Clout

I’m late to the conversation, but this is how I’m processing it. In a world that is celebrating the fact that there are now two viable forms of publishing – traditional and self-published – you are suggesting returning to a time of gatekeepers. I am pro-traditional publishing when it comes to books and games, BUT I would never walk into a self-publishing forum and say to the people, “hey, let’s set up some gatekeepers!”

But you will probably argue that is NOT what you want. That you don’t want gatekeepers, you just want the level of marketing that can exist when you have gatekeepers. There is a reason people will try the next book published by Random House, and the reason IS quality control. They have a large team of people all focusing on their single expertise in order to create a great product. Sometimes, despite hard work, they still fail. But more often than not, taste aside, they end up with a great product. And the same was true for Infocom. I think going through the Internet Archive files right now should be statement enough of how much work, how many people, went into each game.

Quality control, of course, means that they reject the vast majority of the work presented to them. If they can’t see how they will market it, or they don’t think the work itself lives up to the brand’s standards, they reject it.

But you will probably argue that is NOT what you want, either. What it sounds like you want is a system where people are obligated to turn around and help others once they’ve gotten accolades for their work. And while that is lovely, and when it works, it is a beautiful thing, it is usually personal in nature. X and Y build a relationship, and due to that support, X turns around and helps Y when possible. Or X personally feels moved to help all people who come to him/her for help because they love supporting others. But the missing piece here is that it only works when it is a personal impulse, not an obligatory system. Because when it is an obligatory system – and when I know it is an obligatory system – X’s word becomes meaningless.

Think of it this way: X tells me that she loves Bubbles soap detergent because it got her dishes amazingly clean. Y tells me that she loves Bubbles soap detergent because Bubbles soap detergent is part of her soap collective and she has to promote Bubbles soap detergent. Which word holds more weight? For me, it would be X because X is simply speaking her truth. Whether I am in the market for a new soap is beside the point. I am always going to be more willing to hear what X recommends next because it is her opinion vs. an obligation.

So yes, when writers I respect mention a new game on their blog or in these forums, I give it a chance because I know they are doing so because they personally feel passionately about it. If they were telling me out of obligation, would their words still hold weight? Unlikely.

Do I know that those writers were possibly approached by the other game maker who asked them for a review? Yes – and that diminishes nothing because I still know that X said yes because X wanted to say yes. X didn’t have to say yes.

Which brings us back to Infocom and the quality control model. I would love to see another IF company exist alongside all the other IF companies that already exist. The more the merrier because I then have more games to play. But I’m so grateful that (1) people are self-publishing games, (2) that people are reviewing self-published games, and (3) that sites like the IFDB exist so I can find and download said games. The system is working well enough that through recommendations and reviews, I’ve found plenty to play. More, in fact, than I have time to play.

And the stuff that I’ve played is wonderful. So thank you to all of the writers out there in this forum.

Point 1) There can no longer be true gatekeepers as the cost of entry to self-publishing these days is zero. There is no barrier of entry for anyone to self-publish. There CAN be gatekeepers to being on a certain imprint/label, however.

Point 2) I’m advocating a partnership between people to adhere to certain mutual accepted terms in order to give their imprint/label a cohesive feel. These terms should not be creatively restricting, or minimally so. Asking an author to single-space instead of double-space and for their works to be printed and bound instead of released on a scribbled napkin seems like a reasonable standard. Same thing with high-quality artwork and having a one-click interpreter/engine that works on all major platforms (iOS/Android/Linux/PC).

I don’t feel that a bunch of top-tier authors getting together to market a mutually agreed upon standardized (quality control) line of product is negative gatekeeping. It doesn’t edge out any self-publishers (how could it?) but it brings a benefit to the end-user (slick looking/performing stories) and also makes advertising and promotion much more budget friendly. Instead of plugging yourself, you’re simultaneously plugging a host of other complimentary authors. Traffic all going to one site that exposes people to number of authors is better than 20 different sites that cater to only each individual author, both in cost effectiveness (price of one host versus twenty) and traffic flow patterns.

Why spend $50 to promote your own personal project by taking out a 1/8 page ad, when you can pool your resources and take out a full page spread promoting ALL of the authors involved? The individual cost is the same, and the ad has way more impact.

But even in that case, there are gatekeepers. The gatekeepers are the authors in the collective who decide whether or not to promote the work of the non-collective writer. And I think that is a huge turn off to a lot of self-published writers who specifically chose their path due to the lack of gatekeepers.

