Germany-based indie developer and artist of Rat King Entertainment. We did Tumblox (iOS) and Pitman (iOS/Win/Mac) and work now on environmentral puzzle TRI (Win/Mac). We love to be experimental and adore the good old times, when games didn't have more tutorials then content. And Achievements weren't gameplay. twitter: RottenHedgehog We take part in Ludum Dare, 7DRL and Global Game Jam.
zwei neue folgen rat king podcast (in german only)
Derzeit versuchen wir uns im Podcasten. Bereits zwei Folgen wurden aufgenommen.
#1 Global Game Jam in Leipzig und weltweit
00:10 - Intro
00:26 - Global Game Jam
04:20 - Thema
06:40 - Ablauf
17:00 - Spiele aus Leipzig
23:30 - Was uns gefiel und was nicht
#2 Gothic von Piranha Bytes
Unser Lieblingsspiel wird in diesem Podcast unter die Lupe genommen.
00:00:18 - Wir suchen einen Namen
00:01:15 - Gothic <3
00:03:35 - Piranha Bytes
00:04:31 - Das Amt / Greenwood
00:05:55 - Vokuhila und Neonlicht
00:07:00 - Ultima VII
00:10:20 - Die Story + Die Klapperschlange / Flucht aus New York
00:23:00 - Dark Fantasy und Atmosphäre
00:27:30 - Stalker
00:28:00 - Monster
00:30:00 - Tutorial / Diego / Die vier Freunde
00:42:00 - Lehrer
00:45:00 - Dungeons
00:48:00 - Morrowind
00:50:00 - Quests
00:53:00 - Leitern und Leveldesign
00:56:00 - Charaktere und NPCs
01:00:00 - Steuerung
01:03:00 - Geplantes
01:08:00 - Feedback und Kampf
01:09:00 - Making Games
01:10:00 - In Extremo
01:12:00 - Corvus Corax
01:14:00 - Sexismus
01:19:30 - Velaja Mod für Gothic 2
01:24:30 - Gothic 1 Demo
01:31:00 - Schönster Gothic-Moment
01:32:30 - Ulumulu
01:37:00 - Gothic 1 Addon
01:38:00 - Marvin Mode (Cheats)
01:40:00 - Comic
01:42:00 - Die Nebelturm-Quest
01:43:00 - RPG Watch
01:45:00 - Musik
first german indie festival - a maze indie connect
All game lovers, business suits and socializers had their reason to be the whole week in Berlin, since the Deutsche Gamestage (German Games Days) took place from April, 24th until the 28th. This event covers the Quo Vadis (business meeting and developer conference), the first German Indie Festival – A.Maze Indie Connect, the Lara Award (German Games Award) and a public play event at the German Computer Games Museum where you could play the winners of the German computer games award.
What is this Indie thing?
After I failed at being more business-like and professional, we really enjoyed talking to all the Indies. Especially what they are working on, where their secret jelly glass filled with coins is to be found and, of course, how their business works.
This whole Indie thing was some kind of conference meme everybody interpreted in their own way. Many people reacted a bit bugged out when it comes to the question what is “Indie” and what not.
Some don’t like the discussion, because we all need money and partnerships, which doesn’t necessarily mean that we are the marionettes of publishers.
Others loved the Indie label to keep out stiff business guys and get recognized even with smaller titles.
And many folks prefer to just call all the little game company start-ups Indie, without making a distinction what it exactly means to be Indie.
Even Thorsten Storno – the host of Germany’s first Indie festival didn’t come up with a manifest. Although he wanted to, but couldn’t afford doing one due to the lack of time. Luckily! Because maybe too many restrictions would contradict with the Indie mind of being independent from stupid guidelines. At least this can be said, I think.
A fact is, that we all need money and that a pure Indie-fication seems to be only possible with sponsorship, waiting tables, freelancing, putting aside our own projects to work at errands or being purely commercial from time to time. So in the end, everybody is Indie and nobody is.
Business punk versus monetization
At this point Cactus from Sweden comes in. He held the first talk/keynote and gave us all a telling-off about stopping to be so commercial. After his 2-year sponsorship ended he now has to sell his games, too. Ironic!
I really enjoyed his speech, though, especially as a contrast to the Quo Vadis – he stood there somehow drunk with a canned beer at 11am. Although I was a bit unsure what exactly his point is, but I think he was as confused about him being business punk now, as I was.
