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The Cluster: The entrepreneur’s space – one year on

September 1, 2011
The Cluster

A meeting at the Cluster

Co-working is huge in America, especially in San Francisco. There are obvious benefits to it, which we are witnessing daily. After 17 months of operation (and over 130 member companies), we now see that our space is something that is needed in Melbourne (and everywhere else)! We are dedicated to the quality of service to both our in-house tenants and our many virtual office clients (who enjoy telephony, use of address, mail-to-email services and the use of hot-desks and meeting rooms). We want to do more, we want to provide more, and we want to continue to spoil ourselves with the company of other entrepreneurs. Friendships are formed here, and ideas are planted. Business is done, and fun is had. Doing business in a lonely office is no longer the only option.

The interactive games development companies sharing this serviced office space include The Game Developer’s Asscociation of Australia (GDAA), Redtribe, Game Machine Australia, PlayCorp, The Voxel Agents, Desura and Roo Games, plus many other software developers.

I often wonder, as I walk around the office, watching everyone eagerly tapping away on their computers, what the hell are they working on? I know a lot about most people’s businesses, but as much information that I can muster from them, it’s never enough! It was this frustration that led to the creation of “What The Hell Do You Do” nights. These nights are where members present to a room full of Clusterians, “What The Hell They Do”. This particular event always opens listener’s eyes and creates true realizations about who we actually share an office with each day. The level of talent at The Cluster is truly exciting.

The Cluster

Shared space at the Cluster

Clusterian on Clusterian action and interaction is happening every day, as more people meet! Businesses are now working together, networks are being created, friendships are being made, new ideas are being formed and new businesses are starting. We have seen small businesses turn into million dollar entities within a short time. When entrepreneurs join The Cluster, they automatically enter into the “Be the first to hit $1,000,000 profit” competition. I can’t yet put my bets down, as it changes daily, but I have my eye on 5 businesses here, which WILL explode one day, like an egg in a microwave. One of our clients was the winner of the 2011, Start-Up Smart Awards – for fastest growth, and is now ranked number 17 in BRW Fast Starters for 2011. Other awards are numerous amongst members, while others have businesses which are just brilliant ideas or are filling niches that no one else has a toe in (or both)! If I was an angel investor, or venture capitalist, I would like to be a fly on the wall at any of the professional co-working spaces, especially The Cluster!

The saddest thing about my Cluster experience is when a tenant must leave. I am always happy about their sudden growth, and their need for more space which we cannot yet provide. Sometimes I hold onto their leg as they struggle towards the door, eventually letting go as I realize they just need more space for their growing team. Relationships are always maintained and we get regular visits and updates, which cements them as part of this entrepreneurial community. As time has passed, I have become to realize that this exit is necessary in order to create space for other entrepreneurs searching for an appropriate co-working space. The Cluster space is just a small part of their experience of business, and our vision, along with the other co-working spaces in Melbourne, is to provide clients with the best environment and services for their day-to-day office needs. Taking the hassle of renting, fit-outs, furnishing, connecting services, providing kitchen goodies, paying for receptionists and IT, and organizing their own Friday night drinks, ski trips, winery tours, random dinners and speed greeting nights (like speed dating)….is what we, and other co-working spaces, are all about!

The Cluster

The Cluster - Serviced Offices

The most important aspect of creating such a space is the energy created once the space is full of crazy entrepreneurs. An amazing and inspiring space is formed solely from the people who fill it. Physically having the right space to fill comes about by bringing the right people together to create it. This vision will one day happen. It has too. Melbourne needs it. All of our cities need it!

What’s next? The Cluster’s is planning to team up with key groups and individuals to create larger co-working entrepreneurial events and spaces within each capital city of Australia. Clusters in regional areas are also on the table, as there is a need for people in smaller communities to have access to proactive, vibrant and professional spaces. The Cluster is looking to work closely with the state government and local councils to expand the co-working model. Enhancing entrepreneur’s day-to-day working environments is essential for motivating innovation!

