there were significant portions of the game that were RTS elements… a genre that has yet to penetrate the console market successfully.  I can understand why Brutal Legend was marketed in the way it was marketed.  The reaction to a RTS console game is rarely well received.  From that angle, the marketing failed.  They pushed a product that didn’t give the consumer enough information to fulfill their expectations.

This looks a bit too well lit to be an Aliens vs. Predator game... but damn it's cool

In this case, the marketing of Aliens vs. Predator gives a tight group of the gaming demographic EXACTLY what they expect and what they desire.  This new trailer is probably one of the better trailers I’ve seen for a video game of that sort.  It communicates clearly, mixing what appears to be ingame scenes, pre-rendered scenes and actual gameplay footage into a bloody montage.

In fact, one of the quick scenes that’s stuck in my head is the part where you have the “mouth view” of the alien as it rushes in to separate a marine’s face from the rest of his head.

Yet is this a cheap attempt to gain media attention, to excite gamers by giving them what could be the bloodiest moments in the game?  Probably, but for the right audience, this is exactly right.  This is exactly what they want.  Fans of the Aliens and Predator stories (like me) have come to expect this over the top brutality in our comics, games and movies about this particular universe.

I’ve watched it dozens of times… and I don’t think I could get enough of this game.

However, Sega needs to watch it… if this game sucks, then this same trailer which is damn good video game marketing could become a touchpoint of fan anger if the actual game doesn’t live up to the standard that it’s presenting.  So even good pre-launch marketing could immediately turn into bad marketing if the product doesn’t live up to the hype.

I’m a huge fan of RPGs in general.  I spent hours and hours playing Daggerfall, in fact I still have an old PC where I can play it every once in a while in all its pixelated glory.  When I fired up Dragon Age: Origins, I was lost in the stories of the downtrodden elves who were essentially gentrified into the slums of human cities.  I both envied and pitied the plight of the powerful mages.  I managed to play through every origin story until my last one as a dwarf fighter noble.

I’d remembered Nick Yee’s Daedalus project about the perception of beauty, attractiveness and race.  So I decided to find out what life was like as a dark-skinned dwarven noble.

I was immediately plunged into the intrigue and deception politics of the dwarven court, it was well written, complex and satisfying.  Yet there was something that pulled at me.  There was something wrong.

My father, my brother, my best friend… the arena master, the two dwarven girls who agree to a threesome.  All fair skinned.  Once I made that connection, I tried to find another dark skinned dwarf like myself.  While I’m sure there are dark-skinned dwarves at some point, I couldn’t find a single one in the origin stories.  It seems I wasn’t alone in noticing the lack of pigmentation in dwarven society as the blog Brain Dump also noticed.

Why was it overlooked or disregarded by the Bioware team?  Did they not notice the discrepancy?  Did market research show them that the RPG population was so completely dominated by whites that they didn’t need to represent other skin-tones in the game?  Is it really so difficult to make the skin tone of the player character a hitch to which the other familial pigmentations are attached to in a sort of variation of tone?

I ended up chatting with a few friends of mine from Spark Plug Games about the technical feasibility of making the player character’s skin tone a factor in dynamically generating any familial skin-tones.  They said it wasn’t hard to do, games make much more dynamic calculations and decisions on the fly than just rendering a series of colors.

I still couldn’t really pin down why it bugged me so much.  Then, it hit me.  Sort of.

I’m white.

I don’t live in an area where I’m the different one.  Where I grew up, my race never really was an issue.  I wasn’t the different one.  However, now that I’m in a mixed-race marriage where my wife has described to me what’s embedded in the experience of being the one that’s different, the one that’s had to be very conscious of her pigmentation, I realized I was uncomfortable because this game had made me experience something I’d never experienced before.

I became the outsider in a world separated by pigmentation.  Sure, no one in the game treated me differently, they made no differentiation to me based on my skin color.  Yet, I felt it.  My character was different than my own family, than my friends, than every other dwarf I related to.

