Ed Sheeran: Piracy Is What Made Me

from the good-guy dept

We all know by now the music industry’s mantra that piracy kills artists. Well, not kills kills, but kills their musical careers before they could even really begin, so destructive is the dissemination of free music amongst the public. After all, if the public doesn’t pay for every last instance of every last bit of music, how in the world could musical artists ever make a living? This mantra is one that tends to be applied universally to the concept of free music by the industry, with zero in the way of nuanced discussions about potential business models that might work for some, or many, artists.

Except that that’s silly. It ignores the power of freely disseminated music in helping musicians to be discovered in the first place, where they can then go on and make all kinds of money through what have always been better profit-centers for artists, such as concerts, merchandise and the like. Many artists don’t understand this, swallowing the industry’s mantra whole. But there are exceptions, such as Ed Sheeran, who began his career sans record label, promoting himself instead.

Beyond writing the songs, Sheeran also wrote his own rules about how to sell them. Like so many others, he had set off for London as a teenager, singing on street corners and in pubs. But he didn’t knock on record company doors or wait to be discovered. Instead, he began marketing his own stuff, releasing his music himself on websites until — inevitably — a record label came calling. He had already earned half a million from his independent sales, putting the music out himself.

“What I didn’t have was infrastructure,” Sheeran said. “They have an American label, they have a Japanese label, they have an Australian label. So that’s what I was signing for.”

And that infrastructure is where labels can indeed provide some value. Except it’s simply not the value for which labels have taken so much credit for far too long. There was no initial discovery and nurturing done by the labels in Sheeran’s case. Sheeran did that himself. Instead, the labels came calling after the initial work was done and pitched even wider distribution in exchange for slapping their names on an already ascending star. This serves as a rebuttal to some of the reaction you see in cases such as Run The Jewels, with some complaining that their free music strategy chiefly worked because they were already a household name. Sheeran’s case is the opposite, in which he became a household name because of his free music strategy. It’s not that the strategy is easily portable to every artist in every case, but it does remind us that the blanket disgust toward piracy by the music industry is not supported by reality either.

But even after the labels were involved, Sheeran indicates a clear understanding of how and why his music supercharged his fame to the household status it now has.

Who helped him first? Fans, he says. “It was file sharing. I know that’s a bad thing to say, because I’m part of a music industry that doesn’t like illegal file sharing.”

“Code for piracy.”

“Yeah, but illegal fire sharing was what made me. It was students in England going to university, sharing my songs with each other.”

And what is his view on file sharing now? “I don’t think file sharing exists now.”

“Really?”

“Yeah, I think people rip off YouTube. That’s a thing. But I feel like it’s so easy to stream.”

Sheeran’s case goes beyond simply giving music away, of course. His treatment of his fans creates a bond as well, one that fosters a desire among the fanbase to support him. The free music alone isn’t enough, he needed his personality and talent, as well, to make it work. Still, it’s easy to read shrugged shoulders into his comments on music piracy in the present, and obvious gratitude for it in his past. It’s unfortunate how rare this mode of thinking is, which is why it’s a bit jarring to hear a star like Sheeran say something as profound as “illegal filesharing was what made me.” You can almost hear the groan from label executives as you read the words from a man far too busy counting his money and making his art to care.

And, to counter another industry claim that any gain by an artist through piracy is short-lived, it’s worth noting that Sheeran’s latest work is selling, and selling well. At a record breaking pace, in fact, even as the concert venues continue to sell out for Sheeran’s appearances.

Not bad for a young man who credits piracy for all that glory.