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About Kirsten Koci:

Kirsten spent the last 14 years studying business and enjoying the craziness of owning and running a successful fashion company, based in London. After returning from the UK in 2007, Kirsten lectured in fashion business until she started The Cluster in 2010 with Chris Mosely. Kirsten is herself a serial entrepreneur with The Cluster plus some new projects/businesses launching now and at the beginning of 2012. These include The Oddwols (ipad/iphone interactive comedy stories for kids), Binary Digital (Web & App development), dressandpress.com.au (Australia’s Fashion Library) and Bully to Bravery (development of educational DVDs for primary and secondary schools). The Cluster provides the motivation to “Do It All”!

Meffy Award for Melbourne’s Visceral Games

August 4, 2011

Melbourne-based Electronic Arts studio Visceral Games has taken out the Meffy Award for the Best Mobile Game for its Dead Space iOS for iPhone and iPad.

The Mobile Entertainment Forum’s (MEF) Meffy Awards, judged by expert panels of independent journalists, analysts, academics and VCs, are widely recognised as the most established and coveted global awards in the mobile media industry and provide a benchmark for success and innovation.

Dead Space iOS, which brings the critically acclaimed sci-fi action-horror franchise to the iOS platform, was launched in January 2011, and both the iPhone and iPad games reached number one Top Grossing positions worldwide.

EA’s Visceral Games also created the award winning Dead Space 2 for Xbox 360, PS3 and PC.

As the industry’s official benchmark for measuring success and rewarding innovation, the Meffys honour the most influential players from around the world, and over the years have recognised the global brands, dynamic start-ups and visionary individuals who have helped shape the mobile entertainment and media industry.

The award is a bouquet for Visceral Games and for Melbourne, Victoria, which has a reputation for being a centre of creative and innovative activity. Victoria is a hub for games development; its interactive computer and video games industry is a mature sector, of nearly 30 years’ standing, and at the forefront of next-generation technology.

The Voxel Agents: Melbourne’s world-famous trams inspire hit games

July 22, 2011

The Voxel Agents Team

Australian game developers have been greatly successful in the mobile gaming industry, with countless home-made titles putting the local creators into the international spotlight. One

such team of talented game developers is Melbourne-based The Voxel Agents, creators of the smash hit Train Conductor series.

Train Conductor

Train Conductor

The game instantly hit the top 100 in 24 countries and was named Best iPhone Game of 2009 by DIYgamer. Train Conductor starts simply: route trains to their numbered tracks while avoiding collisions, but unique challenges appear in

each of the eight levels, including long-haul Gold Rush Trains, parallel ghost worlds where trains don’t crash, and even broken tracks inspired by that apocryphal Summer’s day in Melbourne where temperatures of 46.5 degree made the tracks buckle and the city to come to halt! The Train Conductor series has 4.5 million installs, with 4 million free downloads and a half million paid downloads.

Hailing from Brisbane, The Voxel Agents began in early 2009 when three friends and game developers, Simon Joslin, Tom Killen, and Matthew Clark joined forces

trainconductor2

Train Conductor 2


then moved to Melbourne in 2010. This talented team’s accolades include “Best New Business 2010” in the National NEIS Business Awards and “Startup / Rookie of the Year” at the MoMo Melbourne business awards last year.

PALGN recently sat down for a chat with The Voxel Agents’ Simon Joslin. During the interview, he confirmed that Melbourne is more than just a great source of inspiration for games, but one of the best locations for developing them.

When asked whether Melbourne is a good location for making video games, Simon enthusiastically replied, ”It’s the best! I am certain we have the most socially active community of developers in Australia, thanks to the fantastic IGDA, as well as the best government support of any state. Plus, is there a better Australian city?”

Simon also pointed out that diversity in the Australian games development industry is important to its strength, warning that a reliance on only mobile games would create a niche but unstable market.

In the last four months The Voxel Agents have built fifteen prototypes, three of which were “fantastically fun” and were developed until one in particular showed extensive promise. They are now in pre-production on the most impressive prototype. Their community of 4.5 million players are eagerly awaiting official announcements of their next title.

For insights direct from the Voxel Agents, visit their blog or visit their YouTube channel.

Nothing rusty about Tin Man Games sixth Gamebook Adventures title

June 3, 2011

wizard of tarnath tor iphone‘You struggle furiously to get back towards the surface, then you feel the ooze being pushed aside as if something large was coming your way and you suddenly realise you have worse problems’. The Wizard from Tarnath Tor.