Cactus’ talk strongly reminded me of Anna Anthropy’s book “Rise of the Videogame Zinesters”. Both complain that on the one hand making games is easier than ever, but on the other hand, it is harder to get an audience with free games or in other words, the barrier to gain a foothold is getting higher.
The funny thing about this discussion is that I – as somebody who tries to sell games – saw this always from another perspective: There are tons of awesome and super-creative free games and I never understood why the heck they gave them away for free. Because it basically means that I as an Indie dev who needs money has to explain myself for being greedy.
The developers of free games – on the other side – argue that they get no coverage for not having polished, super-functional games. They seemed to be the Indie Indies, the artsy ones, while we are the black suits.
The good thing is that most of us do both ways, which brings the whole discussion together somehow and makes it dispensable.
I have to admit that I didn’t follow most of the talks, again. I think my attention span is extremely short and every talk was followed directly by the next one. A little pause to discuss what you heard just moments ago is very important.
Especially when controversies occur: Martin Nerurkar’s talk was about to use every possibility to make and sell games – even free2play. This was followed by a discussion that our creativity should not be destroyed by, let’s say, free2play. Like I mentioned in the post about Quo Vadis, free2play and social games are the end of creativity to many game developers. This kind of friction was fascinating.
The talks on the next day were interesting and very inspiring, too. Douglas Wilson, member of Die Gute Fabrik and brain behind Johann Sebastian Joust, compared his game with the minimalism in Proteus. He pulled a metaphor about gameplay being the chips and the surroundings, graphics, atmosphere, etc, are the sauce. And Indies too often just think about the chips, which are flavorless alone, but he loves the dip and would be glad if the chips would be more often just used as a vehicle to eat more dip … I think, that was what he meant!? Using tasty food pictures as a metaphor didn’t work for me that well.
This speech was followed by a talk from Thomas Bedenk of Brightside Games about the Flow-theory by Mihaly Csikszentmihalyi and the difference of player and designer perspective. Well – look at the picture.
Vlambeer rocked with a lesson about back story. Although it’s fun to hear this from the masters of fast-paced arcade games, in my opinion everybody comes up with some kind of fiction. Some for the need of design ideas, while others have a vast epic story early before even knowing about the gameplay. But it’s nice to see them playing their games and understanding how every piece fits together. (You can re-read the talk here.)
The talks were followed by two workshops. Apparently there was even a third one, called “Lesson learned”, but most people couldn’t recall the content from the website and a rumor explained that it was about business (“About the art of staying independent”) – I wonder if it took place anyhow.
The other ones were about sound and coding with libpd and location based games, the last one we took part in. It is extremely interesting to speak to people like Michael Straeubig, who is a game designer for board and location based games. I think our games belong to the PC, but it’s always awesome to get some input from other genres, especially the offline ones.
Again I missed the outcome of this workshop. I think I was looking more for input then laying my hands on gameplay.
So instead we joined the others on a lawn enjoying the invasion of summer.
And the winner is...
The summit closed with the award for the most amazing game, which was Proteus of Ed Key and David Kanaga.
I loved the decision, because I just bought the game some days ago and was fully inspired. I guess games like Proteus, that suck players into their world without any double-hint what is next or where to go now and what exactly is the point, was the perfect choice for the first award. It was in fact some kind of orientation which way the first edition of the festival should lead to.
Ed, your game is perfect for this, like the festival itself: Not too polished, leaving lots of room for own interpretation of what exactly will happen next.
The best thing, after the award, was the party with the mandatory 8bit electronic music and Proteus playable flashing against the wall. We sat there for a very long time and played it. The best thing: people came along and watched us.
After observing them, these are the five phases playing Proteus:
1. Skeptical look. “THIS won the award?” Erm….
2. Just fascinatingly watching, being completely silent.
3. Curiosity, what this thing exactly about. “What do I have to do, just walking?” or “Oh, I have to follow the frog!”
4. The deep wish to try it themselves.
5. “Oh my god this is awesome. I gonna buy this.”
It’s funny how people kept playing it, although being extremely confused about this “Notgame”. I would love to achieve this one day, without a ragequit stopping people from doodling to find possibilities in the game out for themselves.
So, the big question from all, who missed the event: Was it worth going to Berlin? Just another Indie festival? “Germany? – I went to GDC San Francisco!” So, next year A.Maze, again?
