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Building Your Business Development Game Plan for your next Conference

There is a conference just around the corner and everyone is starting to turn their attention to where it’s being held.  Conferences and conventions in general are an effective and exhilarating way to network with people who share your goals, or are willing to pay you to make their goals a reality.  

We have put together a guide that you can follow for these conferences.  It is broken up into 3 main parts, with elements below each part to give it clarity.


Set aside time to prepare for the conference.

  • Research the conference. Understand the size, layout, activities and who will be attending.
  • KE3 is just around the corner and everyone is starting to turn there attention to the LA Convention Center.  Conferences and conventions in general are an effective and exhilarating way to network with people who share your goals, or are willing to pay you to make their goals a reality.  E3 is fantastic for this as all of the industry’s major players will be in town that week.
  • now where you are going and what you are doing. Establish these goals early and consider creating back-up plans in case something goes awry (such as an event is cancelled, or a talk you wanted to see is full).
  • Maximize each trip by seeking secondary opportunities. For example, use EventBrite to look for parties and events that could be good for networking.
  • Research the companies and individuals you are meeting. Know their names and try to find a picture of what they look like, if possible (LinkedIn is a good resource). Get an idea of how their company makes money, then try to anticipate what their needs or pain points will be. Brainstorm ideas for how you could solve their problems.
  • Send confirmation emails for all meetings. Include the location, the time, pictures of the meeting spot if possible, and the best way to get in touch with you (typically a cell phone number). Specify if texting is okay because the convention floor can often be noisy and make voice calls difficult or awkward (“hold on, hold on, okay, I’m outside and can hear you now” is neither a fun nor a professional way to greet a potential customer).
  • Include contact information on your calendar and print out a hard copy. It’s always a great idea to have backup in case your digital devices fail or run out of battery.
  • Test your cell phone reception. Go to the convention site beforehand to test voice calls and connectivity in the areas where you’ll be spending the most time.
  • Consider how much data you will be using on your smartphone. It’s better to pay for extra bandwidth ahead of time rather than racking up a whole day’s worth of overage fees.


While at the conference, your main goal is to acquire information!

  • Network! Don’t be afraid to say hello and introduce yourself. You never know when a casual conversation about that morning’s keynote could turn into a business lead.
  • Hand out your business cards. You’re almost sure to get them in return.
  • Pay attention to where the good parties are. Remember that good does not necessarily mean open bar. Consider what sort of crowd will offer you the most leads. A loud DJ could kill your opportunities for networking if no one can hear you.
  • Pick up conference guides, magazines, and flyers. You can peruse them during down time at the end of the day, or on your flight home.
  • Prioritize forming new contacts and relationships over education. Larger conferences often videotape talks and put them online for viewing after the conference has ended. However, the opportunity to make connections with business partners or new clients has to be done during the conference. The exception to this rule is the conference keynote. Make time to attend or at least find a summary of what was said. Since so many people attend these presentations, it’s easy to strike up a conversation about it later while networking.
  • Reach out for meetings on the ground. You could tweet a general blast that you’re looking for certain types of opportunities, or text a personalized message to a high-priority business lead.
  • Maximize your time but know your limits. You will make a sour impression during a meeting if you’re stumbling over words and bleary eyed from lack of sleep, or constantly checking the time because you overbooked yourself and are already late for your next meeting.
  • Be agile. Have a plan of action if someone cancels or doesn’t show up to a meeting. Use your cloud calendar to move and arrange meetings on the fly.


After the conference, complete these seven steps to bring your business development strategy full circle.

Week One:

  1. Input all your business cards into LinkedIn and your CRM.
  2. Extend invitations to all parties on LinkedIn.
  3. Update your CRM with any new information, such as interests, upcoming RFPs, meeting notes, and information about client objectives and needs.
  4. Immediately follow up on all hot prospects.

Week Two:

  1. Follow up with all remaining contacts from the show.
  2. Move forward on any action items from meetings.
  3. Input all data or knowledge gleaned from the show into your CRM for future reference.

