The post I was gearing up for this week, featuring a look at the way the author/editor relationship works, isn’t quite ready for the world (though you can catch a glimpse of the same insights in this article by author Drew Hayes). Which means, I had to do the dreaded archive diving again. Sorry!
Fortunately, I have the perfect post to pull back into the light and send through the reading circuit again. See, lately, I’ve noticed a resurgence of people talking about this very thing. Interestingly enough, it seemed to fade away last year, so I’m not sure what’s prompted it to resurface, but once again, I’m seeing people claim that video games represent the future of publishing. Rather than go over the topic at length again, I’ll just post my rebuttal to that assertion from November of 2014, because it’s still as relevant now as it was then.
So, I give you:
Video Games: The Future of Book Publishing?
by Kisa Whipkey
Originally Posted on 11/21/14
There are whispers in the halls of publishing about how the future of books will slowly evolve into the business model seen in the video game industry. But no one seems to be able to define exactly how that will happen, or which facets will be adopted. And frankly, I just don’t see it. In fact, I’d even go so far as to posit that the people spreading these whispers have little to no understanding of how the video game world actually works. I realize that’s a potentially polarizing assertion to make, but here’s why I think this: see, I actually come from the video game industry. I have a degree (that I rarely talk about) in video game art and design, and I’ve been to the Game Developer’s Conference multiple times. So I know how the video game industry works. And publishing is already structured similarly; there’s nothing left to glean from the video game industry that hasn’t already been incorporated into publishing, or vice versa.
But, just for the sake of argument (and because no one else out there seems willing to break this prediction down and explain it), let’s do a little compare/contrast analysis.
From where I stand, there are only four possible areas where the business models of the video game industry and publishing coincide:
So let’s explore each one and see if we can’t figure out exactly what these vague whispers and predictions are talking about.
Since I’ve heard these claims from people who are largely on the indie side of the spectrum in publishing, this is my top contender for what they’re looking at. And largely why I suspect people haven’t done their research. There seems to be a misconception floating around about the distribution channels involved in producing a video game. The assumption is that games go direct from the developer to the audience. That’s not exactly true. Even for casual games (otherwise known as the time-killing awesomeness on your phone).
Games, just like books, have multiple parties involved in the making and publishing of a title. It starts with a developer, yes, but that developer then has to secure the interest of a publisher (sound familiar?), and then said publisher needs to find a distributor to actually disperse the thing into the world. So, to simplify, it looks like this:
Game Developer –> Publisher –> Distributor –> Audience
And, in comparison, this is what traditional publishing looks like:
Author –> Publisher –> Distributor –> Reader
There are varying steps that factor into each that I’m not documenting (such as agents in publishing or outside investors in video games), but the basic formula is, at its heart, very similar. Even if you look at the indie side of things in both industries, the model is the same, minus one step in the middle:
Game Developer/Author –> Distributor –> Reader/Audience
Video games also struggle with the same divide between traditional publishing and indie, where the AAA titles (as they’re called) are the ones that are mass distributed to brick-and-mortar stores and garner media attention, acclaim, and the all-important exposure needed to succeed. While, on the other hand, the indie titles are left to duke it out for visibility in the digital jungle of the various app stores. Again, it all sounds very familiar, doesn’t it? So where is the innovation and industry-changing business model we’re supposed to be looking to for guidance? Not here, unless I’m missing something. So let’s move on.
This would be another possibility for what the self-proclaimed Seers of Publishing are predicting, and in some ways, I can see why they’d say it. But I still don’t think it will ultimately come to pass, and here’s why:
Video games are a very different form of entertainment from books. Both rely on the idea of escapism, of transporting the consumer to another world where they can step outside their own reality and immerse themselves in someone else’s. But the way they accomplish it is fundamentally different. Games are an active form of entertainment, requiring the user to literally interact with the game world. Books are passive, relying on the reader’s ability to visualize and imagine the words on the page as a real scenario. (Note that I’m basing this observation on a scale of interactivity, and not on the level of imagination/brain involvement required.)
So, in theory, if books were to go this direction, we’d need to increase the level of interactivity to simulate the gaming experience, right? Well, let me point you to these lovely things then, which already happen to exist:
- Choose your own adventure books: Immensely popular with young readers in the 80s, these books required their audiences to put themselves in the character’s place, choosing how they would handle the scenario and seeing the immediate consequences of that action. Notice I said they were popular in the 80s, though. Meaning they fell out of favor almost as quickly as they rose. They still exist, but they’re rare and outnumbered, by far, by the more traditional forms of reading material.