Filed Under: connect with fans, ed sheeran, music, piracy

Run The Jewels Succeeds With Free Music And A True Connection With Fans

from the doing-it-right dept

Techdirt has always been a place where we have discussed new emerging business models for the entertainment industry, including the music business. For far too long, there has been a battle about how musicians should monetize their art, with one side claiming that infinitely reproducable music files should be costly out of respect for the musicians and the labels that produce them, and the other side pointing out that this doesn’t make any economic sense and that there are plenty of ways for artists to monetize their work without pretending the internet doesn’t exist. Free music has always been at the forefront of this discussion, as some artists have given away music files as a way to make money elsewhere: live concerts, merchandise, etc. Yet, no matter how much money the new models can and do make for those musicians that embrace them, there is a stigma about what is essentially art enjoyed for free. And that stigma is often dressed up as a concern for artists.

Yet that concern must wane as examples of artists making the internet work for them have proliferated. And those examples are no longer relegated to smaller artists with short music lifespans. Recently, Killer Mike and El-P from the exploding hiphop group Run The Jewels were guests on The Daily Show (we can’t embed the video because Comedy Central, stupidly and inexplicably, doesn’t use HTTPS — but you can view it at that link, or this one for our Canadian readers). While most of that conversation didn’t revolve around the music industry, the first few minutes of the interview certainly did and both artists’ explanation for why they chose to give away their music should sound quite familiar to Techdirt readers. Here’s El-P:

I ran a record label for 10 years back in the day, I ran a record label called Def Jux, and it completely collapsed under the weight of the whole music industry, essentially. People stopped buying and we were based on an old model.

We kind of did the first record just as a thank you to our fans. We were really thankful that we had our solo careers, we had been working together, and we didn’t want to go through everything. We didn’t want to look at the first week sales, we didn’t want to compete, we just wanted to give something away. It just occurred to us, it just felt right. We wanted to get the hearts and minds of people, we didn’t want to trick them into buying a record with one single and, you know, we just didn’t want to play the game.

We released it and we just gave it to everybody and said “if you like it, support us, and if you don’t? That’s fair.”

What is clearly on display are two artists, one of whom had previously run a record label, that are far more interested in their art and their fans than they are playing the record label business game. Instead, Run The Jewels decided to give their music away for free, while also setting up a way for their fans to support them by buying the music as well, and it is working. Why? Why would young hip hop fans with internet connections choose to pay for music that was otherwise available for free?

Because Killer Mike and El-P connect with their fans on so many levels — they treat their fans well, don’t take themselves too seriously, and have built up a following that enjoys their work. For example, the whole Meow the Jewels effort from a couple years ago fits right in with our increasingly long list of examples artists connecting with fans and giving them a reason to buy. It started with (of course), offering the music for free, combined with a variety of premium packages — including the “I’m on the List, Asshole” package, in which you get backstage passes to a bunch of shows, and a promise that El-P and Killer Mike will pretend to be friends with you. But El-P also joked about remixing the album with just cat sounds, called “Meow the Jewels.” And their fans took them seriously and put together a Kickstarter campaign. The guys originally felt uncomfortable about this, but eventually embraced it with a plan to donate all the music to charity. And, of course, they did, in fact, make the remix, and it’s… actually pretty cool.

But it’s not all jokes. Both guys are politically active and outspoken, which has helped build an even stronger connection with those who agree with their political leanings. In addition, the group also still makes all kinds of money off of merchandise and concerts, which has always been a key source for musician income. What’s missing is a traditional record label siphoning away money for the kind of marketing efforts the band can now do themselves because of the internet and free music — which enables a two-way path with the fans. It helps the group connect with the fans and deliver them awesome music, while also allowing the fans to support the artists back. No label needed.

Were the stories told by the labels accurate, we shouldn’t even know who Run The Jewels and these two artists are, never mind being able to watch them explode onto the scene in the way they have. This is a success story that needs to be bookmarked and used as a rebuttal against those that say music must not be given away for fear of artists failing to make it.