What I experienced at that moment of revelation was two-fold.  I was drawn into an emotional and empathetical experience by a video game.  For only a few moments, I felt a fraction of what it may be like to be the outsider, the one who’s different.  It made no difference to how I was treated, I was different and it mattered to me.  I didn’t want them to recognize my difference, I didn’t wanted to be treated differently… I just ended up looking for some other character that looked like me.

The second thing I noticed was that whether it was intentional or unintentional on the part of Bioware to make the pigmentations on the families static, to not place any (that I noticed) black dwarves in the origin experience seemed to me a slight injustice.  I know that even with this slight experience, I cannot even come close to relating to anyone who’s suffered a real injustice for their race, but if a video game can give me that experience, I can recognize the amazing potential to teach people, to have them experience life from another perspective and ultimately, contrary to some punditry out there, raise more thoughtful and empathetic people… even if they’re playing a bloody good game like Dragon Age.

A while ago, an article on GameIndustry.biz caught my attention.  Matt Martin’s review of the EEDAR, Electronic Entertainment Design and Research group showed that more money spent on video game marketing turns a better return on investment than media reviews or the actual game development.

Speaking at the Montreal International Games Summit, Jesse Divnich delivered what could be considered a heretical, yet data-supported claim.

“You can make the greatest game and it won’t even matter. I know that’s discouraging to developers at first but it’s very true”.

“Marketing influences game revenue three times more than quality scores. There’s a giant myth out there that reviews scores are the most crucial to a videogame. The reason why that is is the information is readily available – we can go to Metacritic – and we see games like Grand Theft Auto and Call of Duty succeed and we see they have a high quality score and we make that correlation. But the truth is, marketing actually has much more of an influence to game sales than high scores.”

In every single meeting I’ve been involved in where the marketing of a game was discussed, the primary focus was on making sure that the reviews from the enthusiast media and the aggregates were high.  The prevailing wisdom was that high scores had a direct corollary effect on the overall sales.  Review sites have spent a significant amount of time to develop ways for publishers and developers to track and trend the game, calculating varying data points like UGC, page views, time on page and other factors.

Media sites have shown developers that once a positive review is out, the user chatter increases as well.  However, all this really amounts to is buzz and interest, not sales.  The effect of the EEDAR research has on these measuring strategies promoted by the media sites could force developers, publishers and ostensibly the ad agencies they hire to re-evaluate the obsession of the review.

From a purely anecdotal perspective, listening to the Joystiq podcast the other day, they made the comment about the NPD numbers as it related to Halo ODST.  This game trounced all other entries in the field, yet it in the middle of the road compared to the other Halo games reviews.  (Halo ODST: 83 - Halo 3: 94 - Halo 2: 72 ) They noted that the marketing campaign for Halo ODST was massive and that was more than likely the primary mover to influence gamers to actually go out and buy that game.

For some perspective, Halo ODST sold more than 2.5 million copies in the first two weeks whereas Halo 3 sold 3.3 million copies in the first 12 days.  At first look this may appear that the better critical acclaim for Halo 3 would support the idea that a better reviewed game would support the idea that a better review would translate to higher sales, however… while the details of how much money was spent on each campaign are not available, Halo 3 had some massive cross-promotion, with Mountain Dew featuring a Halo 3 themed drink etc.  For Halo ODST, the marketing campaign was massive, but didn’t have the overall reach and crossover to all the other areas where gamers were likely to encounter that message.  Lastly, the marketing campaign for Halo 2 wasn’t nearly as massive as either of those campaigns.

This brings into question another assumption about the gamer population, are we really as marketing averse as we think we are?  Are we really immune to the forces of marketing?

Yes (but only if you define marketing in a particularly narrow way)

Gamers tend to be less susceptible to traditional forms of marketing compared to other groups, however, we crave content, media, conversations, images, op-eds, previews and a myriad of other forms of communication to consume.   This is also marketing.  Gamers are pre-programmed to consume the kind of social connection marketing that’s evolved over the internet, social media and mobile applications.  We eat this stuff up at a phenomenal rate.

This data doesn’t suggest that developers skimp on a good game, just balance out the emerging data that shows that when a game is marketed to the right people, when there’s plentiful information and content to consume, gamers are more likely to buy.

