Mass Creation put out a trailer for Swords & Slippers that hit 27 million views on X, and then told a critic: "You are not the audience we're building for. Nobody here is interested in your agenda."
Everybody covered the drama. Almost nobody asked the question sitting underneath it, how does a studio of maybe fifteen people identify its audience correctly, when much larger companies cannot?
So this video is about market segmentation, which gaming alone among entertainment industries has managed to pathologise. Romance publishing, Life is Strange, and why Dragon Age: The Veilguard failing was not even a rational business decision.
CHAPTERS
00:00 - You are not the audience we're building for
02:03 - What romance publishing already understands
03:45 - The wider audience is real, and it isn't in gaming
05:50 - Life is Strange and the symmetry
09:18 - Who Veilguard was actually built for
12:36 - Replacement versus substitution
14:40 - It wasn't even a rational decision
15:50 - The actual lesson
Sources:
Swords & Slippers, the reply that everyone covered as based ("You are not the audience...")
https://x.com/SwordsSlippers/status/2...
Circana on the romance lit market
https://www.circana.com/post/another-...
The Dontnod claim that publishers wanted male leads for Life is Strange
https://kotaku.com/publishers-wanted-...
Article on how the original LiS sold 3 mil copies
https://www.gamedeveloper.com/busines...
Article covering Double Exposure being a financial flop
https://www.thegamer.com/life-is-stra...
Sinus-Milieus (again, bear in mind this is a respected but for-profit institute, and their milieus primarily serve marketing purposes. I primarily used them as they are still useful to establish a rough societal layout, and because they are honestly the first thing that came to mind.)
https://www.sinus-institut.de/en/sinu...
Article on The Pudertanz
https://ooe.orf.at/stories/3242799/
Mass Creation put out a trailer for Swords & Slippers that hit 27 million views on X, and then told a critic: "You are not the audience we're building for. Nobody here is interested in your agenda."
Everybody covered the drama. Almost nobody asked the question sitting underneath it, how does a studio of maybe fifteen people identify its audience correctly, when much larger companies cannot?
So this video is about market segmentation, which gaming alone among entertainment industries has managed to pathologise. Romance publishing, Life is Strange, and why Dragon Age: The Veilguard failing was not even a rational business decision.
CHAPTERS
00:00 - You are not the audience we're building for
02:03 - What romance publishing already understands
03:45 - The wider audience is real, and it isn't in gaming
05:50 - Life is Strange and the symmetry
09:18 - Who Veilguard was actually built for
12:36 - Replacement versus substitution
14:40 - It wasn't even a rational decision
15:50 - The actual lesson
Sources:
Swords & Slippers, the reply that everyone covered as based ("You are not the audience...")
https://x.com/SwordsSlippers/status/2...
Circana on the romance lit market
https://www.circana.com/post/another-...
The Dontnod claim that publishers wanted male leads for Life is Strange
https://kotaku.com/publishers-wanted-...
Article on how the original LiS sold 3 mil copies
https://www.gamedeveloper.com/busines...
Article covering Double Exposure being a financial flop
https://www.thegamer.com/life-is-stra...
Sinus-Milieus (again, bear in mind this is a respected but for-profit institute, and their milieus primarily serve marketing purposes. I primarily used them as they are still useful to establish a rough societal layout, and because they are honestly the first thing that came to mind.)
https://www.sinus-institut.de/en/sinu...
Article on The Pudertanz
https://ooe.orf.at/stories/3242799/