Conferences are some of the few times a year you get to spend face time with your clients and potential partners.  Make sure you dedicate the time to do it right and it will pay big dividends down the road.

January 30th, 2017
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Six Simple Steps to Nailing Your Post-Show Follow Ups


The show is over and you’ve caught up on some of your sleep.  Like many others leaving the conference, you probably feel as if the show went wonderfully and you are on top of the world.  Today we’re going to walk you through how you deal with putting yourself in the best position to do just that.


Step One

Collect your cards and notes from the show.  Go through all of them and sort them into three piles.  You want a set that needs to be followed up on immediately and a stack that can wait a few days.  The first stack should only consist of meetings where you had an immediate next step defined and the partner is waiting on you.  The second stack are the companies that you met with or ran into at the show and the immediate next step hasn’t been defined.  The third pile are all the show guides, company directories, etc that you picked up at the show.  You didn’t meet with these companies (or they would be in the first or second stack) but you now know they exist and you need to enter them into your system.



Step Two

Enter all of your cards and notes, from the first two stacks, into your CRM.  If you don’t have a CRM, you need to get one.  ASAP.  In the worst case you can work from a spreadsheet, but I would highly recommend a true CRM solution.  They aren’t even that expensive anymore.  I’m partial to Contactually and Nutshell, but Sugar, Capsule, and Insightly are also popular options.  Using Evernote’s premium level has a great card scanner you can use to make this go a bit smoother.  They let you pay month to month so I frequently subscribe for months I have conferences to attend to take advantage of the feature.



Step Three

Define the next steps from each card or meeting.  What did you tell the other person you would do when you returned to the office?  Were you going to send them more information, introduce them to someone, send a proposal perhaps?  This is where you need to outline that and the meeting notes in general from the show.



Step Four

Set your follow up reminders.  This is where you’ll need to refer to your earlier stacks.  Your immediately follow ups (the first stack), should be set up for no later than the week after the show.  Schedule your second stack of cards for the second week.  You don’t want to follow up too quickly.  The first day or two back from a show everyone is going to be catching up and their inbox is going to be overflowing.  You don’t want your email to get lost in that shuffle.  Rarely are you going to have a situation where you absolutely HAVE to follow up that next day.  For example, if the show ends on Friday, you should start your follow ups starting on Wednesday, with the urgent ones first.



Step Five

Catch up on the news you missed.  Shows are crazy, you’re seeing a lot and running all over the place. You miss things, it’s just a reality.  I for one didn’t know there was going to be a 4th Rock Band game until I was on the flight home.  Take some time to review the news from the show and add any new companies you may see to your third stack of information.  If a company announced something that you are interested in or that presents an opportunity for you, go ahead and schedule a call or email in your CRM at this point.



Step Six

Enter your third stack.  Now take all those random connections and information you found and put them in your CRM.  If there is something worth checking in on, schedule it now.  Otherwise it could very well fall through the cracks.

Finally… EXECUTE!  I’m a stickler for lists and scheduling.  I make sure all of these points are in my system because frankly it makes things easier and you don’t get overwhelmed.  Take each day post-show one day at a time.  Do what you said you would do and nurture those relationships.

January 27th, 2017
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Interview with Tara Voelker, co-founder of the Game Accessibility Conference

Disability is a mismatch between a person and their environment, resulting in barriers performing day-to-day tasks, including gaming. These barriers are often unnecessary. Accessibility simply means avoiding those unnecessary barriers. This often means reinforcing how information is communicated, and offering players some flexibility, both of which often translate into a better experience for all players.

Image result for gaconf

I sat down with Tara Voelker, who makes game accessibility her crusade and on February 27th in San Francisco the Game Accessibility Conference is taking place.  Tara is a co-founder of the conference while attendees can expect a wide range of topics from all sectors of the industry – indie to AAA, academia to accessibility specialists – and leave with inspiration, new contacts, and practical knowledge of how to ensure their vision is able to reach as wide a range of players as possible, so no player is unnecessarily excluded from the access to culture, recreation and socializing that gaming brings.

