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For the latter, it means a lower investment cost as they will first license a three- to eight-episode bundle - enough to test the waters - with an option to buy some more episodes. Working this way has several advantages for both ourselves and our clients. Q: How much development time goes into a single episode? Why do it this way, as opposed to one gigantic release of everything at once?Ī: Each episode requires about six weeks of production work. Their scenarios must be captivating and must end in a cliffhanger kind-of-way that will stimulate players to come back. And where you have regular visitors, you have the core of a fanbase ready to involve themselves in forums, contests, etc.Īs for the writers, they are essential to that process. That means, of course, that lots of players will often pay a visit to the websites hosting our games, expecting to find new episodes. People will come back to a game that has interested them. And, as a company, we think that episodic games and strong storylines are one of the best means around to enthrall an audience. What is it about this format that attracted your company to it? How important are writers to this process?Ī: If attracting players is one of the biggest challenges met by Web content aggregators, retaining those same players is certainly the most difficult. Q: You have story driven, episodic games. We're betting that this goal will translate into a big payoff for Sarbakan when on-line games will be the norm. Ultimately, we're trying to make the genre evolve toward a kind of product that will please to the mass of players.
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We want to offer an interesting alternative to people who want to be entertained and have fun without having to invest themselves a complex game demanding that they digest an overlong game manual or that they become an armchair general. We think there is more to gaming crowd than the usual Bridge, Mine Sweeper or Tetris. Casual gamers have been a little bit neglected by the industry. Furthermore, adventure games can reach a much wider audience than titles solely geared toward the "hardcore" gamers.
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What we try to do here is tell riveting stories.Īdventure gaming is the best format to write rich and multi-layered tales featuring characters that have some depth to them. Why did you go this route, instead of a more action-oriented route, which perhaps might have been less risky?Ī: Adventure gaming dead? People have always loved good stories. Some pundits would tell you (though believe me, I am not one of them) that adventure gaming is dead. Q: You have a number of old-style adventure games in your portfolio. After all, there are villains to be defeated and fun things to be discovered!Įven though Web production can cause us more headaches, we have to say that Television also gives us some things to lose sleep over - like keeping everything on budget and production schedules.
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Game scenarios have even to be written around download time: players must not be kept waiting too long, action has to flow. We have to limit the number of animated objects simultaneously appearing on the screen, keep in check the frame rate, minimum background movements, and finally optimize the finished products so as to obtain the smallest file size humanly possible.
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Other than interactivity, the Web has bandwidth limitations. We have to say that the television format has less inherent constraints than the Web.
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This consistency is due in part to the fact that we use the same software tools and work processes to create all of our products, be they games, cartoons or anything else nifty. Q: Of course! It's all part of the master plan …
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Q: Although usually when you work with more powerful mediums your work tends to get more extravagant, it seems to me that Sarbakan remains consistent - a screenshot from a game looks like a screenshot from a TV program. Once this property is widely known in the television market, we proceed to secure partnerships, which will enable us to create and launch licensed products inspired by our characters and stories.
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When the game has achieved some degree of on-line success, we translate the concept to a television format. Since our games are in an episodic format, we can fine-tune them to our audience's tastes.
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On-line games are, in a way, the " incubation stage " of our animated properties. It's also the quickest way to promote new characters and stories to an international audience. For us, the Web is a testing ground for new ideas and properties. Is that outlook held by Sarbakan? Either way, what's the company outlook on these different mediums?Ī: We approach each and every medium in a strategic manner. Many companies tend to focus on one medium and deem the others less important. Q: Sarbakan does games and animation for CD, TV and Web.