Hmmm, quite a predicament, but what do you do?  Draw your weapon and hope to fight the creature off … or rely on your fading fitness and make a run for it?

Well, that’s entirely up to readers of Gamebook Adventures 6: The Wizard from Tarnath Tor, which is now available for download for iPhone wizard of tarnath tor iphoneor iPad from the iTunes App Store.

The magical gamebook is the latest offering from Melbourne-based video games studio, Tin Man Games (TMG), and takes readers on an interactive adventure with different choices to be made on every page.

There are time travelers to meet, items to find and creatures to fight during the journey through the legendary but destroyed city of Tarnath Tor.

And of course, there is also the story, which has been crafted by Al wizard of tarnath tor iphoneSander, winner of the 2008 Windhammer Prize for Short Gamebook Fiction, and illustrated by Gamebook Adventures regular, Dan Maxwell .

Creative director at TMG, Neil Rennison, says The Wizard from Tarnath Tor makes it feel like Gamebook Adventures has finally gone social. According to Neil, the latest gamebook takes the reader experience to a whole new level and he has plans for even more functionality to be included in the future.

TMG is a fantastic Victorian success story and has built quite a following over the last two years.

Located in Melbourne, TMG is one of the many local animations houses that have the talent and capacity to deliver world-class animation sequences for games using the latest software and techniques.

The city is also home to an excellent pool of world-class game developers, has connected and reliable infrastructure and a successful cluster of software development companies, which make it a high-quality mid-cost Asia-Pacific location for games development.

TMG has also recently added a News page to main menu of each gamebook to keep fans up-to-date with the latest TMG developments, which include new writers such as Fighting Fantasy’s Jonathan Green, and new genres such as science fiction and supernatural romance.

Looks like Tin Man Games is taking an adventure all of its own – minus the ooze and creatures, we hope!

Visit the Gamebook Adventures new website or the developer blog.

Looking back at 30 years of computer gaming in Melbourne

May 27, 2011

Melbourne is now regarded as a leading centre for computer game development, synonymous with the development of innovative and popular titles. Despite its success in the use next generation technology and the latest platforms, Melbourne is by no means a new kid on the block.

1980 saw the establishment of Australia’s first game company – Beam Software (now called Krome Studios) in Melbourne, a video game development studio which has gone on to create over 150 titles. Beam’s success began with 1982’s The Hobbit for the Spectrum, Commodore 64 and PC and by 1983 it had reached the number one selling position throughout Europe with sales exceeding 500,000 units. The success of this was repeated by Beam in 1985 with the launch of The Way of the Exploding Fist which also got to number one in Europe on the back of over half a million sales.

By the second half of the decade Melbourne House (Beam) had a 10% share of the UK video games market and just two years later became the first game company to go public on the ASX. Beam was joined in 1994 by two more Melbourne-based studios: Torus and Tantalus, followed by Blue Tongue the year after and IR Gurus Interactive in 1996 further establishing the state’s dominance of the sector.

1996 also saw the start of a strong relationship between the Victorian Government and the gaming sector by providing funding to IR Guru’s AFL Live. In 2000 this relationship was cemented with the launch of the successful Game Plan policy, committing Victoria to supporting this exciting sector – a first among state governments.

Spurred on by industry innovation and government support, the past decade has seen the sector reach new highs from Infogrames’ award winning Le Mans Dreamcast and Grand Prix Challenge, THQ’s Annie nominated SpongeBob Game and Firemint’s Flight Control which is now the most downloaded iPhone game ever. This global reputation for excellence was demonstrated only this month, with the announcement that Firemint would be joining Electronic Arts’ stable of studios – bringing their total to four in Victoria.

In just thirty years, Melbourne has gone from one lone studio, to a thriving cluster that makes up over half of Australia’s independent games studios and employing the bulk of the 1000 Victorian students who graduate each year in games related courses. Through dedicated export programmes, investment in development kits and funding from Film Victoria’s Digital Media Fund in excess of A$10 million the Victorian Government is working hard to ensure that this success continues in the next thirty years and beyond.