Give the readers a quick overview of the show and what your goals are for it.

Over the last three years and interest in game accessibility, and it’s been steadily growing, but we have found that the bigger conferences have been just scratching the surface and not really giving that in-depth knowledge.  People are wanting to get more resources, seeing case studies and being able to talk with others that have had firsthand experience at dealing with this and the issues that can arise.

The goal is to give users the tools they need to actually make games accessible.

Step 1: To raise awareness

Step 2: Learn how to do it and give them resources

Most people are aware, its step 2 that’s really important.

“We’re at a tipping point right now where developers want to make games more accessible, so we’re holding an event to give them the resources to do so. They’ll have everything they need and access to like-minded individuals and industry experts.”
– Tara Voelker, Gaikai, event co-director

What kind of challenges are developers faced with?

We are seeing that developers understand what, but not the how.  In case of subtitles in the game.  The developers know that they need to be integrated.  But they are not sure of the details, such as the font size, or is there a particular font to use and how the fonts will look on certain background images.

There are also a lot of challenges when it comes to budgets and resourcing. And with that in mind, the conferencing is having a particular session titled, Accessibility As A Micro-Indie.

“Tackling accessibility as a small indie is a very different prospect to tackling it as a large AAA studio, for many reasons. Not just the differences in budget and resources, but also workflow, approval, politics, toolsets.

This session will explore some of both the advantages and challenges unique to working in a studio of less than five people, and offer advice to other developers who find themselves in the same situation.”

Also another session dealing with handling accessibility for game that has already been released, titled ‘Evolve’: An Adventure in Accessibility Retro-Fitting.

“It’s always said that you should plan for accessibility from the beginning, but what happens if you don’t? Turtle Rock Studios learned the hard way with Evolve, but gained a lot of knowledge taking steps to make their game more accessible post launch. In this session, learn not only how to avoid the challenges they encountered but how thinking of gamers with disabilities made their title more appealing to the general audience for Evolve Stage 2.”

In the case of Evolve, which if you are not aware of the game, it’s first-person shooter with a heavy sci-fi multiplayer focus. The game pits four-player crews of alien hunters against player-controlled monsters in a harsh and dangerous landscape. With unique abilities, items, and strategies, each alien must be used to their maximum potential to take down the large and increasingly powerful creatures they face.

After the games release, one of the first things that came back and they totally missed initially, is the addition of a color blind mode.  The game relied on being able to accurately see colors and they signified certain locations on the map, what class was your teammate using, etc.

Most commonly, color blindness (also known as color deficiency) happens when someone cannot distinguish between certain colors, usually between greens and reds, and occasionally blues.

Image result for colorblind example

Games will of course use colors to signify certain elements.  But take a second and look at certain games, and you will start seeing, that with the colors that are being used, certain shapes are being used along with the color.  This design allows someone who is color blind to be able to still play the game, but now it has certain shapes, and also iconography is a lot of cases.

What would be a short list of features that all games should adhere to be considered accessible?

While this isn’t a feature, it’s important for developers to be thinking about the kind of accessible features they do want to have.  Being able to have the list and incorporate while designing and developing, will not have an impact on scope.  The scope challenges are when you have to retro-fit an accessible feature because you didn’t think about it in the beginning.

“Video games are becoming more complex all the time. Their stories are richer, their worlds more vivid and full of life. Truly, they are incredible. Nobody should be excluded from experiencing the things only video games can provide, and they want those chances. That is why game accessibility means so much.”
– Brandon Cole, blind gamer & advocate, speaker

Can you give me a game or two that you feel to an exceptional job at capturing accessibility that players should check out?

Yes, the one right now I would tell them to see, is Uncharted 4.  That one is a leader in accessibility.  As you launch the game you are presented with the accessibility menu.  For example, if you have a challenge with fine motor controls, you can turn on camera assist before getting in the game and then changing it in the menu.

They did tons of user research by bringing in players with impairments to test the game and give feedback of the menus and want should be in the game.