All you need is game

We’ve known it was coming for quite some time — Beatles Rock Band. What a lot of people don’t know is that this game has been in the works for years. Through the machinations of Harmonix, Dhani Harrison (George Harrison’s son) the surviving members of the band and a whole bunch of talented developers, artists and musicians we now have a game that will undoubtedly make millions. Would we be so excited if the game was just released on a Tuesday like so many thousands of games and it was just a regular old game release? Well that’s a ridiculous question since there was no way this would ever be a regular release.

Want to see the what a behemoth marketing monster looks like? Then all you need to do is look at the icon props at the bottom of the The Beatles Rock Band website…

what no Taco Bell props?

Impressive — the force is strong with them

Rock Band itself has already developed a solid brand over the last couple of years and the Beatles … well, yeah. So put the two together and you get a variety of game bundles all with the same game but extra stuff released on 9/9/09, number 9 …. number 9 …..

Behold — 21st Century Beatlemania

Forty-five songs, dlc already prepped to go, bonus tracks, clips and minutiae that would make Seinfeld cry. For the Guitar Hero/Rock Band generation and the kids that follow they get a chance to meet the Beatles in a way that doesn’t seem like drudgery for them along the lines of “Why do we have to listen to this?” (Watching endless videos or listening to their parents now CDs (used to be albums).  With all this going for it you would think that’s really all you need to do right? Nope. You would be wrong like the people who said this band would never amount to anything. Granted you’ve got a given audience of anyone who is a fan of the game and the band. Then you’ve got the oldy oldersons who will now have a chance to be a virtual Beatle. And last you have the demographic of the kids who think Ringo is some sort of stomach virus/tapeworm but love videogames and are willing to have a go at this version since they’ve probably heard so many of these songs.

EMI’s Game Marketing Machine, Marketing Machine, Marketing Machine

Let’s put aside the fact that VH-1 Classics has gone on autopilot featuring an ad for the game every commercial break including one featuring old rockers reminiscing about how much they loved the Beatles. Let’s instead talk about the fact the game is being released simultaneously the same time that the entire remastered catalog of the band is being released and sold everywhere. Then there’s the mono (audiophile geeks) versions of their recordings the way they were supposed to heard  — that’s up for purchase too. As for Beatles Rock band getting promoted, there as commercial spots on every channel outside of HGTV (althoug they may have bought time on there too), they’re running print ads, banner ads on the web, in store promotions, contests, release parties that put Halo 3 and GTAIV to shame and well — it’s kind of hard to avoid this Yellow Submarine running you over.

Say you want a revolution and a slurpee?

Microsoft even brought out the last two surviving Beatles to E3 this year to endorse the game, Dhani Harrison went on Late Night with Conan O’Brien to promote the game and every retailer from 7-11 to Whole Foods (that’s right Whole Foods) will be selling Beatles stuff. It would seem that EMI (the band’s label) has decided to take the notion of cross-platform marketing to new heights. Sure 7-11 okay, you go in grab a slurpee and a remastered copy of Abbey Road, but Whole Foods?  “We need a price check on Rubber Soul, price check…” Strangely, Itunes is blatantly missing from this list. Fear not, it would seem foolish for this rip in the Beatles space continuum to last too long.

Baby you can cash my cow

Despite the instant distribution vending machine we call the internet at their disposal it’s clear that the folks behind this marketing maelstrom  realize that it’s a lot easier to get fans of the Fab Four to pick up that cool looking video game set (complete with fake replica instruments) or sweet new sounding discs in shiny packaging while they’re shopping for pants at Target rather than online. Ironically big business and corporations like EMI have yet to figure out the secret to turning the internet into that money making cash cow that traditional retail has always provided when it comes to stuff like this. Downloading sure, but clearing monster sales like a videogame with a price tag that maxes out at $250? It’s not an easy feat. We’re getting there with things like games on demand and Steam which allows you to buy older games digitally but nothing the likes of this. What this massive promotion for a videogame and some new CDs  of music you already own does is raise the bar that was already set Halo 3 high a few years back. It also shows us what happens when you take some rock legends, a videogame and a mega promotion budget and mix them together.