Filed Under: cwf, el-p, free music, killer mike, rtb, run the jewels

Video Game Industry Embraces Internet And New Business Models: Others Should Pay Attention

from the game-theory dept

We talk a great deal around these parts about new business models at both the macro and micro level. Individual experiments and successes, as well as failures, are both interesting and instructive, but a good macro-level look at how entire industries can function in a digital marketplace should be equally useful. With that in mind, Chris Dixon has an absolute must-read post on Medium on the lessons other industries can learn from the PC gaming industry’s success in recent times.

It’s worth noting before we start here that the past five years or so have been chock-full of hand-wringing over every potential danger to the PC gaming industry you could imagine, from casual mobile games to piracy. And, to some extent, I can understand that fear. After all, PC gaming has perhaps lower barriers to entry than other entertainment mediums, making competition more heavy, while the average consumer of PC games is likely going to be more familiar with the ways of piracy and the technical workarounds to DRM than the average music or movie consumer. Too bad for all that fear that, as Dixon’s article notes, the PC gaming industry has enjoyed healthy growth over these past several years (something like 50% revenue growth since 2012). Much of that has to do with the innovative ways gaming companies have found to do business.

Even if you have no interest in video games, if you are interested in media, you should be interested in PC gaming. Over the past decade, PC gaming has, for a variety of reasons, become a hotbed of experimentation. These experiments have resulted in a new practices and business models?—?some of them surprising and counterintuitive?—?that provide valuable lessons for the rest of the media industry.

Those experiments will sound quite familiar to the Techdirt reader. They include free-to-play models, with game extras being sold to gamers. They also include the development of strong and convenient selling platforms, like Steam and GOG.com. The so-called “freemium” model is particularly well done in PC games, in part because many of those games respect gamers enough not to use the model to break the integrity of the game itself.

The PC gaming world has taken the freemium model to the extreme. In contrast to smartphone games like Candy Crush that are “free-to-play,” PC games like Dota 2 are “free-to-win.” You can’t spend money to get better at the game?—?that would be seen as corrupting the spirit of fair competition. (PC gamers, like South Park, generally view the smartphone gaming business model as cynical and manipulative). The things you can buy are mostly cosmetic, like new outfits for your characters or new background soundtracks. League of Legends (the most popular PC game not on Steam) is estimated to have made over $1B last year selling these kinds of cosmetic items.

Medium also goes on to point out PC gaming’s latest foray into money-making in the form of live events. In what will sound familiar to anyone who has read our posts about the music industry, live gaming events are fantastic revenue generators, especially as they’ve become massively popular in the past few years.

Add to all of this the relatively permissive attitude in PC gaming circles that companies have towards mods of their games and you have a recipe for violent adoption and the willingness to buy by the gaming public. Mods make games more attractive to wider audiences, increasing purchases. Some mods indeed become their own games, increasing purchases. Most game companies encourage this modding culture, generating good-will within the consumer-base. No other industry does this as well.

Contrast this to the music industry, which relies on litigation to aggressively stifle remixing and experimentation. Large music labels have effectively become law firms devoted to protecting their back catalog. Sometimes this means suing their peers, and sometimes this means suing communities of users. The end result is a strong chilling effect on new experiments. Almost all new music-related tech products are minor variations of preceding products. It’s too risky and expensive to try something genuinely new.

And finally, there is the embrace of crowd-funding. Crowd-funding has been adopted in virtually all entertainment mediums, but I struggle to see any of them doing crowd-funding as well as the PC gaming industry. From experiments done by household PC gaming names like Tim Schafer, to diverse tiered-rewards for funding, to the willingness of some to forego offers from traditional game publishers to go the crowd-funding route, PC gaming is full of these success stories.

The point of all this is that new and innovative business models can work for other industries as well. There’s nothing unique about the PC gaming industry that won’t translate over to some degree for music, movies, television, etc. They just have to try.