- Enhanced books/eBooks: Yes, this is a thing. There are experimental authors and publishers out there who are trying to find ways to bridge the gap between traditional print and multimedia. Some examples include Booktracks (which pairs a soundtrack with your novel, using auditory cues and music to create a richer immersion for the reader), puzzles deciphered while reading, and enhanced books that are almost more like apps, featuring animations and sound effects. Cool ideas, yes, but again, not very popular with readers.
- Supplemental Materials: These are almost more marketing related than anything, but I’ve seen authors create real-life scavenger hunts and multimedia apps that go along with their story and world, engaging their fans in new and immersive ways. Essentially, they quite literally marry the video game industry with publishing, but not in a way that truly enhances the reading experience. It’s in addition to that basic action, rather than replacing/modifying it.
Which brings us to my point, the reason why I don’t see books becoming more like video games — books were never meant to be truly interactive. If anything, they compete with film for their audience’s attention, because film is another passive form of entertainment. Both of these mediums have always been about observing. Yes, they can affect us, making us feel emotions and form bonds with fictitious beings in ways that might have us wondering about our sanity, but their point is to detail observations, impart information, and deliver messages that transcend our day-to-day lives and make us empathize with, or understand, the world around us. Gaming is entirely different, more akin to physical activity in the way it engages the brain. You won’t often find gamers who spend hours mulling over the morality of murdering that NPC (non-player character) they saw appear on the screen for half a second. Because the act of gaming is about reflex, instinct, and less about deep philosophical thoughts and musings.
But that’s a conversation for a later day. Today’s point is that readers don’t necessarily want to interact with books. They simply want to read them. And until that changes, I don’t see interactivity becoming the hot trend publishing will steal from the gaming industry.
Ah yes, production. This is where I most often see a lack of understanding about how games are made. There’s this underlying idea out there that games are easy to create, that the time invested in them is minimal in comparison to the profit. And just like my first point — distribution — that’s not entirely true.
The AAA titles — the big ones everyone hears about, the Halos and Dragon Ages and Skyrims of the world — take, on average, 3-5 years to produce. And that’s with teams of several hundred people. You have game designers, artists/animators, programmers, actors, PR/marketing/administrative staff, and sound engineers all involved, and it’s as time intensive as creating a feature film. The reason these are considered AAA titles is because they have budgets that rival cinema blockbusters. It’s no small feat to release a game of this scale, and with the advances in technology, gamers are becoming more and more expectant of this level of quality. Anything that falls below this often earns derision and ridicule.
The casual games (think the ones on your phone that most people consider mindless wastes of time) are less intense, but still generally require at least a small team of people to invest months or even years of their life into their creation. There are a few really astounding individuals that have found success doing it all on their own, but those are the exception, not the rule.
Now, how much of what I just said sounded familiar to all you writers out there? I’m guessing all of it. Because again, it’s not dissimilar to the way the book industry already operates. You have the Big 5 publishers (with the equivalent of blockbuster budgets) publishing a select few, super prominent titles, and guess what? On average, it takes 2-3 years from the time they sign you to the time your book is in stores. And then we have the indies, where the timeline is much shorter, but you still have a team of experts (editors, cover designers, formatters, etc.) helping you put out a product that is largely under-respected by the world.
So what’s to be learned from the gaming industry here? They’re fighting the same equality battle that publishing is, and frankly, they’re not doing any better than we are on that front.
This is the last possible area that could potentially be what the predictions are talking about. But they have it backward. See, the divide between gaming and books isn’t being bridged because books are becoming more like games, it’s because games are becoming more like books. There’s a movement within the gaming industry to include stronger storytelling in games. Let’s face it, up until maybe five years ago, games were not hailed for their storytelling prowess. And that’s because 90% of games were written by game designers, people who focus more on what makes a game fun than anything else. They created the game mechanics (the rules) and built from there.
And then along came companies like Bioware and Bethesda and Square Enix, and suddenly storytelling started to become more important, leading to the employment of actual game writers. So now we have video games that actually include epic narratives with quality writing, bringing the worlds of literature and gaming one step closer together. But that’s not publishing noticing the strengths in the gaming industry and adjusting accordingly, that’s the gaming industry glomming onto the strength publishing already had — story.
Which brings us to the conclusion of our analysis. As you can see, for someone standing with a foot in both industries, this prediction of publishing turning into the gaming industry makes little sense. I simply don’t see the shiny new path these people are touting. But that doesn’t mean it doesn’t exist. If someone out there has a better understanding of exactly what this vague statement for publishing’s future means, I would love to be enlightened. Please share your thoughts on this interesting topic in the comments. Do you see publishing moving toward video games, and if so, in what way? I’m sure I’m not the only one out there dying to know.