But what about “how” the games are designed? Do certain design features enhance sales of games within the market for adventure games? And what about IP’s, to avoid monotony and sterility within the genre, games must seek out new ideas, new stories. How do developers get the information they need about what gamers want or do not want, and still create innovative plotlines and formats without alienating those gamers?

Laura: I think part of the problem is how a series gets translated into a gameplay model. Tom Clancy as a stealth, inventory-driven mystery would appeal more to women whereas as an action game it would not. So perhaps these familiar titles aren’t being adequately exploited in ways that could capture a broader market.

Tony: Yes, Laura! A lot of interesting stuff could be done with some of these titles. But the reason they don’t... is a lack of data.

Laura: Good point, Tony. What we really need is a joint market data effort—gathering info from a variety of efforts to build some sort of viable data base.

Martin: Maybe it's just my view, but I think many of us work to *invent* a brand instead of "exploiting" one.

Steve: Perhaps exploiting a brand is a way of supporting your original IP?

Tony: That's the goal, Martin... but these well known titles could help the genre, which in turn...

Carolyn: Also, if you develop a user base and community based on a branded product, you then have a track record, and a base to market an original IP to.

Martin: So, we'd have to create games based on U.S. IP's to then trick them into buying our *own* inventions.

Steve: I don't see that as tricking. Many TV and film writers start out by writing for soap operas—it's a means to an end.

Martin: I was kidding, Steve—I know it works that way. Brands are a big opportunity, but they can be very limiting, too.

Moving past familiar series, TV shows and book titles... What other avenues are available to create adventure games that are unique, creative and still appeal? Could looking at other art mediums help adventure game developers?

Laura: What about development houses as their own brands? For example, the marketing of games with Benoit Sokal on the box.

Tony: That's the "super-goal", Laura.

Steve: Many publishers seem intent on putting their own "brand" before that of the developer.

Martin: Benoit Sokal worked 30 years to appear on a box.

Tony: The record industry figured this one out decades ago...

Steve: And the book industry before them.

Tony: Yup, movie studios, too.

Laura: So perhaps the model is there and adventure game developers should take ideas from these related arts?

Steve: Perhaps we'll know the games industry has matured when this happens.

Tony: Birds will sing out, and flowers blossom.

Steve: That's a long title for a game.

Laura: hahaha

Martin: grin

Laura: I always wondered if the greater glory in marketing and selling adventure games in specific is to pattern efforts modeled after books. Also, It seems like console games and adventure PC games are two very different beasts both with what gamers they attract and how to sell them.

Steve: Certainly there seems to be a lot of common ground.

Martin: The PC market is a niche, and adventure games are a niche in an niche. And European adventure games in the U.S. are a niche in a niche in a niche. Hooray...

Tony: Martin... very true. Though it wasn't always so dire.

Is the problem that adventure games just won’t sell well? Or are appearances deceptive and the real issue is that they need to be marketed and sold in a special manner?

Carolyn: Our decision to target girls and women meant that the traditional venues for promoting games wouldn't work. That might apply to all adventure games, if you're wanting to reach a broader market. We can't afford big print campaigns. So we do mall tours, viral marketing, other guerrilla marketing tactics.

Laura: Perhaps what financial limits forced you into turned out to be precisely a better way TO market adventure games, regardless of budgets.

Tony: I agree. A lot of all marketing is rather slack—bigger budgets tend to get thrown around unimaginatively. Smaller ones made to work hard.

Carolyn: Oh—and I thought I was brilliant, really it was just that I was poor. *laugh*

Laura: Well, brilliance finds its way regardless.

Steve: The majority of publishers aren't geared up to this style of marketing, though.

Martin: Guerrilla marketing tactics. That's the way it works in Europe, basically. People like DTP or Focus Home Interactive are basically guerrilla companies that use their creativity instead of big budget marketing..

Tony: A good example was the JFK game recently.

Steve: For dubious reasons, perhaps?

Laura: Well, perhaps if you are a niche, exploit that as in indie film houses (no longer poor) still push that cachet of being "artsy and outside the mainstream."

Tony: That's a different issue—it’s one to study in other respects. As long as everyone knows you are artsy and outside of the mainstream, of course.

Steve: The "establishment" of adventure games.

Tony: Isn’t that Sierra?

Martin: Magnetic Scrolls.

Steve: I think Revolution has taken on the mantle now that Sierra and LucasArts no longer do adventures.

Tony: How I dearly wish those guys were still around!

Optimism raised its head when the discussion turned to current sales of adventure games in Germany. It has proven to have a strong and growing adventure gaming fan base and matching sales. Is there anything to be learned from the German market to help improve sales in the U.S.?

Tony: The German market is by far the biggest. At least for us it always has been.

Martin: Adventure games are very popular over here. It's by no means spectacular when you compare it to the sales of other genres, but it is very good.

Tony: There is a healthy scene there—albeit without big budgets, which holds the games back a little, I guess.

Martin: I think the German market is what made an operation like HoT possible in the first place.

Tony: Sure. I had great fun at Leipzig a couple of years back.

Martin: You should come by in 2005. We're there, and we can have a beer. *grin*

Steve: I'll come.

Martin: We're looking forward to it.

Laura: I'm in! How about Her Interactive? Perhaps a showing there? Assuming one isn’t already planned.

Carolyn: I'd love to join the fun.

Steve: Perhaps we should have an adventure developers gathering—a show of solidarity.

Martin: Great. You're all on the list. *grin*

Steve: Do I sense that the chat is winding down now we're onto more important topics like beer?

Well, now that an in-depth study of German resources has been decided, any final thoughts on marketing adventure games in the US?

Steve: It seems to me that Carolyn's brilliance is the key to succeeding in the U.S.

Carolyn: Thanks for the opportunity, it's been great "meeting" all of you, and thanks for the tips on overseas distribution (send them my way!) I would be interested in that discussion, too—you want to get over here, I want to get over there. If we keep talking, maybe we can make it happen. Thanks for setting it up, Laura!

Tony: Sure thing.

Martin: OK, here's mine: With all these issues to work through, I'm just happy we were able to sign our U.S. publishing deal recently. Thanks, Carolyn. It's been very interesting. Thanks, Laura!

Laura: You are all welcome. It has been our pleasure. Really, this has been excellent!

Steve: Yes! it's been really good to chat with everyone. Thanks to you all.