Filed Under: business models, copyright, internet, video games

Content Creator Of The Month: Realm Pictures Explores New Ways To Tell Stories Online

from the amazingly-amazing dept

Content Creator of the Month is a new project from the Copia Institute that we’ll also be highlighting here. Each month, we’ll profile a new content creator who is doing interesting and compelling things, often using the internet in innovative and powerful ways. Here is the very first installment…

A few weeks ago, a couple of friends friends were tweeting about an incredible new YouTube video in which some people created a “real life first-person shooter” and hooked it up to Chatroulette, Skype and Omegle. Random people on the services were transported into this game, which they controlled with their voice. If you haven’t watched it, find ten minutes to check it out (or just 5 if you speed up YouTube to 2x speed). It is incredibly detailed, and awesome beyond words:

My first reaction was to marvel at how much effort must have gone into setting all of this up. I had initially assumed the “game” couldn’t go very far beyond the tiny room where it started — but it goes much, much further. My second thought was about how hard it must have been to coordinate all the sounds, effects and movements (even while recognizing that the final version is cut together from the takes that “worked”). Thankfully, the people behind it — Realm Pictures — also put together a behind the scenes video that reveals the inner workings (and doesn’t make the original any less magical): I started looking into the team, and realized I actually knew a bit about them, as this is hardly the first time that Realm Pictures has done cool stuff online. Years back, while based out of their home in Devon in the UK, these guys filmed their very own zombie flick called Zomblies, which they posted for free on YouTube. For a bunch of “amateurs” (at the time), the production value is amazing — they even got someone to donate time in a helicopter, allowing them to film aerial shots. But there’s another important piece of the story: while they were making the film, Realm Pictures was also using the internet to build up a community of people who were interested in the process, with their daily blog about the work acquiring a big following.

David Reynolds, the founder and creative director of Realm Pictures (and the voice in the first person shooter above), told me that “building a community has always been instrumental to both our process and our success with projects thus far.” The community has followed them from project to project, such as the team’s next giant undertaking The Underwater Realm, a series of five short films with large segments taking place underwater — an incredible challenge for any filmmaker, let alone relatively inexperienced independents. The team originally tried to use wires and a green screen, but realized it just wasn’t realistic enough. Eventually someone donated a special casing for a camera, allowing them to actually film underwater (mostly in a local public swimming pool). Here’s the first of those films (and they also have a behind the scenes video):

In order to make that movie, they also embraced another useful online tool, Kickstarter, to cover some of the production costs, eventually raising over $100,000 (they had sought $60,000). While Reynolds is supportive of crowdfunding, he does worry that it may be peaking, and that “the bubble is beginning to burst, as now it seems that everybody and his dog has a Kickstarter campaign.”

One of the things that struck me personally about Realm Pictures is their ability to create visually amazing narrative film projects on relatively small budgets. For many years we’ve been debating the question of “the $200 million movie,” in which traditional Hollywood studios keep asking how they can continue to make movies that require such huge budgets if people are unwilling to pay to watch them. And yet, as we’ve seen over and over again, technology and basic creativity are enabling the creation of incredible movies for a lot less. Much of Realm Pictures’ work shows how that’s possible. Still, Reynolds has talked in the past (notably in an interview with Kevin Smith) about being interested in doing a much bigger, Hollywood studio-funded version of Underwater Realm, which he estimates will cost somewhere in that $200 million range. So far, studios haven’t been willing to pony up — but Reynolds insists there are lots of fun projects the company will be working on, even as they hope they’ll one day be able to create that underwater epic.

Throughout these projects there’s a strong thread: building a community and bringing it along for the ride. Reynolds tells me this is very important to how they’ve been able to succeed and, at the same time, give back to those who have supported them:

It is a practice we hope will always continue through our career, and at the same time give back to the community which has supported us by giving back in the form of a transparent insight into our work and things like the free tutorials we have released on our YouTube channel.

Reynolds points out that, in the end, none of this matters if the content isn’t great, and that’s always been the key: create great content for your community. Without that, the community won’t last either. This is the combination that we’ve seen work for so many successful creators today. Creating great content is always at the core, and building up a loyal community around it helps spread that content and open new doors.

