So the discussion returned to the bigger issue. If the U.S. has a basis for adventure games to be profitable, how can European developers make it work for them?

Martin: First thing: The publishers need to pick them up.

Carolyn: That's a challenge no matter where you are; it took us several years after our first game was released to get distribution. We started by selling on Amazon to build a track record, and invested all of our money there. We were able to show publishers where we ranked at Amazon, and how that would translate if we were in the retail channel in terms of sales numbers. It was a very accurate way to predict performance.

Steve: Why is it that there isn't a parallel for good sales in Europe leading to publishers taking a title on?

Martin: I think there is a parallel in a way. My observation is that most U.S. publishers wait to see how a title does in Europe before signing it.

Steve: The crazy thing there is that they then miss out on all the "free" publicity that flies around on the title's launch and must rely on their own marketing campaign later.

Tony: I think deferring decisions is a good way to avoid making them

Carolyn: It goes both ways; we've had a difficult time convincing European distributors that our success would translate there. Are brands less important to success in Europe?

Tony: Carolyn, I'm really surprised. I think Nancy Drew would do really well over here.

Steve: Nancy Drew isn't a brand that's well known in Britain, in a general sense, so you wouldn't have the same market awareness.

Tony: No, but I'd heard of it... And it’s a good head start for a solid game in a market that is receptive to adventures.

Carolyn: She is very popular in France, Sweden, and Germany, but under other names (Alice Roy, Kitty Drew, etc.)

Martin: The same question goes out to the U.S.: Are brands the most important thing to success over there?

Steve: Surely part of being able to sell in the likes of Wal-Mart is that someone can pass by and say "Ah, Nancy Drew..."

Carolyn: There's no denying that brands are a critical factor. One look at NPD's list confirms that; adventure games are headed up by Nancy Drew, Lord of the Rings, Harry Potter—but Myst is there, too.

Tony: You are selling on Amazon.co.uk... is that doing ok?

Carolyn: Yes, Amazon.uk is great for us.

Tony: That's good to hear.

Martin: If brands are a key factor to success in the U.S., why do you think it is that we don't see other famous AG games from the U.S. used for new productions? (like with Leisure Suit Larry 8, in a totally un-adventure-y way)

Players do seem attracted to familiar characters and storylines. But that just seems to open the door. Don’t you also have to consider whether the “brand name” is attractive to a wide-spread rather than “niche” group of gamers?

Tony: I think you do.

Martin: I'm not sure. Some of these brands are too small, you think?

Tony: You say Larry and you think adventure... that's a problem over there. People don’t have confidence to invest in the development or marketing.

Steve: Not too small, just not wide enough to sell to the people who have an awareness of the scale of Nancy Drew. Isn't that a self-fulfilling way of working though, Tony?

Martin: Ok. But half of the sales of Nancy would be great already. I know many of us would break out the champagne for that.

Tony: Yes, and the more it happens the harder it becomes to reverse it because there is no data to look at. It will happen in Europe too—we pray for people to compete with Broken Sword, just to say "there is a market."

Should developers design games based on what adventure gamers want, rather than trying to sell them on a new concept? And how do developers figure out who these gamers are and what they truly want in their games?

Carolyn: In the U.S., it's helpful to look at targeting a specific demographic, if you're a small studio. It allows you to focus your limited resources. Women offer a good opportunity; according to NPD they now buy more PC games than men.

Steve: Is the answer to adapt the genre to the market? Either by working with brands, targeting women, or incorporating elements like action?

Tony: Women play Broken Sword—which helps explain its success, I think. Not the latter, Steve.

Laura: I am interested in Tony's comment about the lack of hard data. How much of this is a factor right now?

Tony: Hard data is a big problem—a genre needs a track record...

Are there specific groups that are interested in adventure gaming that have been overlooked by developers?

Carolyn: Yes, boys 8 - 13.

Steve: Perhaps what we need is a "grown-up" version for when these boys and girls grow older?

Martin: They will still cry for Sam & Max, Steve, even when they've grown up...

Laura: Don’t go there.

Martin: Sorry. *grin*

Tony: Recruit the young! (we sound like the Marlboro man)

Steve: What I mean is a brand that appeals to those same people as they mature—adventures based on best-selling adult novels (adult in the best sense, of course).

Tony: I think a market exists for adults for this content, anyway—Harry Potter is read by everyone.

Martin: Well, that still boils down to “brands rule the world.” Tom Clancy's Adventure Game.

Steve: "Star Wars - The Adventure"

Tony: True—but the Harry Potter brand once didn’t exist...

Martin: It's the way the industry is heading anyway, but we don't do adventure games with those brands, because we can't afford the licenses...