What you propose is lovely if it is a personal impulse. If X, Y, and Z got together and said, “We’re going to use our clout to help others in the community. Here is how we’re willing to go about doing that.” It would be a crappy situation for W if X, Y, and Z rejected her work because they felt it wasn’t up to their seal of approval, but great for V if his work got through the gatekeepers. W could still come to the forum and plug her work…

…which is what happens now.

I mean, what we’re describing is EXACTLY what happens now, without any formal plan in place. X, Y, and Z are likely on these forums, sharing their knowledge. They review work. They promote other people’s games that they personally enjoy. If they’re not on these forums, reviewing or promoting games, I’m going to assume they either aren’t inclined to be on the forums or don’t have time.

Again, personal impulse. It would be one thing for X, Y, and Z to state “we are doing this.” Either people will listen to them or think they’re full of themselves to set up a system like that and ignore them. But that is very different from another person saying, “I think X, Y, and Z should do this.” It doesn’t even matter if we name X, Y, and Z. Putting obligations on other people rarely goes as well as people following their own heart.

It seems that there may be a fundamental misunderstanding of the market at work here. You appear to be making an equivocation along the lines of, “If we just had some people with clout doing the marketing push, and having authors adhere to some basic standards of quality control, we could be Infocom again.”

The problem is that the market in 2015 is not the same as the market in the 80s and 90s. There is a reason why Infocom is no longer in business. I think it’s fairly safe to say that the people playing IF in the 21st century are members of a very small community. Even the most massively, hugely popular and influential IF games right now (Hadean Lands? 80 Days?) are completely unheard of outside of these fairly tight circles. Whereas, everyone who came of age during a certain time of computers happened to have played an Infocom game, because that was /what was available/ and widely distributed at the time. Infocom games were undoubtedly quality productions, I won’t say they’re not, but they undoubtedly became popular because they happened to be software that was accessible and took advantage of a (then brand-new) popular technology.

So the type of marketing you’re discussing already is facing a diminished level of success. A lack of established quality standards is not what is holding IF back from a renaissance.

In order to make IF “viable” in a monetary sense, one needs to find a way to capture the attention of a wider market than what already exists. Which is, of course, what Choice Of Games is doing (for example) by curating games that fit to a specific style and publishing those games on platforms like the App Store so that people outside the existing IF community can find them.

So I hope you understand why people are pushing back against you here.

People are not pushing back against this idea because they don’t want to make money. People are pushing back because:

  • You are suggesting we raise gatekeepers and apply subjective standards of quality to a medium that has very recently become a safe-haven for self-expression among the type of marginalized communities who otherwise are not able to get any attention for their stories, due specifically to the type of gate-keeping that happens in other media.

  • You are suggesting something that we are already doing (ie, Sub-Q, Choice Of) as though it were a completely new idea you just thought of, which if nothing else shows that you don’t know our community at all (and yet still feel qualified to give advice to us).

  • You are apparently drawing a false equivocation that, somehow, a lack of quality standards is what’s keeping modern IF from becoming New Infocom.

Do you see how why this is problematic?

I have no doubt you probably came to this with what seemed like a perfectly sound idea and are baffled by its reception. But in practice, what you’ve done here is exactly the same as when a guy comes up to a novelist at a party and says, “You know, I had an idea for a book once. How about I tell you my Great Idea and you write the book and we can split the profits, eh? wink wink nudge nudge.”

((And before you say this, yes, I know that you claim not to have a monetary dog in this fight – but surely you can see how insulting this line of thinking might appear?))

I should point out, 80 Days spent a long time at the front page of the Android and iOS app stores, and it was nominated at the IGF awards, &c. It’s definitely much more than a “very small community” that is aware of it.

Perhaps I should rephrase: A relatively small community. I guess what I mean more specifically is, “An IF game has not been part of pop culture since Zork.” (whereas other indie games certainly are - FNAF or Minecraft or whatever else)

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To be honest, I think people overestimate the impact of the original Infocom games too.

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That is quite probable. I was not of age in their heydey (the nostalgic computer game of my youth was Commander Keen, for I grew up in the brief but might reign of the joystick) but I had brothers who had played a couple and was at least familiar with their existence. I’ve always kind of assumed that most of the Old Guard of the IF community was my brother’s age, sort of a Gen X nostalgia thing.