EA successfully lands Firemint

May 9, 2011

A huge boost to Melbourne’s games sector was announced this week with news that Melbourne-based game developer Firemint will be joining US entertainment giant Electronic Arts’s stable of Victorian games studios.

Firemint is probably best known for its hugely popular iPhone, iPad and iPod touch game Flight Control and its follow-up success with Real Racing. These apps have set new targets for mobile phone games by selling some seven million copies between them. Firemint has also been in the news recently when it took over fellow Victorian-based company, Infinite Interactive – creator of the Puzzle Quest series.

This investment brings EA’s tally of Melbourne’s studios up to three, joining IronMonkey and Visceral Games, and shows a significant vote of confidence in Melbourne’s games industry by such a global force in games publishing. EA’s growing presence in Melbourne is key to its overarching strategy, which has seen it spend over 30 years building a games development and distribution empire, which currently generates more than A$4 billion in annual revenue.

In fact this new partnership is not just good for EA, but for Firemint who have been working with EA mobile since 1999. Firemint’s CEO, Rob Murray, blogged to say that he is looking forward to not just working with some of the best developers in the industry, but also in using the new structure to free up more focus on the creative part of the business.

Firemint is a big player in Melbourne, one of the leaders of a thriving cluster that makes up over 50 per cent of Australia’s independent games studios and employs the bulk of the 1000 Victorian students who graduate each year in games related courses. Melbourne’s world-class expertise is continuing to attract investment such as this and underscores the city’s un-rivalled reputation for technology and interactive games development.

Jonathan Green helps Tin Man Games fantasy come true

March 25, 2011
Jonathan Green

Jonathan Green

The Wizard is coming to Oz. Or at least, Jonathan Green – popular author of the Fighting Fantasy gamebooks – has signed on to write for Melbourne-based video games studio, Tin Man Games (TMG).

And much like Dorothy, Toto and the Yellow Brick Road, the path ahead for this exciting partnership promises to be quite an adventure.

Highly regarded for his 17-year association with the Fighting Fantasy gamebooks, Green is currently writing the seventh TMG Gamebook Adventures title, Temple of the Spider God, which is due for release in July.

tin man games logo

Green is well known to devotees of the gaming genre having created the Pax Britannia series and writing gamesbooks set in universes such as Doctor Who and Star Wars.

The creative partnership was announced at the recent Penny Arcade Expo East in Boston, and for Tin Man Games’ creative director, Neil Rennison, it is a dream come true.

ga logo

Rennison, who started Tin Man Games just 18 months ago, grew up reading Fighting Fantasy gamebooks.  But even he could not have imagined that one day he would be collaborating with one of the most popular Fighting Fantasy authors.

The venture is also an exciting opportunity for Green, who recently commended Tin Man Games on the huge impact it has had on the worlds of interactive fiction and iPhone apps in such a short space of time.

Sounds like dreams that you dare to dream really do come true, after all.

Victorian Government export grants program – funding for trade events

February 8, 2011

Victorian Government is awesome! We were totally stoked when we found out that the State Government of Victoria provides funding assistance for businesses to attend international trade events through its ICT export grants program.

Being a fast moving Internet and interactive games business, at MMGN.com we are constantly thinking about how to make ourselves better, how to get our brands out there, what kind of places we should be and which events we should attend. We want to mingle with the best around the globe. One of the most exciting music, film, and interactive conference events is the SXSW Interactive held in Austin, Texas, USA. Late last year, we submitted an application for an Export ‘Networker’ grant, and were told recently that it has been approved!

The grant is part of the ICT export initiative of the State Government of Victoria. It encourages Victorian technology businesses to explore export opportunities in international markets, take their products and promote their services beyond the border, gain new ideas and learn from top industry leaders. This perfectly aligns with our marketing strategy.

As an event Networker, you are eligible for $2,500 grant. If you decide to set up an exhibition stand, the grant is even higher, up to $10,000. There is more! A Victorian business can submit up to three applications per year. This means we could also be eligible for funding to attending E3 and Tokyo Game Show (TGS) later this year also!

Applying for the grant is quite simple. Everything is available online and there is a lot of funding support available for various categories including sole or group exhibitor in an exhibition stand.

