The backer–developer connection: Exploring crowdfunding’s influence on video game production

Abstract

As video game development studios increasingly turn to digital crowdfunding platforms such as Kickstarter for financing, this article explores the ways in which these processes shape production. It examines in particular the interactions that typically occur between studios and players as part of crowdfunded development, analysing the ways in which these activities inform aspects of video game design. By charting the implications of this burgeoning economic model, the article contributes to scholarship concerning video game production, and intervenes within more specific discussions concerning the role of the player within development. The article's case study, which draws from evidence of production concerning multiple Kickstarter projects, is organised into two sections. The first ascertains the degrees to which Kickstarter users can influence the details of a proposed project during a crowdfunding campaign; the second looks at how developers involve crowdfunding communities within production once funding is secured.

Crowdfunding: Towards a redefinition of the artist’s role – the case of MegaTotal

“…As was noted in the introduction, to date, the bulk of attention on the part of researchers and the media has been attracted by major projects supported by well-organized groups of fans in existence prior to the launching of the project, for example, Veronica Mars (Booth, 2015;Hills, 2015;Scott, 2015). This is understandable.…”

“…First, fans designate their resources to support a project, the copyright of which belongs to a corporation. For example, this was the case with the Veronica Mars project, where the production of the film was financed thanks to deposits made by fans, as Warner Bros., the holder of rights to the title, did not chose to do so (Scott, 2015). As stated by Stanfill (2013), this may be considered a manifestation of the 'austerity logic of socialized risk and private reward'.…”

“…The specifics of these relations depend on the type of crowdfunding (Bannerman, 2013), the size and structure of the pre-existing fanbase (Scott, 2015) as well as the project initiator's opinion on the role played by contributors (Smith, 2015). These three factors are in turn discussed below.…”

“…Clearly crowdfunding has become an important way of financing the production of cultural works. The growing importance of crowdfunding has been noted by researchers of cultural and media studies; however their attention has been concentrated mostly, although not exclusively, on big projects such as, for example, Veronica Mars (Booth, 2015;Hills, 2015;Scott, 2015). This is understandable, taking into account the need to explain how such significant resources were mobilized online and what this means for the relationship between artists, audiences and the creative industries.…”

Discussions with developers: F2P and the changing landscape of games business development

“…But what was really good was it was gamers that had basically funded me and not businessmen and not people who were looking for a return on an investment -they were very understanding. (6 December 2013) While Anthony Smith (2015) argues that during the campaign phase crowdfunding's more direct relationship between producer and consumer can be interpreted in both positive terms (e.g. a greater understanding of consumer desires) and negative terms (e.g.…”