Answer: Yes, YES, triple-yes. Just standing in the foyer and discussing different standpoints about business, money, gameplay or favorite beer labels made the thing awesome. Meeting many of the well-known faces in person and discover new ones you never heard of before. Or finally meeting the German developers in person, that seldom actively use Twitter or blogs – in most cases.
The talks were more an add-on to be inspired, provoked or initiated for further discussion. But I took home many good ideas, motivation and encouragement for our game-to-be TRI.
And it was fantastic to play all these games during the summit and nibble my nails about who is going to get the fantastic looking lolly-pink silicon concrete trophy. Great people overall … what should I say?
Thanks a lot to the organizers of the whole event! I miss Berlin, this whole communicative, relaxing AND exhausting event plus the international flair – Fuck yeah! In this scene I felt extremely welcome! Thorsten, this was amazing!!!
BTW: Next time with a game jam, please!
Rock, Paper, Shotgun titled “2012 will be the year of the gamejam” and it absolutely is! Ludum Dare has more entries than ever before, the Global Game Jam is in the Guiness Book of Records for being the biggest jam ever and Anna Anthropy argues in her book “Rise of the Video game Zinesters” about everybody can make art or communicate issues with games. And at this point we drop in: five game devs who regularly prove their passion at Ludum Dare happenings are doing their own jam.
But why another gamejam right between the tenth anniversary of Ludum Dare and the Molyjam? Why do we want your moneys for things nearly every game dev does? And who the hell are we?
The Buskers are all one of those notorious indies. Full of crazy ideas, but with empty pockets. All of us sold at least one game until now. Most of them came into existence through participation in game jams. We are all more or less known and successful and we all love to produce games to beat the band.
So Ludum Dare is were everything started. The three game devs Pekuja, Sos and Ratking whined about their thin purses. No money. No games. Poor things. So they planned to do it the old way: Taking out their instruments to the streets and play songs to cheer up their audience and get some pennies back in order to fill their fridge.
But wait. They live in Finland, Poland and Germany. They don’t know how to use guitars – all they are able to do is making games! So why not a game jam!? In open (web) space, with one or two more friends (soon they invited Tametick from Austria and Sophie Houlden from England) and a bit more interaction than just “Please put some money in the hat”.
Since things were settled from this very moment (March 13th) everything happened very fast. We discussed everything via chat and mail, whereby most decisions happened immediately coupled with an overflow of motivation. If there wouldn’t be this annoying marketing, the necessity to do an announcement to reach the audience and certain organisational issues, we would have started right off that moment. The date was chosen a bit further from that very present up to March 31st – April 1st, which some days later was selected also for another jam that will go down in history as the MolyJam. Since Peter Molyneux AND Peter Molydeux are an great inspiration for many game devs and both have a bigger audience than us together, we changed the date.
Which is absolutely lucky, because as you will see there was organisation needed to be done for all of us.
In the beginning there was the website (www.indiebuskers.net, programmed by Sos) and the website was with Twitter (March 26th). We asked hyper-influencial nice people to do us a favour and tweet about the Buskers. The wonderful Chris Priestman helped us with an article on Indie Games Magazine about the mysterious Buskers that others picked up very fast. At this time the website was grey, nothing on it but counters and question marks. It was a little bit crazy, but through this we really got people interested in this thing very fast. We were purely asking for game ideas at this time. No more or less! And then the first 400 followers popped up. Some felt twitted, some were suspicious, but most of them just were attracted by the chance to give away their game ideas!
We need ideas!
At this time we rotational took over the Twitter channel (@IndieBuskers), which really became a day job! Just retweeting, filtering and answering … and keep in mind that twitter is limiting the tweets per day! When I was trying to make some things clearer they just told me that I reached this limit (250 tweets a day). You can make the final apologizing tweet to your audience by deleting old messages, by the way.
And although we would have needed a proper public relation strategy or just a way to communicate our idea, we decided against straight forward polished marketing blabla. Chaos was more fun and fit to the bunch of us.
With Twitter and our quest for ideas a little discussion arose, about how much worth and important ideas are. As jam veterans we have plenty of ideas, but we asked people to give us their ideas nonetheless; to get challenged by them and involve the audience. And this was enormous fun! The best thing right in the beginning of the jam! Although nobody knew who we are and what purpose their ideas will serve, they tweeted and posted so many awesome things, all of us totally freaked out.
