Unless you have a pre-existing relationship with a PD person, right off the bat they Publishers would much rather talk to a developer about the game they are . A video game publisher is a company that publishes video games that have been developed Most video games created by an external video game developer are paid for with periodic advances on royalties. These advances are paid when . Countless times I have seen threads on Gaf talking about how someone's favorite game developer is making a new game and usually there's a.
Help me understand the relationship between publisher and developer.
One of the biggest responsibilities of a publisher is to ensure that a game gets made. Reaching out to a publisher can be a lifesaver for developers who may know a lot about programming and artwork, but who would struggle to also manage all the additional work involved in publicizing.
While that may look different from company to company, what it boils down to is providing support to a developer or studio. For many publishers, the goal is not so much to absorb all the game creation duties, but rather to make it easier for developers to do their work.
Video game publisher - Wikipedia
While some publishers, such as Telltale Games or Nintendo, do have something of a house style, there are still individual development teams or studios working within those publishers. Sony, as a publisher, ensures these games get finished on time to a high standard and that, ultimately, they are profitable, usually stepping back to let the developers keep control of the ultimate creative vision.
Their business is in publishing, not art, programming, or other aspects of development. While those duties may be part of some publishing deals, the general purpose of a publisher is more akin to a traditional book publisher than a game developer.
The Publisher/Game Studio Relationship | AlwaysOn Technologies
These connections, which typically come through years of experience, help publishers ensure that games find an audience. As a result, games are more likely to make back the budget that publishers provide.
A huge part of building a relationship with a publisher is avoiding risk. Game development always involves some degree of risk—a game might never see completion, it could fail to meet its sales goals, or any number of other problems. Business risks[ edit ] Video game publishing is associated with high risk: The Christmas selling season accounts for a highly significant portion of industry sales, leading to a concentrated influx of high-quality competition every year in every game category, all in the fourth quarter of the year.
The Publisher/Game Studio Relationship
Product slippage is common due to the uncertain schedules of software development. Most publishers have suffered a "false launch", in which the development staff assures the company that game development will be completed by a certain date, and a marketing launch is planned around that date, including advertising commitments, and then after all the advertising is paid for, the development staff announces that the game will "slip", and will actually be ready several months later than originally intended.Healthy Publisher Relationships
When the game finally appears, the effects among consumers of the marketing launch—excitement and "buzz" over the release of the game and an intent to purchase have dissipated, and lackluster interest leads to weak sales. Some developers notably id and Epic have alleviated this problem by simply saying that a given game will be released "when it's done", only announcing a definite date once the game is released to manufacturing.
However, this sometimes can be problematic as well, as seen with Duke Nukem Forever. The industry has become more "hit driven" over the past decade. This has led to much larger game development budgets, as every game publisher tries to ensure that its game is 1 in its category.
It also caused publishers to on occasion force developers to focus on sequels of successful franchises instead of exploring original IP ; some publishers such as Activision Blizzard and Electronic Arts have both attracted criticism for acquiring studios with original games, and assigning them to support roles in more mainstream franchises. Taking advantage of those capabilities requires a larger team-size than games on earlier, simpler consoles.
In order to compete with the best games on these consoles, there are more characters to animate; all characters must be modeled with a higher level of detail; more textures must be created; the entire art pipeline must be made more complex to allow the creation of normal maps and more complex programming code is required to simulate physics in the game world, and to render everything as precisely and quickly as possible.
Contrasting with the big budget titles increased expense of "front-line" console games is the casual game market, in which smaller, simpler games are published for PCs and as downloadable console games.
Also, Nintendo's Wii console, though debuting in the same generation as the PlayStation 3  and the Xbox requires a smaller development budget, as innovation on the Wii is centered around the use of the Wii Remote and not around the graphics pipeline.