It is great to see that the Government is supporting technology businesses! Only if we had discovered this sooner….

For more information about ICT Trade Events and Exports Assistance Program grants, go to Multimedia Victoria.

The Games Investment Program assists Victorian games developers to create a diverse range of games for any distribution platform with an emphasis on technical, creative or design innovation.

Employment prospects in the games development industry

January 24, 2011

The computer games designers in this room have a less than ZERO chance of getting the job they really want directly after completing this degree.”

How’s that for ruining your ambition and desire to succeed in the computer games industry?

That is my first memory of the address given to the 2007 intake of computer games’ first year students at University. At the time I remember thinking it was a bit harsh to instantaneously shatter the dreams and ambitions of hundreds of bright young things embarking on their future careers… or so they hoped.  Ouch…is this what the real world is like?

Fast forward three years, its 2010 and I’m now a fully trained, apparently competent graduate of RMIT’s Bachelor of Arts (Games Graphic Design) course.  So what now?

It has become apparent during discussions with others that applying for jobs at the big companies may not be the quickest method of gaining employment.  It also appears as though the studio scene in Australia is undergoing a ‘shift’ as the distribution models for games change.  Add this to the ongoing fallout of the GFC, and Australia finds itself with many more experienced developers than me, all seeking employment. Am I going to be left high and dry with a beautiful qualification and ugly employment prospects?

OK, so how about I become an Independent Developer?  I’m ostensibly young, bright and positively bursting with ideas.  I could form a small company with some trusted friends and go forth and conquer the booming independent industry? These new distribution models could now play to my favour.  Eureka.  Ah but as yet, I’m not very business savvy, so my chances of survival and fulfilling the commercial element of this fantasy are probably, at best limited.  I’m a creative type who is perfectly capable of mild but genuine excitement around ABNs, NBNs and Payroll Tax.  Unfortunately however my corporate tie is still very much attached by elastic.  Damn it.  Who can help?

Someone must have a program to help me realise my ambitions and support me in plugging the skills gaps that I know I have and identifying the ones I haven’t even heard of.  The GDAA would be the obvious place to start.  The Department of Business and Innovation (formerly DIIRD) is generally considered a first point of call for all things business, but then there is also Business Victoria and of course Film Victoria who have helped companies in the past.  Who does what?  Is there a Wiki page that explains it?  Will Julian leak the dark art of accessing government support before I resort to accepting a role with ANZ bank and vanishing into the doldrums of the ultimate 9-5 nightmare?

Unconvinced of my current abilities to run and manage my own studio I recoiled to the drawing board and during a bout of job hunting I was spotted by the new Victorian company Desura.  My role at Desura is Business Development. Desura is a digital distribution platform for PC based around the game and modding communities.  Launched just this week with a small selection of titles, Desura’s aim is to provide access to the best games available on the market. Desura is 100 per cent indie-friendly and the only digital distribution service out there with the ambitious aim of supporting user-made content (mods) for games.

Developers and publishers on Desura are in charge, and control the content shown in their games profile from news updates to videos and images. Not wanting to be just another ‘static’ shopfront, Desura hopes that by giving developers a voice and the ability to interact with the community discussing and reviewing their games, they can create better titles and a more engaging experience for customers.

Desura was created by the team behind the ModDB and IndieDB with 4.3 million monthly users and game developers soon to be encouraged to give our service a try.

So I’ve evaded the curse of the negative percentage and I’m proud to, in my own small way, redress the statistic.  I’m very fortunate.  My 2007 first day memory had a profound effect on my focus within the degree.  I can only hope that my peers have had similar employment success or they own more experienced ties.

Check out Desura—my lucky new employer—and get in touch to find out more or about becoming a member of the positive percentage club.

How to start a game studio from scratch and make an original IP game?

September 21, 2010

I was asked an interesting question the other day.  I thought it would make a good article.  This chap (name omitted) is basically an individual with very little current income and wants to start a game studio from the ground up, build a team then start an original IP game with seven people.  He’s smart and knows what’s involved having worked in the industry as a designer and producer.  He doesn’t have the business experience yet, but that stuff is the easy part, in my opinion.