In terms of this latest video, which went viral super fast (I first saw it when it had about 3,000 views, but now it has over 7 million), Reynolds says it was just a fun project that they did in a weekend, with “one practice run, with a member of our team on a Skype call… to check that the system was working, and then straight into finding strangers on the internet.” They ended up doing about 50 runs, with the few players who completed the whole “level” taking about 20 minutes. This is one of the first really “interactive” film experiences I’ve seen where the interactivity fits right in and doesn’t feel forced (though of course now everyone is just watching instead of playing — but watching how others interact still feels kind of interactive). Reynolds points out that they’re really just taking what makes video games so engaging, and moving it to video.

Oh, and Reynolds also notes that they’re now working on level two of the game, so stay tuned (and maybe start using Chatroulette, if you want to play!)

You can read below for my whole interview with Dave Reynolds of Realm Pictures, our very first Content Creator of the Month.

Filed Under: community, content, crowdfunding, culture, dave reynolds, first person shooter, underwater realm
Companies: realm pictures

CD Projekt Red Does Everything Right With Witcher 3 DRM & DLC…And Breaks Sales Records

from the +1-broad-sword-of-awesomeness dept

If you need an example of a game developer doing something (well, a lot of things) right, look no further than CD Projekt Red and their latest multi-platform role-playing game, Witcher 3: The Wild Hunt. The developers are aggressively breaking all of the usual obnoxious video game industry norms: they’re releasing most of the title’s downloadable content (DLC) for free (two each week), they’ve avoided annoying pre-order exclusives, they’re receptive to fan feedback, and perhaps most importantly to many gamers, they’ve taken a repeated, strong and vocal position against DRM.

They’re effectively the anti-EA and Ubisoft, and fans are rewarding them for it. Witcher 3 is a gamer darling over at Reddit, reviews have been nothing short of incredible, and the company is breaking sales records with the title without using any of the above-listed annoying tricks of the industry trade:

“Sales of the third part will be many times higher than with our earlier games. Preorders indicate this,” CD Projekt’s chief executive Adam Kicinski said in an interview. “We broke into the mainstream. It is such a moment in our firm’s history that after some years people will look differently at CD Projekt before and after this release.” DM BO Brokerage analyst Tomasz Rodak said he saw the new Witcher’s yearly sales at 7 million copies, which could bring a record net profit of 369 million zlotys ($97.5 million) in 2015.

And again, they’ve done it without resorting to the obnoxious, nickel and dime tactics so many game companies have an unholy addiction to.

It’s also worth noting the game itself is really, really good. I was one of the few avid RPG fans that found the first two titles to enjoyable but relatively clunky affairs. I’m a sucker for open-world games however, and with the shift of the series to a truly open world, I’ve been absolutely blown away not only by the sheer size of the game world, but by how fleshed out the storytelling is for a lot of the side quests. It’s a fully inhabitable fantasy-nerd paradise. While the writing still stumbles around the usual stale fantasy gender tropes (which scantily-clad sorceress shall I seduce next?), overall it’s an incredible accomplishment.

The company’s also showing it has a sense of humor. Long critical of DRM, CD Projekt Red’s not only not using DRM for the title, it has found marginally-entertaining ways to mock DRM in game. From a grimoire on “Defensive Regulatory Magicon” found by one user while they were busy exploring:

The game does have an atrocious, headache-inducing font problem the company’s planning to patch, so here’s the text:

“The Defensive Regulatory Magicon (or DRM for short) belongs to the above-mentioned group of the longest-lasting, most effective and hardest to break defensive mechanisms. In order to recognize the individual administering it, it makes use of a portal mounted at the entrance of the area it is to defend. This portal passes streams of magical energy through the body of the person entering and can, in the blink of an eye, determine if this person has the corporeal signature (eyeball structure included) of the entitled administrator. As a result, the only unauthorized individuals that can possibly hope to enter are mimics.