Because we were not communicating too much about the issue of copyrights, of course people also wrote that we can’t have their ideas or if we use them we should give them money, etc. We tried to explain that we don’t steal ideas, but with our tweets three hundred other ones came and go. But luckily many people picked up the discussion and most seem to recognize that ideas are important to inspire and get started BUT they also need to be made and mostly just force a setting or beginning of the game’s real gameplay. Most ideas didn’t even have any description of details like gameplay, how to play it, winning/losing situations or even the type of perspective.
Although this is not completely the truth. There were a bunch of people who loved to see their favourite games to be made. Some just wished for the good old games remade they love, while others came up with three-page concepts of how exactly the game could look or work like! Most of the ideas were too much for 48 hours, which was not exactly clear to everybody due to our lack of description, but well, this was our problem throughout the jam.
Very much favoured, by the way, were games like “Minecraft but with X”, kittens and monkeys or “games like Y but deeper”, “like Z but with RPG elements” and tons of platformers and games where you start in a prison.
And although stealing ideas was an issue, we were never accused of stealing the Payed-jam idea from … let’s say Mojam. We felt a little bad about this. They started the bundle and they were the first to do a jam with fellow indies to earn money – for charity! The only difference was, that we were less organised and the money went straight to our purse. Not to children in hospitals!
I think this was just possible by our audience. Most of them are indie devs as ourselves and understood that we needed the money, but were no greedy suckers dare to become rich with stolen ideas.
Counters here, Revealing there
From the first tweet on our jam was planned for two weeks later. We didn’t have anything to entertain the audience with meanwhile, so we decided to put counters on the website and reveal one Busker after the other within days. Plural! We never expected such a run for the website, for ideas, for us and the Buskers thing! Some folks really got annoyed by our revealing. The website was full of question marks, that were replaced with counters, that were replaced with description not everybody fully understood.
Thus we needed to finally tell them who we are and what we want. We rethought fast and unmasked one Busker after the other within an hour. We used a little revealing quiz were people could guess who is the next one by Youtube clips. Interesting that some thought one of the guys is Notch or Terry Cavanagh.
After revealing us there was the next counter of course, followed up by our intentions and an approximate date.
Since then all of our jokers were already played and even bigger magazines like indiegames.com, PC Gamer or RockPaperShotgun had articles about us, we feared to lose attention. Although the flow was less overwhelming, many people stayed active and kept posting. Even the Angry Game Nerd did…something.
One week before everything happened (April 4th) every dev chose five ideas out of nearly 1,500 postings. We really read all of them! And it was not easy, since few of them were ideas we would have come up with by ourselves (I just speak for team Rat King here).
Again we had to do the big revealing thing to let people vote, which of the 25 ideas they liked enough to see them to be done. In the end about 800 people voted for their favourites.
The idea with the most votes was the vampire idea followed by the office roguelike (about 300 votes). Interesting that Tametick’s picked idea had the fewest votes (216), but the resulting game was the most as fun rated game (as far as I noticed, we didn’t have chosen/voted “winner” game of our jam).
I’m also very happy that we got all the owners of the chose ideas were named on the website. This really brought things together. (Only one of them was angry about not having implemented the idea himself in hindsight.)
And then the jam finally happened
All of us were extremely excited. I couldn’t think of anything but the jam. We designed a new overwhelming website (overwhelmed by icons, but I think again it fitted us more than a stylish fancy web design).
Since the week before start we also had an IRC channel (#indiebuskers on QuakeNet) we opened for all the interested people. The run was cool, we had to answer so many questions and could catch up some of the missing issues. There should also be livestreaming, WIP screenshots, pre-versions in a bundle and of course the hat money counter. Everyone of us did (or let do) sketches / mockups of the five chosen game concepts, so people could imagine where the journey should go.
Since the website was up, folks started to donate for us. There were no bundles yet – nevertheless we broke the $1,000 right before the jam begun. The Buskers’ Twitter account was nearly neglected from this point, but we all met in chat, tweeted via our own channels and you even could watch all the Busker streams at once on one page (you can still re-watch them).
From this point everything was about progress: we tried to raise our progress bars displayed on the site, implement as much us possible and do new screenshots from time to time.
Vampire: The Shadow Project Masquerade aka THE SUN IS DEADLY
To go a bit more in detail about our project, the theme we absolutely hoped for did it:
“It might be cool to have a game where you control objects to block sunlight to create a path of darkness – so that a vampire can get to their intended victim.” (by @EgoAnt)
How much we love Thief! It’s one of the games that deeply influenced us in setting, gamedesign and storytelling. We never dared to do a full-length stealth game, but this jam was the chance to do it! Plus there was this new element of building your own dynamic shadows with crates and other objects! Yeah!