The question went a little like this (from memory):

So Chris, I want to start a new game studio, start a team of seven and make an original IP game using the Unreal engine. You’ve had a lot of experience starting game studios (Bluetongue, Redtribe), how do you think I might go about that?

The abridged version of my answer –

The term I like to use to describe this approach is “bootstrapping.”  Bootstrapping a business basically means pulling yourself up by your bootstraps.  It means you’re not getting much help from VCs or Angel investors. It means you don’t have any big contracts to start you off.  Basically you just have yourself, your startup team (possibly) and very limited resources (if any at all), and it’s all up to you to get it started.  Both Redtribe and Bluetongue were bootstrapped businesses starting life with nothing more than an idea and a great deal of energy.

At a rough guess, you’re going to need around AU$2 million to build this game, not including distribution and marketing costs.  Traditional verses online distribution are also considerations here.  At some stage, you’re going to then have to convince a publisher or distributor to take it on, although that’s a entirely different topic again!

My suggestions:

  1. People

Find people who have talents that might not yet be appreciated by the established games industry.  There are many people who want to get into game development, but don’t necessarily have all the experience required to get a full-time job yet.  This is where you can provide a stepping-stone for them, and in return build up your team. This doesn’t mean they cannot perform the job; it just means the more established companies are not willing to take a risk on them.  There are different arrangements that you can have with your startup team, including:

  • You can hire them on a casual basis.  This would mean you utilize more of their services when you need them –as jobs come in.  You have to be careful with the contracts to ensure everything is legal.  If there’s no work, then you pay nothing.  They might be willing to negotiate favorable terms with you for the opportunity to gain more experience and to release games that they can then add to their resumes depending on their own specific circumstances, which will be different for everyone of course.  This is probably the easiest and safest way to start.
  • You can offer a share of profits from the sale of the game, but in my experience this doesn’t lead to good outcomes.  You can never predict if a game will make any money, and many games lose money.  If people are relying on profits to make up their incomes, then they won’t be happy if they don’t materialize.  This is especially true when a game company starts out.  You’re going to be working on smaller projects to generate your income and profits are harder on smaller titles.  Not everyone is happy to take business risks.  On the other hand, if you’re working with more experienced developers who do understand the risks, then a profit share arrangement might work well.  I guess it’s about managing people’s expectations.
  • A share of the business.  This evens out the risk on any given game, but they’re still taking a risk on essentially a micro-cap company (extremely small and therefore risky company).  You’re not relying on a single game to make a profit; instead, you’re hoping the overall value of the company is increasing and eventually this will be of value to your team.  This has its own risks – beyond the scope of this article.  I would recommend against giving away equity in your new startup.

The other important thing to consider here is that if you’re hiring people with no industry experience, how are you going to find the talent and how are you going to develop the talent.  Some ideas include:

  • Make people perform tests.  You can come up with programming tests (where a person has to create a software demo of something within an allocated timeframe).  You can come up with art tests (where a person has to create 3D graphic and texture it within a specific timeframe).
  • You can look in much greater detail at the work that they’ve done in the past.  You might have to get to the point of looking through code or having them walk you through the process of creating a graphic from scratch, it can be that involved and very time consuming.  Larger companies simply don’t have the time to do this for each individual (sometimes they do).  It’s really going to come down to you, can you evaluate talent, can you find it, can you convince it to work for you.
  • Examine their motivations.  Make sure the people who you hire are prepared and know how hard it’s going to be to succeed.  Find out how motivated they are to succeed at making games.  Without the right levels of motivation, they’re not going to survive the entertainment business.  Experienced staff already know what to expect and this means they are less risky of course.

2.      Money

First off, unless you have some very rich relatives or friends that are willing to give you the $2 million or more you’re going to need, then you’re going to have to get the money another way. That’s pretty obvious, right? I’ve had nearly 15 years looking into the problem of where to get money to make games, and let me tell you it’s not easy.

Getting money from publishers for an original IP game is the hardest thing you could do in our industry.  Even if you have an established team, even if you’re willing to partially fund it yourself, publishers want to make their own games and if they’re funding yours they will likely want to own the IP anyway. So cross publishers off your list, unless you have some serious connections willing to take a risk on your yet-to-be established team, with its yet-to-be established track record, on an unknown IP, and who are willing to fund without wanting to own it all outright (effectively making it their IP not yours).