DRM thus makes for an extremely effective and near-unbreakable security measure – but you are in luck, for you hold in your hands the key to bypassing it, namely the present tome, Gottfried?s Omni-opening Grimore, or GOG for short. In the pages to follow you will find innumerable methods for deactivating DRM, or, even better, bypassing it altogether (?)”

A Bill Hicks level joke it ain’t (GOG is also short for DRM-free games outlet Good Old Games, run by CD Projekt), but the full quest is notably more amusing, with said “DRM” trapping the owner of the magic technology in a tower after failing to recognize him. Not only is CD Projekt Red doing everything right in regards to DLC and DRM, it’s doing it with a little flair. Offer a great product, treat your customers well, don’t obnoxiously nickel and dime people like it’s going out of style, and customers respond positively. Who the hell knew?

Filed Under: dlc, drm, fan friendly, witcher 3
Companies: cd projekt red

How It's Done: Rockstar Releases Video Production Editor For GTA So Fans Can Make Films

from the bizzaro-nintendo dept

Peruse the history of fan-film posts we’ve done in the past and you’ll be met with depressing results. Too often the makers of movies and video games prefer a restrictive approach to fans using any form of their content. The approach tends to be of the blanket variety, where a default to protectionism often ties up fan-work that is either usefully creative in and of itself, or else beneficial to the original content producers if only it would be allowed to breathe. Nintendo has become famous for this kind of restrictive practice in YouTube recently, but it is hardly alone.

Rockstar, as it has so often before, breaks the mold on this kind of thing. Back when Grand Theft Auto 4 was the latest iteration in the GTA series, some enterprising fans had used video editing equipment, along with the game itself, to create their own brand of fan-film, using game footage as the vehicle for an admittedly simple but impressive story line. The whole thing was 2 hours long and has been viewed on YouTube over half a million times. Rockstar, for its part, not only didn’t take the video down, but it went so far as to provide its own video editing software for fans in the latest PC version of the series, Grand Theft Auto 5.

When Grand Theft Auto V launches tomorrow, it will come complete with a video editing suite that will allow you to make movies from Story Mode and GTA Online footage you capture. The software, the Rockstar Editor, lets you do a number of things [like] record and edit footage and share them with the community. The editor features special camera modes, filters, depth of field and audio customization options, and a Director Mode feature that allows you to create movie-making sequences from a cast of characters from Story Mode.

This, quite simply, is how it’s done. Rockstar/GTA fans expressed an interest organically in something they wanted to do with Rockstar’s product, an emergent use that Rockstar may never have even considered, and, rather than getting butthurt over the use of the content and sending out the threat-letters, the company enabled its fans’ behavior instead.

And why wouldn’t they? After all, far from harm, it would be an absolute boon to Rockstar to see YouTube pages filled with fan-creations in the form of short or monstrously-long creative works, all done within GTA itself. It’s just one more way to have fun within the game, one more way to be expressive with fellow fans of the game, and one more way for the GTA name to be etched into gaming history. This is pure CwF+RtB calculus at its finest.

Well done, Rockstar.

Filed Under: fan films, fans, grand theft auto, gta
Companies: rockstar

Joss Whedon Shows How Being Awesome Rewards Creators

from the gifted-awesomeness dept

Joss Whedon has long held a special place in the hearts of geeks. And not only for producing some real cultural gifts, such as Firefly and the Avengers movies. On top of those achievements, he’s also been fairly proactive when it comes to embracing digital business models and treating fans with an unmatched level of awesomeness.

With that in mind, it may not come as a huge shock when David Cortright writes in about Whedon going to some great lengths to show fans his appreciation while also giving them a reason to watch his latest short film and generating a ton of goodwill marketing on top of it.