Our planning for this game was a bit quirky. We were very self-confident, because we are two experienced designers, especially in game jams.
So why not do three characters – a guard, female and male citizens (with exchangeable heads)? Plus a whole awesome city built from a construction set with exchangeable windows, doors and levels. Of course a game like this needs sounds, to give a proper feedback. And music. And feedback, particle effects, etc.
How super-optimistic and stupid we were! In the end we got a game where you had to find the one and only holy virgin to trick her to the cemetery with a jewel case. You need to walk in the shadows, because it is bright daytime and, you know, “The Sun Is Deadly”. On your way there are more victims to satisfy your hunger with. But they will also alarm the guards who protect the city of women (due to the fact that I hadn’t have enough time to prepare the male character with the exchangeable heads).
When the imaginary clock was ringing (i.e. the jam ended), the game was super-hard, had no sounds, the tutorial was full of punishment instead of one reward after the other.
The shadow thing – we did a Plan B if it won’t work at all – performed very well from the beginning. The tricky thing about Thief though weren’t the shadows (who could have guessed!?), but the enemies in combination with physics.
BUT! We did it! This jam was an emotional roller coaster. Although this is the first jam rule we tell everyone, we planned too much for the game. The idea was extremely complicated from the beginning. Sometimes I wished for the pigeon RPG idea, where you just fly and shit around!
Sometimes I wonder if fast and fun games only are appropriate for game jams. But we are always very ambitious, so don’t bend yourself too much, a jam should be particularly fun for you! This was something we needed to tell ourselves sometimes, because “The Sun Is Deadly” was so damn hard. And fun if you just accept certain rules! Game jams, tricky but hilarious fun things!
We did the first livestream while working under time pressure. And also the fact that there are people watching us struggling for their enjoyment or to learn something was very amusing and motivating (and a little bit frightening). The possibility to get instant feedback is priceless, too.
We are very thankful for all the people around that were so interested in the Indie Buskers! Until today we raised about $4500, which is especially amazing to the fact that many people gave more than just $1. The highest donation is by Michael Todd with $250 bucks. The average donation was about $10, although now decreasing to $8, because the buskers effect is just amazing while they do a live performance. Nonetheless, I think we also gained many fans (notably other game developers), that just wanted to support fellow indies. Thanks, you wonderful people! The Rat King and the other Buskers had an awesome time – our gratitude to you!
Until the end of the month (April 2012) you can still support the Buskers and get the games! Just visit indiebuskers.net !!!
(The original posting is in German, on Indie-Inside.)
Foreword – Sale Week
Last week (March 10th to 18th) the annual 7-Day-Roguelike Challenge took place – the event for which Pitman was developed last year. That’s why our yellow dwarf celebrated his birthday that week, and because the 7DRL Challenge always gets some attention, we decided to link it together to a sale.
Our roguelike is available at four PC distribution platforms: Indievania, IndieCity, LittleIndie and Desura (+ the AppStore). So we reduced the price to $0.95 / €0.79 every day at one or two sites for three days each. We also offered a few goodies or articles on our website daily.
In retrospect this sale was not only a good marketing campaign, but also very helpful to find out about the strengths and weaknesses of our four platforms.
Of course it would have been great to have self-distribution on our own website additionally (as it was indeed the place we referenced most times in our sale), but unfortunately this is planned for our web relaunch in the near future and wasn’t available yet.
The four platforms are characterized mainly by low barriers for an entry; i.e. you send in a game, it gets checked and reviewed, and often it goes straight to the market with no major problems (except for Desura, where we had minor troubles with the file upload).
So if the splendid Steam Store is denied to you or you like to put smaller titles (e.g. jam games) outside of your own website or offer your product indie-compatible – you hit the right spot here.
Of course, Steam is the largest provider and has the advantage of a high number of users. However, most indie platforms – like many indie developers as well – often only have other developers or the not-so-big indie scene as players and multiplicators. Platform owners often expect that the developers bring the players (aka buyers) already with them and thereby keep the cash flowing. Thus, the scene just fertilizes itself and the few larger indie platforms remain hidden from the “normal” players.