I played plenty of text adventures back in the 80s but nothing from Infocom. While I was aware of their existence, I don’t remember seeing any of their games in shops or ever hearing anyone talk about them.

I think they were more an American thing so if you lived in the UK, you might never have been aware of the Infocom impact at all.

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If you want pop culture, the recent tie-in game for the Martian movie was a Lifeline-like (I don’t think we have a name for the genre yet, do we?)

In general I’d rather not do any goalpost shifting here; games don’t have to reach Minecraft levels of sales to be a success.

There have actually been multiple “text adventure” tie-ins to recent blockbuster movies, for some reason. Interstellar had a parser game attached to it, and there was at least one other I’m forgetting.

This was released in July: ifdb.tads.org/viewgame?id=2ft7rij6dnle9hs7

I don’t know how officially it’s connected to Colbert though.

I think it was on the show’s official website.

…and British Intelligence Officer’s Exam was an advergame for Skyfall as well as for Sony products, I think.

80 Days was Time Magazine’s videogame of the year. Mainstream media didn’t even have videogames of the year back when Zork was around. And other than a few contemporary articles in the NY Times or whatever, it wasn’t really part of pop culture until all the kids who were playing it back then grew up to become JJ Abrams and Andy Weir.

Yeah, there’s this mythology in the IF community that in 1982 Zork was at the same place in the culture that Metal Gear Solid is today, and that’s just not true; that place didn’t exist back then. Even if an Infocom game was the biggest video game of its time (very doubtful), back then video games truly were a niche activity, particularly computer games aimed at an adult audience (as opposed to arcade and console games marketed to children and teens).

They definitely were. I remember browsing Infocom titles in the mall bookstore alongside Sierra titles - before graphics and sound were very advanced, text adventures were a viable mainstream game product. And Infocom hit square at that time.

Considering that the games were a niche activity in the first place, then the niche people who had computers and invested in them were just the sort of people be wowed by Zork, surely? The products were a good match for the audience.

It’s funny to read this sort of comment while reading about Infocom in the Digital Antiquarian and reading how much of an impact they made at the time, according to sources, and how they were emulated, and how brightly - and briefly - the Bookware concept (flash) burned.

I’m not sure that the myth is that Zork was MGS. I’ve never heard that myth, especially since it’s so specific about the two distinct gamer groups (and you go on to actually state that the place for the latter didn’t exist in the former’s time, so you also see how strange the myth is). I did get the impression that Zork was, in the same place in the culture, as… Hmmm… the “Big Bang Theory” TV show?

And had brilliant marketing.

EDIT - Hey, I thought up a better comparison. Zork was 1982’s “80 Days”.

This is getting way off track (but maybe that’s a good thing)… I have amused myself by grabbing the Softalk Bestsellers charts for Apple 2 adventure games, January 1982/1983/1984. Thus covering the holiday seasons of 1981 to 1983.

i.imgur.com/XoNJc7O.jpg

(Data screenshotted from apple2.org.za/gswv/a2zine/faqs/R021V6HIST.HTML is another good source.)

Obviously games are divided by genre, and not according to modern standards. (“Fantasy” seems to cover CRPGs; “Strategy” is everything from chess to flight simulators?) But you can see that Infocom more or less defined the adventure genre, even as graphical games tried to push in. If you looked at the month-by-month “Adventure” charts for that period (Softalk magazine ran 1980-1984) you’d see Infocom titles floating up and down, always visible, sometimes #1. (Also note that Mike Berlyn makes a showing from before he joined the company.)

For games overall, no, Infocom was not on top. Best-selling game looks like… arcade games (Gorgon, Choplifter, Lode Runner) and RPG (Wizardry) in the months I looked at.

Anyhow. What does this mean in modern terms? Enormous success in a field that was minuscule by comparison. Analogies to the present day are tenuous at best. Hell, trying to draw analogies between the game markets of 2015 and 2005 is a pretty pointless exercise. But I have to get my procrastination in somehow.

Getting even more off track: but the Softalk figures are US/Canada, right? It’s my understanding, and it’s already been mentioned in this thread, that Infocom’s market share looked very different outside North America.

But it still influenced the genre outside America. All it had to do was to reach a handful of authors in another country, and it would influence their work - and it definitely would, because their standard for quality was practically peerless among adventure games. The amount of testing and the quality of the parser, on the technical side, but also the fact that they never really kept still and stale.

If anything, it might be easy to UNDERstate Infocom’s relevance to IF as we know it today.