There is a really cool video that goes over why developers added accessibility options to Uncharted 4.

Do you see that the culture if changing on this front, or is it still a challenge for developers to think about accessibility?

It’s definitely getting a lot more prevalent.  When we starting doing talks, we would have a limited amount of audience, about 20 people coming to the talks about accessibility.  You would see the same 20 people at each of the sessions.  Then last year at GDC, we had an audience of over 200, which is a huge increase.

It is expanding every day, and not only in the game space.  Other industries are adding accessibility to the applications.

Additionally, gamers themselves are championing the effort for accessibility in games.  There is one great story where crowdfunding help accomplish fund a conference particularly on this topic.  And we aren’t talking about particular developers, or games with particular impairments.  This was crowdfunding by games wanting to be part of this important topic.

“We are just excited that we are finally at the point that there is enough interest and enough people needing these resources that a conference like this needed to exist.  This is what we are most excited about.  This is the first conference that is dedicated to game access”

Can you give me a short list of speakers for the conference?

Of course.  Here are just two of the over 15 speakers that we will have for the conference.

giselle bryce

You can check out the full list of speakers here: http://www.gaconf.com/speakers/

Conference Links







I want to thank Tara for her time in talking with me. 

Game accessibility isn’t something that is talked about a lot in gaming circles.  But it is something that is incredibly important to know and understand about.  Games don’t care who the person is that is playing.  Games care about the person enjoying the experience.  Allowing game to be accessible for as many players as possible is a worthy goal and I am glad that there are people such as Tara that make this goal her crusade.

January 23rd, 2017
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Why branding matters for mobile game developers

Justin Booth-Clibborn, chief marketing officer of Psyop, explains why developers need to look beyond performance-based ads and the CPI model.  

“This device isn’t a spaceship. It’s a time machine,” Don Draper intones as he clicks through pictures of his life on a Kodak projector. The emotion in the room is thick. As the presentation ends, an ad executive tearfully hurries out of the room. The story of the brand, the new technology, has been told; now the company just has to sell it.

Making technology an emotional experience is an aspiration for the tech elite. But even though we love Mad Men, we also tend to view it as a period drama, with little to say about today’s marketing. Spending on TV, in particular, seems counterintuitive to techies, for reasons beyond our Netflix and HBO Go addictions. Most of our ads, especially in mobile, are direct response. When you’re used to measuring every incoming user, TV can seem like a dumb acquisition channel.

But increasingly there’s a trend of tech doing brand ads, led by mobile game developers. TV spending in mobile was up 47 percent for 2015, with 65 video game developers paying out $629 million, according to iSpot.tv. That’s because branding becomes important as competition rises ( (and increased Cost Per install rates along with it), and there’s no market more competitive than mobile gaming.

An alternate path to users

Mobile marketers weren’t eager to jump into brand advertising. They were pushed. Over the past few years, mobile has become a bloodbath, driven by high-earning mid-core and casino games who bid direct response CPIs through the roof, as well as the slow but steady entry of massive consumer brands.

“[Supercell and Machine Zone] proved that they, at least, can see the value in brand ads. Perhaps more importantly, they demonstrated that the made-in-America art of creating a story and dream in 30 or 60 seconds isn’t dead”

Two other trends have encouraged more mobile developers to jump into brand advertising. One of those trends is the mounting evidence that brand ads do have a place in a targeted, measured multi-channel strategy. Since apps and games are reliant on installs, with many of these attributed directly to acquisition channels, it’s possible to measure TV by process of elimination, as well as factors like time of broadcast. Or, in more relatable terms, there’s a measurable bump in downloads from having Kate Upton pull on a silver breastplate and charge through her enemies during the Superbowl. Fetch, a mobile researcher, estimated that such TV ads can increase downloads for mobile apps up to 74 percent.