Most filmmakers are grateful for the support of their audience, but for the past few weeks, Joss Whedon has really been demonstrating his gratitude. Last month, Whedon announced at the Tribeca Film Festival premiere of In Your Eyes — the supernatural romance starring Zoe Kazan and Michael Stahl-David and directed by Brin Hill (Ball Don’t Lie), which Whedon wrote and executive produced — that fans could watch the film immediately by renting it for $5 through Vimeo. Since then, Whedon’s filmmaking team has been secretly sending thank-you gifts to a random selection of fans who have streamed the movie.

Those gifts have ranged from planted cacti to cooking grills all the way up to Apple TVs and Xbox Ones. Those thank you gifts were also distributed not only in the United States, but as far away as the UK, Germany, New Zealand and Dubai. How do we know about all this? Was it because Whedon and his team went out of their way to operate this system as some kind of bribery contest to get people to watch the film? No. Instead, we’re learning about it because recipients of the thank you gifts are going out of their way to thank Whedon and sharing the acts of awesomeness on social media.

@adriaanbloem: Rented #inyoureyes on Vimeo, and they then sent a “small token of appreciation”: an Apple TV! Smart marketing because yes, I’m tweeting this

It’s a hell of a promotional tool, to have some of your biggest fans get the word out both about your movie and the kind of behavior that can’t help but breed goodwill and positive marketing. In other words, like anything else, this isn’t so much altruism as combined marketing efforts between a producer and fans that results from being awesome. By gifting a small and somewhat random number of viewers of a small film, suddenly you have a flurry of attention being paid where otherwise there might be little.

“The idea was we’re doing something a little different, and we just want to say thank you,” said Roiff. “Someone said on social media, like, ‘Oh, it’s almost like they got Kickstarter backwards and they’re doing it in reverse.’ That is sort of what we’re doing, saying, you know what, this is working out, and we want to say thanks and give something back, and try to keep people talking so we can keep doing it this way.”

It’s working and it’s a lesson to other creators and artists about how much benefit can be garnered simply by treating their fans well.

Filed Under: being awesome, connect with fans, joss whedon

Double Fine Unchains Game IP, Fans Work To Make The Game For Them

from the the-finer-things dept

In the realm of both embracing new business models in video games and generally being an all around awesome company, it doesn’t get a whole lot better than Double Fine. If we were to write a playbook for a gaming company, it would probably read like Double Fine’s history, from producing enormously entertaining games, to embracing crowd-funding models, to treating their fans in a manner too rare in their industry.

Reader Leo Loikkanen writes in about the latest example of the company’s impressive actions, which involve an attempted game called Bad Golf 2 (there never was a Bad Golf 1, so don’t go looking for it), left unpublished until fans picked up the concept and decided to make the game themselves.

Perhaps Bad Golf 2 will prove to be the One Direction of Double Fine’s latest Amnesia Fortnight prototype-off. Not selected as a winning project in the X-Factorish voting, it seemed destined to never become a reality – until fans decided to make it anyway. And now it’s generating more headlines than any of the “official” picks did.

That’s because fourteen fans of Double Fine are collaborating on the company’s own website to produce this game themselves. So, instead of the game never being produced, it will be realized by dedicated and passionate fans. While many companies might go berserk over this, Double Fine is not your average company. From the top down, everyone seems thrilled.

BG2 ideasmith Patrick Hackett, a ‘tech guru’ at Double Fine, told Eurogamer that “Personally, I was flattered by the idea that people would want to collaborate to make a game idea of mine. I really couldn’t have been more excited to hear about this idea and told them I’d support them as much as I could.”

“As for it being Double Fine’s property – Greg and I brought the situation up to Tim and Justin and they approved of the idea, citing that any production should remain in the creative commons. Because of that, the project’s source control repository is available for free and the final product will never be sold.”

This very specifically bucks every rebuttal typically offered by those that advocate for strong and stronger protection of intellectual property. Somehow, a company is giving free access to their own source code for a game based on IP the company developed, and is happy about doing so, while fans of the company are creating the game under the full knowledge that there won’t be any monetary compensation. How could any of that be possible if we relied on the words of Electronic Arts and their ilk?