It’s extremely hard to raise money for games and movies; this is why governments from around the world have created numerous incentives for investors to facilitate this.

Bluetongue and, for that matter, Redtribe built up their teams doing fee-for-service work.  You do whatever jobs you can get your hands on that also happen to be in line with the general direction you would like to take your team, and as you do more and more jobs your team and technology will grow, your processes will mature and hopefully one day you might have enough money to make your own title.  This is what most companies do. They all want to make their own titles, but you have to start someplace, you have to pay bills, you have to pay competitive salaries to keep high quality people in your company, so you do whatever you can.

Bluetongue did web development, domain name software, 3D visualization and communications software, all to fund the development of the team and company in the early days.  Redtribe worked on museum installations, government accredited training courses, government reports, and numerous low budget titles in order to bootstrap the businesses until it was able to win larger contracts.

All these little jobs are tedious, time-consuming and pay little money, but it all adds up. Just make sure you’re still moving in the right direction, you don’t take on all jobs, just jobs you think will push you in the overall direction you’re wanting to head in.  If you’re structured correctly and keep your eye on the future and where you want your company to be, you can achieve it.  Of course, sometimes life gets in the way –or in some cases the economy- but you keep plugging away, in my opinion. Never give up till you reach your goal!

You need to be looking for every bit of assistance you can get your hands on from government.  The Australian government has quite a number of grants that can help propel your company forward, and there are even more state government grants to assist your fledgling company. As your company grows, you will have access to larger grants, so you have to just keep moving forward. Sometimes you have to move forwards before all the ducks are lined up, that’s just how it is. You have to take a big leap of faith in order to find the opportunities that are hidden, until you start. It’s an odd thought, but this has been the case very often for me.

The truth is that you’re going to have to do all these things simultaneously in the beginning to get things off the ground, and just like launching a rocket into space; it’s the early stages of the company’s growth that can be the hardest. Your margins are going to be the tightest at the start, you’re going to have to be working on more titles than you can handle, and you’re going to have to be doing more jobs than one person should be doing realistically; but that’s how it’s done.

3.      Resources

When they think about starting a company, many people will first start looking for money.  There are other things that are of equal importance, however. Everything you can get for free or negotiate on reasonable or very low terms, is effectively putting money into your business.  Some of the things you can do include:

  • Negotiate with suppliers.  There are accountants, lawyers and other business professionals who are willing to give startups a chance for a reduced fee or no fee if they believe in you and like you. Family and friends can also help out.
  • Office space – this is a really costly one.  Most offices that are suitable for game development are going to be large, need lots of resources, and so on.  If you can find an old, large, unused space and get it for the right lease terms, you’re halfway there.  The other option would be serviced offices that specialize in this type of business. An example would be The Cluster Serviced Offices in Melbourne.  Another option might be to share office space with other like-minded companies and divide the cost.
  • Barter for services and goods. Sometimes you can barter for things including office space, equipment and the technology you need. For example, Redtribe formed strategic partnerships with technology providers to “port” technology to new platforms in return for use of the technology in its games for free.  Bartering your own time or expertise in return for something you want or need is a great way to get ahead and actually forms some very useful longer-term relationships that can help your business in the future as it continues to grow.

4.      Business Development

Every startup business needs to have a talented and tenacious business development person who goes out and actively brings in the work. Without this key role filled, you basically don’t have a business. The work has to flow in order for your team to start, grow and prosper. The business development person has to work closely with the team, understand the technology and help to drive the company’s strategy over time.

You can’t just go out and hire a sales guy; it won’t work. They have to understand the industry, have lots of industry expertise and be able to talk with publishers, other developers and any experienced industry people that the company needs to impress and get work from. Some people are naturally talented at business development and find it easy and fun, if that’s not you, you need to find someone who is and whom you can trust.

You can contact me at The Cluster or Redtribe (housed at The Cluster, Level 10, 50 Market St). Happy to answer any questions you might have about how both Bluetongue and Redtribe were bootstrapped.

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