The other trend is the appearance of splashy, multi-million dollar TV ads from the likes of Supercell, which hired Liam Neeson for a Clash of Clans spot, and Machine Zone, who besides Kate Upton has tagged Mariah Carey and Arnold Schwarzenegger for Game of War and Mobile Strike. These industry leaders proved that they, at least, can see the value in brand ads. Perhaps more importantly, they demonstrated that the made-in-America art of creating a story and dream in 30 or 60 seconds isn’t dead.

Selling dreams

If mobile game developers and publishers are honest with themselves, they might admit that strategically based ideas and creativity isn’t the top input in most of their ads. Optimal click-throughs and conversion are the driver. History repeats itself: for example, in the social game boom that preceded mobile, companies like Zynga rose ascendent with a stats-over-emotion philosophy of game design. Creativity eventually caught up to analysis in today’s generation of mobile developers, whose games are creative — but whose marketing is built on stats and analysis.

Unlike most of the punchy but soulless ads found on direct response channels, the big TV ads are actually good. Machine Zone has continued with a series of ads that show the social side of their games, and are suitable for multi-screen campaigns. Supercell has developed fun personalities for its game characters, causing fans to seek out their commercials and generating hundreds of millions of views, likes and shares.

Adding an emotional context works well in any medium, whether it’s TV, print, billboard or digital. Simple trailer videos that show an app in action are no longer necessarily enough to inspire a download: effective videos must inform, entertain, and build an emotional connection with, the audience by developing characters, conveying plotlines or even inciting laughter or fear, much the same way that movie trailers try to do.

This type of creativity-fueled, emotion-driving advertising is becoming a must for social media marketing and virality as well, as social channels like Facebook, Twitter, YouTube and others have gained immense power for distributing content directly to users and audiences. Only the best, most compelling game promotion videos will earn the likes, shares and comments to reach their peak effectiveness.

“The most common objection to traditional ads is that cord-cutting will invalidate TV advertising. While it’s true that TV is declining, it’s happening a lot slower than people think”

And so we’ll see creativity move to the forefront of game marketing instead of remaining an afterthought. After years of rather un-creative marketing, most developers will need help with this, either finding partners who can help with the creative stage of the process, or hiring new employees who have the skills to develop and execute that type of work.

The most common objection to traditional ads is that cord-cutting will invalidate TV advertising. While it’s true that TV is declining, it’s happening a lot slower than people think. Just 1 to 2 percent of customers will cut off their cable over each of the next few years, leaving well over 200 million monthly users in the US – hardly a channel to ignore. And even if cable and broadcast slowly die, other television-like marketing channels will emerge.

It’s also worth pointing out that brand building requires time and patience. No reputable brand was built overnight. It requires repetitive exposure (there’s an old adage that consumers must be exposed to a message at least seven times before it sinks in), and these days it also requires a coordinated approach across multiple channels, including not just TV but mobile, digital, and possibly even print mediums such as magazines, billboards and more. So for developers hoping to run a single TV ad — maybe even one during the Super Bowl — and reap all the rewards of having an “established” brand, we are sorry to say that there is no such shortcut.

Overall, brand advertising is a great “new” channel for mobile game developers, offering some respite from the ever more brutal competition in their primary advertising and UA channels. Sustained brand awareness — built by great, creative advertising — is one of the best ways to be heard above the din.

Justin Booth-Clibborn is CMO/Head of Business Development, Psyop and served as Managing Partner/Executive Producer from 2001 to 2012. Psyop is the creative design agency behind ads for Clash of Clans, Temple Run, Tom Clancy’s Ghost Recon and other major gaming brands.  He and his team at Psyop have been working with The Powell Group since early 2016.

See the original article here.

January 9th, 2017

80 Publishers Who May Publish Your VR or AR Game

While VR games are a little newer on the scene than the AR games we’ve been playing for a couple of years, there are already a number of publishing companies investing in the space.  We’ve put together a list of (nearly) 80 companies that we have seen involved in this space already or quickly moving in that direction.  Steam currently lists over 900 games on their store that support the Vive, Rift, or OSVR.  It’s hard for many smaller development teams to get noticed on the app stores or Steam because of this and that’s why we’re seeing more and more developers beginning to look for publishers to help them rise above the masses.