The answer is that creation and collaboration are a natural part of the human psyche, and they’re spurred on when the collaborating parties all treat one another like human beings. Meanwhile, Double Fine is already taking an interest in the project’s success as an avenue to then release their own Bad Golf 3 game, should the project pan out. Everyone wins, all because nobody brought the legal hammer down to protect their intellectual property and managed to treat their fans like human beings.

Filed Under: bad golf 2, collaboration, development, video game
Companies: double fine

Warner Bros. Turns A Kickstarter Success Story Into A Flaming Mess With Proprietary Platforms And DRM

from the how-not-to-do-it dept

Almost exactly a year ago, we wrote about a rather encouraging development in filmmaking, highlighting the story of Warner Bros. film studio working out a deal with the producer and actors of the popular Veronica Mars TV show, that if they could prove demand for a film via Kickstarter, Warner Bros. would fund the rest of the film. Basically, Warner Bros. had been unconvinced that there was enough demand for a movie to finance it upfront. But, with tools like Kickstarter today, you can prove demand upfront, taking away a big part of the risk. And that’s exactly what happened, as the project raised over the $2 million target very quickly, and eventually brought in $5.7 million. Part of what was interesting about this was it showed how movie studios could actually embrace crowdfunding as well, creating some interesting hybrid models that don’t always involve some studio head deciding what people will and won’t like.

The movie came out last week to very good reviews… but leave it to Warner Bros. to totally muck it up, screw over the goodwill from all those backers and scare people off from such future collaborations. That’s because one of the popular tiers promised supporters that they would get a digital download of the movie within days of it opening. But, of course, this is a major Hollywood studio, and due to their irrational fear of (oh noes!) “piracy” they had to lock things down completely. That means that backers were shunted off to a crappy and inconvenient service owned by Warner Bros called Flixster, which very few people use, and then forced to use Hollywood’s super hyped up but dreadful DRM known as UltraViolet.

The end result? A complete disaster for the film’s biggest fans and supporters:

“My first and last time using Flixster or Ultraviolet,” Jennifer Gottried wrote. “Not happy about what a pain the digital “download” is, but loved the movie!” Carolyn O’Neill said she felt “ripped off,” adding “I will not be supporting anything VMars related in the future, and may never support a similar Kickstarter project again.”

Others labeled Flixster “unreliable,” “crap,” “slow” and “punishing.” There are those who downloaded the movie without a hiccup, and those who did have been effusive in their praise. Yet the majority expressed dismay….

Reading through the comments shows an awful lot of angry folks, with lots of blame being directed at Flixster, and some people angry that the creator of Veronica Mars, Rob Thomas, let this happen. He eventually posted that while he had “hoped” that Warner Bros. would allow more options, “unfortunately, it just wasn’t possible. In the end, Flixster was the best option for getting the digital movie reward out to all of you, worldwide, at the same time.” There may be something to do with regional restrictions, yet in the comments, you see people claim that when they tried to get their digital copy, they were told, “Sorry, the redemption code you have entered is not valid for the territory you are currently trying to redeem from.” So, it’s not clear how Flixster actually solves that global issue. Multiple people in the comments note that they eventually just gave up getting the authorized version and hit up unauthorized sources instead.

Eventually, Warner Bros. announced that it would provide refunds to backers who had trouble getting the digital download, which seems like the least it could do, given the situation. But, the end result appears to have left a sour taste in a lot of peoples’ mouths. So, way to go, legacy Hollywood, for taking an exciting success story of internet-empowered opportunity, and destroying it with crappy and lame proprietary platforms and restrictive DRM. Once again, you show how to screw up just about every opportunity handed to you.

Filed Under: crowdfunding, digital downloads, drm, rob thomas, ultraviolet, veronica mars
Companies: flixster, kickstarter, warner bros.