impact It is a team of four people in Sweden that helps games and publishers in building permanent ideas and brands.
The company has been around for seven years and worked with more than 40 customers and project. The list includes large companies such as Bandai Namco and Plaion as well as “one display” in the Arctic Circle.
Sometimes the team consults with an early studio and sometimes it comes late.
“We have really met a truly arrogant difference, and we have really met a modest difference,” he said. “We were already. The big challenge is how do we get to the studio? Where does the game stop, and where do IP start?”
He brought IO Interactive, Denmark Studio, which grew into 200 people and created Hitman. They created a total of four different games series, but Human was the largest.
“Two killer was 65 % of the company’s value,” said Vonspeek. “You focus on the way to play and technology and this is very necessary. But moreover, there is a second business model. You build your IP love. With all the time people spend with your game, they grow with your characters, and get used to those feelings and trips. So this is this It is the IP part.
A third part, on how to connect it to the market.
“How can you put yourself to stand out and appeal to the right people?” He said.
Assets
Fonnesbech was formerly the IP president in Nordisk Games, which was owned by a large group. He was working in games, entertainment, advertising and movies for decades and came to learn the IP value. He worked in 30 games during his career.
He said, “I served my time in the trenches.” “While we were in Nordisk, we realized that there was no language for this talk about the IP and what is missing from the games.”
The company has a team of four, and it works with others as needed.
“We realized that no one knows how to build the IP address. They even do not know how to know what the right level of the leverage is. Some people are lucky because they have the IP address. What we do is to advise the problem we see is that most studios believe like this. They just want to do a game and achieve it, then they realize that what they really need was a permanent product.
Therefore, you need to take the player on an emotional trip and give them a personality they really love. She wants a personality seeking revenge or trying to find peace. He said that you should design the IP so that it is legal and protective. This is what you usually ask when reading a book or watching a movie. Why do I care?
“We have realized that the big problem of the entire industry is that we do not do pre -production on IP. Because it is not just a tradition. The gameplay was enough. So all these companies arose with a full focus on the content of the game.” “We produce the game. But feelings, characters and sites – ah, let’s talk about something else. So the development of the model game is from three to four years of development, then it lasts three months of IP.”
He said this turns into three months of panic and intellectual property panic, at the end of the game when the time is too late to change anything.
“What we had done for seven years was to help people develop an early idea. He said that the sweet spot is to do this early in production, but of course we are often pulled by 80 % of the completion or re -launch it.” “We are able to know that. If you do this, suddenly you are standing on the market because you are not just a gameplay.”
This is necessary because there are 17,000 games per year that come out on Steam. To stand out, you don’t just need to look at the competitors. Your IP address should be unforgettable.
“Today, you also have to look at your emotional competitors. So there is no use in making a great handicraft game. If your IP address is exactly the same as Batman, you will not win. What does Batman do emotionally? It is in a large city full of corruption. It is an orphan. These are the central columns of this IP.
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Fnespeak said he is not just one writer who should accomplish this. He says that the entire leadership team should participate. But it is completely different from one company to another, as some studios are drove with one creative force and managed by other leadership groups. Some companies start from madness and beans who do not like to work with each other.
An example of doing this is League of Riot Games of Legends. The most successful Battle Arena game has been built online with many characters but not much of the story. It has now returned and created the back story, as it spent $ 250 million in two seasons of Arcane on Netflix. Now he built something that fans are emotionally associated with. And if you have gone to the Legue of Legends Championship match, you will see the feelings of the crowd. Sonic The Hedgehog from Sega started the same way, with a quick character with position and fast play. Now, with movies, the Sonic Emotional Center has become focused.
Fonnesbech believes that companies such as Remedy, CD Projekt Red and Naughty Dog have made great functions in creating their IP.
“If you want to build a valuable IP address, the thing is not necessarily the thing that makes it successful,” he said. “But this is the thing that makes you sustainable,” said Fonspeck. “I would like to recommend the characters. You don’t have to get it, but it is really good. Having a character is just an anchor and a great model. You can talk about the presence of an emotional trip. What is the emotional journey?
He added: “If you are picking up Hitman, the latest Bourne movie, or so, you expect you to have this emotional journey. Lara Croft is still looking for her father in the rubble, and as you know, Geralet is still from the rural strangers who try to protect people who do not trust It is already. The more coherent IP.
When it works well
Some companies like Skybound, Maker of the Walking Dead, will test a new IP in a comic form. If it is an echo, it puts the writer’s room to work on it and takes out a different type of media. It tests water and doubles on the strikes. Before walking, “the good people did not die.”
Fnespeak said that people should monitor “the fallacy of Tranchidia.” “The idea that we will go out on six media at one time and it will be more success. This does not work. You have to put everything you have to go out on one broker and make it work. It is very difficult to make one good piece of the game, imagination or story.”
As for how matters in the past few years do with 34,000 workers’ demobilization in this industry, Fonnesbech said there is a delay in his consultation. While other major companies were exposed earlier, the crisis reached it in the spring of 2024, when there was a big game.
He said: “Things are flourish now, and it seems that there is a greater need for this method of thinking because I believe that publishers and investors have become more cautious about investing in strange wonders.” “If they will put all this investment, they want to see something that will continue.”