If you have questions about how and what to submit to a publisher to maximize your chance of success let us know here and we’ll be happy to help.

Don’t forget we’re giving away a free HTC Vive (or other kit should you choose) to one lucky developer on December 15th.  Just fill out a REALLY short survey and you’ll be in the mix for it.

1C Company http://www.1cpublishing.eu
2K Games http://www.2k.com
37 Games http://www.37.com
505 Games http://www.505games.com
AAD Productions http://aadgames.com
Active Gaming Media http://www.activegamingmedia.com
Arc System Works http://arcsystemworksu.com
Atlus http://www.atlus.com
Balloon 27 http://balloon27.com
Bandai Namco http://www.bandainamcogames.com
Bigben Interactive http://www.bigben.eu
BitComposer http://www.bit-composer.com
Bossa Studios http://www.bossastudios.com
Capcom http://www.capcom.com
CMGE http://www.cmge.com
Codemasters http://www.codemasters.com
Creative Mobile http://creative-mobile.com
Croteam VR http://www.croteam.com
D&K Games Studio https://dkgamesstudio.itch.io
D3 Publisher https://d3go.com
Degica https://www.degica.com
Destined http://www.destined.com
Devolver Digital http://www.devolverdigital.com
Double Fine Productions http://www.doublefine.com
Electronic Arts http://www.ea.com
Fireproof Games http://www.fireproofgames.com
Fluik Entertainment Inc. http://fluik.com
Focus Home Interactive http://www.focus-home.com
Gaijin Entertainment http://www.gaijinent.com
Gamepoch, Inc. http://www.gamepoch.com
Grip Digital http://www.grip-digital.com
Gungho Online Entertainment http://www.gunghoonline.com
Hidden Path Entertainment http://hiddenpath.com
Idea Factory International, Inc. http://www.ideafintl.com
Ignite VR https://ignite-vr.com
itBAF http://itbaf.com
IV Productions http://www.ivproductions.it
JoyCity http://www.joycity.com
Klabater http://klabater.com
Koei Tecmo http://www.koeitecmoamerica.com
Konami http://www.konami.com
Life VR http://www.justbatvr.com
MAG Studios http://www.magstudios.co.uk
MLB Advance Media http://www.mlbam.com
Marvelous Games Inc http://www.marvelousgames.com
Maximum Games http://www.maximumgames.com
Maysalward R&D https://www.maysalward.com
Microids http://www.microids.com
NC Soft http://us.ncsoft.com
Nicalis http://www.nicalis.com
Outblaze http://www.outblaze.com
Outplay Entertainment http://www.outplay.com
Pebblekick http://pebblekickinc.com
Perfect World Europe BV http://www.perfectworld.com
Psyop Games http://www.psyop.tv
Roblox Corporation http://corp.roblox.com
Secret Sorcery http://www.secretsorcery.com
SEGA http://www.sega.com
Sekai Project https://sekaiproject.com
Side-Kick Games http://www.sidekick.co.il
Skybound http://www.skybound.com
Snail Games USA http://www.snailgamesusa.com
Square Enix http://na.square-enix.com
Studio Wildcard http://www.studiowildcard.com
Talking About Media http://www.talkingaboutmedia.com
Team17 Digital http://www.team17.com
TEDI Games http://www.tedigames.sk
Tilting Point http://www.tilting-point.com
Tool of North America http://www.toolofna.com
TransGaming http://www.transgaming.com
Tru Blu Entertainment http://www.trublu.com.au
Turbo Chilli Pty Ltd http://turbochilli.com
Ubisoft http://www.ubi.com
UserJoy https://www.uj.com.tw
VRwerx http://www.vrwerx.com
Wales Interactive http://www.walesinteractive.com
Warner Brothers http://www.warnerbros.com
WhiteMoon Dreams, Inc. http://www.whitemoondreams.com
XMG Studios http://www.xmg.com
Zen Studios https://www.zenstudios.com


December 7th, 2016