Desura might be known by linking up with the Indie Royale bundles, since you can load their games with Desura keys. But for most games Steam keys are also available …
In the future it would be nice other platforms having a chance next to Steam, as in my eyes monopolies are never positive. While Steam guarantees a high quality, the reviewing process is too opaque for many developers. Desura or IndieCity for example also allow the presentation of a different kind of games that would get (even) less attention.
Okay, enough about my plea to not only promote Steam, but to aim for at least another platform. However, you have to be aware that the effort you put into marketing for a platform does not always bring about the expected profit.
I was wondering what is used by other developers and what platforms do not work (anymore)?
E.g. Play Greenhouse by Penny Arcade has folded, unfortunately: “Apologies for the inconvenience, but Greenhouse is temporarily offline for some … upgrades. We’ll be back soon! ” – the last Twitter entry is from 2010.
Indie distribution compared
- since August 2011
- 13 games + 3 new releases soon
- wide price range and very different genres
- DRM or DRM-free / client
- Little Indie highly values achievements
- Cloud-functions, matchmaking, multiplayer, lobbying (direct server selection) are planned
- regular news on Facebook and Twitter about new features on the client and current titles and sales
- bank transfer, Paypal
- from the review of the game until the start: a few days
- upload via SVN / SSH
- demo on the platform
- sales and updates are set by operator
- revenue share is negotiable
- payout: quarterly from € 20
- close contact with the operator, responds quickly
- you don’t go down in the masses of games yet
- individual compilation, bundles, Alpha Funding, Keys
- Forums, blogs are available
- Support Center (client-> developers) for bugs / problems
- very low popularity
- the project, images, demos, page texts can not be adjusted by oneself via an interface
- only rudimentary backend for developers (sales / hits)
- in planning since 2010, started publicly since 2011
- >140 Games
- most expensive game: Cardinal Quest € 10.00
- very different, small, cheap games
- DRM / client
- regular news on Facebook and Twitter about new features on the client and current titles and sales (a Twitter account for players and developers each)
- there is no payout yet (tax law issues are being resolved)
- revenue share: 25% to platform (currently); with integration of achievements / leaderboard system only 15%
- adaptive recommendation system in the client
- very good support, chat (IRC) and forums
- edit everything through the backend: project settings, updates, pricing, etc.
- do occasional promotions for developers (marketing week, pimp-up-your-media week)
- Tweeting and blogging very often
- relatively simple upload system: upload one EXE file together with game data in a ZIP, gets automatically wrapped into an installer
- Demo upload possible
- many features are still in beta or not available at all (but marked with some yellow post-its)
- low popularity
- payment via Credit Card only
- Annoying limitation of size (and number) of the images when setting up the project
- very simple statistics, no breakdown
- since 2011
- >250 Games
- extremely diverse genres, quality and prices
- DRM-free / direct download
- regular news on Facebook and Twitter about current titles and sales
- payment via PayPal
- authorization of the game: only a few days
- upload through Amazon S3, no restriction on upload format
- money is transferred immediately after purchasing to the developer (no platform costs)
- responded late to the announcement of the sales, but then we were listed in“featured” and “specials”
- download games without client
- Very good back-end, relatively detailed statistics
- customers may pay more; pledge, pay-what-you-want
- bundles, keys
- sale section for special sales in the backend + Twitter announcement (at least in the case of Pitman)
- Windows / Mac / Linux / Android / PSP / keys for Steam
- relatively low level of publicity (during our sales week we got some more buyers, though)
- Paypal costs way too much for cheap games, when the micropayment option isn’t used / cannot be used
- no demo upload to the platform
- since 2009
- from very cheap to expensive higher-quality games
- DRM / client
- regular news on Facebook and Twitter on current titles and sales
- Paypal, Visa, MasterCard
- transfer from €500 (minus fees)
- platform fee: 30%
- sales must be requested
- substantial increased sales opportunities by IndieDB connection
- biggest indie sales platform (after Steam)
- very good connection to the devlog system IndieDB and modding counterpart ModDB
- linked to Indie Royale
- Alpha funding possible, in own category
- Demo can be uploaded
- Windows / Mac (limited) / Linux
- very detailed backend, with very good statistics
- referrer bonus as soon as buyers come from your own website
- 30% share / payout with minimum of €500 is a hurdle for smaller games (BUT! You can aks Desura to remit the money earlier)
- relatively complicated upload system for Mac and Windows: Windows / Mac / demo must be uploaded in two versions (I.e. 6 different files that need to be uploaded when doing an update of the game); purchase link in the demo must lead to Desura
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